Successful Musicians Podcast – Episode #38: Friendship and Music: How Fabrizio Mancinelli Found Lifelong Connections in the Industry

Successful Musicians Podcast Episode 38

Interviewee: Fabrizio Mancinelli

Interviewer: Jason Tonioli

Hey, this is Jason Tonioli. I’m a piano player that grew up believing it wasn’t possible to earn a living and support a family with music. I’ve proven that idea was wrong and I’ve met hundreds of other people who have found success with their music. This podcast features stories of musicians who have found their own personal version of success and fulfillment in both music and life. This podcast is meant to inspire musicians and help them believe in their abilities and motivate them to share their talents with others. This is the Successful Musicians Podcast. 

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Jason: Well, welcome to the show today. Today, our special guest is Fabrizio Mancinelli. I don’t know whether he said that right.

Fabrizio: “man-chi-NEL-ee” but I appreciate Mancinelli, which is how 99.9% of people call me here.

Jason: Well, so even a guy with the last name Tonioli who should be able to speak Italian, now I’ve just learned something for the day. Fabrizio grew up in Italy, which I think is awesome and you lived in this really rich cultured town. You’ve been doing film scoring and you’ve been a composer. I’ve been able to listen to a lot of the stuff you’ve done and it’s awesome. You’ve been living in LA for 12 years now. You just recently became an American citizen, which is awesome as well. Fabrizio let’s maybe just dive into your story. Tell us a little bit about growing up and how in the world did you end up in LA filming or doing scores for movies?

Fabrizio: Well, I grew up in a beautiful… I was born in the north of Italy in this city called Cles. When I was one month and a half, my father and my mother moved back to the hometown of my dad, which is L’Aquila, which I consider my hometown. It’s a beautiful medieval Renaissance city in central Italy, unfortunately suffered a humongous earthquake in 2009 but I’m not going to just insist on the earthquake because the city is much more than that. The beauty of that city made me love art in every form, from architecture to music. We had beautiful concert institutions, theater, etc. I could breathe art in many ways, and I studied in a local music conservatory where I got amazing professors – Sandro Pusarelli for composition, Marcello Bufalini for conducting, and many more. Sergio Prodi, I would like to mention because he has been a huge influence on me on my choices because he’s a composer and he was actually the one who had the conservatory at the end. He said, really, you need to pursue this other field. You need to go to America, etc.

The first one who told me I needed to go to America was actually Gian Carlo Menotti, was one of the four or five composers, won twice the Pulitzer Prize and it was a Kennedy Center honorary, one of the most amazing operatic composers of the 20th century. It was in his late 80s when I worked with him, early 90s, and I was a young kid, and he told my parents Fabrizzio needed to study music in the United States. I’m going to write a letter for him to go to the Kurtis Institute in Philadelphia. My mom said, no, my son is going to be here in Italy. I was 16, so I studied at a music conservatory in my town and still developed more of a love for the art form and for composition. My parents made me also study law. I became an attorney as well in Italy. I passed my bar exam but composition and conducting won at the end and I won a Fulbright grant, and I came to America in 2008, 2009 to study at USC at the film scoring program there.

The love for film scoring evolved from what was my love for opera and from the opera theater because opera was the most complete show in the 18th, 19th century, especially early 20th century and that evolved in the social aggregation of what was like the cinematic art in the whole 20th century.

Then the love for a movie like Fantasia, which combined animation, which was one of my passions, even though I couldn’t draw one single line, straight line, and music so Walt Disney was a huge influence for my future choices. The reason I chose Los Angeles is because when I came to choose a university to go. I’d been accepted by NYU, USC, North Carolina School of the Arts. They all accepted me with the Fulbright grant, but I chose Los Angeles because it was my first time in the US. I was 29, I believe, at the time. I was like, I have one chance. I want to go see where Walt Disney worked and the city. This is the choice. The choice was made because of Walt Disney and my huge love. Of course, it’s magic. It’s a magic medium, music for film. That’s why it was my choice. I didn’t know of all the difficulties of the business, all the difficulties of the profession, and with all the ups and downs of this industry and profession, I still love it. I still love waking up and making music every day.

Jason: Well, you’ve been able to work with a lot of amazing clients. I know you’ve done stuff for Walt Disney Studios and Disney Imagineering. Did you ever imagine that you would be actually writing music for Disney when you came over here originally?

Fabrizio: Well, I was hoping but nothing is granted. When I worked on a documentary, the first thing I did was a documentary called Growing Up with Nine Old Men with Ted Thomas, the Son of One Old Walt Disney’s Nine Old Men Great Animators. He trusted me. The thing is, the difference in our profession is made up by people who are going to just compliment you. Everybody is so talented here. Everybody is awesome. People actually will take a chance and a leap of faith in you not considering how many followers you have on TikTok, which makes it easier, but on what you’re going to be able to deliver. I think that the real strength of an artist is also how many people surround you because a number of followers on TikTok in the short term will facilitate the job but in the long term, you have to have a huge substance. I’m not like talking about TikTok because it’s a new medium and I’m very interested. I really admire many artists that reinvent themselves every day on platforms like TikTok, Instagram. We all live off that but there is also what is important in the long term.

I often talk to a colleague, and we always think of wanting to be the one the last ones to leave the table after a game. You don’t want to win right away and leave the table. You want to continue to play and enjoy the game. It’s like a diesel car that takes more to warm up and then goes a long distance. We want to be like that. At least it’s a choice, of course. Also, it’s a choice based on age and a different age now I’m 44. Going back to what I was saying is like, we want somebody to hold our hands and trust us. Sometimes it’s harder to be trusted when you’re in the beginning. I have to thank Ted Thomas for trusting me on his documentary and Kuniko Okubo, the other producer, and his wife, that they were producing this documentary and I demoed for them. They saw something in me. They saw that they could give me an opportunity. That is the opportunity.

It’s the same that Andreas Deja, legendary Disney animator, left the company, started working on his thing. He knows me humanly. He knows that I wasn’t tasking him. Then he has this short that he’s doing and there is a song by Richard Sherman, but he asked me to do the rest of the score. He asked me much before since the work on Mushka, this feature, lasted eight, nine years. I hadn’t done my animated features yet. I hadn’t done my musical yet. I hadn’t done my documentaries yet, my features. He asked me then. The fact that I got more experience throughout the path, it was beneficial to the film in terms of me going back and perfecting certain solutions. He gave me a hand when I had just arrived here. Those things mean so much to me because I will always remember that.

Jason: I think that’s very interesting that there are people that want to give you an opportunity. As you look back, it must have been really scary coming over. You’re starting out at University of Southern California there in LA, and there’s probably a ton of really talented people that all have the same dream as what you had. What advice would you maybe have for somebody who is wanting to be a composer? My guess is you probably have 30 or 50 or whatever many students are in that room and they’re probably all wanting to talk to that one director. They’ll probably push each other over just to be able to build that relationship. What advice would you have for people who are wanting to be a composer?

Fabrizio: To be a composer, the first advice I give, study to be a composer, or at least analyze a lot of music. Build your sensibility. A film composer, you need to build the storytelling sensibility, etc. and all related, love the art form. School can be necessary. It was necessary to me. There’s not one path. There are a lot of styles in film composing. Not everybody needs to be an orchestra composer or anything like that. There is space for everybody. The study part, I will leave it to each one and their own experience but for my experience, there are two ways of networking. I always chose the path in which I didn’t have to give my business card before developing a nice chat with the person or being pleasant. Be yourself. Otherwise, you will end up meeting people that are like you in the end, in the very end. I’ve been in situations in which I had colleagues basically really stepping on my feet while I was talking to somebody to introduce themselves. Did I fight back? No, because it talks about what the people are at the end of the day. You’re going to get the gig, and then what?

If you don’t develop something more than a gig with a director, if you’re not respectful, that will lead you… I mean, it’s your path, it’s your choice, but everybody has their own way. 11:49 I am a firm believer that what I write is different from what a colleague can write. We’re not interchangeable. The moment we become interchangeable, AI will totally eliminate us. That’s the main thing. Music for film is not written one way. That’s the thing, like every artist. Why do we remember certain actors? Why are there a lot of generic actors? The generic actors are interchangeable. What do we want to do? I’m not pretentious to say, Okay, I’m not a generic actor. I might be a generic actor, but even in that being generic, I try to be myself and lead my business my own way. Leading my business means that the directors I work with are usually people that have come to trust me because of who I am humanly. People that I have discussions beyond the job that we’re doing and talking about life in order for me to better understand what the artistic vision that I have is. If I understand what they really think globally about the art form, about what they are doing, I work better with them.

13:10 I think developing long term relationships, even in art form and not a one-off thing, requires our attention. I understand patience and attention are gifts that nowadays seem weird to talk about. We have no patience. We watch videos, very quick videos, 15 seconds, 20 seconds, memes, etc. In any relationship, it’s hard to have a long-term love relationship with a significant one because it requires work every day. The same on something like working on films, etc. I always make fun, and I call my retirement friends, the ones who will call each other when they don’t need each other. Make retirement friends and everything will follow. I’m scared, of course, like everybody else, when I finish big works and then there is a period of time in which there is less and you don’t know where to look, you don’t know the direction. Then at the end of the day, you will figure it out, though. You will figure out that life for me has always worked, that I planted the seeds naturally and the flowers came at the right time.

Jason: As I look back, even looking back 15, 20 years ago when I very first started to go into the studio and record music, Chuck Myers, he’s been a mentor of mine for a long time, but we were chatting one night and he said, my friends that are working in the corporate world and the business world, he says, They look at what I’m doing and they say, How do you do this? You do this amazing job. You score this video game or the movie or whatever it was he was working on and then as soon as you’re done, everybody’s giving you high fives and telling you how amazing your work was. Then the next thing is, well, okay, that was great. Now you’re fired. You’re not necessarily fired, but the job’s over.

Fabrizio: I always say that we’re naturally fired. I’m naturally fired because I’m hired on a job that has a time frame. I’m naturally fired. My wife has a stable job as a lawyer. Stable. I have an unstable job. Her difficulty is repeating what she’s doing. Now I’m into search but working on the thing. My difficulty is every day searching for something new. Not every day, but every job.

Jason: I remember him telling me that he goes, I told my friends that, well, you work at this job, and you just got a pink slip. You’ve been there for 12 years working, and you just got laid off. He goes, at least with my job, I know when it’s going to be done and move on. He goes, I feel like I have more control of the stability of my work than you may be in this big company or somewhere where you have this high up position or stable work. He says, the reality is, he goes, I think your jobs are more or less stable, more so than me as a composer where I do the project and do a good job. If I do a good job, more people will come and ask me to do more. I think it’s a little bit of stress, anxiety. It’s not for everybody, I think, to be able to have that uncertainty. I think going into this, it’s been interesting to just look at it. Maybe from his perspective you’re actually less stable than I am as a musician, somebody tells me.

Fabrizio: I think that one thing that we need to consider always is patience, which is what I’m saying right now, but I mean, I come from three projects that were taking so much of my time. Now I have a few projects, but they are slower. Of course, the first thought is like, oh, my God, nobody’s going to hire me again on bigger things. Then it happens regularly, fortunately. I’ve been lucky knocking on wood but it’s a lifestyle that’s not for everybody. Really, you need to be patient. You need to be positive. You need to be hard working because when there is work, you need to be always trying to be the best version of yourself as a musician and as a human in what you do. Also, to try to be an inspiration to other people because there have been people who have been an inspiration to me, and I want to be an inspiration to other people.

You will choose in your life, in your professional life, who are the people you want to be like and the few you don’t want to be like. I know exactly who the few are. Not with anger. There have been people who have slammed doors in my face and not in a nice way. I forgive, I don’t forget, which doesn’t mean I’m ever going to do something bad, but I don’t want to be like them. With my team, I always try to talk fairly. I always want them to be my friends or other than just collaborators. Not because I want to pay them less, I want to ask for favors, etc. No, because I also want to feel if they are not feeling treated fairly, I want them to tell me instead of doing the job and be sad. Those are things that I’ve learned because there have been times in which I work for less, etc. and there has not been a clear conversation, nice conversation beforehand. I want that conversation. Fairness is one of the things that we have to do when we are the leader of a team and not the boss. We need to be leaders.

The leader is the one who wakes up first and goes to sleep late and he’s the one who guides, the one who is holding hands, the one who solved the problem instead of asking somebody to solve it. We need to be good leaders or good team players.

Jason: I’m sure as you’ve produced music and you’ve hired people to come in and record and help out on projects, there’s an emotional level, I think, with a lot of the music. If somebody is unhappy or not in a good head space, as much as we want to say, well, it doesn’t come out. I think there’s an emotional factor that often comes out in the music that you need to be aware of for producing music or writing music. Of course. Have you found that through at all or in experiences you’ve had?

Fabrizio: Of course, because I’m not just the technical composer writing four chords in a row and writing ostinatos. I tried to get the emotions from the director and put them in the music, and then I did mine and my experience. There is a lot of involvement. There are some days that I go back home, and it seems I’ve exercised at the gym for hours while I’ve only been writing music because I’m all empty because I work, and I put all I have in the music.

Jason: What do you do to find inspiration for songs? When these directors come to you and say, here’s the thing I want to do. Do you research for a lot of time? Does it just sometimes pop in your head? What do you do?

Fabrizio: Well, actually, research, 90% of the research is done through the studies and through everyday listening, even when we don’t do it on purpose. That’s 90% of the research. Then there is the 10 % that we can do specifically on a project. Sometimes part of that 10 % for me is a walk. I take a walk and I start thinking. I start the process, which is like a process of digestion, like metabolism and transforming the food into enzymes that can keep our body going. I do that with music. I try to transform my experiences into music or a song or whatever.

Jason: Is there an instrument you enjoy playing the most or composing the most for?

Fabrizio: I only play the piano.

Fabrizio: Being a conductor, I know, and a composer, I know all the instruments. It depends. There’s not a favorite because it’s like, do you like red? It’s like, kids might tell, oh, my favorite color is green. My favorite color is red. I like all the colors and all the nuances because based on experiences, I can enter different realms and enjoy different realms.

Jason: If you were in front of a college class, let’s say you go back 12 or 15 years, whatever it was, you were back in school, what advice do you feel like most of these aspiring artists and composers need to have somebody tell them and remind them of?

Fabrizio: I remember, and I’m not blaming him because he was a great composer, he was a great professor but when I was coming to America, my composition teacher at the end of conservatory told me, oh, yeah, you’re going to go and nobody’s going to know more than you. I would never say a phrase like this because I came to Los Angeles and wherever you turn, there is so much talent that I think I would rephrase it in a different way. You’ve studied all you can. Now you go and learn from every person you meet in life. Learn, be a sponge, try to add your ideas, try to get other ideas, but don’t let your hubris take over you. 23:53 Don’t think you’re better than anybody else because you can be good, but to be better, you need to be better for yourself. That’s the thing. I think I learn much more day by day talking to colleagues, talking to friends, listening, etc. That becomes all part of it. It’s not a competition in which to see who was faster. That’s the only way to find yourself.

Jason: Yeah. Interesting.

Fabrizio: I would say learn from everybody through the path. Observe, listen and appreciate.

Jason: I love what you’re saying where every person around you, you can learn from, even though they’re not as talented as you, but I think you can learn quite a bit.

Fabrizio: 24:51 Talent is a very personal thing, I think. In an academic world that I came from, maybe electronic music would not be seen as important as concert music, but it is. It’s a different color. It’s the same comparing apples and oranges. Comparing talent would be comparing apples and oranges. My talent that I see as mine is like, my eyes are green. Somebody else’s eyes are blue. Which eyes are nicer? It’s very subjective, but there’s nothing we can change about that. I cannot change who I am and that’s it. I can always learn. Even for another person, their melodies are not like my melodies, but they have a sense of rhythm that’s better than mine. There’s always something balancing, I think.

Jason: Your example of the electronic music, it’s a lot like a chef. I’ve had some people describe a chef that has all of these different ingredients, and it’s not that you need salt, and you need pepper, and you need… There are so many great flavors, and it’s not that there’s one that’s wrong, but sometimes you can put too much of an ingredient in that thing you’re cooking, and it doesn’t maybe play as well. Every one of the ingredients that, if used properly can be amazing and make a really great dish, right?

Fabrizio: Yeah, of course. One of the greatest composers of opera was also a great chef, Rossini. I like to cook as well. I’m Italian, of course. I like to cook. I made gnocchi the other day and I was dosing the ingredients very easily. My tomato sauce is very simple. I don’t like when people put too many ingredients. I think you can destroy a dish if you put too many ingredients, and even in music, you need to be true to yourself. I think anything needs to be justified when we write, for instance. If you need to be more difficult, you need to justify that.

Jason: Right. Oftentimes I find that the really simple melody is… You use the piano a lot. I think sometimes the simple piano is harder to write than stuff with lots of notes and chords. To do it well, it takes a lot of effort.

Fabrizio: Yeah, something that looks simple at times is very hard to write. Very. If it doesn’t come naturally, you’re faking simpleness, simplicity, and doesn’t come out correctly.

Jason: It’s almost like you’re trying to cover up the fact that it’s not as good.

Fabrizio: It’s very difficult. It’s very difficult to be natural and simple at the same time.

Jason: Absolutely. As you think about… Our podcast is called the Successful Musicians Podcast. It’s interesting as I talk to different guests and ask them, what do you envision success as a musician? Some people have the idea that it’s financial. Some people have the idea of doing what they love. I’m curious, what is your definition now that you’ve been doing this? You’ve been doing music for well over 20, 25 years now professionally. What do you consider success?

Fabrizio: Success is like waking up and continuing to want to do it, waking up and being able and being given a chance to do it. I always look at my parents and at my family. My dad is a doctor, my mom is a teacher, and I look at our family. I wanted in my life to have a family like mine with a different job. Being able to do this different job but having a family with my wife and my daughter and waking up and having them as my priority but being a musician together with that. Waking up and my job is like I get to my studio, I write music, or I try to talk to directors to get to score their things, or I have meetings that are still dope, being a musician. That’s for me, it’s a success that I have worked in music since I decided to be a composer in my life, since I figured out I could do it. That is a success.

Success is not waking up from this dream, and success is like passing those sad moments in which you have a creative block and figuring out that you can continue. It goes beyond those moments. It’s not only a financial thing nor a fame thing because I get some interviews, but I also get some reviews. I get to hear my music on a film. At the end of the day, I think I’ve always learned to be happy in the moment, be content. 30:38 Success is being able to be content. That’s the only way I think to be able to… Ambition is important, but also when you’re starting to be happy wherever you are in your life at. When I’m here, baby steps or big steps will come and will make you progress, and you will not even notice that because it will be part of your path. That is success. It’s a state of mind. It’s a state of my soul. It’s like something I’ve always had. I feel that this way, in my personal way, people might disagree, but I’ve been successful since I started because I was always smiling even in front of rejected demos or things that didn’t go the way I wanted.

Jason: As I look back, and I know this is true of a lot of people, you look at those times that were difficult or that were hard to go through. You talked about growth. A lot of those things help you grow and the fact that you can learn to be happy in those moments and then continue to look back and be like, wow, appreciate where you are and also where you’ve been, but not living in the past, maybe, is pretty powerful. Awesome. As you look back on some of the projects you’ve worked on, is there one or two songs or projects that you’re most proud of or that you feel like that’s one of your best works you’ve ever done?

Fabrizio: Well, in all of them, I would be indelicate if I did just mention one or two. There is something that calls for my soul which is like the Land of Trains, the musical feature I did because it talks about Italian immigrants coming to the United States in the 1920s. I wrote many songs thinking of myself and talking to myself about making it, about having a life here, etc. Developing a dream and believing in my dream and making it. That is one project that I care about for personal reasons, but Mushka is another one because I got to work with my idol’s, Richard Sherman, Andreas Deja, and calling them friends is something surreal because they’re real friends. They’re not just work friends. Andreas is European like me. He’s a Disney legend. He’s the greatest animator I think that we’ve had for a long, long time after the nine old man. He’s part of that group of the new old man together with Lincoln. I mean, they are geniuses. Andreas is like me, European. He’s the one who has collected it together with other friends, my tears, etc. I’m working with them.

Richard gave me a chance of doing the Disney movie I always wanted to do. The Disney movie I grew up watching. Even though it’s not a Disney movie, it’s a movie by a Disney legend, which has all the influence of the great Disney animation in that. Richard Sherman, I mean, the composer of Mary Poppins, writing a theme. So that is another example. My collaboration with Alex Oleguodny was a director who became a friend over the distance. We did two movies together. Every project where Andrea Magnani, I don’t want just to mention one or two with the risk of not making the other feel loved. Matthew Thompson, we did a documentary recently, Sabrina Doyle. There are so many. Every project is special for something, for a relationship with the director, for the laughter we shared, and for the emotional moments we shared with the team. They’re all at the same level.

Jason: What’s the piece of you? What’s interesting is, to listen to you tell the story, you were happy in that moment. I can tell that you felt content and happy at that moment. That’s the definition of success. You just described it. It’s awesome.

Fabrizio: I have a very close friend of mine from school, so from another world that could call me everybody’s friend. It’s not that I don’t have quality choices in having friends, but I really have a place for each and every one of them because I have one life and the joy of so many smiles from friends is so important. I don’t want to sound naive. I’m not Pauliana or things like that. Honestly, there is really a space for many, many people inside my heart. Of course, there is a special place, my family, my wife, my daughter, but that’s a different department. That’s my private room.

Jason: I know we’re about out of time, but it’s interesting to listen to you talk about the… I can tell you celebrate the success and the good things that your friends have. I think as we were starting out talking earlier, you mentioned there’s some of these composers that will step on toes or that are trying to nudge their way in. I think sometimes when people want to take somebody else out or step on somebody else to get that job, the long-term relationships that you’re talking about that really create a lasting career. I think being nice and just being a good human being and celebrating success for everybody makes… That’s how you last in this business, I think.

Fabrizio: I want to mention a colleague who is a brilliant musician, but even more brilliant human being without taking anything away from his amazing, great music that I look at. It’s Chris Bowers. Chris Bowers is a genius. He’s one of the greatest producers and film composers of our time. He’s younger than me. He’s been my friend for eight years. We met at the SONGAIDs’ fellowship. I’ve had the honor of conducting many of his courses. Also, he’s a generous human being. I’ve always witnessed him put in the spotlight on colleagues. Even during his sessions, even during his personal stuff, he doesn’t miss a chance to be generous. His music really reflects his generosity. I can say that his sessions are amongst the happiest moments in the industry. Why? He is that human. He is the human that will develop lifelong relationships. He’s the human that I enjoy getting a coffee with, a morning walk, talking about our daughters, our wives, our families, our life. Not only what’s the next gig going to be, when is it going to happen? It’s generous. The friend who visited me on my birthday with a gift that he knew I loved because we share a passion.

Those people, there are a lot of them in this industry as well. Those are the ones that don’t need to step on anybody’s feet to talk to directors because directors will go to them because there is that energy that comes. That I hope I can be one as well. Not on purpose, not making any effort because at the end of the day, there are things we can learn, but there are things that are part of us. We can get better. It all goes back to education at home as well, like raising, bringing it home, I think.

Jason: It’s interesting to listen to you talk about these people that it almost sounds like they bring out the best in others. When people do that, I think it does attract other positive people. It’s not so much that they’re looking for that glory or the attention. They just naturally help people want to be better and perform.

Fabrizio: There is another composer that I love to mention who is an older one. He’s my dad’s age and he’s Carlo Siliotto, was nominated for a Golden Globes years ago for Nomad, another movie, who was like, when I moved here to America, and maybe, yes, the Italianity was a connection through a common friend, but he made me feel welcome around him. He gave me some chances to work with him, to learn. These people are the people that made me also want to stay. People like him, people like Chris afterwards, make me want to be part of this. I’m very grateful to have had professors like Kenny Hall. The late Kenny Hall was the music editor on ETE, Poltergeist. He was the historical music editor of Jerry Goldsmith and was a mentor to me at USC when I studied. John Burlingham, film music historian, was a brilliant, brilliant, knowledgeable human being who made me understand the weak and walk in the footsteps of this giant. Last but not least, Richard Kraft, who is one of the greatest agents in the history of film music, was generous with his time, with his knowledge, and with his passions, whom I really loved, not because it was the most powerful agent at the time, and he’s still one of the most powerful agents at the time, but because of our Disney connection.

Understanding connections that are beyond music makes you understand that one thing can last and its friendship. Any professional relationship can last more or less. But friendship, if we work well enough with our souls, can last forever.

Jason: I feel like you’ve just given a master class on how to do sales, but the beauty of it is it’s not sales at all in the music business. It’s only friendships. I hope this is going to help a whole lot of people as they’re considering going down the path or just even just in music, anywhere in the music business. It’s not just as a composer, but anywhere in life even. Thank you.

Fabrizio: My pleasure to be on your podcast.

Jason: Fabrizio, if people want to go check out more of your music or want to learn more about you, where should they go? Do you have a website?

Fabrizio: There is my website. There is my website, Fabrizzio Mancinelli. I’m sorry, it’s a foreign name. I hope that when you’re going to post this, you can spell it out for them.

Jason: We’ll put it in the show notes for sure.

Fabrizio: They can either even contact me on social media, etc. They can check my music or on my Spotify. There are some albums on Spotify, some albums on Apple Music, Amazon and all the streamers’ titles, etc. I hope they can enjoy and then even give me feedback on music or even write to me if I try to be responsive because I’ve been asking and people responded to me, so I need to do the same.

Jason: Yeah. Well, Fabrizio, thank you so much again. I have no doubt this is going to help multiple people. If you’re listening to this, this rings true with you. Share this with other people that you think might benefit from it as well. That makes all the difference in getting this out to more and more people. Thank you again for your time and we should catch up.

Fabrizio: My pleasure. Thank you.

Jason: Yeah, thanks a lot. See you.

Finding success and fulfillment in the music industry is possible. Looking forward to seeing you in our next episode.