Crossover (music)
As a crossover (English, Clash, crossing ',' crossing ') is defined as the simultaneous placement of a piece of music that is attributable to a particular genre of music, in at least two, according to music genres separate charts. The term was coined in the 1940s when the hit parade segregation of musical styles was the rule. Later mergers between rock and other genres emerged and they were not sure where the pieces were classified, the term was given a slightly different meaning.
Development
Origin
The crossover story begins with the clear demarcation of music styles with each other in the U.S., but especially with the isolation of an initially uniform charts in black rhythm-and - blues, white country & western and pop charts in 1942 by the Billboard magazine. First, remained the respective genres in the accompanying charts. In addition to this rather technical separation, there was also a moderate consumption, for white buyers preferred "white " country and pop music both in buying and in the selection of radio stations. Increasingly, this separation was overcome. Plates of the Mills Brothers, Ink Spots and Louis Jordan, actually meant for the "black " consumption were increasingly heard and bought by whites. Thus they had become practically already crossover artist. This was also hit parade moderately retraced, as the Mills Brothers with the famous Paperdoll also reached the pop charts in July 1943. Louis Jordan managed this in January 1944 with the ration blues. This rather technical crossovers were initially characterized in that they were, the Rhythm & Blues charts, better placed in their "home hit parade " than in the pop charts.
This trend then took advantage of Pat Boone and others, as they are " black " original versions they covered and so made accessible to the pop charts. Pat Boone coverte in July 1955 Is not That a Shame ( Fats Domino ), which made it to # 1 on the pop charts, while Domino's stock reached in the same month, only the No. 10. As a result, more and more white artists resorted to "black" originals back to Elvis Presley Hound Dog in August 1956, over 3 million records sold reached its commercial peak of crossovers; the singer of the original, Big Mama Thornton, was successfully incorporated only in the R & B charts. Thus, the crossover had taken on a new dimension: not the original artists made the breakthrough in the other charts, but only cover versions. This crossover development took place in the following years to such an extent that Billboard between November 1963 and January 1965 no R & B charts longer published, because the number of crossovers had risen so much that R & B and pop charts themselves were similar in content considerably.
Term conversion
During the 1980s there was a further development towards the merging of various genres. In the North American hardcore punk scene they were looking for new forms of expression, and because of the close relationship many metal elements were used. Basically, however, the opening of the limited Punk scheme was mainly aimed to virtually all areas of popular music and so long stood as a synonym for artistic freedom.
The musical precursor of this consciousness were unclassifiable bands that labels such as post- punk and New Wave were stamped. While maintaining the basic energy of punk in the 1970s, therefore, was also amplified experimented with styles such as country, jazz or funk, which were previously considered to be inappropriate. In this way, a broad movement first subculture- oriented rock music that evolved steadily away from the original punk was born.
Bands such as Minutemen, Bad Brains or Public Image Ltd.. , Who worked with funk, reggae and jazz elements, encountered especially in conservative values Punks first-generation open rejection. Not least for opposition to such dogmatism is more progressive hardcore musicians tried externally themselves from the traditional punk in the 80. They used deliberately " codes " under the punks often hated hippie generation, the hair could grow long, wore flannel shirts and ripped jeans. This outfit was extremely popular in the early 1990s by the worldwide success of grunge bands.
The designation as a crossover was thereby applied to bands that played a mixture of hardcore and thrash metal, such as DRI titled with her crossover album, 7 Seconds and Suicidal Tendencies from the United States or Black Uniforms TT task and Disrespect from Sweden. Due to this mixing of Thrash metal and hardcore bands were often live together.
Emergence and flowering
The newly created awareness found in the early 1990s a broad audience. Together with the so-called grunge created a new scene that defected from punk. It takes the " hardcore radio crossover " a special position that counted many adherents in the metal camp, where he was initially called "Funk Metal".
By the middle of the 1980s was a series of bands like Living Colour, The Beastie Boys, who were able to gradually obtain only with the immense commercial success of Faith No More and the Red Hot Chili Peppers the fruits of their labor.
In this context, from other directions was of great interest. Known as the " New School " second generation of the hip hop enjoyed working with hard- rock beats. For example, Run DMC had a hit in 1986 with the Aerosmith classic Walk This Way. Six years later, completed a tour with Public Enemy of the metal band Anthrax, which won earlier impromptu rap in their music, and released it as a single Bring Tha Noize.
Soon the phenomenon of the commercial music industry was recognized. For example, the soundtrack was created for the film Judgment Night, on which hip-hop musicians played together with metal and alternative rock bands. The success of the album went far beyond the resonance of the actual film.
The term " crossover" became established in the context of a second wave of crossover bands that were already no longer be placed on the mass audience with Hardcore in conjunction, as Clawfinger, Rage Against the Machine and Body Count. Between 1994 and 1998, was this kind of crossover, the trend simply in the alternative and metal scene. Bands like Rage Against the Machine, Body Count or Dog Eat Dog sold hundreds of thousands of their albums. Since the meaning of the term " fusion " already stood for fusion of jazz and rock and "crossover" was suitable for the labeling of these bands, he sat down at this time, especially in the German-speaking world for the style of such formations by. This was the up to now frequently encountered misconception Crossover to be equated with a kind of " rap-metal ", but this is merely the most commercially successful crossover flow of the North American Hardcore. Gradually named this phenomenon with the neologism Nu Metal under which this musical trend strengthened came back into fashion since the late 1990s with bands such as Korn, Slipknot, Limp Bizkit or Linkin Park. The term crossover is partially much weitgedehnter used. Finally, there are similar phenomena such as ska punk or Industrial Metal and Industrial Rock, where you can also impinges on the principle of crossing different styles of pop and rock music. Even musical fusions, which go beyond this definition shall be referred to as a crossover because it is suitable as apt designation. In particular, bands such as Oomph!, Die Krupps, Cubanate or Think About Mutation blended numerous electronic game types with Rock and Metal and were difficult to assign as a result.
In Germany the Freaky Fukin Weirdoz were classified as crossover band for the first time. Groups such as A Surge, the H -Blockx and Thumb were a little later successfully on a commercial level. In other European countries, there were a number of crossover formations, such as Urban Dance Squad in the Netherlands, FFF in France, Senser in the UK or Clawfinger in Sweden.
Today, only a few bands are attributed explicitly the crossover. This is due to the fact that crossover never referred to a certain style, but the mixing of different musical styles meant. Secondly, it is now almost taken for granted that it is possible bands inspired by different musical influences. Only in a few genres - such as the True Metal - the assumption of " diluting " is elements from other musical styles rejected.