The Lab hosts interactive installations using cutting-edge technology (photo by twi-ny/mdr)
Randall’s Island Park
July 22-24, $125 per day
www.panorama.nyc
randallsisland.org
It was a beautiful day on Randall’s Island for the first day of the inaugural Panorama: Music • Art • Technology festival. It did get rather hot — sweat poured off many of the performers as well as the dancing crowd — but the rains never came, and the sunset cast a brilliant glow over the festivities. Goldenvoice, the company that runs Coachella, tried to bring a world-class alternative music festival to New York City with All Points West in 2008 and 2009, and they’re giving it another shot with Panorama, which opened on Friday with a warm vibe. There were bathrooms everywhere — including numerous cans that were a major step up from standard Porta Potties — and the food and drink lines were fairly manageable. The layout is excellent, leaving room to feel the comfort of green grass and shady trees. Live bands play at three locations, the giant outdoor Panorama Stage and the smaller Pavilion and even smaller Parlor, which are under tents, protected from the blazing sun. DJs also perform in the Parlor as well as the Despacio, a dark, pounding dance space where you can really let go.
All Points West veterans Silversun Pickups returned to Randall’s Island for Panorama festival (photo by twi-ny/mdr)
It was the women who ruled day one, with standout performances from violinist Lindsey Stirling, FKA twigs (unveiling her new show, “Radiant Me²”), Brittany Howard of Alabama Shakes, Amy Millan of Stars and Ariel Engle duetting for Broken Social Scene, and Régine Chassagne of Arcade Fire killing it in a spectacular silver outfit. Amid all the joy and dancing, several bands made mention of the troubles going on in America. Howard introduced “Don’t Wanna Fight” by saying how important that song is to her right now, then sang, “My lines, your lines / Don’t cross them lines / What you like, what I like / Why can’t we both be right? / Attacking, defending / Until there’s nothing left worth winning / Your pride and my pride / Don’t waste my time.” Arcade Fire leader Win Butler, who was born in California (the band is based in Montreal), let forth some curse-strewn protests against Donald Trump. But Kevin Drew, from the Toronto-based Broken Social Scene, tried to ease the pains with some jammy fun-time music, expressing the band’s enduring love for its U.S. fans.
Amy Millan pumps up the volume with Broken Social Scene at Panorama (photo by twi-ny/mdr)
Art and technology were on display as well at Panorama. A Google Play cube featured live graffiti-making and, up the stairs, a great view of Randall’s Island; in addition, live HD video from the Panorama Stage was projected onto the facade. Concertgoers swung in silk cocoons in Dave & Gabe’s “Hyper Thread,” enjoyed cotton candy under a dome in Emilie Baltz and Philip Sierzega’s “Cotton Candy Theremin,” bounced around in Future Wife’s “Visceral Recess,” and lit up cool animation while playing Red Paper Heart’s “The Art of Pinball.” Interactive installations such as Gabriel Pulecio’s “Infinite Wall” work much better if you put away the cameras and just experience them.
FKA twigs had the Panorama audience eating out of the palm of her hand (photo by twi-ny/mdr)
One major hiccup was the journey to get to the east box office from the ferry, a winding, unmarked trip through construction sites, streets with fast-moving cars but no sidewalks, cops who knew where to tell you not to go but not actually where to go, and other bizarre, at times scary, elements. Use the west entrance from the ferry, the east from the buses, and don’t try to walk around outside the venue. Otherwise, there was a happy feeling throughout Randall’s Island, with good food, good bathrooms, not too many long lines, and, best of all, great music. Saturday’s show features Kendrick Lamar, the National, Blood Orange, and Foals, among others, while Sunday is highlighted by Holy Ghost!, Grace Potter, Sia, and LCD Soundsystem, who played with Arcade Fire on Randall’s Island back in 2007.
John Cassavetes’s directorial debut, Shadows, is a landmark moment in the history of independent cinema and one of the most influential films ever made. Shot in black-and-white with a 16mm handheld camera on a modest budget of $40,000, much of which was raised following Cassavetes’s appearance on Jean Shepherd’s radio show — the credits include the line “Presented by Jean Shepherd’s Night People” — Shadows is a gritty, underground examination of race in New York City, one of the first major anti-Hollywood American movies. Although the script is credited to Cassavetes, the film is primarily improvised by a group of mostly nonprofessional or first-time actors using their real first names, set to a jazzy, moody score by Charles Mingus saxophonist Shafi Hadi. Lelia Goldoni stars as twenty-year-old Lelia, a confused young woman who loses her virginity to Tony (Anthony Ray), who thought it was a one-night stand but then decides they should start dating after she becomes clingy. However, Tony freaks out when he meets one of Lelia’s brothers, singer Hugh (Hugh Hurd), who is black. Meanwhile, their other brother, trumpeter Ben (Ben Carruthers), spends his nights with his two buddies, Dennis (Dennis Sallas) and Tom (Tom Reese), bumming money and trying to pick up chicks. Amid Bohemian parties, street fights, and visits to Central Park, Port Authority, Grand Central Terminal, and MoMA’s sculpture garden, Cassavetes and the cast explore life, love, and racism in realistic ways, even if some of the actors are a lot better than others and certain scenes fall flat. Gordon is particularly annoying through much of the film; the most interesting relationship exists between Hugh and his devoted agent, Rupert (Rupert Crosse, who spent the next thirteen years appearing in myriad television series). Look for Cassavetes in the scene in which a stranger harasses Lelia in Times Square. Shadows, which comes alive with the rhythm and energy of late 1950s New York, is screening July 23 at 5:00 at Metrograph in the series “Cassavetes/Rowlands,” celebrating the king and queen of independent cinema by showing all twelve of Cassavetes’s films. Cassavetes died in 1989 at the age of fifty-nine, leaving behind quite a legacy. The series continues through July 24 with such other works as Love Streams, Faces, and 
