Sam Underwood's new Dance How You Like T-shirts are now up for grabs. He set up his initiative to help raise money for Citizens UK.

“Recent events have left many feeling worried and deflated,” says Underwood. “Others have felt the sharp end of an increase in hate crimes. It feels more important than ever to strive to be open and inclusive. Through this, greater tolerance is born. One of the best expressions of tolerance was a simple phrase uttered by rave MCs: Dance How You Like.

“Old skool raves are places of integration and happy vibes, and the call to dance how you like encapsulated that sentiment beautifully. So, we have created a T-shirt design based on this phrase and we hope you will join us in wearing it with pride. If you feel we should let people talk how they like, wear what they like and Dance How They Like, this is the T-shirt for you.”

The T-shirts come in a variety of colours and can be bought at the starting price of £18. The design also comes in the form of sweatshirts and hoodies.

You can watch various people getting their groove on while wearing the Ts in the video below:

This article was amended on 6 December 2016: the chartiy has been changed to “Citizens UK”.

The American composer, improvisor and accordionist known for coining the term deep listening died on 24 November. A key figure in the development of electronic and tape music, Pauline Oliveros was also a lecturer, theorist and writer, whose sought-after 1984 text Software For People: Collected Writings 1963–80 was republished at the beginning of this year.

Oliveros was born on 30 May 1932 in Houston, Texas. She learned the accordion at a young age as well as studying the tuba and french horn. For most of her life she lived in California and New York. In his article in The Wire 164, Richard Henderson described Oliveros as “a soft-spoken but stern willed maverick among modern minimalist composers”.

She became a key player in contemporary composition, working and studying alongside Terry Riley, Loren Rush, Ramon Sender and Morton Subotnick. She moved to San Francisco in 1952, where, at a composers' workshop, she came into contact with Robert Erikson, a meeting that had a profound effect on her theories. She studied with him for six years, describing that time to Henderson as an experience that “was of lights being turned on everywhere. Here was a person who understood some things and could guide me without the impositions that I felt in others.”

Theories of deep listening were central to Oliveros's work. She composed a 25 piece series Sonic Meditations, aimed to aid focus and listening. “I use the word meditation, rather than concentration, in a secular sense to mean steady attention and steady awareness [...] for continuous or cyclic periods of time,” she stated in her essay On Sonic Meditation.

In 1958 Oliveros began experimenting with recording directly to tape. From the early 60s on, she played a key role in the San Francisco Tape Music Center, where she worked until 1966. When it moved from Mills College to East Bay it was renamed the Centre for Contemporary Music. She took the post of director for a year before moving to teach at San Diego's University of California, where she ran a graduate programme in electronic music for 14 years.

Alongside Stuart Dempster and Peter Ward aka Panaiotis she formed The Deep Listening Band, a group which often explored the sound qualities of underground spaces such as the lava caves in Lanzarote or the underground cistern which gave their first release Cistern (1988) its title. She also worked with many choreographers including Welland Lathrop, Elizabeth Harris and Merce Cunningham. Oliveros studied chi kung and tai chi, stating that the energy flow of the body was linked to the breathing and energy flow of playing an instrument. Talking to Henderson she noted proudly what made her accordion different to standard versions. “The lnstrument does have a row of pedal tones that are not on standard 120 bass accordions,” she stated. “Mlne will go down to string bass E, and up to a plccolo hlgh C, whlch is a very nlce range. It's a good model, actually deslgned by my former teacher Wlllard Palmer for the Tltano company. I got it in 1983, and had retuned in Just Intonation in 1986. I use a couple of Countryman mlcs on the right hand side and an AKG mic on the left, all of them clip-ons. The actual attachment of the microphone to the instrument is especially Important, as the bellows are movlng all the time."

Oliveros was the author of five books, Sounding The Margins: Collected Writings 1992–2009 (2010), Initiation Dream (1982), Software For People (1984), The Roots Of The Moment (1998), and Deep Listening: A Composer's Sound Practice (2005). She never shied away from discussion of gender in her writings. In the chapter ”And Don't Call Them 'Lady' Composers” in Software For People, she addressed the often asked question: “Why have there been no 'great' women composers? [...] The answer is no mystery,” she offered. ”In the past, talent, education, abiliity, interests, motivation were irrelevant because being female was a unique qualification for domestic work and for continual obediance to and dependence upon men.” In 1970 she composed To Valerie Solanas And Marilyn Monroe In Recognition Of Their Desperation on reading Valerie Solanas's Scum Manifesto.

Subscribers can read Richard Henderson's full interview with Pauline Oliveros via Exact Editions.

French electronic musician Jean-Claude Risset has died, reported Exclaim!. Risset passed away on 21 November in Marseille, aged 78. Cited as a pioneer in computer music, he worked with Max Matthews at New Jersey's Bell Labs where he experimented with sound synthesis and psychoacoustics. Risset also created a version of the Shepard scale called the Shepard–Risset Glissando, a type of auditory illusion that gives the impression a sound’s tone is either rising or descending, an effect he also created for rhythm and tempo.

Risset was a composer of orchestral, chamber, vocal, piano and electroacoustic works. Born in Le Puy-en-Velay on 18 March 1938, he studied composition and piano at École Normale Supérieure de Paris from 1957–61. He also studied mathematics and physics and earned a Doctorat ès Sciences in 1967. He started work at the Bell Labs in 1965 and from 1967–69 he worked on brass and timbre synthesis as well as pitch and sound processing and development. There he met F Richard Moore, John Pierce, James Tenney, Vladimir Ussachevsky and Edgard Varèse. He went on to work at the Centre National de la Recherche Scientifique in Marseille from 1969–72, and on computer sound systems at the Faculté d'Orsay and the Université de Paris in 1970–71. He was also chair of the computer department at IRCAM from 1975–79.

Risset’s albums including Mutations (1978), Songes – Passages – Computer Suite From Little Boy – Sud (1988), Invisible ‎(1996) and Elementa (2001). In 2014 Editions Mego released Music From Computer, which reached number 12 in The Wire's Top 50 Chart of that year. Describing his work in The Wire 363, Philip Clark wrote: “Risset sculpts his found objects into plastic forms – birdsong stretched out of melodic alignment, high pitched insects heard as basso profundo drones… [his] music has a poetic backbone impressively all its own.” Risset was the author of An Introductory Catalog Of Computer Synthesized Sounds (1969).

PAF – Festival of Film Animation and Contemporary Art will take place in Olomouc, Czech Republic from 1–4 December. Taking John Berger's essay Why Look At Animals? as its starting point, the festival brings together a selection of audio and visual artists’ responses to the aforementioned essay, which they received with their invitation to participate. “Animals are a natural part of many stories, films and pieces of art,” declares the festival. “In 1977 [Berger] proceeded from the assumption that animals are part of the human environment and that animals are both similar and dissimilar to us. This essay thematses the humanising of animals and the significance of zoological gardens”.

Participating artists include Ferda, Ondřej Ježek, Lolina, John T Gast, Edith Karlson, Stanislav Komárek, Bill Kouligas & Harm van den Dorpel, MESH & Michael Guidetti, Jakub Jansa, Andrea Průchová, Punťa, Pavel Ryška and Matěj Smetana. Ongoing screenings, presentations and exhibitions include an Aport Animation programme featuring films about the history of animation and developments in computer game technology involving Malvína Balvínová, Eliška Děcká, Miloš Henkrich, Dorota Holubová, Pavel Horáček, Lenka Ivančíková and others. PAF 2016 also has a film workshop programme and exhibition series.

PAF runs from 1–4 December at various venues in Olomouc.

You can listen to a series of animal themed mixes by participating artists here. And more information can be found on their website.

London Contemporary Music Festival has announced the dates for its three day Julius Eastman festival in December. Presenting the first major overview of the American composer, pianist and performer, Apartment House and the composer, singer and improvisor Elaine Mitchener will perform rarely heard Eastman works ranging from the recently unearthed extended piece Femenine (1974) to later compositions such as Buddha (1984). The event will also feature music by Eastman’s contemporaries, John Cage and Arthur Russell among them. Other participants include dancer-choreographers Jamila Johnson-Small & Alexandrina Hemsley and artist Juliana Huxtable.

The festival opens on 15 December with Frederic Rzewski's Coming Together (1971) and Eastman’s Femenine (1974). The following night stages excerpts from John Cage's Song Books (1970), as well as Eastman's Evil Nigger (1979) and Buddha, Johnson-Small & Hemsley's Native Instincts: Psychic Labours 6.0 (2016) and Frederic Rzewski’s De Profundis (1994). The final day presents Arthur Russell's Tower Of Meaning (1983/2016) arranged by Kerry Yong, Eastman's Gay Guerilla (1979) and Stay On It (1973) and a performance from Juliana Huxtable.

The festival runs from 15–18 December at London's Second Home Holland Park. A panel discussion on Eastman’s life and legacy will also take place.

In what has become a seasonal tradition, a countdown of The Wire’s Top 50 releases of the year will be broadcast over the Christmas and New Year period during four special editions of the Borderline: Musik Für Grenzgänger show on Germany’s Freies Radio Kassel. The shows will be broadcast at 7pm on 23 and 30 December, and 6 and 13 January, with each show repeated at 11am the following day. If you live in the Northesse region of Germany you can tune in on 105.8 FM. For everyone else, the shows are streamed live at borderline-extra.de

On 21 November London’s Fabric nightclub announced its plans to reopen soon.

”We are hugely thankful to be able to confirm the news that we have won our license back,” read Fabric’s statement on its Facebook page. “We owe everything to our supporters. We really would not be here today without your unparalleled support and generosity. So many different people stepped up to put their voices to our cause, artists from all corners of the music community, fellow promoters who have put on huge events from us and clubbers from around the world who all united behind us. We’ve even seen people sporting their #savefabric T Shirts on the other side of this planet showing just how big this thing is.”

The club had to close on 7 September when the London Borough of Islington Council revoked its license following its suspension in August due to two drug-related deaths at the venue. The huge public campaign against the decision amassed 150,000 signatures calling for the club’s reopening, while raising £300,000 in donations to help with its legal fees. Resident Advisor reported that an agreement between the club, Islington Council and the Metropolitian police was approved by judge Robin McPhee at Highbury Magistrates Court, stipulating 32 new conditions including raising the entry age to 19 and strict search and ID controls on entrance.

The full statement can be found over at RA's website. The actual reopening date is still to be set.

A live recording of Pauline Oliveros and Connie Crothers performing together in New York in August 2014 is now coming out in December. Its release date was brought forward, says John Brien of Important Records/Sonambient, because of “the untimely passing of pianist Connie Crothers”. Called Live At The Stone, the record documents the only time the duo played together before Crothers died of lung cancer earlier this year. A jazz pianist and student of Lennie Tristano, Crothers founded New Artist Records with Max Roach. The label released their duo album SWISH in 1982, followed by Crothers’ solo recordings as well as music by the likes of Michael Levy, Jessie Jones, Richard Tabnik and others.

“This recording resulted from my one and only performance with Connie Crothers at her invitation during her amazing residency at The Stone in August 2014,” says Oliveros. “I was honoured to play with Connie and did not realise that this would be a memorial recording. We have lost an extraordinarily original musician too soon.

“May this recording be a tribute to Connie Crothers,” she continues. “Her spirit will always be present in the wonderful community of musicians in New York and around the world and most certainly in my heart.”

You can watch Crothers and Oliveros performing together in the video below.

Live At The Stone will be released on 9 December via Important Records.

The archive experts at Soul Jazz will present a screening of the classic civil rights-era film In The Heat Of The Night in London on Friday 18 November. Directed by Norman Jewison, the movie stars Sidney Poitier in the role of an African-American policeman from Philadelphia who investigates a killing in a racist small town in the Deep South, and was an important precursor to the later era of Blaxploitation films.

The film, which was made just four years after the notorious bombing of an African-American church in Alabama and one year before the assassination of Martin Luther King, played an important role in raising awareness of racism, bigotry and violence at a crucial juncture of US history.

In The Heat Of The Night also boasts a classic Quincy Jones soundtrack, and the evening will feature Soul Jazz DJs spinning after the film, as well as an introduction by label head Stuart Baker.

The screening is part of Soul Jazz’s ongoing Black Action Films series at the Regent Street Cinema.