Music talks at 2017’s Web Summit in Lisbon

I am writing this post from Lisbon to sum up the conversations on music at this year’s Web Summit.


2017 Highlights

Using blockchain as the foundation for music content management and distribution presents unprecedented opportunities for artists…
to control your identity, to simplify publishing, to define licensing options, to distribute sounds, to track content consumption, to get paid immediately without relying on 3rd parties.

Leveraging Artificial Intelligence (AI) to augment an artist’s creativity…
will AI augment or replace us? I believe that it will augment us to start with! You already listen to heaps of human-generated music that influences your musical creations and are now given an additional tool to be ever more creative.

Big players, money driven and who do not particularly care about music or artists, increasingly take decisions principally based on data…
struggling to cope with listeners reduced attention spans and with the pace of change, live-streaming services curate playlists based on the data they collect, radios play songs/artists that have proven track records, labels and managers sign new artists looking at the data and numbers they generate, and so on and so forth.

In my opinion artists have to wait it out and not succumb to this numbers game and utter confusion. I’d say focus on the quality of your craft and keep having fun :)!!!

Panels I attended, in order of interest

‘Block and roll: Blockchain and music publishing’
with Panos Panay (Berklee College of Music), Joseph Lubin (Ethereum), Jow Conyers III (SongTrust), Robert Hackett (Fortune)


The focus should be here.
Using blockchain technology in music for securing contracts and to manage sales would simplify to the Nth degree music management, distribution and payments. It sounds like a deal breaker and an opportunity to further push middle men out of the way!

Blockchain will constitute the basis for a unique decentralised, robotised, accessible repository of truth. Paying artists immediately if their content is played or sampled or utilised in anyway, shape or form; avoiding having to deal with disputes over song rights and ownership; and enabling more and more changes we cannot imagine yet!

Ujo is one of the first applications of Ethereum specific to music! It is launching its Alpha sometimes this November and I have signed up to be one of the partaking artists!

‘The future of songwriting with AI’
with Taryn Southern (Singer/Songwriter)

I got really excited before this talk started as Bryan Johnson the founder of Kernel came, sat in front of me, and said ‘hello’! Only to find out later he’s dating the speaker…

Taryn is a YouTuber I didn’t know about but a quick look at her channel speaks for itself (she’s been at it for over 10 years!). She talked about having started collaborating with AI for her productions and mentioned using Google Magenta, Amper Music, and IBM Watson.

‘How curated playlists are replacing radio as the new tastemakers’
with Nick Sabine (Resident Advisor), Alexander Holland (Deezer), Laidback Luke (DJ, Producer, and Founder & Owner of Label “Mixmash Records”), Mark Savage (BBC)

I arrived half way through the talk (got carried away with a lovely breakfast)…when I arrived all speakers were agreeing that for artists it is important to be featured on playlists as they are one of the primary means of discovery nowadays.

Radios will not disappear any time soon and they will complement playlists, giving listeners more choice than ever.

‘Hip-hop artists are the original entrepreneurs’
with Ryan Leslie (SuperPhone), Ben Beaumont-Thomas (The Guardian)


When asked wether black singers/songwriters have less opportunity to make it in music if compared to white people, Ryan Leslie replied that it is not about race but about wealth. And wealth gives you access to the right people. BAM!

Success happens at the speed of communication and it is all about discovery; according to him the strongest tools we have at hand to push our music nowadays are our phone number (hence his product SuperPhone) and our Facebook messenger id.

‘Managing artists in 2017’
with José Woldring (The Media Nanny), Madeline Nelson (Heads Music), Sol Guy (Sol Guy), Nick Sabine (Resident Advisor)

Madeline Nelson, Wyclef Jean’s manager, said that music managers have to take care of way more things than they used to in the past, they’ve become the new labels.
A lot of their decisions are based on data today: they have unprecedented access to data so this is how they choose best strategies for content launch, for tour dates and more.

It also emerged that nowadays radios decide wether a song can be played or not on the basis of data; meaning that if your song is not getting enough playlist plays or Shazams it will not make the cut on a radio show!

‘Investing in the future of music’
with Amadea Choplin (Pex), Tracy Gardner (Warner Music Group), Mark Savage (BBC)

One of the main difficulties for artists and whomever represents them is to collect money for the use of their content. First you have to find the platforms that are making use of your artists’ content and then you have to find a way to monetise it e.g. a tricky one is the use of music on gifs.

Interesting for me was to see how Warner Music Group are not resisting the changes that technology brought about in music and are doing their best to understand and adapt to the new ecosystem. Feels like status quo isn’t enough nowadays!!!

‘Independent labels in the streaming age’
with Simon Wheeler (Beggars Group), Charles Caldas (Merlin Network), Zoe Henry (

An ode to indie labels…and the past really…
Talk was not super interesting…main thing was that nowadays if you want to have an indie label you have to do it because you love it and you have a passion for it. Not for the money. If you jump in for the money you will not go anywhere!

‘A production masterclass with Wyclef Jean’
with Wyclef Jean (Wyclef Jean), Nelson Freitas (Nelson Freitas), D.A.M.A. (D.A.M.A.)


Wyclef showed people how you can record different tracks and quickly mix it to become a song. The best thing was to see Wyclef in action sharing some Fugees vibes!

‘From the classroom to Coachella’
with Martin Garrix (STMPD RCRDS), Ben Beaumont-Thomas (The Guardian)


Martin talked about how he started and how he made it to where he is now. Interesting and nice guy but nothing to report a part from the fact that he absolutely loves music!

‘Can tech save the music industry?’
with Hans-Holger Albrecht (Deezer),Wyclef Jean (Wyclef Jean), Martin Garrix (STMPD RCRDS), Ben Beaumont-Thomas (The Guardian)

This talk actually took place at Centre Stage before Al Gore’s speech on climate change. Despite the big names, nothing much to report!

Compare this post to what was said last year, click here!


In New York for a month

I spent July in NYC to explore its music scene as much as I could: playing open mics and gigs, going to concerts, and soaking it all up.

I want to keep a list of all places and situations I discovered and decided to make it a blog post for other people that want to do the same.

Considerations on the city from a Londoner


New York City is buzzing with energy and excitement at all times. It is so alive that it blew my mind! ‘The city that never sleeps’ indeed: always on, multi-cultural, and yet with very strong American roots, it made me feel alive and…home!

Nobody looks at you funny if you ask for a table for one or drink pints alone at the counter. People have a gracious way of striking up a conversation and without being creepy finding out who you are, what you do, what you think, what you like.
Life through the glass!

Music is such a big part of New York City: you see people singing songs aloud whilst listening to their headphones (and nobody turning around to watch them…I saw it so many times that I decided it must be normal); cars blasting out music, streets bursting with clubs, bars that pump out loud music, and heaps of venues offering live music.

NYC still makes you feel you are welcome, a place where you can explore being your true self and evolve. If you decide to share your ideas in front of an audience you will find one and people will listen!

New York is freedom.
I never felt so free in my life as I did in the Big Apple.

Public transportation runs at all times so you never have to worry over how to get home!

My list of venues for open mics and gigs

I have played five open mics and two gigs in the past month.

In general, open mics situations tend to attract decent amounts of people if compared to London and the audience respectfully listens to you; a piano is generally available; and it is really easy to make the acquaintance of other artists.

This  is the list of open mics I played at, in order of my preference:

  1. Pete’s Candy Store, Williamsburg (on Sundays): one of the historical open mics in NY, hosted by Bruce Martin who is a force of nature, the open mic is super chill and fun, the sound is good and the place is nice; you get to play 1 song; I went twice.
  2. Sidewalk Cafe, East Village (on Mondays): hosted by Somer who disposes of infinite patience and sarcasm; at least 40 – 50 people show up on a weekly to play; she runs a lottery to assign you a slot, so if unlucky you might pick up number 44 and have to wait until midnight before you get to play; the sound is good; you get to play 1 song; I was asked to play a gig after the open mic.
  3. Little Skips, Bushwick (on Tuesdays): hosted by Joe Crow Ryan…that man is a living legend; raggedy madness, underground feel and definitely a whole lot of genres all together; it is a messy open mic but really unique and fun; the sound was good then bad then good again then bad but the good vibes make up for the technical unreliability; you get to play 2 songs.
  4. The West Brooklyn, Williamsburg (on Mondays): about 10 people show up to play and some are regulars (some of the finest musicians I’ve ever seen playing an open mic); the sound is good; you get to play 2 songs and if time allows it, you can play again at the end.
  5. The Bitter End, between Greenwich Village and Lower Manhattan (on Saturdays): the stage is huge, the open mic starts early in the afternoon, it is pretty chilled and a nice environment; the sound was good; you get to play 2 songs; I believe that if you enquire you could probably book yourself a gig there too.

Talking to people at open mics I was also recommended the following ones which I did not get a chance to check out:

  • Mondays: Cafe Vivaldi, Park Side Lounge, Prohibition
  • Tuesdays: Under St. Mark’s, Topaz, Park Side Lounge
  • Thursdays: The Sugar Bar, Music Inn

I played two gigs. 

I landed the Sidewalk gig after playing at their open mic; I was the last person on stage at the gig; the sound wasn’t amazing and luckily one of my people stood up to tell me to turn down the volume of the guitar after the 1st song. The set was 45 minutes. A bunch of my NYC friends showed up and also two groups of people having drinks next door decided to come in and watch.

The Rockwood Music Hall | Stage 1 gig came about after I sent them an email at the end of April asking if I could play there. I was the last person on stage with everything running late. The quality of the two bands I saw playing before me was really high, probably the highest quality venue I have played thus far (a part from Scala in London). The sound engineer was really good and always listening. Too bad everyone left just before I started to play as it was almost 1:00am on a Wednesday night.

These are three more venues to keep on the radar to play gigs:

  • The Silent Barn, Bushwick
  • Baby’s Alright, Williamsburg
  • Pine Box Rock Shop, Bushwick

I feel everything is possible in New York City and I will make sure to go back there.

Music at the Lisbon Web Summit 2016

I went to the Web Summit in Lisbon last week and absolutely loved it.
Loved Lisbon and spent a total of 10 days there.


I attended all three days of the conference. The 3rd and last day was the one that interested me the most, with a stage entirely dedicated to music called ‘Music Notes’.

In this post I share my take over the music industry trends that emerged at the summit, then a quick snapshot of each of the music panels I attended.

Music industry trends


The new giants and decision makers in the music industry are the streaming services.
Through their playback algorithms, mass-customised playlists, artists features and social mechanics they greatly impact which songs/artists get discovered.

Artists have started sucking up to them and some are already striking deals with them; whilst labels seem to keep at their merciless fall, further losing their negotiation power.

The music industry is growing ($$$) but the economic model hasn’t been pinned down.
Different panelists affirmed that 2016 has seen the aggregated turnover of the music industry grow compared to last year, and firmly believe that the $$$ will continue increasing in the years to come.

Despite that nobody knows what shape the music industry will take…artists don’t, streaming services don’t, indie labels don’t, big labels don’t, managers don’t…nobody does. Really, nobody does…
No safe bets ahead but the recognition that streaming is huge.

Artists: independent!
There is no one-size-fit-all here but the gist of it is that if you already have a big-enough audience then it does not make much sense for you to partner up with a label and share profits; whilst if you are building a following and seeking to boost your audience size, then partnering with a label could be a great next step, with the idea that once you are big-enough you will go back controlling your own brand, independently.

The panels I attended, in order of interest

‘What’s an indie label to do these days?’
Bruce Pavitt (Sub Pop Records) and Jim Carroll (Irish Times)

Bruce Pavitt people!
He ran a remarkable panel telling it how it is; stay independent if you can or use labels as an accelerator for your career to then go independent again; Macklemoore, Chance the Rapper (possibly the most nominated artist throughout the day), and more are not signed to any label, hence maximising their own profits.

Bruce is also working on the 8stem project, really worth checking out. I applied to get my tracks re-mixed on his platform, wait and see!

‘The truth about the music industry’
with Tinie Tempah (musician), Hans-Holger Albrecht (Deezer), Eric Wahlforss (SoundCloud), Ne-Yo (musician), Andrew Flanagam (Billboard)


Old school musicians do not feel they are getting properly paid for their work as performers and songwriters; where 1M streams pays off roughly $90 (figure came from Ne-Yo and wasn’t disputed during the panel); ‘new’ musicians like Tinie Tempah seem to have a lesser sense of entitlement to bigger earnings and are personally managing their career 360 e.g. music production, social media, merchandising…

‘The new festival experience’
with Marian Goodell (Burning Man Project), Jonathan Mayers (Superfly), Gabrielle Korn (Nylon)

There has been a continuous sprouting of more and more festivals but only a few good ones; Burning Man and Superfly mobilise people by the tens of thousands and apart from music, they see themselves as promoters of community values but not responsible to run political agendas.

‘The building blocks of musical experience’
with Roland Lamb (ROLI)

Blocks by Roli, they call it the democratisation of making music.
Demo of a very cool product that will soon be distributed in Apple stores; I found it all the more interesting as I was already fascinated by the Oceanboard which I started to mess with starting in 2014 at the Silicon Milkroundabout in Bricklane, London.

‘Thoroughly modern manager’
with Tishawn Gayle (Compound Entertainment), Ted Chung (MERYY JANE & Stampede Management), Lily Mercer (Viper Magazine)

The role of the music manager has changed as music consumption did: moving money from one pocket to the other, with smaller margins for parasites and waste of resources; demanding increasing resourcefulness for those that try to stay in business.
The guys on stage weren’t smart, they were extra-smart, out of the norm individuals, entrepreneurs.

The role of a manager might change shape and there might be less artists that can afford one but those that know how to do their job will ultimately be any artist’s key to success.

‘Evolved entertainment booking’
with Ja Rule (Fyre), Billy McFarland (Fyre), MDavid Low (, Michael Hirschorn (Ish Entertainment)


FyreApp is changing the world of artists booking by trying to help private buyers and artists communicating directly.
Ja Rule and his team are working on yet another type of disintermediation in the music industry; getting rid of the middle-men that for too long have taken advantage of the communication gap to take their stake in all booking transactions.

‘The art of the hussle’
with Tinie Tempah (Musician), Dumi Oburota (Disturbing London), Andrew Flanagain (Billboard)

Tinie Tempah and his manager (and friend) Dumi shared the story of how their act came about, the continuous hussling for a few years, the breakthrough, and their business today. Nice guys, genuine talk and all interesting to hear for musicians like me.


‘Music production on the road’
with Thomas Gold (Thomas Gold), Gabrielle Korn (Nylon)

Thomas shared how he goes about producing his music when he is on the road.
Interesting term of comparison if you produce music yourself; in a nice way, but he seems to be a backup freak as he explained how he backs up his files in 3 different places because of one instance when his computer was stolen and it took him weeks to re-work on just a little fragment of all his stuff.

‘From the roots’
with Eric Wahlforss (SoundCloud), Eamonn Forde (Music Ally/The Guardian)

I didn’t find that much was covered or ‘uncovered’ with this talk possibly because Eric had already been on 2 other panels that I attended that day.

‘Innovate or die’
with Arabian Prince (NWA, iNov8 Next), Ravi Rajapakse (Blackfire Research), Eamonn Forde (Music Ally/The Guardian)

‘Talk to me’
with Ryan Leslie (SuperPhone), Nora Rothrock (Rothrickdigital)

‘Listening to change’
with Jonathan Levine (Master & Dynamic), Olly Mann (The Media Podcast)

‘Master of your own destiny’
with Ray J (Raytroniks), Billy Jones (Raytronics), Lily Mercer (Viper Magazine)

On music and money: for unsigned musicians based in London

I spent the last couple of hours (not always easy to retrieve the numbers) trying to figure out whether with music I am at a financial loss, or not.
There are only two sources of cashflow at the moment: releases and gigs.

The final balance shows +£0.13 in close to 2 years.

Here’s how.


Since I started taking music TO A WHOLE NEW LEVEL (for me) I produced 2 releases:

  1. Broken and Uneven (album, 11 songs), released on 02/06/14
  2. What’s In Your Head? (single), released on 17/11/15

Being 100% DIY at this stage, the only costs I incurred** were those of the aggregator that I used (Record Union).

The album distribution cost me $60 (2 years of distribution + one-off fee) to date and the single $10.42 (1 year distribution + one-off fee).
For a total of $70.42.

So how much did I earn for my 2 releases?
Look at this table; it is the export from my account on Record Union.


I got $66.26.

Making a loss of $4.15, today equivalent to £2.87.


I started gigging July 2014 and by September 2015 I had played 31 gigs.

Assuming that I buy a couple of drinks (hihihihi) and take the tube every time I play I could roughly estimate having spent about £248 (£4 X 2 X 31) for alcohol and £148.8 (£2.4 X 2 X 31) for transportation.
A total of £396.8.

Being a registered member at PRS, which is an institution that helps songwriters and composers earn money for their music, I can log all my gigs and claim some royalties for having played them.

31 gigs got me to earn £149.80 from PRS.
On top of that I remember getting paid £50 once and will estimate a generous £20 for other 10 times which will skyrocket me to having earned a total of £399.80.

Making a profit of £3.

Final considerations

Taking my loss from the releases (£2.87) and my gain from the gigs (£3) I made a profit of £0.13.

If I had made a shit-load of streams on Spotify, say 1 million, I’d have made $6,933…still not that much!

I conclude that at my level it is really really really important to keep costs down and in check; together with having A REAL source of income (aka another job).

**For simplicity, I have taken N assumptions and disregarded a number of costs: my house, my gear, my time. Technically you could say I am at a loss then BUT I would argue that I would have spent most of this money anyway.


Music & DIY: available resources for unsigned musicians

I recently spoke to a musician-friend of mine (check her out Nicoletta Noé) and promised I would send her the list of all online resources, tools and services I make use of.
As I’m at it, I thought it might make an interesting blog post for other musicians like us.

This post is about sharing what I am doing and NOT about teaching anyone anything.
I do NOT know if what I am doing is right, so take it as it is and please share your views based on your own experience and guts.

I am 100% DIY at the moment and here’s how I am currently set up.


Music comes first.
Because it’s fun and because it makes me feel good.
All other activities to package, to market and distribute my music are less interesting to me so I try to minimise the time spent on them and be as organised as I can.

I invest my time, not my money.

Trial and error.
I open accounts generously then see what works for me.

There is no silver bullet.


It’s the blogging platform that powers my website.
You can choose a template you like and be independent in the creation and management of your website.
One drawback: I cannot use all the integrations and widgets available online (this is because the platform prevents me from using any Javascript).


I use it privately to upload and share my music before official releases.
I use it publicly to upload demos I want to share, older material and also my new releases.
I like to interact with people on the platform.

I mainly use it to organise gigs.
Also to share photos, some updates and to shortish/not-necessarily-perfect videos.
I like to interact with people on the platform.

I posted a few videos of a live set in a rehearsal studio.
I also use it to post my songs playing on a still frame image because heaps of people consume music from that platform (especially younger peeps).
I like to interact with people on the platform.

I use it to share some updates, photos and details for a gig.
I mainly use it as a ‘broadcast’ tool.

I have an up-to-date artist profile on it and use the audience widget to collect email subscriptions from my website.
It was recently bought by YouTube so something low maintenance and worth watching.
It offers a range of integrations and widgets to manage your online presence.

I have an up-to-date artist profile on it and have uploaded all my music on it.
Seems to be a platform of reference for some venues, festivals, and others in the industry.
It offers a range of integrations and widgets to manage your online presence.


One-off membership fee: £30
I am registered as a songwriter.
I register my songs there and this ensures I receive payments if the songs get played anywhere (any channel and any geography).
Also, when I play gigs I am recognised a £6 to £8 for each one.

You pay per release
Aggregator service to distribute my music on all relevant players: Spotify, Apple Music, Deezer, Tidal, etc. across all geographies I select and am willing to pay for. On the basis of my streams they pay me what I am due.
I am considering testing a new aggregator for a future release.


It allows me to record future gigs and automatically sends push notifications to anyone using Songkick and listening to me.
It integrates with Facebook but unfortunately not with my free version of WordPress.

Monthly, quarterly or annual fee
It’s the online directory of all music industry contacts in the UK: venues, festivals, blogs, magazines, radios, etc.
I use it to find email contacts to arrange gigs or to promote my recordings.

It is an email marketing tool.
I use it to send my newsletter and to keep my list of subscribers organised.
Whilst Mad Mimi does the job, I am thinking of reverting to using MailChimp as I like its templates better.

Pay per domain
It is the platform I have used to register my domain .

It collects fees based on how you use it
I opened an account to be able to easily collect payments online.

My email provider of choice, together with Google Inbox to manage my emails.


Pay per master depending on the file quality you choose
Online mastering service.
I have used it for my soon-to-release EP Burning Milk.
I feel it is a great service for people with no access (£££) to top engineers and mastering studios at a fair price.

See pricing online
I chose them to print the vinyl of my soon-to-release EP Burning Milk.
I am still waiting to receive the final product so cannot comment on quality of service yet.


These are all accounts that I opened but that I am not actively using at this very moment.
I use some of them from time to time and some other might come handy at some stage in the future (or maybe not).


If you got to this point you probably play as well :).

I hope you find this post useful.
Please, reach out seretrouble @ to share your thoughts as I am really keen to find out about better ways to “do this”.

Sere Trouble

Books I read


‘The Beat book’ by Anne Waldman
‘Il fasciocomunista’ by Antonio Pennacchi


‘Year of the monkey’ by Patti Smith
‘L’isola’ by Sándor Márai
‘A brief history of time’ by Stephen Hawking
‘The spider’s house’ by Paul Bowles
‘In search of lost time | The Guermantes Way’ by Marcel Proust
‘Petrolio’ by Pier Paolo Pasolini
‘Volgar eloquio’ by Pier Paolo Pasolini
‘The sheltering sky’ by Paul Bowles
‘The blindfold’ by Siri Hustvedt


‘Common sense on mutual funds’ by John Bogle
‘Sessanta racconti’ by Dino Buzzati
‘Blockchain, blueprint for a new economy’ by Melanie Swan
‘The millionaire next door’ by T.J. Stanley & W.D. Danko
‘The bell jar’ by Sylvia Plath
‘Neuromancer’ by William Gibson
‘L’invenzione di Morel’ by Adolfo Bioy Casares
‘Ragazzi di vita’ by Pier Paolo Pasolini
‘Fantasmi’ by Tiziano Terzani
‘Wealth of nations’ by Adam Smith
‘Lettere luterane’ by Pier Paolo Pasolini


‘Dawn of the new everything’ by Jaron Lanier
‘Swing time’ by Zadie Smith
‘Mixing secrets’ by Mike Senior
‘Down and out in Paris and London’ by George Orwell
‘In search of lost time | In the shadow of young girls in flower’ by Marcel Proust


‘No longer human?’ by Osamu Dazai
‘Winning the brain game?’ by M. E.  May
‘Who rules the world?’ by Noam Chomsky
‘Lean UX’ by Jeff Gothelf with J. Seiden
‘Scars of sweet paradise – The life and times of Janis Joplin’ by Alice Echols
‘Scritti corsari’ by Pier Paolo Pasolini
‘Eredità’ by Lilli Gruber
‘Our lady of the flowers’ by Jean Genet
‘The art of asking’ by Amanda Palmer
‘You are not a gadget’ by Jaron Lanier
‘Alice’s adventures in wonderland’ by Lewis Carroll
‘Bjork’ by Bjork
‘M train’ by Patti Smith
‘In search of lost time | Swann’s way’ by Marcel Proust
‘Will you please be quiet, please?’ by Raymond Carver


‘Naked lunch’ by William S. Burroughs
‘On being an artist’ by Michael Craig-Martin
‘The inmates are running the asylum’ by Alan Cooper
‘Vite bruciacchiate’ by Elio e le Storie Tese
‘The happy birthday of death’ by Gregory Corso
‘Nineteen eighty-four’ by George Orwell
‘Stone butch blues’ by Leslie Feinberg
‘Inspired’ by Marty Cagan
‘The left hand of darkness’ by Ursula Le Guin
‘Neverwhere’ by Neil Gaiman


‘Who owns the future’ by Jaron Lanier
‘A paradise built in hell’ by Rebecca Solnit
‘Going Dutch: how England plundered Holland’s glory’ by Lisa Jardine
‘The connected company’ by Dave Gray
‘USA | The big money’ by John Dos Passos
‘Escaping the Delta’ by Elijah Wald
‘Un indovino mi disse’ by Tiziano Terzani
‘Don’t make me think’ by Steve Krug
‘Brave new world’ by Aldous Huxley


‘Junky’ by William S. Burroughs
‘Songs of innocence and of experience’ by William Blake
‘User stories applied for Agile software development’ by Mike Cohn
‘Howl, Kaddish and other poems’ by Allen Ginsberg
‘How music works’ by David Byrne
‘Memphis underground’ by Stewart Home
‘Just kids’ by Patti Smith
‘The doors of perception’ by Aldous Huxley
‘Gloriana’ by Benjamin Britten
‘In un mondo imperfetto’ by Joseph Stiglitz
‘The human interface’ by Jef Raskin
‘USA | 1919’ by John Dos Passos
‘High society: mind-altering drugs in history and culture’ by Mike Jay
‘NW’ by Zadie Smith
‘Nudge’ by Thaler & Sustain
‘Utopia’ by Thomas More
‘The pursuit of Italy – A history of a land, its regions, and their peoples’ by David Gilmour


‘Tender is the night’ by Francis Scott Fitzgerald
‘Social business by design’ by Dion Hinchcliffe & Pete Kim
‘On the shortness of life. Life is long if you know how to use it’ by Seneca
‘Books v. cigarettes’ by George Orwell
‘Edie American girl’ by Jean Stein
‘USA | The 42nd parallel’ by John Dos Passos
‘The Tudors’ by Richard Rex
‘Tre atti e due tempi’ by Giorgio Faletti


‘We the living’ by Ayn Rand
‘On the origin of species’ by Charles Darwin
‘Full of life’ by John Fante
‘Here comes everybody’ by Clay Shirky
‘The cluetrain manifesto’ by Rick Levine, Christopher Locke, Doc Searls, David Weinberger
‘50 things you need to know about British history’ by Hugh Williams
‘Meritocrazia. 4 proposte concrete per valorizzare il talento e rendere il nostro paese più ricco e più giusto’ by Roger Abravanel
‘Trattato sui postumi della sbornia. Le ore dell’inutile pentimento’ by Juan Bas


‘Hanno tutti ragione’ by Paolo Sorrentino
‘The 7 habits of highly effective people’ by Stephen R. Covey
‘The Yacoubian building’ by Alaa Al Aswany
‘This is your brain on music’ by Daniel Levitin
‘Rework’ by J. Fried & D.H. Hansson
‘Beat the reaper’ by Josh Bazell
‘Sons and lovers’ by D.H. Lawrence
‘The call of the wild, White fang, and other stories’ by Jack London
‘Damon Albarn. Blur, Gorillaz and other fables’ by Martin Roach & David Nolan
‘Sushiettibile’ by Camilla Sernagiotto
‘Waiting for your cat to bark?’ by Bryan and Jeffrey Eisenberg
‘Satori in Paris’ by Jack Kerouac


‘Due di due’ by Andrea De Carlo
‘The mosquito coast’ by Paul Theroux
‘Milano. L’avventura di una città. Tre secoli di storie, idee, battaglie che hanno fatto l’Italia’ by Marta Boneschi
‘Lonesome traveler’ by Jack Kerouac
‘Manhattan transfer’ by John Dos Passos
‘Eugénie Grandet’ by Honore Balzac
‘NoLogo’ by Naomi Klein
‘Guerrilla Gardening’ by…
‘Wake up’ by Jack Kerouac
‘The logic of life’ by Tim Harford
‘Ham on rye’ Charles Bukowski
‘Arabian sands’ by Wilfred Thesiger
‘Idee: il catalogo è questo’ by Umberto Galimberti
‘Nudi e crudi’ by Alan Bennett
‘Cent’anni di solitudine’ by Gabriel Garcia Marquez
‘Il concetto di tempo’ by Martin Heidegger


‘Francis Bacon’ by John Russell
‘Il grande Gatsby’ by Francis Scott Fitzgerald
‘Gomorra’ by Roberto Saviano
‘Il perduto amore’ by Mario Tobino
‘Benazir Bhutto, daughter of the East’ by Benazir Bhutto
‘Mondi Nuovi’ by Andrea Pezzi
‘L’isola di Arturo’ by Elsa Morante
‘Con le peggiori intenzioni’ by Alessandro Piperno
‘Il mercato d’azzardo’ by Guido Rossi
‘I Malavoglia’ by Giovanni Verga
‘On Chesil beach’ by Ian McEwan
‘Il libro degli eroi’ by Nathaniel Hawthorne
‘Atonement’ by Ian McEwan
‘La Casta’ by G.A. Stella & S. Rizzo


‘La ragazza di Bube’ by Carlo Cassola
‘Leonardo da Vinci. Diario di un genio’ by Lelio Scanavini
‘Latinoamericana’ by Ernesto Che Guevara
‘Dove abitano le emozioni’ by M. Botta, P. Crepet e G. Zois
‘Extremely loud & incredibly close’ by J. S. Foer
‘Anfitrione’ ‘Bacchidi’ ‘Menecmi’ by Plauto
‘Persepolis. Storia di un’infanzia’ by Marjane Satrapi
‘La rabbia e l’orgoglio’ by Oriana Fallaci
‘Fat, forty and fired’ by Nigel Marsh
‘The undercover economist’ by Tim Harford
‘Perfume’ by Patrick Süskind
‘A long way down’ by Nick Hornby
‘Modern architecture’ by Alan Colquhoun
‘The beach’ by Alex Garland
‘Memoirs of a Geisha’ by Arthur Golden
‘The songlines’ by Bruce Chatwin
‘The kite runner’ by Khaled Hosseini
‘Bit of a Blur’ by Alex James


‘Freakonomics’ by S. Levitt and S. Dubner
‘On beauty’ by Zadie Smith
‘La misteriosa fiamma della regina Loana’ by Umberto Eco


‘Ritorno in Patagonia’ by Bruce Chatwin
‘In Patagonia’ by Bruce Chatwin
‘White teeth’ by Zadie Smith
‘The old man and the sea’ by Ernest Hemingway
‘The broker’ John Grisham
‘La peste’ by Albert Camus
‘La donna abitata’ by Gioconda Belli
‘Tre metri sopra il cielo’ by Federico Moccia
‘Oceanomare’ by Alessandro Baricco
‘Verso un’architettura’ by Le Corbusier
‘Straordinaria vita di William Petty’ by Alexandra Lapierre


‘Fever pitch’ by Nick Horby
‘Festa mobile’ Ernest Hemingway
‘Il codice da Vinci’ by Dan Brown
‘El arte de la guerra’ Sun Tzu
‘Breve historia de la Argentina’ by J.L. Romero
‘Once minutos’ by Paulo Coelho
‘Il principe’ by Niccolò Machiavelli
‘Il compagno’ by Cesare Pavese


‘Don Chisciotte’ by Miguel de Cervantes


‘Billy Budd’ by Herman Melville
‘Cuore di tenebra’ by Joseph Conrad
‘Il cavaliere inesistente’ by Italo Calvino


‘Antonio e Cleopatra’ by William Shakespeare
‘Il sogno di una notte di mezza estate” by William Shakespeare
‘Romeo e Giulietta’ by William Shakespeare
‘La tempesta’ by William Shakespeare
‘Otello’ by William Shakespeare
‘On the road’ by Jack Kerouac
‘I sotterranei’ by Jack Kerouac
‘The Dharma bums’ by Jack Kerouac
‘Il libro degli haiku’ by Jack Kerouac
‘Maggie Cassidy’ by Jack Kerouac
‘L’ultimo vagabondo’ by Jack Kerouac
‘Vecchio angelo mezzanotte’ by Jack Kerouac
‘Anatomia dell’irrequietezza’ by Bruce Chatwin
‘High fidelity’ by Nick Hornby
‘The autograph man’ by Zadie Smith
‘Trainspotting’ by Irvine Welsh
‘Ecstasy’ by Irvine Welsh
‘Acid house’ by Irvine Welsh
‘Sonno profondo’ by Banana Yoshimoto
‘Kitchen’ by Banana Yoshimoto
‘The wealth and poverty of nations’ by David Landes
‘La leggenda del santo bevitore’ by Joseph Roth
‘Siddharta’ by Herman Hesse
‘Etica per un figlio’ by Ferdinando Savater
‘Shopaholic abroad’ by Sophie Kinsella
‘Frankenstein’ by Mary Shelley
‘Uomini e topi’ by John Steinback
‘La morte di Ivàn Il’ič’ by Leo Tolstoy
‘Racconti del terrore’ by Edgar Allan Poe
‘Il ritratto di Dorian Gray’ by Oscar Wilde
‘La fattoria degli animali’ George Orwell
‘Le metamorfosi e altri racconti’ by Franz Kafka
‘La coscienza di Zeno’ by Italo Svevo
‘Teresa Raquin’ by Émile Zola
‘Blade runner’ by Philip K. Dick
‘Il giovane Holden’ by J.D. Salinger
‘Esercizi di stile’ by Raymond Queneau
‘Cuore di cane’ by Mikhail Bulgakov
‘La certosa di Parma’ by Stendhal
‘La notte’ by Elie Wiesel
‘L’amico ritrovato’ by Fred Uhlman
‘Come un romanzo’ by Daniel Pennac
‘I promessi sposi’ by Alessandro Manzoni
‘Il giornalino di Gian Burrasca’ by Vamba
‘Con gli occhi chiusi’ by Federigo Tozzi
‘Conversazione in Sicilia’ by Elio Vittorini
‘La chimera’ by Sebastiano Vassalli
‘Il giorno della civetta’ by Leonardo Sciascia
‘Quer pasticciaccio brutto de via Merulana’ by Carlo Emilio Gadda
‘L’esclusa’ by Luigi Pirandello
‘Non ti muovere’ by Margaret Mazzantini
‘Scena del crimine’ by C. Lucarelli e M. Picozzi
‘Sostiene Pereira’ by Alessandro Tabucchi
‘Il ladro di merendine’ by Andrea Camilleri
‘Il sentiero dei nidi di ragno’ by Italo Calvino
‘La luna e i falò’ by Cesare Pavese
‘Novecento’ by Alessandro Baricco
‘Il nome della rosa’ by Umberto Eco
‘Brit’ by Monica Melissano
‘Blur 3862 giorni’ by Stuart Maconie