​The Colgate Real Estate Council (CREC) comprises alums, staff, parents, and faculty who promote establishing relationships with the Colgate real estate community. Since its inception in 2011, the CREC has become a resource and a platform for professional development. A 2021 CREC Fireside Chat illustrates its work.

In 2011, the CREC began on LinkedIn with a group of alumni. In 2013, the CREC expanded after establishing the first of multiple Colgate Professional Networks programs, followed by its Professional Network program in 2014. This program focused on assisting students with establishing a career in real estate using the university’s alumni network.  

While networking remains a priority, the CREC engages in various activities, especially programs. Its programs usually work with the Colgate Real Estate Club and give students access to the Urban Land Institute (ULI) Foundations of Real Estate Program (FoRE), a five-module, 30-hour education program and certification. Other programs include homecoming networking events, SophoMORE Connections, NYC Student Immersion Tripp, and the CREC Winter Social.

Their events focus on providing a platform that transitions students into their real estate careers, considers campus priorities, and focuses on multiple Colgate Professional Network themes. They also draw on trends and current events. They usually happen on, off, or virtually.

The 2021 CREC Fireside Chat, a meeting of Colgate alums, brought together real estate professionals from diverse backgrounds to converse with New York real estate mogul Larry Silverstein, owner of Silverstein Properties. It also provided information regarding a program designed to help youth seek careers in real estate.  

Brian Collins, Class of 1982, spoke with Silverstein about how he started in real estate. Silverstein started as a pianist, but his parents felt he could not make a living, so they suggested he become a real estate broker. Silverstein has been in real estate since the late 1950s. In those days, succeeding in real estate was challenging, and the commissions were minimal. He, his father, and investors invested cash in a $600,000 building on East 21st Street that they renovated. They then purchased two more buildings, and the banks were willing to finance them by this point.

Silverstein worked on 7 World Trade Center on Vesey Street, a bid the Port Authority gave him in 1980. This deal involved allowing the Port Authority to power not only the World Trade Center but also Lower Manhattan. Silverstein went on to purchase the Twin Towers in 2001, six weeks before the September 11, 2001 incident. During the pandemic, the real estate mogul had to rebuild and fill 7 World Trade Center, but he managed to find tenants.

Silverstein shared his belief in the importance of real estate. He mentioned how it helped New York City pay its bills. New York City struggled in the 1970s and 1980s and, in one case, was at the point of not being able to make payroll. The city called upon the real estate developers to pay their taxes early, which paid the bills and salaries of many NYC employees. According to Silverstein, one should never discount real estate.

The talk also allowed CREC members to advertise their Professional Network Summer Internship Program. The CREC needed to raise $350,000 to support the program for youth that allowed them to participate in paid and unpaid internships in real estate.

​The relationship between technology and music production has significantly transformed, reshaping how sound is created, recorded, and shared. Over the years, advances in digital tools and platforms have enabled artists and producers to break free from many traditional constraints, allowing for unprecedented creative freedom. Whether through sophisticated recording software, virtual instruments, or immersive experiences, technology has left an indelible mark on how music comes to life.

Digital Audio Workstations, commonly referred to as DAWs, exemplify this evolution. Modern music creation relies on these software platforms to generate and refine sound accurately. DAWs have made professional-grade recording possible for artists in home studios or on the road, unlike analog systems, which need substantial financial resources and physical space. With multitrack editing and effects processing, such software lets composers experiment with their sound, construct elaborate arrangements, and create music that would have been unthinkable without enormous studio sets. The change has affected musicians and influenced music style.

Virtual and augmented reality have also begun to redefine music production and consumption. These immersive technologies provide tools that enable artists to experiment with spatial audio and dynamic performances that push beyond the boundaries of the physical world. Virtual concerts, for example, have grown in popularity, mainly due to global disruptions to live events. Platforms like Wave and VRChat allow musicians to perform in environments designed to captivate audiences in new ways. These experiences merge sound with visually stunning effects and interactive elements, allowing fans to engage with music in profoundly personal and memorable ways. This integration not only broadens the reach of music but also elevates the artistry behind its production.

You cannot overlook how streaming and digital distribution platforms have transformed the industry. Uploading music online and reaching global audiences has made it easier for young artists to interact with fans without record labels. Accessibility has unleashed creativity, producing a boom of genres and experimental sounds. However, technology has also raised questions about appropriate remuneration and content saturation. Platforms give unparalleled visibility but require creative tactics to distinguish in a crowded field.

Artificial intelligence and machine learning advances have further enriched music production, though they remain controversial among purists. AI-powered tools can generate compositions, suggest harmonies, or even replicate the styles of iconic artists. While some view these capabilities as an exciting extension of human creativity, others argue they risk diluting the authenticity that defines meaningful artistic expression. Still, there is no denying that AI has proven invaluable for tasks such as audio mastering or cataloging large music libraries, tasks that would otherwise be time-intensive or technically prohibitive.

Technological progress has not left traditional recording methods untouched. Hardware synthesizers, for instance, have seen a resurgence, blending analog warmth with digital precision. Modern interfaces allow seamless integration between these physical instruments and digital workstations, creating a hybrid approach that appeals to artists who value tactile engagement and technological versatility. This fusion has encouraged producers to revisit vintage styles while exploring new sound design frontiers.

Immersive and interactive music experiences change how listeners interact with sound. Listeners feel like they are in the middle of a piece of music with technologies like spatial audio and binaural recording. These advances are especially crucial for ambient and electronic music, where atmosphere is as vital as melody. Gamified aspects in music creation applications and VR platforms have brought play into the creative process, connecting the audience-artist divide in new ways.

Reflecting on these developments, it becomes clear that technology has reshaped the mechanics of music production and its philosophy. Far from being a mere disruption, it is an ongoing dialogue between tradition and innovation that continues to expand the possibilities of what music can achieve.

​In pickleball, a sport with rules, players play in singles, doubles, or fours. They hit a perforated and hollow plastic ball using smooth-faced and short-handled paddles on a level court, indoors or outdoors. The sport combines aspects of table tennis, tennis, and badminton.

Invented as a children’s backyard game in 1965 in the United States, the game has grown in popularity globally. People of different ages and skill levels can play. Notably, the sport was named Washington’s official state sport in 2022.

A pickleball court measures 20 feet by 44 feet. The net resembles a tennis net but is slightly modified. It measures 34 inches in height at the middle and 36 inches at the sidelines. The court resembles a tennis layout. It is 44 feet long and 20 feet wide, with designated service areas on each side and a 7-foot zone near the net called the "kitchen," where volleys aren't allowed. These courts can be constructed specifically for pickleball or converted from tennis or badminton courts.

The paddles, made from wood or composite materials, must have a maximum of 17 inches in length, with the total length and width not exceeding 24 inches. However, no limitations exist on how thick or heavy a paddle can be. The paddle’s core, the part sandwiched on either side of the surface, and the surface can be made of different materials to suit different player needs.

The core’s material can determine shot accuracy, control, and power. For example, a graphite paddle gives more control, a fiberglass paddle gives more power, and a carbon fiber paddle gives power and control. One may also consider the core’s thickness, which ranges between 11 millimeters and 16 millimeters. A thin core ensures more power, while a thick one gives enhanced control. Overall, the player decides the balance that works well for them.

The ball is lightweight and measures between 2.87 and 2.97 inches in diameter. The holes on the ball control airflow when it is hit, ensuring it moves consistently and directing it to where the player aims it. Depending on whether the game happens indoors or outdoors, there are two types of pickleball balls.

The outdoor version is heavier than the indoor one. It has 40 holes and is designed for outdoor and windy conditions. The indoor version features 26 holes and is adapted for smooth indoor surfaces. It also lasts longer than the outdoor ball.

There is no specific dress code in pickleball. Players need comfortable clothes in which they can move. It is also advisable to wear lightweight, sweat-absorbent, and breathable clothes that help keep the player cool. A weather-resistant jacket can keep a person comfortable and dry during chilly and light rain days.

An individual can play in any pair of trainers. They can also use tennis or pickleball shoes for enhanced movement, speed, and stability. For sun protection, one may also consider a hat, visor, and protective eyewear. Additionally, a paddle bag helps carry additional gear, while a grip prevents the hand from slipping when handling the paddle.

Play begins with an underarm serve into the opposing service area. Players should serve the ball from behind the baseline, the line marking each end of the court. The goal is to send the ball across from the server, over the net, into the service box, avoiding the “kitchen.” The opposing player or team must allow the ball to bounce once before returning it. After the ball has bounced once on each side, players can volley it directly or let it bounce before making their shot.

Only the serving player or team can score points when the opponent makes a fault, such as failing to return the ball, hitting it out of bounds, or volleying from within the non-volley zone. In doubles, each player serves before switching sides, and the server continues until losing a rally.

The player or team that gets 11 points first wins the game. However, during tournaments, games can go up to 15 or 21 points, and a team needs a 2-point lead to secure the win.