Musicians, DJs and authors to reveal their favourite hangouts

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HiFi is the best rock'n'roll bar in NYC.The room is covered with empty album sleeves and the juke box is hands-down the best in the city – I believe there are about 3,000 albums on it, so you can't complain about them not having your song. There is a fantastically affordable happy hour and a great local crowd. Like the rest of the East Village, it can get a bit much on weekend nights, but most of the time it's my favourite bar in town.
· 169 Avenue A, +1 212 420 8392.
Craig Finn, lead singer of the Hold Steady

The entrance to the Pegu is an unassuming doorway on the south side of West Houston Street. It's only when you are up the stairs that the glory of this place hits you. It is like going back to the great clubs of the 20s, when the staff were pretty and jazz and cocktails ruled. On a recent visit, two amazing Django Reinhardt-style guitarists were swinging through 30s classics. Cocktails are taken seriously here – the art of proper, classy drinking is almost a motto. At the weekend it can get pretty busy as it is becoming the "in" place.
· 77 West Houston Street, +1 212 473 7348.
James Pearson, artistic director, Ronnie Scott's, London

It was a balmy night in September when I visited Po' Monkey's juke joint. It's a ramshackle hut powered by a single cable in the tiny town of Merigold, deep in the Mississippi delta. A poster on the door warned: "Bring your liquor inside but not your beer." The walls were cluttered with posters and age-old postcards, while toy monkeys swung from the rafters. It was low lit – smoky but inviting, with beer and whiskey flowing freely. Terry "Harmonica" Bean took to the tiny stage, elbow to elbow with the crowd, and delivered a mind-blowing, foot-stamping performance that will stay with me forever. Delicately soulful cries came from his ageing gruff voice, while stupendous bluegrass melodies oozed effortlessly from his antique steel guitar. This was raw blues at its authentic and spine-shivering best.
· +1 662 514 7488, 15km from Cleveland.
Dan Hipgrave, co-founder of Original Music Company (originalmusictravel.com), which launched this month and specialises in music-themed holidays

The Spirit Store in Dundalk, County Louth, is on the edge of town beside a small harbour. There's a small, friendly bar downstairs which opens around 4pm, but it is the live music upstairs that is the main draw. You would be hard-pressed to find anywhere as welcoming to an artist and more genuinely music-driven in its programming of events. That's why I keep going back there to play, and why many other artists who have outgrown the 120- or so capacity venue keep returning. So many venues and promoters are about the money but Derek Turner, who books the music, is driven by something much more.
· +353 42 9352697.
Duke Special, musician. His DVD box set, The Stage, A Book & the Silver Screen is out now

Not exactly a venue, not exactly a bar, entrance to Trishas/The Hideout/that door on Greek St (as it is variously known), is obtained by boldly knocking on what appears to be the entrance to a flat above a shop, striding through a starkly lit corridor and down a flight of stairs, before mumbling an explanation to the owner as to why you don't appear to be in possession of a membership card – having accidentally put it through the washing machine normally does the trick. Inside, you'll find a cupboard-sized, candle-lit cavern which can be hired out for private music showcases. But stumble in unannounced after hours on a weekend and you might also find a doo wop or jazz band sandwiched into the corner between the usual crowd of transvestites, metropolitan hipsters and veteran Italian locals.
57 Greek Street, Soho, London.
Krissi Murison, editor, NME

I first played at this blink-and-you'll-miss-it shed in the tiny village of Brawby back in 1998. It only held 64 people and we scraped our legs on the front row's knees. It has since moved to Hovingham village hall, though it retains its name. The man behind The Shed, Simon Thackray, has presented events from the Fish and Chip Van Tour with a trombonist, to mixed media knitting installations – saxophonist Lol Coxhill playing free jazz in a skip to coach trips for folks in knitted Elvis wigs touring sites of Elvisian interest in Ryedale. My own band, Hank Wangford and the Lost Cowboys, started a tradition of Christmas gigs at The Shed, where we play morose songs and have a riotously miserable time. The Shed was the inspiration for my village hall tour around Britain, which I am currently writing up as a book. And, after 235 villages, The Shed is still the loony best.
· 01653 668494.
Hank Wangford, writer and musician. His CD, Whistling in the Dark, is out now

For me, the greatest gig of 2009 was at A38, a huge old ship that used to lug coal up and down the Danube. The lower deck is now a state-of-the-art live music venue, but bits of engine room equipment are still there. Even though the boat is held down in dry dock by 100 tonnes of concrete, the bottles still jingle on the shelves of the bar when the parties get wild. The booking policy is great – they've had cutting-edge electronic artists such as Ikonika, Dorian Concept and Foreign Beggars play recently. And nothing compares with the signature dish of the restaurant on the upper deck: rooster stew, complete with the crest and testicles of the bird.
· +36 1 464 39 40.
Mary Anne Hobbs, Radio 1 DJ. Her show is broadcast on Thursdays 2-4am

Wild At Heart is a whisky-soaked, no-nonsense rock'n'roll joint in Berlin's old anarchist district, Kreuzberg: a seven-nights-a-week venue painted blood red, crammed with Elvis memorabilia, Hawaiian gods and a lifetime's supply of hard liquor. For 15 years it has presented bands from all over the world – mostly punk, rockabilly, psychobilly, 60s garage and surf. I spent a memorable evening there talking to TV Smith from the Adverts and another with Wreckless Eric, both of whom started out with punk label Stiff Records in 1977, and I've played there with my band, the Flaming Stars. The music's loud, but the welcome is friendly, and the club also runs the Tiki Heart cafe and clothes shop next door, where you can eat, drink and kit yourself out in a spectacular variety of rock'n'roll clobber.
· Wienerstrasse 20, +49 30 610 747 01.
Max Décharné, singer in the Flaming Stars and author of A Rocket in My Pocket: The Hipster's Guide to Rockabilly, to be published by Serpent's Tail in June

Mesa de Frades in Alfama, the oldest district of Lisbon, is the sort of place you dream of hearing fado, the traditional soulful Portuguese music. A tiny converted chapel with tiled walls, it is full of locals and quality performers booked by owner Pedro Castro, a great guitar player. You can come for the music, which starts late – around 11pm – or book a table and come for an excellent dinner beforehand. A couple of years ago I sat here watching Carminho, the amazing young fado singer who is now the talk of Lisbon. When the music starts, the doors are shut to enclose the tiny performing space. It's what fado in Lisbon should be, but so rarely is.
· Rua dos Remedios 139A, +351 91 702 9436, mesadefrades.com. Booking is essential.
Simon Broughton, editor of Songlines magazine (songlines.co.uk/musictravel)

In the heart of Turin, off Piazza Statuto, you'll find the best of all worlds: from Wednesday to Saturday Il Folk Club plays host to Italian and international jazz, folk and world musicians. How this Italian institution – legendary in Turin for over 20 years – has remained generally unknown to travellers and music junkies outside Italy is a mystery. Alongside its regular programme, Il Folk Club is also the launching point for Radio Londra, a monthly mini-festival which fuses British musicians such as Jim Mullen, Kit Downes, Brandon Allen and Quentin Collins Quartet, with local stars such as Mario Pozza, Enzo Zirilli and Dado Moroni. The bar is simple – one central room with space for about 150 people, exposed brick walls, and a stage – so the focus is always on the incredible music.
Via Ettore Perrone 3, Turin.
Sam Sollai, buyer and events coordinator, Ray's Jazz at Foyles

This little neighbourhood bar used to have a green door with panes that rattled when you opened it, but it has now been replaced with something more solid, partly to keep the sound in. It's run by Mar and Nacho, both dyed-in-the-wool culés (Barcelona supporters), and nights there are long and loud. You can hear Sam Lardner, an American resident who plays his own fusion of flamenco and bossa nova, or wonderful classical and flamenco guitarists like Daniel Figueras and Pedro Javier Hermosilla, or the Covers Project, with frontman Philip Stanton. The eating and drinking are delicious too – Galician-style octopus, traditional meatballs, pimientos de padron (small green peppers), and wine for not much more than a euro a glass. A great night out in the Alta Zona.
· C/ Ivorra 24, Sarria, Barcelona, +93 203 4988.
Rupert Thomson, author living in Barcelona. His latest book, This Party's Got to Stop, will be published on 8 April

Salta, in north-west Argentina, is well-known for its folk music heritage. This has given rise to the creation of pena, which roughly translates as a place where musicians and music lovers come together. Seven nights a week you can experience this at La Casona. The venue's five colonial rooms are filled to the brim with musicians, professional and amateur, folk, jazz and others, locals who come down from the Andes bearing pan pipes and drums, and some foreign visitors, all coming together to jam the local tunes. As a musician, I found great comfort in the fact that this kind of place exists in the world. And of course, many people come simply for the music.
· La Casona del Molino, Caseros.
Lizzie Ball, violinist and singer. She will be performing – and launching her album – with Machaca at La Linea Festival in the Purcell Room on London's South Bank on 27 April

The first time I asked a taxi driver to take me to Havana's Salón Rosado de la Tropical back in 1989 he said it was a place for Cubans, not foreign tourists – and certainly not lone women – and I'd better watch out as it could be rough. He'd obviously never been inside this mecca of Cuban dance music, where all the top bands play regularly, testing their latest material in front of the sexiest dancers on the island. In Cuba, most music venues are geared to tourists and too expensive for ordinary Cubans, who are often not allowed in anyway. Not so the Salón Rosado. This is the closest you can get to hanging out with a Cuban clientele. Dedicated to the memory of Beny Moré, Cuba's touchstone band leader of the 1950s, it started out life a Spanish cultural centre at the beginning of the 20th century. These days there's a balcony reserved for tourists overlooking the dance floor where, if you're lucky, you may rub shoulders with the musicians as they gather for the gig. Although today reggaeton and hip-hop dominate street tastes, Salon Rosado continues to offer a window on to the latest music scene and is a dancer's dream.
· Avenida 41 esq. 46, Nicanor del Campo, Marianao, +53 7 203 5322.
Jan Fairley has been travelling to Cuba since 1978 and is writing a book on women and music in Cuba

Leading Japanese venue Liquid Room has been going for about 15 years and hosts weekly bands and DJs from Japan and around the world. The website may say it closes at 12, but the last time I played there, as The Orb, they didn't let us out till 6am. There's a beautiful cafe upstairs and the friendly enthusiasm of Tokyo clubbers has to be experienced to be believed. The last time I played there I took a bag of Space Dust (the sweet!) which made me very popular.
· Higashi, Shibuya-ku, Tokyo, +81 3 5464 0800, liquidroom.net.
Alex Paterson, co-founder of The Orb and HFB, his new project. HFB's first three EPs are available from 12 April on Malicious Damage Records

Lagos is not your classic tourist destination; it's a prohibitively expensive city of 14 million people and a crime record to frighten even the toughest traveller. But Nigeria's notorious capital does have one musical landmark worth going the extra mile for: the New Africa Shrine. It's named after the legendary club run by the late musical activist Fela Kuti, which was razed by soldiers. Fela's daughter Yeni and her musician brother Femi have built up a nightclub that can hold thousands and has live music throughout the week. It's not for the faint-hearted, but the Shrine is probably the safest place in Lagos: it has its own police force. You'll get a warm welcome, and hear some of the best live music in the region.
· Pepple Street, Ikeja.
Rose Skelton, music and travel journalist specialising in West Africa

• Bars and clubs
• United States
• New York
• Ireland
• World music
• Budapest
• Hungary
• Berlin
• Germany
• Lisbon
• Portugal
• Yorkshire
• Argentina
• Havana
• Cuba

Mosquitos are one of the major ways that malaria is spread, causing an estimated two million deaths per year. Wouldn’t it be cool if those mosquitos could be genetically modified to spread a malaria vaccination instead of the disease itself? Scientists have theorized about just such a solution for years, but recent work from Jichi Medical University in Japan proves that it’s actually possible, not just theoretically possible.

Associate Professor Shigeto Yoshida and his research team “successfully generated a transgenic mosquito expressing the Leishmania vaccine within its saliva. Bites from the insect succeeded in raising antibodies, indicating successful immunization with the Leishmania vaccine through blood feeding.” Of course, this vaccination idea isn’t perfect, since you’ll still have one or more mosquito bites to scratch at, but at least you won’t have malaria.

Maybe I’m alarmist, but I can’t help but think that this kind of approach throws the natural order of things seriously out of whack. As I read the story, I kept hearing Jeff Goldblum from Jurassic Park in my mind, saying “life, uh … finds a way.”

[‘Design Diversions’ is a biweekly GameSetWatch-exclusive column by Andrew Vanden Bossche. It looks at the unexpected moments when games take us behind the scenes, and the details of how game design engages us. This time -- how emotional design can make us think about not thinking about violence.]

Senseless violence in videogames is fun, but more importantly, it can also be intellectually stimulating and thought provoking. While designers and critics alike cry out for more depth in games, pathos is not the only path to artistic merit. For a medium that's constantly patronized, misunderstood, and derided even by its supporters, sometimes satire and irony is the best way to get a point across.

This is the philosophy of Grand Theft Auto: Vice City, as the most unapologetic of that series so lambasted by those who were the target of the game’s satire. The ultraviolent and candy colored Vice City is an excessively pink world in which violence is comical and cartoonish. Violence in this game is already highly desensitized. Pedestrians die, but after their bodies despawn the world will be back to normal as if nothing happened, maintaining the status quo like a TV serial.

It's the worst possible environment for a serious engagement with issues of violence, but it's a great environment to engage with how we depict violence. Most games take the opposite position of Haunting Ground, and are designed to soften, justify, or excuse violent actions so that players feel like heroes instead of murderers.

It's the same treatment summer blockbusters get. But unlike most of these media, Vice City goes a step further. This is a game that mercilessly skewers the groups most opposed to its existence, freely leaps into self parody, and satirizes the cultural attitudes towards violence that ultimately gave it form. By the end of Vice City it's clear that everyone from the mob to the talking heads on the radio are guilty of the same violence as the protagonist. No one in Vice City is innocent, and neither is anyone in the world.

How to Take the Sense Out of Violence

While technology makes blood and gore more realistic, game designers continue to construct this violence to minimize its impact. In the goriest of games (like Mortal Kombat) violence is there to thrill or disgust, not to inspire existential terror. Designers (and gamers) get excited over realism, but we want it for specific reasons. Despite how much we clamor for realism in graphics and physics, emotional realism actually gets in the way of enjoying games like Grand Theft Auto.

For this reason GTA4 has actually been criticized for being too realistic. GTA4 succeeded in its attempt to be more serious and taken more seriously, but it resulted in a different game experience--one that many fans hadn't been looking for and subsequently found in the much less serious Saints Row 2.

GTA4’s Nico feels more like a person than the caricature that is Vice City’s Tommy Vercetti, and for that reason it can be hard for players to engage senseless violence. Even the normal missions feel a little odd considering the sheer number of people you kill, creating a scenario in which the gameplay and story don’t quite mesh.

Abstracting Emotion

Trauma Center is an interesting example of a game that uses abstraction to eliminate squeamishness. This is a game inspired heavily by medical dramas with surgery-based gameplay. Medical dramas have a wide appeal; exposed organs do not. Surgeons and other medical professionals have to get used to blood and guts, but most people are pretty squeamish about that. Even the bloody fantasy violence of the average videogame can be less intense than the exposed entrails of a living human. Because of this, the designers went to great lengths to create a representation of the human body that wouldn't be grotesque.

Naoya Maeda, the lead 3D and event designer said on the Trauma Team web site that he came up with this abstract approach while thinking of how a surgeon would see the entrails. What's interesting about this approach is that the more realistic option may be less "true." In the game, the player is a doctor and revulsion is not part of the experience. In the same way, Tommy Vercetti attitude towards human life is pretty obvious from the way pedestrians are depicted.

A World of Mannequins

In violent videogames, it’s common to dehumanize the enemy so that players can feel justified in killing them. Zombies, robots, and aliens all serve their roles. With human opponents, it’s common to make them as evil as possible, which may be why WWII is the favorite FPS genre and Nazis the favorite foe. Ultimately though, the greatest tool for removing humanity is simply to leave them undeveloped.

The civilians in GTA don’t mourn, cry, or express themselves. Because they don't exhibit sympathetic actions, it's hard to empathize with them. They exist only to run screaming like Godzilla was stomping through the city. Vice City is inhabited by crash test dummies that respawn endlessly no matter how many times they die. It’s similar to watching Bugs Bunny gets blasted point blank with a shotgun: the next second, he's up and chomping carrots.

No matter how many times the player dies in GTA, or however many generic citizens he wastes, everything in the world will be respawning and back to normal in minutes. In this way, actions that would normally appear reprehensible loose all their emotional impact. If GTA was an accurate murder simulator, depicting the horror of real-world violence and murder with unflinching accuracy, the nightly news stories would have been about kids getting PTSD.

Sensitive Violence

If there is a flaw in this form of violence in videogames, it’s that it isn’t violent enough. It’s emotionally casual, designed specifically to not challenge the player’s feelings of empathy or guilt. Although it takes a lot of design work to make sure the player won’t feel sorry for the extras, seeing how many pixilated crash-test dummies you can run over isn’t emotionally challenging for the player.

Haunting Ground has a near-opposite outcome, but the design is obviously quite intentional. Compare GTA to the visceral Manhunt, and you can see that Rockstar is quite capable of creating an experience uniquely tailored to inspiring certain emotions. That’s a game that really does make the player feel like a murderer.

So Vice City is engineered for players to be as violent as possible without thinking about it. This is where a lot of game stop, having accomplished their purpose, and just let the player have fun. But Vice City fills the game with relentless satire, and this cleverness works in part because it's so violent. The result is a game about thinking about not thinking about violence.

Whose America?

The talk radio blabbering about videogame violence is underscored by the incredible violence perpetuated by the player. With Tommy Vercetti chaining rows of exploding cars and fighting everything from SWAT to the US Army, the irony of legislating against bleeding pixels isn’t lost on the player.

The jingoistic ads run by the game's gun stores unsubtly implicate that GTA is not the cause of America's attitudes towards violence, but a product of it. The entrepreneurial rise of the main character reflects a certain pulling-yourself-up-by-your-bootstraps-attitude that, along with this construction of violence, satirically constructs Tommy Vercetti as an ideal American.

Vice City is violent videogame about America’s attitude towards violence. Vice City came out after GTA 3, and it was born while the immediate reaction to that game was fresh in the minds of its audience and opponents. As the in game talk show parody unfolds, extremists from all sides fight over which vision of America to cram down the rest of the country’s throat while the player is laughing at them and having a grand old time.

While the guests on talk radio worry about fictional violence, their world is being blown up by the player on a regular basis. After mowing down the city in a tank, players may wonder why they aren't the ones being discussed on the news. Shouldn't they be thinking about real violence? Shouldn't the player? It's fun to live the American Dream as Tommy Vercetti, but is this bitter satire worth bringing to reality?

Even though Vice City goes to great lengths to create emotionally uninvolved violence, it wants the player to be conscious of how different this is from real world violence. At the time, the charge levied against the playerbase and the industry was that videogames confused the two. With the pitch perfect satire of radio pundits and activists, Vice City invites the player to think about whether the game is more damaging to society than the people trying to ban it. Rockstar has a clear agenda, of course, and stacks the deck in their favor. Even so, that’s a lot to think about for a game that’s not supposed to be about thinking at all.

Pathos certainly has its place in videogames, and it's certainly something we need more of. A GTA like game that forced players to confront the realities of murder would be an interesting idea. It couldn't work as a satire, and it wouldn't really be fun, but that’s just fine as it’s another way to engage the player. One of the great things about survival horror games like Haunting Ground is that they've proven that games don't necessarily need to be fun to be compelling.

But let's not underestimate Vice City just because it makes us laugh.

[Andrew Vanden Bossche is a freelance writer and student. He has a blog called Mammon Machine, which is updated less often than this message, and can be reached at AndrewVandenB@gmail.com]

The will to learn brings confidence, and the ability to view society through truthful eyes

The socialist paradise in which I'm now sitting is a place where people from all walks of life, young and old, firm and somewhat less firm, have – through a combination of apprenticeship and self-examination – come to learn together about the world, without having to pay for the privilege.

It's a public library, of course: a place which you visit voluntarily in order to learn more things than you were taught at school. I call it "the place where dreams can come true". It's where the project of learning continues, at your own pace and of your own volition, and where you are understood to be an equal participant in the making and changing of your mind. No possibility is closed off to you.

Good fortune favours the well-primed, and the habit of seeing yourself as someone who doesn't do that sort of thing, or have that kind of luck, can be hard to get out of. But oh, to be a child in Newham now! The east London borough has just announced a policy of giving every pupil in its primary schools free music lessons for a minimum of two years, and the loan of an instrument of their choice. You can almost hear its mayor, Sir Robin Wales, rubbing his hands together at the thought of spending £1.25m a year making Every Child a Musician, as the scheme is known.

Knowing that my nan, who left school at 11, could play a bit of piano, whereas I barely know one end of the instrument from the other, proves that no skill is transmitted by osmosis. It has to be passed on deliberately, which is why progress can never be taken for granted, and why the invidious nature of cultural dispossession must be kept in mind.

It's hard to convey the sheer desultoriness of our music teaching at my secondary school. For a start, we were given one half-hour lesson a week, of which 25 minutes were spent trying to wind up the plainly contemptuous teacher. When she couldn't be bothered, she looked out of the window and let us get on with pressing the demo button on our Casio keyboards: playing at playing and learning nothing in the process because the person we needed to guide us didn't think it was worth her while.

This is shown more powerfully in 36 Children, Herbert Kohl's account of teaching in a Harlem elementary school in the late 1960s. He shows the children that they have brains when every other teacher has told them they're brainless. He invites them round to his apartment and puts on jazz music while they rifle through his books and artefacts. They quickly become fascinated by Greek myths and work together to produce a literary magazine full of allegory, truth and creativity.

Middle-class children are subjected to "accelerated learning" virtually from birth. The nascent person of power is treated as a sponge who can take it all in, because they're assumed to have the potential for discrimination and specialism later in life. Start with piano, violin, trumpet, ballet and chess club and you can always drop one when, as expected, you start to show exceptional talent in one or more of them. This enrichment of the domestic environment – turning home life into an extension of schooling – is taken as a given by teachers at largely middle-class schools, which stretch their children to the extent that excelling becomes the norm.

Note that accelerated learning programmes – or "wraparound schools" which start early and finish late, the better to fit more of these "middle-class" activities into the daily life of working-class children – are intended to do the opposite: to make school an extension of the home. However, the value of making educational activities something you do outside of school, as well as inside, is surely that you stop associating learning exclusively with schooling.

Richard Sennett, author of The Craftsman, writes convincingly of the role that learning to read and play music has in building confidence. Mastery is a transferable skill – once you've mastered, or at least gained a working knowledge of, one thing, there's nothing stopping you from trying another. When my husband takes his Grade 8 exam in classical guitar next month he'll be 35, but that won't stop him picking up another instrument to learn straight afterwards (I know what he's like). Playing music gives him another kind of voice, and affords him a sort of enviable mental polyphony.

You can keep people down with this kind of power: the power to deprive, to impoverish, to make ignorant. But you can't keep them down for ever. At some point it will warp and blast out some other way, in bitterness, in fighting, in baying for blood, the consequences of having just enough knowledge to know you're ignorant. Learning is what enables us to look at ourselves and our society through more detached, more truthful, eyes. Who would deny anyone that?

• Arts in schools
• Teaching
• Schools
• Social exclusion
• Communities
• Equality
• Libraries

Filed under: Action, Sci-Fi & Fantasy, New Releases, Universal, Theatrical Reviews

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Voici de nouveaux titres d'anciennes consoles disponibles en téléchargement dans la partie Console Virtuelle de votre boutique en ligne Wii :

Castlevania : Rondo of Blood (TurboGraphX CD, Konami) – 900 Nintendo Points

Milon's Secret Castle (NES, Hudson Soft) – 600 Nintendo Points

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C4 Has released another nice music compilation, Enjoy listening…

Tracklisting

01. The Byrds – Mr. Tambourine Man 02:31
02. Van Morrison – Brown Eyed Girl 03:06
03. Simon & Garfunkel – Mrs. Robinson 03:51
04. Donovan – Sunshine Superman 04:33
05. Harry Nilsson – Everybody’s Talkin’ 02:49
06. The Lovin’ Spoonful – You Didn’t Have To Be So Nice 02:29
07. Blood, Sweat & Tears – Spinning Wheel 04:08
08. The Chambers Brothers – Time Has Come Today 04:53
09. Roy Orbison – In Dreams 02:49
10. The Tokens – The Lion Sleeps Tonight (Wimoweh) 02:41

Release name: VA-Best_Of_60s_Hits-2009-C4. NFO
Genre: Top 40
Size: 48.22 MB
Download: Hotfile, NT

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