Musical works that appeal to different types of audiences
This article is about Crossover music. For other uses, see Crossover and Crossover thrash.
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Crossover is a term applied to musical works or performers who appeal to different types of audience. This can be seen, for example, (especially in the United States) when a song appears on two or more of the record charts which track differing musical styles or genres.[1] If the second chart combines genres, such as a "Hot 100" list, the work is not a crossover.
In some contexts the term "crossover" can have negative connotations associated with cultural appropriation, implying the dilution of a music's distinctive qualities to appeal to mass tastes. For example, in the early years of rock and roll, many songs originally recorded by African-American musicians were re-recorded by white artists such as Pat Boone in a more toned-down style, often with changed lyrics, that lacked the hard edge of the original versions. These covers were popular with a much broader audience.[2]
Crossover frequently results from the appearance of the music in a film soundtrack. For instance, Sacred Harp music experienced a spurt of crossover popularity as a result of its appearance in the 2003 film Cold Mountain, and bluegrass music experienced a revival due to the reception of 2000's O Brother, Where Art Thou?.
^Lonergan, Hit Records, 1950–1975, p. vi: "These [Country & Western and Rhythm & Blues], and the somewhat newer Adult Contemporary charts, occasionally exhibited what are called 'crossover' hits, when a Pop, C&W, or R&B star would have a hit that also charted on one or more of the other lists.
^Gilliland 1969, show 4, track 5; show 6, track 4.
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