Jay-Z‘s Made In America Festival is making its way back to Philadelphia for a Labor Day Weekend celebration from September 3rd-4th. The event will take place at Philly’s Benjamin Franklin Parkway and will feature performances from Rihanna, Coldplay, Collegrove (ft. 2 Chainz & Lil’ Wayne), Chance the Rapper, Gary Clark Jr., Martin Garrix, Edward Sharpe and the Magnetic Zeros, Jamie XX, Adventure Club and more.TIDAL members get early access to tickets on Wednesday, June 22 at 10AM EST and tickets are on sale to the general public on Monday, June 27 at 10AM EST. Check out the festival website here.
Load remaining images During the final hours of sunlight on Sunday, May 7th, 2017, as this year’s Jazz Fest wound to a close, Derek Vincent Smith took his vision for Pretty Lights to the next level, hosting a pop-up second line parade in his current home of New Orleans, LA. The parade ended beneath a highway overpass, setting up those in attendance for an intimate, once-in-a-lifetime performance by the pioneering DJ/producer, a brigade of brass blowers, and the many musical friends who joined in along the way.To those outside the Pretty Lights camp, the event was seemingly spontaneous. Earlier that morning, a map of the second line’s route was sent out to his devoted fanbase with the hashtags #PLpopup and #PLparade, hinting at what was about to go down. But while the event was a surprise to fans, the parade was months in the making and a hugely collaborative effort manifested by Smith, the Pretty Lights team, and a huge network of musicians, artists, officials, and more.The massive production on Sunday doubled as a celebration and a music video shoot for Pretty Lights’ newest single, “The Sun Spreads In Our Minds,” which we can officially expect to hear next month. The song is also the lead track on the upcoming Pretty Lights album—his first official release since 2013’s A Color Map Of The Sun.“Since I haven’t released music in four years, it’s been really important for me to have a coherent message that sets the tone moving forward,” Derek tells us of his new music and its presentation. He continues, “I left my management firm in 2015. It was starting to feel like the industry was trying to push me in a certain direction that felt very contained and boxed in. My team — my homies—that works with me has built a moral support around this decision. Since then, we’ve been figuring out how to do this completely independently and figure out how to do new things on every level that embody the philosophy of Pretty Lights, which is all about doing it for fun, doing it for the music, and trusting that whatever money you need to survive and to make it keep happening will always come back.”“The Sun Spreads In Our Minds” made its triumphant live debut in the midst of a grand celebration. The multi-dimensional experience brought together a New Orleans-style second line parade, an experimental popup show, a music video production, and a collaboration across music and visual arts.With a speaker system at its helm, the second line–complete with a full brass section–made its way down Tureaud and N. Roman St. for about a mile. On the final block, the music stopped and Derek began to explain the relationship between light energy and human energy. He explains, “One of the first samples in this new song says that ‘human energy is a form of light,’ and then all the samples have this conversation about that.”With the vibe officially set, the emotional opening string samples of “The Sun Spreads In Our Minds” slowly rose over the din of the crowd, carrying the song as the parade continued onward toward its final destination, the I-10 overpass. At the exact moment the second line turned the corner and found themselves basking in an uninhibited sunlight, the song dropped into its drum part—a serendipitous, unplanned occurrence that seemed to underscore the theme of the event’s planning and execution.Above the newfound stage was a striking backdrop: a brand-new mural by international street artist Boxhead. The massive set depicted a signature Boxhead holding her arms open–hugging and presenting at the same time–to welcome the crowd to the special performance. Unplanned moments along the way, like the fans who rushed the stage, the unstoppable freestyles of Maurice Brown, and the sudden appearances of saxophonists Joe Kirchem Jr.(The One Percent) and Khris Royal (Rebelution), shaped the ultimate spirit of the experience: all coming together to create an unforgettable moment in Pretty Lights history.The spirit of the second line and the presentation of this latest single shine a light on the ultimate philosophy of Pretty Lights—one that focuses on the unity of human and universal energies, and the ability of a multiplicity of individuals to come together as one to manifest a vision.“More than anything, it was an artist collective,” reiterates Derek, when asked about how the event came to be.The idea was first spurred at a summit in Colorado last year, when members of the Pretty Lights team congregated for a creative brainstorming session. The session was focused on developing unconventional fan experiences, a hallmark of Pretty Lights from his earliest years (when he pioneered the practice of giving his music to the fans free of charge) up through now (as his ongoing episodic music festivals that have replaced a more regular touring schedule).“We were trying to figure out how to lace the album release with the music release to make it totally new, while coinciding it with our upcoming tour that we’ve been planning — which is also pretty unorthodox.”Derek continues, “We wanted to incorporate the film aspect and really unify all the elements of the whole crew.” Admitting that the work goes far beyond the electronic producer, Derek explains how he now thinks about Pretty Lights, “It’s about the manifestation of a whole team of artists.”With the knowledge that they wanted to merge collective artistry and innovative fan experiences for their next projects, Derek and his girlfriend and Pretty Lights creative director, Meghan Zank, eventually thought up the idea of creating some sort of multi-dimensional event to close out Jazz Fest’s second weekend in their home of New Orleans.Derek’s goal was to combine Jamaican soundsystem culture with New Orleans second line culture, while Meghan’s focus was to collaborate with a muralist to create a layered experience, one that would ultimately leave its mark on the city long after the experience itself ended. The two also wanted to create a counterpoint to Pretty Lights’ episodic festivals — he confirms there will be a total of eight of these events, including the recently announced Gorge weekend and the returns to Red Rocks Ampitheatre and Northerly Island. Instead of mirroring these more familiar festival experiences, they wanted to produce intimate, more spontaneous situations for fans that tap into Pretty Lights’ increasing inclination toward the pop-up shows and experiences that harken back to the beginnings of Pretty Lights.“I started giving Pretty Lights music away for free from the beginning, and over time that’s become the norm for artists who are trying to get their music out there. It really felt like a big next step in spreading the music, the philosophy, and the vibe would be through free shows,” says Derek.Over time, the idea for a free pop-up second line celebration to close out Jazz Fest began to take form, incorporating both Derek and Meghan’s initial ideas into one vision. Derek explained, “It just clicked that we could make a sound system, use it to lead a second line, amplify the second line through the speakers, dub it, play beats, and end at the painting and rock the pop-up show.” He recruited Chief Jigga to seal the vision’s authenticity.While the team was excited by this out-of-the-box project and immediately got behind the idea, it was simultaneously intimidating. Management was nervous because there was no income model attached to it, eventually requiring that all its funding be out-of-pocket. Logistically, it also became apparent rather quickly that the scope of their Jazz Fest-closing second line would require bringing in many other individuals from within and outside the Pretty Lights team to pull off the project.“We ended up just inviting people to get involved, and people seemed to think it was an amazing idea and were all about it,” says Derek. “It had to be a bunch of people working together. Instead of envisioning exactly what we wanted and pushing for that, it was more about painting the picture of the vision to others here locally, getting them hyped on it, and then seeing who was interested and what ideas they had. As soon as we started allowing the vision to adapt and shape shift based on what possibilities existed, it ended up happening just bigger, faster, and cooler than we could have imagined.”This approach was new to the producer and DJ, though it’s clearly left its mark on Derek. He explains, “I’ve thought about myself as an individual artist for so long, so as soon as Meghan and I really started working together symbiotically, it enlightened me the fact that our work can amplify and magnify when working within the same artistic atmosphere. It became about working on each other’s art, and we applied that concept to our work with everyone involved in this production.”Despite rallying behind the shared vision, pulling off the event required a huge amount of work—an amount that seemed insurmountable at points. Derek explains, “Everyone was super amped, though still scared about whether it was going to work out.” This energy—the simultaneous excitement and doubt—became a theme throughout the production stages, necessitating that everyone trust that everything would turn out as it was meant to.The first hoop to jump through was getting the city on board. While Derek notes that the team considered it might be easier to “ask for forgiveness rather than permission,” Mike Bertel, Derek and Meghan’s neighbor and local real estate developer, and Zach Fawcett were tasked with sourcing support from the city. Luckily, the city’s approval came delightfully easily due to the enormous support the city of New Orleans regularly shows for its resident creatives. With the vision painted, the people hyped, and the permits in order, it all came down to piecing together the puzzle.To lead the second line, The Shady Horns saxophonist Ryan Zoidis (Lettuce) was recruited as the musical director to coordinate the live elements of the parade, which included the combined musical efforts of over twenty talented musicians.***Check out Live For Live Music’s live stream of the second line parade***“He called me about arranging the horns for the second line, and he wanted an intro to the show that was related to the new single that he premiered,” explains Zoidis. He continues, “He had the Indian Chiefs from the 7th and 9th wards, and he had The Hundreds, a young brass band from the 7th ward. I don’t know much about leading a traditional second line and we wanted that element, so I called the Soul Rebels. Then, we thought about having a huge section for the intro, so we asked Ashlin Parker and The Trumpet Mafia to come through. They brought Maurice Brown and a handful of great trumpet players.”While the musicians were readily behind the project, the various artists tapped for the second line did not have much time to meet with Derek and rehearse what they would do on the day of the spectacle.“I had a 40-minute hang with the Soul Rebels in the backyard, and another 40-minute hang with The Hundreds brass band, but that was really to get the horn parts worked out for the main collaborative track we did. . . So we did have a few rehearsals, but it was more-so to paint the picture and excite people,” says Derek.Despite the exact details not being fully nailed down, the project moved forward powered by a faith in the communal vision and the talent of the musicians onboard. All the while, Meghan and Derek were researching painters and locations for the artistic centerpiece—the project’s “mark on the city”—that would capture the vibe of the experience and the “The Sun Spreads In Our Minds.” Eventually, Meghan discovered Begoña Toledo or Boxhead, who was brought on after providing the best artistic response to Derek’s new track, making her a clear partner for this endeavor.“When I first listened to the single, I could feel the sun spreading in my mind,” Toledo explains. “I felt every beat of the track running through my body, from the darkness into an explosion of light. I felt it somehow like the perfect soundtrack to what’s happening in the world right now, the peoples are waking up, a revolution is about to start, in unity around the globe. . . My favorite moment in the song is when there’s a voice, almost sounding from the underground, shouting ‘we’ve been living in the dark,’ and then the whole track accelerates into the hardest beat I’ve heard from Derek to this date.” She continues, “That’s the moment I wanted to capture in my piece.”Toledo added her own vision into the collection of different ideas coming together for the second line: “I knew I wanted to incorporate as many of the colors in the spectrum as possible, to symbolize unity and diversity. And I knew the center of the piece had to be the brightest, the sun, the light. The mural captures the very moment when the light hits our consciousness,” she explains. “The head extrudes, spreads to the sides, in slices that merge into the darkness, vibrating, undulating as if they were sound or energy waves.”The other members of the production immediately got behind Toledo’s concept, and the artist got to work so that her mural could eventually serve as the backdrop to the final-destination pop-up show beneath the underpass.[photo by Dorian Weinzimmer]On the day of Pretty Light’s pop-up parade in New Orleans, the months of work by dozens of individuals paid off, tapping into the communal magic behind the shared vision and ultimately creating a grander experience than ever thought possible. “As soon as we showed up and started playing beats through the sound system before the parade started, all the horns players started jamming on the beats. It was amazing how symbiotically it all worked and how these groups of musicians can synchronize and jam on it without any rehearsal,” say Derek.After the second line streamed down the streets of New Orleans to its final destination at the underpass, and after the sun eventually set, the dream of Toledo’s mural as a visual accompaniment to Derek’s music became more powerful than originally conceptualized, with added 3-D mapping of the art installation magnifying the experience. The collaborative and fateful energy never stopped, even once it was underway — the production, its spirit, and its energy had taken on a life of its own.“I ended up singing, free styling, rapping, with other MCs like Maurice jumping up to rock this new kind of second line hip-hop. I would have never expected any of that to happen,” say Derek. “Even in the moment of the whole event, it was the same vibe of how it all came together—which was feeling nervous and then realizing that the fear was just the clue of how important it is. It’s about taking the leap and going with it. It’s true what they say, that the bliss was on the other side of the fear.”The ability for the team to trust in its success and let the universe have its way with the event is ultimately what allowed the Sunday second line to be such a special, once-in-a-lifetime event. For it to go down, a bunch of small parts came together to create something much larger than ever thought possible. Appropriately, this idea perfectly encapsulates the theme behind Pretty Lights’ upcoming album. While the new album has no scheduled release date, nor does it have a final title, Derek shared a phrase that heavily inspired this new studio effort: “Looking back from the future.”He explains, “Basically, I watched this YouTube video of this woman from Alaska who was talking about polychromatic microtonal music. She says something like, ‘If you look back from the future, it makes total sense that we would evolve a much more sophisticated musical system.’ Just the phrase really inspired me and everyone I brought it to.” He goes on, “If you can see where you want to be . . . when opportunities or choices or circumstances arise, then it’s like every little choice you make can add up to manifesting your dreams. Instead of letting the circumstances dictate your dreams, you let your spirit or soul consult the circumstances.”If for nothing else, Sunday’s spectacle was proof of an exciting future for Pretty Lights. The collective team’s vision crystallized in unity under the spark of the sun, and has officially paved way for all the world that will come. Derek Vincent Smith is set on breaking barriers, and fans have only gotten their first taste of how Pretty Lights will continue to evolve. The spirit of experiment has been tested and will continue to pick up steam as the many pieces of Pretty Lights come together before our eyes. It’s only just begun.Pretty Lights Second Line Credits:Illumination Sound System:Beats & Emcee – Derek Vincent Smith & Joseph Kechter (Derek’s little brother)Muralist: BOXHEAD aka Begoña ToledoMeghan Zank:Pop Up Show Producer & Creative DirectorMike Bertel:Associate ProducerPhil Salvaggio:Production Management & Associate ProducerReeves Price:Winter Circle Productions- Associate ProducerJason Starkey:Associate Producer + AudioPL FilmsCinematography, editing, film shootDorian WeinzimmerRyan BerenaHunter CourtneyRaven Productions:-Designed and built sound system truck.-Ran On Site Production-Fabricated Modular Wall for paintingEric Mintzer of Imaginex:Projection MappingRyan Zoidis of Lettuce:Second Line Musical DirectorSecond Line Performers:TRUMPET MAFIA:Ashlin Parker (leader)- New OrleansAnthony Coleman -Bay AreaEmily Mikesell-OrlandoDehan Elçin-IstanbulAya Wakikuromaru- TokyoParris Fleming- ChicagoAurélien Barnes -NOLAMaurice Brown (also emcee)-New YorkSOUL REBELS:Julian GosinErion WilliamsEdward LeePaul RobertsonHUNDREDS BRASS BAND:JeromeDesmondDarrellMarcusEfuntolaRevertREBELUTIONKhris Royale- SaxophonePretty Lights LiveChris Karns – battery powered turntable scratch 45 rpm records79ers GangChief JiggaBig Chief Romeo from the 9th Ward of New OrleansBig Chief Jermaine from the 7th Ward of New OrleansPretty Lights Pop-Up Show | New Orleans | 5/7/17 | Photos by Jeremy Scott
33SHARESShareShareSharePrintMailGooglePinterestDiggRedditStumbleuponDeliciousBufferTumblr,Jeff Kjoller Jeff has extensive experience in branding, art direction and graphic design, having served employers and clients in a creative capacity for more than twenty-five years. After graduating from the University … Web: www.loudthought.biz Details Drug company studies have shown that the color of a pill affects a patient’s feelings about taking the drug. For example, patients with acid reflux are more reluctant to take medication that is bright green, a color most people associate with acidity and sourness, preferring a soothing pink pill.1 Color TrendsFirst, you see it on fashion models in New York City, Paris, and Milan. The alluring purple of a fresh orchid. Soon, you notice it popping up everywhere – on linens and dishes at Target, as a popular new paint at Sherwin Williams, as a background color on TV commercials.How does this happen? Color trends. Who makes it happen? Color trendsetters.One of the most prominent color trendsetters in the world is a company called Pantone. Pantone was founded in 1963 to create “an innovative system for identifying, matching, and communicating colors to solve the problems associated with producing accurate color matches in the graphic arts community.”2 Since then, Pantone has expanded its color matching system into every other color-intensive industry including fashion, interior design, architecture, product design, and more. Pantone’s profound expertise and research, coupled with their influence in a variety of industries, makes the company a world authority on color.Pantone’s Color Institute® was formed to “study how color influences human thought processes, emotions and physical reactions, furthering its commitment to providing professionals with a greater understanding of color and help them utilize color more effectively.”3 Twice a year – in May and November – the Pantone Color Institute holds a closed-door meeting in Europe. The meeting attendees are a hand-selected group of individuals from a variety of industries.4 Their names are never revealed to the public. The walls of the meeting room are pure white to prevent any interference with the colors being viewed by the committee. By the end of the meeting, the committee has chosen the “Color of the Year”, a distinctive hue christened by the committee with a memorable name such as Tigerlily or Radiant Orchid. It doesn’t take long for designers to pick up the “Color of the Year” and start weaving it into their work, first in the fashion industry and then trickling down to everyone else. To view the Pantone Colors of the Year, visit www.pantone.com. Color Psychology in Medicine, Jill Morton, http://munsell.com/color-blog/color-psychology-medicine-jill-morton/About PANTONE, http://www.pantone.com/about-us?from=topNav3. About PANTONE, Leatrice Eiseman, executive director of the Pantone Color Institute, http://www.pantone.com/about-us?from=topNav4. The Business Of Color: Company Sets Fashion Trends, Ilya Marritz, http://www.npr.org/2011/02/10/133636541/the-business-of-color-company-sets-fashion-trends Our world is awash with color. In a single day, we see thousands of different hues that our brains interpret as robin’s egg blue, fuchsia, or olive drab, to name a few. Nature employs color with unparalleled artistry, making sunsets more breathtaking, flowers more exquisite, and wildlife more captivating. Though few compare with Mother Nature, designers also use color in a meaningful, emotive way. Whether it’s an interior designer choosing a color palette for a new restaurant, a graphic designer crafting a brand for a new company, or a product designer finding the most desirable color for his new product, a tremendous amount of care and thought goes into the selection of every color.The Emotion and Meaning of ColorsPicture your favorite color. Is it a calming green? A vibrant yellow? Classic black? How does seeing that color make you feel? We don’t always realize it, but color is closely tied to human emotion. Even our language reflects this. We are “tickled pink”, “seeing red”, or “feeling blue.”To Americans, the colors below typically represent the following emotions or characteristics:Industry Color ConnotationsColors can also have a positive or negative association within a specific industry.Because being “in the red” is a negative financial term, most banks avoid using the color red in their brand and marketing materials.Young children prefer bright colors, so toy manufacturers steer clear of grays and subdued shades in their packaging to make the items more appealing to children browsing the toy aisles.Studies have shown that the color yellow can increase the severity of nausea; therefore airlines avoid using the color on the interior of commercial airliners. Contributing Author: Erin Ortiz Finding the Right Colors for Your BrandAs a branding company, we see it far too often — businesses selecting brand colors based on personal preferences, rather than through careful examination and strategy. Perhaps the CEO has an affinity for orange or the Marketing Director hates the color blue. By taking this route, you could be sending an inaccurate message to prospective customers every time you flash your brand, misrepresenting who you are and failing to reach your intended audience. Picture the Dodge Ram logo in hot pink. Does hot pink communicate ruggedness, the outdoors, diesel, and horsepower?Take-AwaysColor and emotion are closely tied. Understand the meaning behind every color before you choose colors for your brand.Consider your industry. Are there positives and negatives associated with specific colors?Color trends are set by color experts based on research and forecasted consumer preferences.Put personal preferences aside and select colors that effectively communicate who your company is, what you offer, and the benefit you provide your customers.
Arsenal change training plans as Mikel Arteta recovers from coronavirus Comment Mikel Arteta has fully recovered from coronavirus (Getty Images) Visit our live blog for the latest updates Coronavirus news liveAdvertisementAdvertisement‘As a result of the current situation we are clear it would be inappropriate and irresponsible to ask players to come back at this time.‘Therefore our men’s first team, women and academy players are all remaining at home. Stay at home and save lives.’Follow Metro Sport across our social channels, on Facebook, Twitter and Instagram. For more stories like this, check our sport page.More: FootballRio Ferdinand urges Ole Gunnar Solskjaer to drop Manchester United starChelsea defender Fikayo Tomori reveals why he made U-turn over transfer deadline day moveMikel Arteta rates Thomas Partey’s chances of making his Arsenal debut vs Man City Mikel Arteta and Arsenal’s players will stay away from the training ground (Getty Images)Arsenal have confirmed that their players will not return to training, while Mikel Arteta has recovered from coronavirus.The Gunners’ first-team squad were due to return to training on Tuesday after being placed in self-isolation due to Arteta testing positive for the virus.But the club claim it would be ‘inappropriate and irresponsible’ to ask the players to return to training as the Government have called for people to stay at home where possible.A statement from Arsenal read: ‘Our men’s first team players were scheduled to return to training on Tuesday after completing 14 days isolation following Mikel Arteta’s positive diagnosis for the virus.ADVERTISEMENT Metro Sport ReporterMonday 23 Mar 2020 10:30 amShare this article via facebookShare this article via twitterShare this article via messengerShare this with Share this article via emailShare this article via flipboardCopy link8.1kShares Advertisement Advertisement
The Los Angeles Clippers launched a six-game road trip with a 133-130 victory over the Pelicans in New Orleans. With forward Paul George out for a fifth straight game with a hamstring strain, Kawhi Leonard continued his red-hot scoring pace, delivering 39 points for the Clippers – who trailed by 10 points late in the third quarter. Leonard has now scored at least 30 points in each of his past five games. Lou Williams scored 14 of his 32 points in the final period, when the Clippers out-scored the Pelicans 31-20. Williams put the Clippers up 133-127 with a three-pointer with 31.6 seconds remaining. JJ Redick responded with a three and Leonard missed, but Redick’s attempt at a game-tying three-pointer bounced off the rim. Center Derrick Favors led the Pelicans with 22 points. Brandon Ingram added 21, Redick chipped in 19 and Lonzo Ball scored 18 in a triple-double that also included 11 assists and 10 rebounds. Loading… New Orleans Pelicans rookie Zion Williamson is slated to make his injury-delayed NBA debut on January 22Read Also: Tyson reveals: I won’t get into the boxing ring with SerenaThe Clippers, third in a Western Conference race led by the cross-town rival Lakers, improved to 30-13 with their third straight win.The Pelicans, who came into the contest having won four of their past five, will hope to see their fortunes improve further with the addition on Wednesday of number one draft pick Zion Williamson, whose NBA regular-season debut was delayed by right knee surgery in October.FacebookTwitterWhatsAppEmail分享 The Milwaukee Bucks, led by 29 points from reigning NBA Most Valuable Player Giannis Antetokounmpo, ran roughshod over the Brooklyn Nets on Saturday, improving their league-leading record with a 117-97 victory. Lou Williams of the LA Clippers shoots against Nickeil Alexander-Walker in a 133-130 NBA victory over the New Orleans Pelicans. Antetokounmpo added 12 rebounds in the victory, the Bucks’ sixth straight. Milwaukee improved to 38-6 and lead the Miami Heat by 7 1⁄2 games in the Eastern Conference. The Bucks led 57-42 at half-time and stretched the advantage to 93-71 heading into the final period. Khris Middleton added 20 points for the Bucks, who had six players score in double figures. Kyrie Irving led the Nets with 17 points, but Brooklyn never really looked like stopping the Bucks, who connected on 50.6 percent of their shots from the field, including 17 of 37 three-point attempts. They held the Nets to 33.3 percent shooting, and never trailed after the opening minutes.Advertisement Promoted ContentWho’s The Best Car Manufacturer Of All Time?11 Most Immersive Game To Play On Your Table TopIs This 1921 Cartoon The First Ever Meme?Best & Worst Celebrity Endorsed Games Ever Made7 Black Hole Facts That Will Change Your View Of The Universe6 Extreme Facts About Hurricanes10 Risky Jobs Some Women Do7 Worst Things To Do To Your Phone7 Ways To Understand Your Girlfriend Better18 Beautiful Cities That Are Tourist MagnetsWhich Country Is The Most Romantic In The World?The Models Of Paintings Whom The Artists Were Madly In Love With
Eric He is a freshman majoring in print and digital journalism. His column, “Grinding Gears,” runs Fridays. For all but one year of my pre-collegiate life, I lived in a quiet suburban city in the Bay Area called Santa Clara, located a bit north of San Jose and an hour south of San Francisco.In fact, here’s where I tell people I’m from — because nobody understands the multitude of Bay Area cities, and anyone from the region can relate: “You know San Francisco? Yeah, I live there, but like, an hour away.”I won’t have to say that anymore after this weekend, when the world’s attention descends upon my nondescript hometown for Super Bowl 50 at Levi’s Stadium, just six miles and a 15-minute drive from where I live.It feels very strange for my city to be hosting the grandest and most prestigious sporting event in America, and I use the word “strange” because I have mixed feelings about it.Santa Clara is not a sports town. It is not a town meant to have thousands of people streaming in for a major event, let alone a Super Bowl. Santa Clara is a classic suburb, consisting mainly of shopping plazas and office buildings, with little to no attractions or nightlife. In the midst of Silicon Valley, the city is right next to tech giants such as Apple, Google, Facebook, Yahoo! and Intel – in other words, its main occupants are middle-aged engineers and techies living a middle-class lifestyle.Somehow, the San Francisco 49ers decided this would be the right place to build a new $1.3 billion stadium – $114 million of which came from taxpayer money – and move San Francisco’s team 40 miles away. It might as well be a world away, comparing the atmosphere of one of the world’s most iconic cities to a small suburban town. The Oakland Raiders, just a trek across the Bay Bridge away in the O.co Coliseum, are located closer to San Francisco than the 49ers.Since construction began on the stadium in 2012, I’ve watched firsthand as it was built, piece-by-piece, slowly taking on the form of a colossal, 70,000-seat venue. Infrastructure-wise, I have to admit it is as state-of-the-art as stadiums come. But something about it feels off – perhaps the way it panders to a corporate ideal. Sponsors are everywhere, including – and definitely not limited to – the Intel Gate, the Dignity Health Gate, the Toyota Gate, the SAP Tower, the Visa Box Office, the Pepsi Fan Deck, the Bud Light Patio and the Safeway Faithful Mile (fancy words for “tailgate area”). If a company asked to sponsor the restrooms, the 49ers would approve in a heartbeat. Celebrity chef Michael Mina has a Bourbon Steak restaurant in the stadium, and if you’re asking yourself who would go to a football game to eat a $95 steak, you’re not the only one.The immediate area has been affected as well. Right across the street is the Santa Clara Golf & Tennis Club, where, as a kid, I used to play tennis with my father on Sunday afternoons. That’s no longer an option. Adjacent to the stadium sits the Santa Clara Youth Soccer Park, home to 1,500 kids in the Santa Clara Youth Soccer League. Their website reads, “All fields: closed until further notice for Super Bowl 50” because the NFL has taken over and is turning the fields into a “media village” for the Super Bowl. A superior court judge denied a lawsuit by the soccer league, leaving the conditions of the artificial turf in danger and thousands of kids without a place to play.“The [Super Bowl] is big and cool, but it is also a really big downfall because we don’t have somewhere to practice,” Monica Hrncir, a 15-year-old soccer player, told USA Today. “They’ve had so much stuff there and the fields are totally trashed. It is pretty disappointing.”This is the pinnacle of corporate culture imposing its will on everyday citizens and why I am extremely lukewarm about the Super Bowl coming to town. The Super Bowl is not “big and cool” if you’re a youth soccer player looking to get to practice, or if you just happen to live nearby and have to cancel your plans on Sunday.And Santa Clara is not the only city affected by the Super Bowl. The majority of events this week leading up to the game are taking place in San Francisco, which will cost taxpayers approximately $5 million, and it doesn’t even have the benefit of hosting the actual game. The NFL put up a number of obnoxious “50” signs all over the city, and to retaliate, people are gleefully vandalizing them. In one location, the sign was tipped over with the lettering on it brilliantly rearranged from “Super Bowl 50” to “oops.”While I can’t lie that I’m not happy for my city hosting the Super Bowl, the bragging rights are far outweighed by the maddening corporate culture that will be made worse by the event. And so I hope something happens on Sunday — however big or small — that sends a negative message. Perhaps some people think the game is in San Francisco, spend hours stuck in traffic driving an hour south and miss the game entirely. Maybe another power outage disrupts the game, which would be an embarrassment for this state-of-the-art stadium with seemingly more sponsorships than there are residents in Santa Clara. Whatever happens, I believe turning my once-quiet suburban hometown into the center of the world on Sunday is doing more harm than good.