Quotes About Genre

Musical theater is an American genre. It started really, in America, as a combination of jazz and operetta; most of the great musical theater writers in the golden era are American. I think that to do a musical is a very American thing to me.

Musically, I actually grew up listening to country music as a kid, like George Strait, Alan Jackson... all those guys. So it was kind of weird crossing over from that to pop and R&B, but you know, I love Michael Jackson, Ne-Yo, Usher, R. Kelly, Drake, Boyz II Men.

Reggeton has changed very much, musically. It has evolved. The artists have also evolved.

I know, for me, 'Grease' was one of the first musicals that I can really remember watching as a kid, and I kind of fell in love that that genre.

I've never been a jam-band sort of musician.

I have always felt I was more accurately a Hard Rock musician.

I don't think I've ever been true to jazz. There's always a kind of jazz element to what I do. There are a very few genres that I haven't tried out, really, in what I've been doing. As a jazz musician, you can kind of mess about with things with a certain level of musicianship, which helps.

We used to have a genre called Muslim social drama which nobody in the world has. Writers from North India and Bengal came and wrote great stories. Then that stopped.

I was never a fan of cozy mysteries of anything set in the countryside, you know.

I've been typed as historical fiction, historical women's fiction, historical mystery, historical chick lit, historical romance - all for the same book.

If we think about what mystery entails as a genre, certainly a big part of it is a resolution.

I'm proudly a crime writer, but it would be really inaccurate to call me a mystery writer.

Mystery fiction was considered a stepchild of literature.

I was very fortunate to have had three years on 'Fresh Meat,' before working on 'Not Safe for Work.' Comedy drama is a very hard genre to nail so I was very glad to have had some practice.

I'm different than the normal NASCAR driver, I listen to hip-hop music.

Nashville has become sort of this go-to writing city for every genre.

But I remember when I read The Way of Kings, there were two things that struck me, like from a technical standpoint—it felt like you tackled a fantasy world almost as if you were writing science fiction.

Nel suo genere x'è un dio. X'è il genere che x'è merda.

So there's nothing more provocative than taking a genre that everybody who's cool hates - and then making it cool.

I wanted to write about a postapocalyptic world where our civilization was not looked back on with awe and admiration, as it is in so many books of the genre, but disdained as the fuckwits we are, who wrecked a perfect biosphere because we couldn't be bothered not to.

He got rid of the punchline to prove that stand-up could be anything, which is what geniuses do: they blow up mothballed conventions in their chosen genre and show you how a song, or a poem, or a sculpture, can take any form.

I've never understood the logic that says a work doesn't need to be judged on the quality of its writing or characters simply because its genre. On the other hand, I've also never understood the logic of excusing a work from the need to tell a story worth telling about people worth knowing simply because the author writes pretty language or has some insights to offer.

Every text participates in one or several genres, there is no genreless text; there is always a genre and genres, yet such participation never amounts to belonging.

A snappy label and a manifesto would have been two of the very last things on my own career want list. That label enabled mainstream science fiction to safely assimilate our dissident influence, such as it was. Cyberpunk could then be embraced and given prizes and patted on the head, and genre science fiction could continue unchanged.