Adam Schlesinger is a songwriter, producer, and lyricist. He has written for some of the most iconic artists in the music industry: Fountains of Wayne, Ivy, The Wallflowers, Semisonic, and more. When he was younger he would only write songs about love or relationships but now his writing has matured to include other themes such as politics and social issues.
In 2009 Adam wrote a book called “Punching Kitty” which included stories about different musicians that were amusing and informative at the same time. One story that stood out from this book was when Adam met Barack Obama who told him that if he ever needed anything to just call him up on his cell phone number because it’s never busy!
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Adam Schlesinger of awards
Even much more than his achievements generating and composing for visual media, the passing of Adam Schlesinger at the age of 52 from COVID-19-relevant difficulties will be most sorely pointed out by fans of his earnest and pristine energy pop manufacturing, songwriting, and performance in Fountains of Wayne, Ivy and Tinted Home windows.
His special contact all through all of his diversified projects carried a sense of pop craftsmanship hearkening again past Harry Nilsson and Lennon/McCartney by to the unadulterated Tin Pan Alley ethos of Cole Porter and Irving Berlin – capturing the point of perspective of the everyman down on his luck but with a sparkle of hope to see the listener through to the future day.
What do we do with this facts?
Schlesinger’s unpredicted death arrived in the throes of the coronavirus pandemic, at a time rife with confusion, helplessness and disbelief. Rumors of his hospitalization 1st surfaced as a tweet from an Ivy enthusiast web site, but the tweet was quickly deleted, but the news was picked up by big publications, and circulated among the fans as a sort of a “Well? What do we do with this facts? Is it responsible?
Really should we mourn or shake our finger at this unsubstantiated post?” In the several days encompassing this unconfirmed announcement, the globe was reeling with the decline of place music’s Joe Diffie, jazz trumpeter Wallace Roney, Alan Merrill, leader of the Arrows and writer of “I Like Rock & Roll” Afro-jazz pioneer Manu Dibango, furthermore the COVID-19 related hospitalization of folk patriarch John Prine, and a federal government and culture in turmoil.
For a lot of of us who hardly ever lived via The Blitz or the polio scare of 1956 or the duck-and-go over drills of the Chilly War, the confusion of this pandemic feels a little like 9/11 (wherever there was an unidentified enemy but we as persons ended up helpless to do everything significant apart from restrict our carry-on liquids and take off our footwear) and a little like the Northeast blackout of 2003 (the place all the things was bizarre and we were quietly worried about how a lot rest room paper we had due to the fact we did not know how extensive the condition would past).
Both of those people preceding circumstances have been frightening, and unprecedented, and compelled on us the feeling of helplessness. Each of individuals situations have been undeniably awful, and the haunting feeling of ineffectiveness carried in the course of the two experiences.
the fatalities of Prince
There are durations where we collectively shed our heroes to sickness or incident or medication or aged age or a mix of all of these. From this distance, the fatalities of Prince, Tom Petty and David Bowie come to feel like they occurred within just a 7 days of every other. Although all of their deaths ended up heartbreaking, none of them took spot in a time body that feels like the firecracker scene in Boogie Nights in which we’re all just trying to continue to keep interesting but anything is unexpectedly exploding all over us.
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The untimely loss of somebody as somewhat younger and as relatively untapped as Adam Schlesinger hits particularly hard suitable now. His death serves the regrettable double purpose of marking the conclusion of a innovative soul who crafted the great pop moment throughout new music, Television, motion pictures and onstage, but also feels like an unwelcome wake-up connect with to people in the technology who are now recognizing that this pandemic is not just getting argued about on the 24-hour news cycle – the realities of this invisible enemy can access us in our houses and in our hearts, and it may perhaps not stop listed here.
Though Schlesinger’s legacy may perhaps finally be remembered by the excitement bin video novelty of “Radiation Vibe,” the sweetly lascivious-slash-youthfully misguided “Stacy’s Mom” and the honestly wistful topic from “That Thing You Do,” his brush painted across these types of a broad selection of media and snapped into focus the great pop sentiment with wit and heart, his sunny, bittersweet sentiments will have on long earlier when this darkish time is over.