WEBVTT 00:00:00.000 --> 00:00:02.419 Imagine an artist whose catchy tunes weren't 00:00:02.419 --> 00:00:05.019 just, you know, the soundtrack to a generation's 00:00:05.019 --> 00:00:08.220 indie rock scene, but also the secret sauce behind 00:00:08.220 --> 00:00:12.099 huge blockbuster film hits, Emmy winning TV shows, 00:00:12.339 --> 00:00:15.140 and even like sophisticated Broadway productions. 00:00:15.679 --> 00:00:18.480 Today we are taking a deep dive into the extraordinary 00:00:18.480 --> 00:00:21.620 life and really the truly multifaceted career 00:00:21.620 --> 00:00:24.359 of just such a creative force. Indeed we are. 00:00:24.440 --> 00:00:25.940 We're talking about Adam Schlesinger, a name 00:00:25.940 --> 00:00:29.120 that really became synonymous with versatility 00:00:29.120 --> 00:00:31.410 and just an incredible depth of talent. He wasn't 00:00:31.410 --> 00:00:33.350 just a musician, he was a prolific songwriter, 00:00:33.789 --> 00:00:36.009 a masterful composer, and a really sought after 00:00:36.009 --> 00:00:38.369 record producer. His influence, as you said, 00:00:38.490 --> 00:00:40.750 had permeated nearly every corner of the entertainment 00:00:40.750 --> 00:00:43.189 industry. It really did. From those unforgettable 00:00:43.189 --> 00:00:45.530 power pop anthems that just get stuck in your 00:00:45.530 --> 00:00:48.189 head for days, to the intricate character -driven 00:00:48.189 --> 00:00:50.689 music of a TV series like Crazy Ex -Girlfriend, 00:00:51.009 --> 00:00:53.289 and even to the grand scale of Broadway. His 00:00:53.289 --> 00:00:56.359 creative output was, well, by all accounts, boundless. 00:00:56.600 --> 00:01:00.259 He was basically a true musical polymath. A polymath. 00:01:00.380 --> 00:01:02.340 That's the perfect word. Someone who mastered 00:01:02.340 --> 00:01:05.799 not just one, but so many forms of musical expression. 00:01:06.599 --> 00:01:08.739 And you, our listener, have provided us with 00:01:08.739 --> 00:01:11.540 a truly fascinating collection of sources detailing 00:01:11.540 --> 00:01:14.040 his incredible journey. So our mission today 00:01:14.040 --> 00:01:16.840 is to unpack the sheer breadth and depth of his 00:01:16.840 --> 00:01:19.299 contributions. We'll trace his impact across 00:01:19.299 --> 00:01:22.870 music, film, television, and theater. We really 00:01:22.870 --> 00:01:24.989 want to understand how one person could be so 00:01:24.989 --> 00:01:28.189 incredibly prolific and successful in such diverse 00:01:28.189 --> 00:01:30.390 fields and, of course, reflect on the lasting 00:01:30.390 --> 00:01:34.209 legacy he left behind before his untimely passing. 00:01:34.769 --> 00:01:36.969 So get ready for an exploration of some surprising 00:01:36.969 --> 00:01:39.370 facts, some really cool behind -the -scenes insights 00:01:39.370 --> 00:01:41.689 into his creative process, and just a deeper 00:01:41.689 --> 00:01:44.569 look into the undeniable genius of this modern 00:01:44.569 --> 00:01:46.670 musical polymath. Okay, so to understand the 00:01:46.670 --> 00:01:48.870 artist, we often look to the foundations, right? 00:01:49.069 --> 00:01:51.549 And Adam Lyon Schlesinger's early life certainly 00:01:51.469 --> 00:01:54.709 offer some intriguing clues. Born October 31, 00:01:55.189 --> 00:01:57.969 1967, Halloween, in the vibrant heart of New 00:01:57.969 --> 00:01:59.930 York City. Halloween baby, fitting for someone 00:01:59.930 --> 00:02:03.230 so creative. Right. He experienced a childhood 00:02:03.230 --> 00:02:05.730 kind of split between the bustling energy of 00:02:05.730 --> 00:02:10.169 Manhattan and the more suburban community -focused 00:02:10.169 --> 00:02:13.110 vibe of Montclair, New Jersey. He went to Montclair 00:02:13.110 --> 00:02:16.310 High School there. This dual upbringing, the 00:02:16.310 --> 00:02:18.669 city edge mixed with a more settled community, 00:02:19.090 --> 00:02:21.650 probably gave him a really rich tapestry of human 00:02:21.650 --> 00:02:23.889 experience to draw on. Yeah, you can almost hear 00:02:23.889 --> 00:02:26.310 that in his lyrics sometimes, that sharp observation. 00:02:26.530 --> 00:02:29.050 Exactly, that width, that relatability. And looking 00:02:29.050 --> 00:02:32.030 at his family, it's clear creativity wasn't exactly 00:02:32.030 --> 00:02:34.990 a foreign concept. His mother, Barbara Bernthal, 00:02:35.110 --> 00:02:38.030 was a publicist, and his father, Stephen Schlesinger. 00:02:38.870 --> 00:02:40.590 Well, it sounds like a household that valued 00:02:40.590 --> 00:02:44.449 communication. Expression. Definitely. But what 00:02:44.449 --> 00:02:47.009 really stands out, suggesting maybe a direct 00:02:47.009 --> 00:02:49.729 line to his musical gifts, is his maternal grandfather, 00:02:49.969 --> 00:02:52.289 Murray Bernthal. He was a musician himself, born 00:02:52.289 --> 00:02:55.469 way back in 1911, lived until 2010. Wow. That's 00:02:55.469 --> 00:02:57.169 quite a connection. Yeah. And then there's the 00:02:57.169 --> 00:02:58.969 more contemporary link through his cousin, the 00:02:58.969 --> 00:03:00.830 actor John Bernthal. And Tom Bernthal, too. It's 00:03:00.830 --> 00:03:02.909 almost like the aptitude for creative pursuits 00:03:02.909 --> 00:03:05.979 was sort of woven into the family DNA. It seems 00:03:05.979 --> 00:03:08.460 like it. That musical grandfather is a really 00:03:08.460 --> 00:03:11.199 compelling detail. It is. But what's particularly 00:03:11.199 --> 00:03:13.560 insightful about Schlesinger's background, and 00:03:13.560 --> 00:03:16.780 maybe less expected, is his academic path. He 00:03:16.780 --> 00:03:19.780 got a bachelor of arts in philosophy from Williams 00:03:19.780 --> 00:03:22.539 College in Williamstown, Massachusetts. Philosophy. 00:03:22.699 --> 00:03:25.280 OK, that's not the typical rock star origin story. 00:03:25.419 --> 00:03:27.479 Right. Not a music conservatory or performance 00:03:27.479 --> 00:03:30.259 school. A degree in philosophy suggests a mind 00:03:30.259 --> 00:03:33.580 trained in, like, analytical thinking, logic, 00:03:34.060 --> 00:03:36.620 understanding complex structures. That's fascinating. 00:03:37.099 --> 00:03:39.939 Do you think that intellectual foundation influenced 00:03:39.939 --> 00:03:42.500 his songwriting, that analytical side? I absolutely 00:03:42.500 --> 00:03:44.960 think so. It makes you wonder if he contributed 00:03:44.960 --> 00:03:47.860 to his remarkable ability to craft such intricate 00:03:47.860 --> 00:03:50.639 yet completely accessible melodies and lyrics. 00:03:51.180 --> 00:03:54.280 is often imbued with this really wry observational 00:03:54.280 --> 00:03:56.300 wit. It feels smart, you know? Yeah, totally. 00:03:56.800 --> 00:03:59.539 So did that structured thinking ever clash with 00:03:59.539 --> 00:04:02.259 the maybe more spontaneous side of music, or 00:04:02.259 --> 00:04:04.159 did he just blend them? I think he blended them 00:04:04.159 --> 00:04:06.599 with exceptional grace. And maybe that's where 00:04:06.599 --> 00:04:09.159 his unique genius really was. Think about how 00:04:09.159 --> 00:04:11.759 that philosophy training might show up. Take 00:04:11.759 --> 00:04:14.099 Stacey's mom, for example. Okay. It's not just 00:04:14.099 --> 00:04:16.500 a catchy tune, right? It's a perfectly structured 00:04:16.500 --> 00:04:19.560 little pop narrative. It builds a specific scenario, 00:04:19.939 --> 00:04:22.319 escalates the tension, has that comedic payoff, 00:04:23.120 --> 00:04:25.699 almost like a little argument or essay, but set 00:04:25.699 --> 00:04:27.879 to music. Huh. I never thought of it like that, 00:04:27.879 --> 00:04:30.519 like a logical progression almost. Sort of. Or 00:04:30.519 --> 00:04:32.240 think about his Broadway work, like Cry Baby, 00:04:32.560 --> 00:04:35.459 the musical. The precision you need there, mapping 00:04:35.459 --> 00:04:38.480 character arcs and plot points onto complex musical 00:04:38.480 --> 00:04:41.370 numbers. That definitely benefits from a mind 00:04:41.370 --> 00:04:44.490 used to deconstructing and reconstructing complex 00:04:44.490 --> 00:04:47.329 ideas. It gave him this clarity, I think, both 00:04:47.329 --> 00:04:49.910 artistic intuition and intellectual precision. 00:04:50.149 --> 00:04:51.730 That gives us a completely different way to look 00:04:51.730 --> 00:04:53.670 at his work, makes it even more impressive. And 00:04:53.670 --> 00:04:55.649 speaking of output, his career really kicked 00:04:55.649 --> 00:04:59.430 off around 1989 and just kept going relentlessly 00:04:59.430 --> 00:05:03.860 until 2020. Yeah, over three decades of active, 00:05:04.319 --> 00:05:06.560 intense creation. It wasn't just a flash in the 00:05:06.560 --> 00:05:09.420 pan. It was this sustained, brilliant fire. It 00:05:09.420 --> 00:05:12.019 really laid the groundwork for the sheer volume 00:05:12.019 --> 00:05:14.839 and diversity we're about to dive into. A deeply 00:05:14.839 --> 00:05:18.259 committed, enduring, artistic journey. Absolutely. 00:05:18.800 --> 00:05:21.079 So building on that foundation, Adam Schlesinger 00:05:21.079 --> 00:05:24.339 wasn't just a songwriter or a composer in isolation. 00:05:24.600 --> 00:05:27.660 He was also a really prolific band member, an 00:05:27.660 --> 00:05:30.509 innovator, and a dedicated collaborator. His 00:05:30.509 --> 00:05:33.009 journey through various bands really showcases 00:05:33.009 --> 00:05:35.810 his incredible range and his ability to contribute 00:05:35.810 --> 00:05:38.490 significantly to vastly different musical identities, 00:05:38.689 --> 00:05:40.970 often at the same time. Okay, let's talk bands. 00:05:41.509 --> 00:05:43.290 Fountains Wayne, that's where so many people, 00:05:43.430 --> 00:05:45.550 myself included, first really heard him. What 00:05:45.550 --> 00:05:47.879 was it about that band that just clicked? Fountains 00:05:47.879 --> 00:05:49.920 of Wayne became synonymous with Adam Schlesinger 00:05:49.920 --> 00:05:51.879 for a lot of people and for good reason. He was 00:05:51.879 --> 00:05:54.100 a founding member and his multi -instrumental 00:05:54.100 --> 00:05:56.680 skills were totally central to their sound. He 00:05:56.680 --> 00:05:59.759 played bass, keyboards, guitar, drums, sang backup, 00:06:00.600 --> 00:06:02.980 basically everything. A utility player. Exactly. 00:06:03.540 --> 00:06:05.980 And their genre, Power Pop, is something he just 00:06:05.980 --> 00:06:08.660 perfected. For anyone maybe not familiar, Power 00:06:08.660 --> 00:06:10.899 Pop takes those great melodic hooks and harmonies 00:06:10.899 --> 00:06:14.259 from like 60s pop. Like The Beatles or The Kinks. 00:06:14.420 --> 00:06:16.740 Right. Adds the guitar energy of punk or New 00:06:16.740 --> 00:06:19.240 Wave and usually wraps it up with clever, often 00:06:19.240 --> 00:06:23.160 witty lyrics. Schlesinger's genius was blending 00:06:23.160 --> 00:06:26.459 that infectious catchiness with really intelligent 00:06:26.459 --> 00:06:28.959 songwriting. The songs were fun, but they were 00:06:28.959 --> 00:06:33.129 smart fun. And Stacy's mom became just A phenomenon, 00:06:33.250 --> 00:06:35.389 didn't it? It broke way out of the indie scene 00:06:35.389 --> 00:06:38.149 into the mainstream. What specifically made that 00:06:38.149 --> 00:06:40.189 track work so well? Songwriting, production. 00:06:40.490 --> 00:06:43.329 Stacy's mom is basically a masterclass in power 00:06:43.329 --> 00:06:45.430 pop construction. It wasn't just catchy. It felt 00:06:45.430 --> 00:06:48.709 engineered for maximum impact. He and Chris Collingwood 00:06:48.709 --> 00:06:50.689 crafted lyrics that were instantly relatable, 00:06:51.149 --> 00:06:53.750 funny, tapped into that adolescent fantasy thing 00:06:53.750 --> 00:06:55.709 with clever double meanings. Without being crude, 00:06:55.889 --> 00:06:58.339 yeah. Exactly. And production -wise, remember, 00:06:58.439 --> 00:07:00.139 Schlesinger co -produced five of their albums. 00:07:00.579 --> 00:07:02.600 He meticulously layered everything. You've got 00:07:02.600 --> 00:07:04.980 that clean, punchy bass, probably him playing, 00:07:05.439 --> 00:07:08.240 anchoring this driving drum beat. The guitars 00:07:08.240 --> 00:07:11.160 are bright, jangly, full of hooks. The vocal 00:07:11.160 --> 00:07:13.879 harmonies are lush, perfectly stacked. It almost 00:07:13.879 --> 00:07:16.000 feels architectural. Engineered from melodic 00:07:16.000 --> 00:07:18.740 impact, but still feels immediate. That's it. 00:07:19.100 --> 00:07:21.360 And that blend of clever writing and precise 00:07:21.360 --> 00:07:24.000 production got them those two Grammy nominations 00:07:24.000 --> 00:07:27.220 in 2003. best new artist, and best pop performance 00:07:27.220 --> 00:07:29.980 for Stacey's mom. It really cemented their place. 00:07:30.279 --> 00:07:32.579 It's amazing insight into the craft behind what 00:07:32.579 --> 00:07:35.459 sounds so effortless. And it wasn't just music, 00:07:35.579 --> 00:07:37.819 right? Our sources mention he met his future 00:07:37.819 --> 00:07:40.240 wife, Catherine Michelle, at a bar they frequented 00:07:40.240 --> 00:07:42.860 while starting the band. Yeah, the WXOU radio 00:07:42.860 --> 00:07:45.540 bar. It's such a quintessential indie rock origin 00:07:45.540 --> 00:07:47.740 story, isn't it? Blending the personal and the 00:07:47.740 --> 00:07:50.040 professional in those early days. Totally. But 00:07:50.040 --> 00:07:52.819 his musical journey wasn't just one band. He 00:07:52.819 --> 00:07:55.680 concurrently co -founded Ivy. which had a sound 00:07:55.680 --> 00:07:58.259 that was really distinctly different from Fountains 00:07:58.259 --> 00:08:01.420 of Wayne. More alternative rock, often dreamier, 00:08:01.660 --> 00:08:04.000 maybe more understated. Right, a different texture 00:08:04.000 --> 00:08:06.519 altogether. And again, he co -produced six of 00:08:06.519 --> 00:08:09.639 Ivy's albums. So he had this consistent, significant 00:08:09.639 --> 00:08:12.339 role in shaping their studio sound, just like 00:08:12.339 --> 00:08:14.490 with Fountains of Wayne. It really highlights 00:08:14.490 --> 00:08:17.029 his hands -on approach, you know, ensuring his 00:08:17.029 --> 00:08:19.550 vision extended to every sonic detail. And it 00:08:19.550 --> 00:08:22.449 was with Ivy we see that first clear sign of 00:08:22.449 --> 00:08:25.949 him bridging worlds, right? They scored the film 00:08:25.949 --> 00:08:28.310 Shallow Howl. That wasn't just a band doing a 00:08:28.310 --> 00:08:30.629 movie score. It was like an early glimpse of 00:08:30.629 --> 00:08:33.309 the huge cinematic landscape he'd conquer later. 00:08:33.669 --> 00:08:37.389 Exactly. That fluid movement between band work 00:08:37.389 --> 00:08:39.649 and film composition became such a hallmark. 00:08:40.110 --> 00:08:42.450 Then there was Tinted Windows. which was this 00:08:42.450 --> 00:08:44.549 intriguing side project, basically a supergroup. 00:08:44.710 --> 00:08:46.590 Oh yeah, I remember them. Who isn't that again? 00:08:46.769 --> 00:08:48.970 It really speaks to his reputation and collaborative 00:08:48.970 --> 00:08:52.129 spirit. The lineup was Stellar, James Iha from 00:08:52.129 --> 00:08:54.730 the Smashing Pumpkins on guitar. Wow. Singer 00:08:54.730 --> 00:08:57.669 Taylor Hanson, yes. That Taylor Hanson. No way. 00:08:57.909 --> 00:09:00.190 Yep. And Bunny Carlos, the legendary drummer 00:09:00.190 --> 00:09:02.649 from Cheap Trick. That is quite a lineup. Right. 00:09:03.330 --> 00:09:05.070 Schlesinger recorded and toured with them in 00:09:05.070 --> 00:09:08.500 2009 and 2010. just further extending his reach. 00:09:09.200 --> 00:09:11.600 He also popped up on James Iha's second solo 00:09:11.600 --> 00:09:14.200 album in 2012, so those connections lasted. He 00:09:14.200 --> 00:09:16.279 didn't stop there either. He also got involved 00:09:16.279 --> 00:09:18.779 with Fever High, a Brooklyn synth pop duo. Yeah, 00:09:18.919 --> 00:09:21.279 became a member, main composer and producer for 00:09:21.279 --> 00:09:24.080 them, produced their albums, really dove into 00:09:24.080 --> 00:09:26.799 the synth pop genre. It's genuinely remarkable. 00:09:26.860 --> 00:09:30.059 He goes from guitar -driven power pop to dreamy 00:09:30.059 --> 00:09:33.419 alt rock to supergroup rock to synth pop. And 00:09:33.419 --> 00:09:35.899 wasn't just dabbling, he was deep in the production, 00:09:35.980 --> 00:09:38.679 the writing. Exactly. Mastering the nuances of 00:09:38.679 --> 00:09:41.019 each style. Incredible versatility. Which brings 00:09:41.019 --> 00:09:43.759 us perfectly to his film work, where that versatility 00:09:43.759 --> 00:09:46.379 may be shown brightest. He created some truly 00:09:46.379 --> 00:09:49.200 iconic cinematic moments. Absolutely. One of 00:09:49.200 --> 00:09:51.120 his breakout moments, and definitely one of the 00:09:51.120 --> 00:09:53.360 most recognizable, came with the Tom Hanks film, 00:09:53.759 --> 00:09:57.169 That Thing You Do. Oh, that thing you do. What 00:09:57.169 --> 00:09:58.990 an incredible song. It just nailed the sound 00:09:58.990 --> 00:10:01.549 of that fictional 60s band, The Wonders. He wrote 00:10:01.549 --> 00:10:03.610 the title track, got an Oscar nomination, Golden 00:10:03.610 --> 00:10:06.350 Globe nomination in 97. What's the challenge 00:10:06.350 --> 00:10:09.309 in writing a song that has to be a hit in the 00:10:09.309 --> 00:10:12.070 movie's story and also sound authentically like 00:10:12.070 --> 00:10:14.309 it's from another era? That was precisely the 00:10:14.309 --> 00:10:16.799 genius of it. Tom Hanks specifically sought him 00:10:16.799 --> 00:10:19.159 out because he needed a song that sounded like 00:10:19.159 --> 00:10:22.679 a genuine 1960s one -hit wonder. Catchy, simple, 00:10:23.019 --> 00:10:25.419 timeless. Schlesinger wasn't just writing a song, 00:10:25.600 --> 00:10:28.019 he was basically reverse engineering a cultural 00:10:28.019 --> 00:10:31.179 artifact. How did he mail the sound? meticulously. 00:10:31.519 --> 00:10:34.039 He infused it with period specific production, 00:10:34.600 --> 00:10:37.220 those driving slightly compressed drums, the 00:10:37.220 --> 00:10:39.639 jangly, almost Wickenbacker sounding guitars, 00:10:40.139 --> 00:10:42.019 the layered close harmonies like the Beatles 00:10:42.019 --> 00:10:44.460 or the Birds. It was sonic time travel. And he 00:10:44.460 --> 00:10:46.179 didn't just do the title track. He did two other 00:10:46.179 --> 00:10:48.360 songs for the film too. Really comprehensive 00:10:48.360 --> 00:10:50.519 involvement. And the lasting impact is so clear. 00:10:50.700 --> 00:10:52.740 The cast and crew did that Zoom reunion in his 00:10:52.740 --> 00:10:55.789 memory that says so much. It really does. Speaks 00:10:55.789 --> 00:10:58.690 volumes about the connections he made. And beyond 00:10:58.690 --> 00:11:01.690 that historical recreation, he had this amazing 00:11:01.690 --> 00:11:04.750 knack for crafting perfect rom -com hits. For 00:11:04.750 --> 00:11:06.710 music and lyrics, he wrote and produced three 00:11:06.710 --> 00:11:09.750 songs. Just showcased his ability to infuse pop 00:11:09.750 --> 00:11:12.389 sensibilities that fit the genre perfectly. He 00:11:12.389 --> 00:11:14.429 just got how to enhance the story with music. 00:11:14.629 --> 00:11:16.490 He really did. And then showing totally different 00:11:16.490 --> 00:11:19.610 colors, he composed Master of the Seas for Ice 00:11:19.610 --> 00:11:23.009 Age, Continental Drift. Right. An animated adventure 00:11:23.009 --> 00:11:25.129 performed by Jennifer Lopez, Peter Dinklage, 00:11:25.309 --> 00:11:28.230 a whole all -star cast. It just underscores his 00:11:28.230 --> 00:11:30.710 adaptability, moving from live -action comedy 00:11:30.710 --> 00:11:33.669 to family animation seamlessly. His filmography 00:11:33.669 --> 00:11:35.889 really shows these twin strengths, doesn't it? 00:11:35.929 --> 00:11:38.090 The period perfect pop, like that thing you do, 00:11:38.350 --> 00:11:40.649 and then creating these instantly hummable themes 00:11:40.649 --> 00:11:42.889 for all sorts of films. Definitely. Like, he 00:11:42.889 --> 00:11:45.289 became the go -to guy for a string of Fairly 00:11:45.289 --> 00:11:47.529 Brothers comedies. There's something about Mary, 00:11:47.570 --> 00:11:49.789 me, myself, and Irene. What's striking there 00:11:49.789 --> 00:11:51.889 is how his music, often quirky and memorable, 00:11:52.409 --> 00:11:54.789 acted as this comedic underscore, adding another 00:11:54.789 --> 00:11:57.330 layer without stepping on the jokes. It's impressive 00:11:57.330 --> 00:11:59.710 tailoring, and beyond those, his music popped 00:11:59.710 --> 00:12:02.090 up in Josie and the Pussycats' very music -centric 00:12:02.029 --> 00:12:05.649 Yep, and scary movie, art school, confidential, 00:12:05.970 --> 00:12:08.549 fever pitch, even something more serious like 00:12:08.549 --> 00:12:10.570 the Manchurian candidate. Right, because of Winn 00:12:10.570 --> 00:12:13.750 -Dixie, Orange County, Two Weeks Notice, the 00:12:13.750 --> 00:12:16.009 list just goes on. It highlights his constant 00:12:16.009 --> 00:12:18.370 presence and how broadly appealing his style 00:12:18.370 --> 00:12:20.830 was. He could find the right sound for almost 00:12:20.830 --> 00:12:23.509 any story. And if you think the film work is 00:12:23.509 --> 00:12:25.169 impressive, just wait until we get to television. 00:12:25.570 --> 00:12:28.710 His triumphs there are frankly astounding. Adam 00:12:28.710 --> 00:12:31.029 Schlesinger was an absolute powerhouse on the 00:12:31.029 --> 00:12:33.669 small screen. A remarkable three Emmy Awards 00:12:33.669 --> 00:12:36.610 for Outstanding Original Music and Lyrics 2012, 00:12:36.610 --> 00:12:39.950 2013, 2019. Three Emmys, okay. This wasn't a 00:12:39.950 --> 00:12:42.049 side gig. Not at all. This was a major creative 00:12:42.049 --> 00:12:44.909 arena for him. And his work on the CW's crazy 00:12:44.909 --> 00:12:46.929 ex -girlfriend really stands out as a signature 00:12:46.929 --> 00:12:49.370 achievement. Oh, absolutely. He was the main 00:12:49.370 --> 00:12:51.769 composer and executive music producer for that 00:12:51.769 --> 00:12:54.450 show. And that show is just defined by its musical 00:12:54.450 --> 00:12:58.009 numbers, intricate, funny, switching genres constantly. 00:12:58.429 --> 00:13:00.029 This wasn't just writing a theme song. The music 00:13:00.029 --> 00:13:02.950 was woven into the fabric of every episode. How 00:13:02.950 --> 00:13:05.610 did he even manage that volume and stylistic 00:13:05.610 --> 00:13:08.690 range? Crazy Ex -Girlfriend was arguably his 00:13:08.690 --> 00:13:12.730 TV magnum opus. His role was huge. Executive 00:13:12.730 --> 00:13:15.090 music producer means being involved in everything 00:13:15.090 --> 00:13:17.679 concept to mix and maybe Maybe that philosophy 00:13:17.679 --> 00:13:20.220 background helped again, deconstructing genres, 00:13:20.600 --> 00:13:22.059 understanding the underlying structures. Like 00:13:22.059 --> 00:13:24.379 the musical chameleon. Totally. He could perfectly 00:13:24.379 --> 00:13:27.279 mimic any genre, classic, Hollywood, hip -hop, 00:13:27.340 --> 00:13:29.840 reggae, 80s rock ballad, whatever the story needed, 00:13:30.220 --> 00:13:31.700 while keeping the character's voice and moving 00:13:31.700 --> 00:13:34.940 the plot forward. The show demanded insane versatility, 00:13:35.419 --> 00:13:38.000 and he delivered. Got nominations for songs like 00:13:38.000 --> 00:13:40.389 Settle for Me, we'd tap that ass. And finally, 00:13:40.549 --> 00:13:43.190 one for Antidepressants Are So Not a Big Deal 00:13:43.190 --> 00:13:45.690 in 2019, all co -written with Rachel Bloom and 00:13:45.690 --> 00:13:48.129 Jack Dolgen. Exactly. Plus nominations for the 00:13:48.129 --> 00:13:50.110 main title themes, too. And what's really touching 00:13:50.110 --> 00:13:52.730 about his crazy ex -girlfriend work is that deep 00:13:52.730 --> 00:13:55.389 collaboration with Rachel Bloom. Our sources 00:13:55.389 --> 00:13:58.610 mention her 2024 Netflix special, Death, Let 00:13:58.610 --> 00:14:01.090 Me Do My Show, where she talks about his death. 00:14:01.450 --> 00:14:03.889 It really underscores the personal impact, how 00:14:03.889 --> 00:14:05.889 colleagues became real friends. It speaks volumes 00:14:05.889 --> 00:14:07.629 about him, doesn't it? Yeah. As a person and 00:14:07.629 --> 00:14:10.799 a collaborator. But beyond Crazy Ex, he was also 00:14:10.799 --> 00:14:13.899 huge in award show extravagances. He co -wrote 00:14:13.899 --> 00:14:16.159 these big opening numbers with David Javerbaum 00:14:16.159 --> 00:14:18.419 from The Daily Show. Oh yeah, the Tony Awards 00:14:18.419 --> 00:14:21.029 numbers with Neil Patrick Harris. Yes. It's Not 00:14:21.029 --> 00:14:24.570 Just For Gays Anymore from the 2011 Tonys. Hilarious, 00:14:24.889 --> 00:14:27.750 self -aware, won them a 2012 Emmy for music and 00:14:27.750 --> 00:14:30.450 lyrics. Incredible. Then for the 2012 Tonys they 00:14:30.450 --> 00:14:32.970 did What If Life Were More Like Theater as the 00:14:32.970 --> 00:14:35.549 opener, and If I Had Time as the closer, again 00:14:35.549 --> 00:14:38.250 with NPH, and If I Had Time snagged them another 00:14:38.250 --> 00:14:40.850 Emmy in 2013. Wow, and their collaboration hit 00:14:40.850 --> 00:14:43.690 the Emmy Awards stage too, right? Yep. They did 00:14:43.690 --> 00:14:47.909 the opener for the 2011 Emmys, TV is a Vast Wonderland. 00:14:48.090 --> 00:14:50.669 performed by Jane Lynch, brilliantly satirical. 00:14:51.370 --> 00:14:54.169 And the number in the middle of show at the 2013 00:14:54.169 --> 00:14:57.269 Emmys with Neil Patrick Harris, Sarah Silverman. 00:14:57.389 --> 00:14:59.929 Nathan Fillion. He just had this incredible knack 00:14:59.929 --> 00:15:02.830 for writing for these live, high -pressure events, 00:15:03.250 --> 00:15:05.470 creating memorable, funny moments. Capturing 00:15:05.470 --> 00:15:07.710 the spirit perfectly. And it wasn't just adult 00:15:07.710 --> 00:15:10.710 shows and awards. He brought that magic to children's 00:15:10.710 --> 00:15:12.730 television, too. Proof he could connect with 00:15:12.730 --> 00:15:15.330 any age group. He did the Elmo the Musical theme 00:15:15.330 --> 00:15:17.970 for Sesame Street. Got a Daytime Emmy nomination 00:15:17.970 --> 00:15:21.830 for that in 2013. Sesame Street! That's amazing! 00:15:21.970 --> 00:15:24.289 And another Daytime Emmy nod in 2011 for the 00:15:24.289 --> 00:15:26.529 Sesame Street song, I Wonder, co -written with 00:15:26.529 --> 00:15:28.860 Molly Boylan. It really shows his ability to 00:15:28.860 --> 00:15:30.879 write for diverse audiences, hitting the right 00:15:30.879 --> 00:15:33.240 notes for engaging educational content. Definitely 00:15:33.240 --> 00:15:35.500 versatile. And his work extended to shows like 00:15:35.500 --> 00:15:38.000 Bubble Guppies, T .U .F .F. Puppy on Nickelodeon. 00:15:38.279 --> 00:15:40.080 Good luck, Charlie, on Disney Channel, The Fresh 00:15:40.080 --> 00:15:42.960 Beat Band, Big Time Rush, all showcasing this 00:15:42.960 --> 00:15:45.240 playful, engaging side. Music that worked for 00:15:45.240 --> 00:15:47.580 younger viewers. Okay, the list of his other 00:15:47.580 --> 00:15:51.019 TV theme and score work is just staggering. It 00:15:51.019 --> 00:15:53.340 really highlights how in -demand he was. It's 00:15:53.340 --> 00:15:57.500 wild. I love you, American Hulu, The Maya Rudolph 00:15:57.500 --> 00:16:00.340 Show, A Colbert Christmas, the greatest gift 00:16:00.340 --> 00:16:03.820 of all. Kathy on Bravo, Crank Yankers, Wedding 00:16:03.820 --> 00:16:06.200 Band, The Billboard Music Awards. The Howard 00:16:06.200 --> 00:16:08.740 Stern Show. Comedy Central's Night of Too Many 00:16:08.740 --> 00:16:11.879 Stars, Robert Smigel's cartoons for SNL, The 00:16:11.879 --> 00:16:14.299 Disney Parks Christmas Day Parade, The Comedy 00:16:14.299 --> 00:16:16.980 Awards, American Dreams, Stephen King's Kingdom 00:16:16.980 --> 00:16:20.279 Hospital, The In -Laws, The Man Show, Super Noobs, 00:16:20.419 --> 00:16:22.299 Too Late with Adam Carolla, The Danik Harvey 00:16:22.299 --> 00:16:24.860 Show, John Legasamo's House of Bug in My Kind 00:16:24.860 --> 00:16:28.320 of Town, and Johnny Test. The revival in 2021 00:16:28.320 --> 00:16:30.259 was dedicated to him, which is really touching. 00:16:30.340 --> 00:16:32.500 It really is. The sheer breadth across all these 00:16:32.500 --> 00:16:34.919 formats, just incredible. And on top of all that, 00:16:34.960 --> 00:16:36.919 his songs were performed by other artists. for 00:16:36.919 --> 00:16:39.279 TV, too. It wasn't just him scoring or his bands 00:16:39.279 --> 00:16:41.679 playing. Right. The list there is just as diverse. 00:16:42.200 --> 00:16:44.759 Shows his broad appeal as purely a songwriter. 00:16:45.100 --> 00:16:46.980 Like he wrote, our own world for the monkeys. 00:16:47.059 --> 00:16:49.980 For the monkeys, seriously. Yep. He penned Just 00:16:49.980 --> 00:16:52.519 the Girl for the Click 5, which was a huge hit 00:16:52.519 --> 00:16:55.639 for them. Co -wrote Everybody Loves Music, performed 00:16:55.639 --> 00:16:58.000 by Nicki Minaj and others for the Billboard Music 00:16:58.000 --> 00:17:01.220 Awards. Wow. Reaching into pop and hip hop. Collaborated 00:17:01.220 --> 00:17:03.639 on High School Never Ends with Bowling for Soup. 00:17:04.140 --> 00:17:06.880 Perfect blend of his style and theirs. Wrote 00:17:06.880 --> 00:17:09.559 I Am What I Am for the Jonas Brothers. And even 00:17:09.559 --> 00:17:11.759 saw his own Fountains of Wayne song Hackensack 00:17:11.759 --> 00:17:13.779 covered by Katy Perry. That's quite a range. 00:17:14.019 --> 00:17:16.140 He also wrote Perfect Night for Sarah Silverman 00:17:16.140 --> 00:17:18.900 and Will .iam. Yep. And multiple songs for Emily 00:17:18.900 --> 00:17:21.819 Osment. Wrote Work To Do for the classic rock 00:17:21.819 --> 00:17:25.059 band America. And for A Colbert Christmas, he 00:17:25.059 --> 00:17:27.319 co -wrote eight songs performed by Colbert, Jon 00:17:27.319 --> 00:17:31.059 Stewart, Feist, John Legend, Willie Nelson, Elvis 00:17:31.059 --> 00:17:33.569 Costello. Toby Keith. Stop it. That lineup is 00:17:33.569 --> 00:17:37.329 insane. Right. He also did Text Me Merry Christmas 00:17:37.329 --> 00:17:39.930 by Straight No Chaser featuring Kristen Bell 00:17:39.930 --> 00:17:43.990 and In Our Darkest Hour by Phantom Planet. It's 00:17:43.990 --> 00:17:45.930 just profound testament to his talent that so 00:17:45.930 --> 00:17:48.170 many different artists and shows wanted his songs. 00:17:48.529 --> 00:17:50.589 The songwriter for all seasons, all genres. Yeah. 00:17:50.829 --> 00:17:52.329 And believe it or not, his creative footprint 00:17:52.329 --> 00:17:54.490 also extended significantly onto the theatrical 00:17:54.490 --> 00:17:57.650 stage, Broadway and beyond. This realm required 00:17:57.650 --> 00:17:59.490 a different kind of storytelling through music, 00:17:59.549 --> 00:18:02.039 often more expansive. Right. Fitting songs into 00:18:02.039 --> 00:18:04.640 a larger narrative arc. One of his big ones was 00:18:04.640 --> 00:18:07.559 Cry Baby, the musical, co -wrote the songs with 00:18:07.559 --> 00:18:10.240 David Jaberbaum again. It debuted at Lajala, 00:18:10.359 --> 00:18:13.839 then hit Broadway in 2008. What are the unique 00:18:13.839 --> 00:18:16.220 demands of writing for Broadway compared to, 00:18:16.539 --> 00:18:19.279 say, pop songs or film scores? How do he adapt? 00:18:19.440 --> 00:18:21.660 That's a key difference. Broadway needs narrative 00:18:21.660 --> 00:18:24.619 precision. A song has to advance the plot, reveal 00:18:24.619 --> 00:18:27.180 character, fit the show's emotional arc. It can't 00:18:27.180 --> 00:18:29.259 just be a standalone tune. Or integrated. Exactly. 00:18:29.539 --> 00:18:32.259 And Schlesinger. with that analytical mind adapted 00:18:32.259 --> 00:18:35.140 brilliantly. He and Jevra Baum created a score 00:18:35.140 --> 00:18:38.019 for Cry Baby that felt right for its 1950 setting, 00:18:38.380 --> 00:18:40.299 but also served the characters and the comedy 00:18:40.299 --> 00:18:43.079 perfectly. It got great recognition two Tony 00:18:43.079 --> 00:18:46.119 nominations in 2008, Best Musical and Best Original 00:18:46.119 --> 00:18:48.420 Score. That's huge. And showing how interconnected 00:18:48.420 --> 00:18:51.319 his work was, they got a 2009 Emmy nomination 00:18:51.319 --> 00:18:54.119 for the song Much Worse Things, performed by 00:18:54.119 --> 00:18:57.279 Elvis Costello and Stephen Colbert on A Colbert 00:18:57.279 --> 00:19:00.630 Christmas. a song born from their stage collaboration 00:19:00.630 --> 00:19:03.349 that found life in another medium. Amazing. And 00:19:03.349 --> 00:19:06.130 he kept working with Jabberbom on an act of God, 00:19:06.230 --> 00:19:08.710 the Broadway play. Yep. They co -wrote the closing 00:19:08.710 --> 00:19:11.549 song, I Have Faith in You. performed by Jim Parsons 00:19:11.549 --> 00:19:13.710 and the cast. Another example of contributing 00:19:13.710 --> 00:19:16.369 a specific impactful musical moment. And a project 00:19:16.369 --> 00:19:18.609 that really speaks to the long game in theater 00:19:18.609 --> 00:19:21.289 was The Bedwetter. Ah yes, the musical adaptation 00:19:21.289 --> 00:19:23.829 he collaborated on with Sarah Silverman based 00:19:23.829 --> 00:19:26.069 on her book. Yeah. It was scheduled for previews 00:19:26.069 --> 00:19:29.509 in May 2020, opening June 2020. Right when everything 00:19:29.509 --> 00:19:32.470 shut down. Exactly. Postponed due to the pandemic. 00:19:32.990 --> 00:19:35.289 But it eventually premiered in previews in April 00:19:35.289 --> 00:19:38.390 2022. It really underscores the long -term nature 00:19:38.390 --> 00:19:40.569 of these projects and how his work continued 00:19:40.569 --> 00:19:42.650 even after he was gone. Always looking forward 00:19:42.650 --> 00:19:44.930 to, right? He was working on music for the Nanny 00:19:44.930 --> 00:19:47.410 stage adaptation before he died. He was. Just 00:19:47.410 --> 00:19:49.789 shows his continued engagement with new theatrical 00:19:49.789 --> 00:19:51.650 ventures, always pushing into new narratives, 00:19:51.809 --> 00:19:54.930 new platforms. Okay, so performer, composer... 00:19:54.779 --> 00:19:57.720 band member, theater writer, but he was also 00:19:57.720 --> 00:20:00.099 a highly sought after record producer and mixer. 00:20:00.380 --> 00:20:03.000 Absolutely. His reputation there was immense. 00:20:03.380 --> 00:20:05.539 People trusted his ear, his ability to shape 00:20:05.539 --> 00:20:08.279 sound. As a producer, he wasn't just technical. 00:20:08.380 --> 00:20:11.039 He was like an extra creative force, refining 00:20:11.039 --> 00:20:13.839 arrangements, guiding vocals, crafting the whole 00:20:13.839 --> 00:20:15.700 sonic landscape. Who were some of the artists 00:20:15.700 --> 00:20:18.599 he produced for? A really wide array. The Monkees, 00:20:18.640 --> 00:20:21.180 Fever High, Dashboard Confessional, Swirl 360, 00:20:21.380 --> 00:20:24.079 Tahiti 80, Motion City Soundtrack. Vervepipe? 00:20:24.250 --> 00:20:26.990 Robert Plant, America with James Ihi again. The 00:20:26.990 --> 00:20:30.289 sounds. He might be Giants. Fastball. It shows 00:20:30.289 --> 00:20:33.289 his appeal across genres from indie pop to folk 00:20:33.289 --> 00:20:35.569 rock and alternative. And we have to remember, 00:20:35.609 --> 00:20:38.970 this wasn't just work for other people. He produced 00:20:38.970 --> 00:20:41.829 or co -produced five Fountains of Wayne albums 00:20:41.829 --> 00:20:45.410 and six Ivy albums. Crucial point. He was deeply 00:20:45.410 --> 00:20:48.410 hands on with his own band's sound. Ensuring 00:20:48.410 --> 00:20:50.509 his vision carried through from writing to the 00:20:50.509 --> 00:20:53.029 final mix, he sculpted their sonic identities. 00:20:53.309 --> 00:20:55.529 Did he have a signature production style, would 00:20:55.529 --> 00:20:57.789 you say? That's a good question. Despite his 00:20:57.789 --> 00:21:00.569 versatility, you often hear a commitment to clarity, 00:21:01.190 --> 00:21:03.849 melodic punch, and really meticulous layering. 00:21:04.869 --> 00:21:07.609 Instruments have their space, clean, driving 00:21:07.609 --> 00:21:10.650 bass lines often him playing, sharp guitar riffs, 00:21:11.069 --> 00:21:13.769 and those incredible, lush, precise vocal harmonies. 00:21:14.450 --> 00:21:16.450 He understood that clarity let the cleverness 00:21:16.450 --> 00:21:19.150 of the songwriting shine, polished but immediate. 00:21:19.420 --> 00:21:21.859 That was his magic trick. Making complexity sound 00:21:21.859 --> 00:21:23.980 effortless again? Pretty much. And his production 00:21:23.980 --> 00:21:26.400 work got its own awards, too. He co -produced 00:21:26.400 --> 00:21:28.359 A Cold Beer Christmas, the greatest gift of all, 00:21:28.579 --> 00:21:31.140 with Stephen and Gold. That album won the 2009 00:21:31.140 --> 00:21:33.839 Grammy for best comedy album. A Grammy for production 00:21:33.839 --> 00:21:35.640 on a comedy album? That just further cements 00:21:35.640 --> 00:21:38.140 his status. His touch really elevated everything. 00:21:38.420 --> 00:21:40.819 It really did. Now, shifting gears slightly, 00:21:41.000 --> 00:21:43.519 on a more personal note. Adam Schlesinger's personal 00:21:43.519 --> 00:21:45.880 life, like many artists, was intertwined with 00:21:45.880 --> 00:21:48.539 his professional one. He married Catherine Michelle. 00:21:48.750 --> 00:21:52.049 a graphic designer, in 1999. And they actually 00:21:52.049 --> 00:21:55.569 met back in 96 at that WXOU radio bar we mentioned 00:21:55.569 --> 00:21:58.470 earlier. The Fountains of Wayne Hangout? Exactly. 00:21:58.930 --> 00:22:00.789 The place he frequented with Chris Collingwood 00:22:00.789 --> 00:22:03.549 when starting the band. Such a neat, full circle 00:22:03.549 --> 00:22:06.220 detail. They had two daughters together. Sadie 00:22:06.220 --> 00:22:08.279 and Claire Schlesinger before they later divorced 00:22:08.279 --> 00:22:11.980 in 2013. Which brings us, sadly, to the end of 00:22:11.980 --> 00:22:15.019 his story, a really somber, poignant point. Adam 00:22:15.019 --> 00:22:17.940 Schlesinger tragically passed away on April 1st, 00:22:17.940 --> 00:22:21.019 2020. He was only 52. Yeah, far too young. He 00:22:21.019 --> 00:22:23.240 died in a hospital in Poughkeepsie, New York. 00:22:23.660 --> 00:22:25.799 Complications from COVID -19. He'd been on a 00:22:25.799 --> 00:22:27.480 ventilator for over a week. This was right at 00:22:27.480 --> 00:22:29.160 the start of the pandemic, remember? Yeah, when 00:22:29.160 --> 00:22:31.720 everything felt so uncertain and scary, his death 00:22:31.720 --> 00:22:33.900 really hit hard across the entertainment world 00:22:33.900 --> 00:22:37.140 and just... everywhere. News reported April 1st, 00:22:37.160 --> 00:22:39.140 though some local health records might have noted 00:22:39.140 --> 00:22:42.839 March 31st. Either way, a devastating loss. Absolutely 00:22:42.839 --> 00:22:45.420 devastating. And the outpouring of tributes, 00:22:45.640 --> 00:22:47.480 the lasting memory for him was just immense. 00:22:47.680 --> 00:22:50.000 It really reflected the deep affection and profound 00:22:50.000 --> 00:22:52.680 respect he'd earned. One really notable tribute 00:22:52.680 --> 00:22:55.140 was the album Saving for a Custom Van, released 00:22:55.140 --> 00:22:58.740 June 16th, 2020 on Father Daughter Records. Right. 00:22:58.819 --> 00:23:01.299 The title itself is such a sweet nod to the fountains 00:23:01.299 --> 00:23:04.599 of Wayne's song Utopia Parkway. It was a 31 -track 00:23:04.599 --> 00:23:07.039 album, covers of his songs by artists like Kay 00:23:07.039 --> 00:23:09.200 Hanley, Ben Lee, Prince Daddy, and the Hyena. 00:23:10.099 --> 00:23:12.339 And his close collaborator Rachel Bloom and bandmate 00:23:12.339 --> 00:23:15.180 Jodie Porter participated too. Felt very personal. 00:23:15.380 --> 00:23:17.660 It did. And all the proceeds went to the MusiCares 00:23:17.660 --> 00:23:20.799 COVID -19 Relief Fund, turning that tribute into 00:23:20.799 --> 00:23:22.980 real support during a tough time. Channeling 00:23:22.980 --> 00:23:25.180 grief into action. That's lovely. And then the 00:23:25.180 --> 00:23:27.799 cast and crew of That Thing You Do. Yeah. reunited 00:23:27.799 --> 00:23:31.000 that summer 2020 on zoom they just reminisced 00:23:31.000 --> 00:23:33.519 about him in the film shared stories it really 00:23:33.519 --> 00:23:36.019 illuminated his personality his process they 00:23:36.019 --> 00:23:38.160 even auctioned off a test pressing of the soundtrack 00:23:38.160 --> 00:23:40.799 on vinyl as part of it shows how deep those bonds 00:23:40.799 --> 00:23:43.619 were decades later His tinted windows bandmates 00:23:43.619 --> 00:23:47.319 also got together briefly in May 2021 for a live 00:23:47.319 --> 00:23:49.819 stream in his memory. It's amazing how his spirit 00:23:49.819 --> 00:23:51.579 just kept bringing his collaborators together, 00:23:51.579 --> 00:23:54.220 even after he was gone. It really is. And his 00:23:54.220 --> 00:23:57.140 legacy touched animation again. The 2021 revival 00:23:57.140 --> 00:23:59.720 of Johnny Test, which he'd worked on, was dedicated 00:23:59.720 --> 00:24:02.400 to him. Plus, there's an Indianapolis based Fountains 00:24:02.400 --> 00:24:04.799 of Wayne tribute band called Utopia Parkway. 00:24:05.000 --> 00:24:08.440 They did sets in his honor in 2021. A real grassroots 00:24:08.440 --> 00:24:11.240 testament to his music's power. That's fantastic. 00:24:11.559 --> 00:24:13.519 But maybe the most powerful tribute, the most 00:24:13.519 --> 00:24:16.579 personal, was Rachel Bloom's 2024 Netflix special, 00:24:16.779 --> 00:24:20.160 Death, Let Me Do My Show. As his close friend 00:24:20.160 --> 00:24:22.819 and crazy ex -girlfriend collaborator, she really 00:24:22.819 --> 00:24:25.339 addressed his death head on, how the loss affected 00:24:25.339 --> 00:24:27.559 her. It wasn't just a mention, it was this deep 00:24:27.559 --> 00:24:30.500 reflection, underscores the human impact, how 00:24:30.500 --> 00:24:33.400 creative partnerships became life -changing friendships. 00:24:33.680 --> 00:24:35.700 Yeah, that intimate perspective from Rachel Bloom, 00:24:36.079 --> 00:24:38.259 it really brings home the personal cost of losing 00:24:38.259 --> 00:24:40.420 someone so brilliant. and by all accounts so 00:24:40.420 --> 00:24:42.819 kind. Well, we have certainly journeyed through 00:24:42.819 --> 00:24:46.160 the astounding, truly multifaceted career of 00:24:46.160 --> 00:24:49.119 Adam Schlesinger, from indie rock stardom with 00:24:49.119 --> 00:24:52.019 Fountains of Wayne, to Oscar nominated film songs, 00:24:52.200 --> 00:24:54.940 Emmy winning TV music, Tony nominated theater 00:24:54.940 --> 00:24:57.839 scores, and his work as a producer guiding others. 00:24:58.240 --> 00:25:00.480 It's almost hard to grasp how one person touched 00:25:00.480 --> 00:25:02.680 so many creative worlds with such consistent 00:25:02.680 --> 00:25:05.539 excellence. What stands out isn't just the sheer 00:25:05.539 --> 00:25:08.160 volume, which is staggering, right? but it's 00:25:08.160 --> 00:25:10.819 a consistent quality and that remarkable versatility 00:25:10.819 --> 00:25:13.799 across so many genres and mediums. He just had 00:25:13.799 --> 00:25:16.480 this uncanny knack for finding the perfect musical 00:25:16.480 --> 00:25:19.859 voice for any project. A catchy pop tune, a witty 00:25:19.859 --> 00:25:22.220 Broadway number, a heartfelt score, a satirical 00:25:22.220 --> 00:25:24.380 jingle. You could do it all. His touch is just 00:25:24.380 --> 00:25:26.259 indelible on pop culture. You hear his genius 00:25:26.259 --> 00:25:28.480 in so many places, maybe without even realizing 00:25:28.480 --> 00:25:31.279 it's him. He was a master craftsman who understood 00:25:31.279 --> 00:25:34.200 the emotional core of a story and knew exactly 00:25:34.200 --> 00:25:37.019 how to translate that into sound. He always elevated 00:25:37.019 --> 00:25:40.099 the material. Exactly. So considering his immense 00:25:40.099 --> 00:25:42.000 talent, the sheer range of his accomplishments, 00:25:42.660 --> 00:25:44.859 it raises a really interesting question for you, 00:25:44.940 --> 00:25:47.539 our listener, to think about how do artists like 00:25:47.539 --> 00:25:49.619 Adam Schlesinger, who don't just navigate but 00:25:49.619 --> 00:25:52.400 truly conquer so many distinct creative landscapes, 00:25:52.839 --> 00:25:55.039 how do they manage to keep their unique artistic 00:25:55.039 --> 00:25:57.240 signature while also adapting so brilliantly 00:25:57.240 --> 00:25:59.839 to such diverse demands? How do they leave behind 00:25:59.839 --> 00:26:02.180 a legacy that keeps resonating, keeps touching 00:26:02.180 --> 00:26:04.920 so many lives? It's really a testament to a truly 00:26:04.920 --> 00:26:07.279 singular talent, a creative engine that that 00:26:07.279 --> 00:26:08.759 just never seemed to run out of fuel.