“People get excited about the $2 T-shirt” and don’t think about the impact on factory workers making the clothing, Susan Scafidi, director of the Fashion Law Institute at Fordham, told Fordham Now.

But industry leaders are looking to help companies and consumers change, in part by incorporating more sustainable practices that are better for workers and the planet.

Three Fordham graduates in the fashion and beauty worlds shared some industry and personal insights at a recent Fordham Women’s Summit.

Corporate and Consumer Responsibility Is a ‘Give and Take’

Georgeanne Siller, GABELLI ’17, an assistant buyer for women’s apparel at Macy’s, said that customers can be “catalysts for positive change” in the fashion and beauty world through their buying habits. However, oftentimes she feels “an undue amount of responsibility falls on consumers when it’s really the companies that need to be driving the change.”

“I think that there’s a lot of company influence on consumers, things like seeing the popularity of TikTok hauls, where fashion influencers will just buy an insane amount of clothing at one time,” she said, adding that influencers can end up buying tons of products each week “looking for dupes or cheaper alternatives.”

“There’s a lot of give and take, I think, with the consumers and the companies, and I think the responsibility definitely tips towards the companies, but consumers can still be a powerful voice for that change,” she said.

Companies Can Do More to Source Sustainably Created, Long-Lasting Materials

Fast fashion usually involves “cheaply produced and priced garments” that are designed and produced quickly, according to Earth.org, an environmental news organization.

Claudia Rondinelli, FCLC ’91, head of global materials, leather, and trims at Ralph Lauren, said the company is working to “take a more proactive approach when we’re talking about material research and materials we’re using—specifically on handbags and footwear—but also in apparel.”

This means sourcing materials that will last longer, leading to less turnover and waste, as well as materials that are made sustainably, such as by using recycled products.

“It is really [about] selecting materials that are truly making a difference, and focus[ing] on the circular life of the material, not just looking at it from a short term, on how it might look like it’s less impactful on the environment, but really looking at end of life,” Rondinelli said.

Stacey Ferrara, GABELLI ’10, director of strategic initiatives and operations for Estée Lauder, said the company is working to make its sourcing practices more sustainable.

“We really want to help the communities [where] we live, work, and we source our ingredients from,” she said. “We’re partnering with organizations around the world, assisting women who are sourcing our ingredients—we’re working with them to make their lives better and help them get the tools that they need to succeed.”

An Eco-Friendly Approach to Packaging Materials Can Help Reduce Fashion and Beauty Industry Waste

One way Estée Lauder is looking to reduce waste is through their packaging, Ferrara said.

“By 2025, we aim to have at least 75% of our materials be recyclable, reusable, refillable—and refillable is something that I really am hoping is going to be a trend,” she said.

Ferrara said that this is a practice she’s incorporating at home and is starting to see it more with beauty companies, where people can bring their containers and have them refilled.

“I hope that we can continue to make memories and find ways to come together,” she says of the affinity chapter, “because I think Ailey and Fordham have such a special history. It’s an incredible program.”

Where did you grow up and how did you end up in the Ailey/Fordham program?
I grew up in Mesa, Arizona. The summer after my junior year of high school, I actually attended the Ailey Summer Intensive and got to stay in the dorms [at Fordham’s Lincoln Center campus] for six weeks. That was a little sneak peek of what college could look like for me. My four years at Fordham were absolutely amazing. I definitely wouldn’t be where I am today without the Ailey/Fordham BFA program. I actually saw the Christmas Spectacular for the first time my freshman year of college through tickets that I got from Fordham.

And did you get to do any workshops with the Rockettes at Ailey?
Yes, they would come in and do workshops at Ailey about two or three times a semester. The spring of my sophomore year, I auditioned for the ensemble in the Christmas Spectacular, and I did that the fall of my junior year. So I was working and going to school and was a part of the show. Then, after I graduated, I auditioned for both the ensemble and the Rockettes. I would’ve been ecstatic either way, but I was offered the role of Rockettes for the Christmas season in 2021, and I’ve been doing it ever since.

So when do rehearsals start for the Christmas Spectacular?
They usually start at the end of September or early October. And we rehearse for about six weeks leading up to opening night, six days a week for about six hours each day. And we slowly layer on choreography, tech, with lighting, costumes, the orchestra, and then it’s opening night and we’re doing it every day up to four times a day. Typically, we do up to 15 or 16 shows in a week.

What are you doing for the rest of the year?
All of us are doing different things, but for me personally, I teach dance and I’m a fitness instructor. I also still do a lot of things with the Rockettes in the offseason. I’ve actually been able to go back to Ailey and teach classes, both at Ailey and at Radio City, where we actually bring the dancers to the music hall and give them that experience of rehearsing there. That has been really special because that’s how I got my introduction to the Rockettes, those workshop classes.

Outside of that, we always keep up with social media and doing different routines and additional performances that pop up last-minute. But then all of a sudden, it’s Christmastime and we’re back at the hall rehearsing and performing for 6,000 people every night. So it goes by quickly. Really, we’re always working and doing things in that time to prepare for the next season.

How do you manage seeing family and friends around the holidays?
I’m so fortunate that my family and friends make their way out here for the holidays. My parents were actually just here for a few performances, and they may come back up for Christmas. But they know that this show is where I’m at during the holiday season, and they’re just so proud of me. And I think that’s what’s special—I can make new memories during the holiday season, and I’m glad that I’m able to make the time to FaceTime and call and send gifts or do whatever it may be to stay connected.

What would your childhood self think about your job?
I think little Maya would be in awe of where I’m at now and would probably not even believe that that’s how I’m spending my Christmas morning. It’s definitely a huge dream come true that I didn’t even know was a dream at the time.

What’s your favorite part of the show?
I really do love our “New York at Christmas” number. We’re on a double-decker tour bus, which takes us through New York City and Central Park and Fifth Avenue, and then you end up at Radio City Music Hall. I love how it incorporates everyone in the show—the singers, the ensemble, the principals. And there’s moments where I’m on the bus and you can really look out into the audience and see individual faces of some of those kids, and their eyes really do light up when they see us come on stage. I feel like it’s one of those numbers that you take it in, like, “Wow, I’m performing at Radio City Music Hall.”

What’s your favorite Christmas song?
“Jingle Bells.”

What’s the best gift you’ve received?
I’m a sentimental person, so just a classic Christmas card from friends or family. I usually keep all of those.

What’s your favorite place in New York City at Christmastime (that’s not Radio City)?
This might be a boring answer, but my apartment. I feel like after the shows and the busyness of the holiday season, I think being at my apartment—which is very much decorated with the holiday spirit and it’s just super cozy—is my favorite place at the end of the long day.

—Interview conducted, edited, and condensed by Adam Kaufman, FCLC ’08.

Check out more photos from the Radio City Christmas Spectacular below (all photos courtesy of MSG Entertainment).

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Amelia Medved, a 2023 Fordham graduate, analyzed how the dead have become part of the landscape of the city in “A Breathing Place: Sanctified Burial Sites in New York City Public Space,” a research project she conducted through a Duffy Fellowship from Fordham’s Center on Religion and Culture. 

Medved, a studio assistant at the landscape architecture firm SCAPE, says that honoring the collective memory of the deceased is a healthy expression of urban life—one that can “enliven our connection to place and engage the dynamic communities that inhabit New York City today.”

Hart Island 

Hart Island, located at the western end of Long Island Sound in the Bronx, has a long and morbidly fascinating history as New York City’s public cemetery, with mass graves stretching back to the Civil War. Described by Medved as a “remote, windy, indeterminate landscape far from the beating heart of the city,” the island had been controlled for many years by the city’s Department of Correction, which used prison labor to bury more than 1 million unclaimed and unidentified New Yorkers. 

The maintenance of the island came under scrutiny in 2012, when Hurricane Sandy unearthed some remains. In July of 2015, the grave sites became accessible to the families of those buried on the island, and in 2019, control of the island was transferred to the New York City Department of Parks.

Hart Island is now open to the public through small guided tours requiring lottery registration. The Hart Island Project, a public charity incorporated in 2011, has worked to destigmatize the burial ground and create an online resource to help families find the locations of their buried loved ones.   

The Enslaved African and Kingsbridge Burial Grounds, Van Cortlandt Park

Consecrated in 2021, this section of Van Cortlandt Park in the Bronx was nothing more than a neighborhood ghost story until a chance encounter by Kingsbridge resident Nick Dembowski. After noticing a few broken headstones against a fence, Dembowski went to the Kingsbridge Historical Society. There he learned that the fenced-off area was once home to an 18th-century burial ground, particularly for people enslaved at the estate. Their bones were discovered in the late 1870s, when the New York Northern Railroad Company broke ground in the area. 

Following Dembowski’s efforts, the Enslaved People Project was born—launched by the Van Cortlandt Park Alliance, Van Cortlandt House Museum, and Kingsbridge Historical society to help shed light on the history of the burial grounds.

Medved said this site offers visitors “the chance to encounter the people who walked through the trees or stood beside the lake centuries ago.” 

Prison Ship Martyrs Monument, Fort Greene Park

Just a few blocks from Flatbush Avenue and Fulton Street in Brooklyn, Fort Greene Park is a 30-acre public space, filled with history dating back to the Revolutionary War. In the center sits the Prison Ship Martyrs Monument, a war memorial dedicated to more than 11,500 American prisoners of war. Many of these prisoners, who died on British prison ships in the Brooklyn Navy Yard, were thrown into the bay or buried in shallow graves on the shoreline.

Their remains were left there until the 19th century, when they were collected after funding was secured for a public monument. They were briefly interred in a public tomb before being moved permanently to the newly constructed Fort Greene Park in 1873. The monument that stands today, with its massive doric column and granite stairway, was completed in 1908.

Perhaps the most notable aspect of the monument, according to Medved, is the way it “convenes the living and dead in intimate proximity to the unawareness of most visitors.”

The 9/11 Memorial

Located where the Twin Towers once stood, the National September 11 Memorial & Museum honors the lives lost at the World Trade Center during the terrorist attack on September 11, 2001. The site features two reflecting pools bordered by bronze parapets engraved with the names of 2,983 people—2,977 who were killed on 9/11, and six killed in the 1993 World Trade Center bombing. 

The most striking part of the memorial, according to Medved, is the sound—the white noise generated by running water  creates a pocket of “overwhelming silence” in an area bustling with foot traffic. 

The contemplative nature of the space has led to myriad improvised displays, including “missing” posters, flowers, American flags, rosaries, and even unauthorized etchings of additional names on the monument’s surface. 

Medved says that these contributions from visitors are evidence of a vital, dynamic “public grieving process.” 

RELATED STORY: How a Passion for the Environment and Visual Arts Led to a Career in Landscape Architecture

That was the call made by Ryan Ruocco as a thrilling, historic WNBA season ended on Sunday night, when the Liberty toppled the Minnesota Lynx in Game 5 of the Finals at Brooklyn’s Barclays Center—the first title for one of the league’s original franchises.

Ruocco, a 2008 Fordham graduate, is a lead play-by-play announcer for WNBA, NBA, and women’s college basketball games on ESPN, and he and color commentator Rebecca Lobo have called all the WNBA Finals games for the network since 2013.

“This was our 12th Finals together,” Ruocco said, “and to get a chance to be the soundtrack of this moment in women’s basketball, it feels like a dream come true.”

The moment he references is one of great growth for the league, with the past season seeing increases in TV ratings and game attendance thanks to veteran stars like Breanna Stewart and A’ja Wilson and rookie phenoms like Caitlin Clark and Angel Reese. To cap it off, fans were treated to a dramatic Finals series that included an overtime final game and a stunning game-winner from Liberty star Sabrina Ionescu in Game 3—a contest that had Ruocco “practically losing his voice thanks to all the huge shots” but earning praise from fans and critics.

“I was so elated and stunned that this game has given us even more excitement, even more drama,” Ruocco said about calling Ionescu’s game-winner. “Because it felt like the Finals just kept outdoing itself.”

A Legacy of Sports Broadcasting Excellence

Ruocco got his start in broadcasting at WFUV—part of a long list of Fordham alumni who learned the ropes at the University’s public media station and have gone on to great success in the business, from Vin Scully to Mike Breen.

In 2019, Ruocco told Fordham Magazine that working under the mentorship of former WFUV executive sports producer Bob Ahrens made his career possible.

“It’s this simple,” Ruocco said. “If I did not go to Fordham and work at WFUV, I would not be here doing what I’m doing today. Period.”

Looking ahead, he sees only continued growth for the WNBA. And he put in a huge endorsement for checking out a New York Liberty game in person.

“I think the atmosphere at Barclays Center for Liberty games is as good as or better than any atmosphere for basketball in the country,” he said. “There’s a sense of community and jubilation and fun, in addition to the passion. It feels like a party where everybody’s invited and everybody’s welcome.”

As the Mets take on the Los Angeles Dodgers and look to move ahead to the World Series, Majkowski, who launched his sports broadcasting career at Fordham’s public media station, WFUV, looks back at five of his most memorable moments working in the booth.

5. The 2015 NLCS Sweep of the Chicago Cubs | October 2015

When did Citi Field become home? Maybe the loudest I’ve heard it before these last couple games [against the Philadelphia Phillies in this year’s National League Division Series] was when they played the Cubs in that 2015 NLCS. And then we went to Chicago and they clinched there.

4. Regular-Season Series vs. the Washington Nationals | July 31 – August 2, 2015

It was right after the [Yoenis] Céspedes trade. The Nationals came in and the Mets beat them at Citi Field—the Sunday night game, they hit three home runs in five pitches.

And then we went back down to Washington [in September]. Maybe the Nationals had a chance to make a last stand. They had a lead, I think, every game. And the Mets came back on, putting the nail in the coffin, so to speak, for Washington.

3. Game 5 of the 2000 World Series vs. the New York Yankees | October 26, 2000

Even though the Mets lost, Game 5 of the 2000 World Series against the Yankees [is very memorable]. I had Mike Francesa sitting next to me in the booth, and when the ball first came off of Piazza’s bat against Mariano [Rivera in the ninth inning], you thought, “Oh, maybe it’s going to go,” and even Mike—he probably wouldn’t admit it, but he even had a little start.

From a producing standpoint, we had to do a postgame show. And because it was on FAN, they wanted us to incorporate both sides of the story, with Suzyn Waldman down on the Yankee side and Eddie Coleman in the Mets’ clubhouse, which was obviously, after losing the World Series, not an easy task.

That’s something I’ve always been proud of, because we balanced both sides of that story very well, I believe.

2. First Game at Shea Stadium After 9/11 | September 21, 2001

After 9/11, we were in Pittsburgh, and we ended up busing back to New York, and we came over the George Washington Bridge and you could just see [the World Trade Center site] in the distance. Coming back to Shea for that first game back … that was something.

1. Robin Ventura’s “Grand Slam Single,” Game 5 of the NLCS | October 17, 1999

I’ve always had my greatest affinity for that team, that 1999 and 2000 bunch—Robin and Johnny Franco and Al Leiter and all the guys there. I got to know them a bit more than some of the other teams along the way. Just so many players on those teams have always been my favorites.

RELATED STORY: Meet the New York Mets Radio Engineer Who Hasn’t Missed a Game in 30+ Years

Chris Majkowski engineers and produces the Mets’ radio broadcasts on WFAN. It’s a job he landed in 1993, four years after graduating from Fordham, where he was sports director at WFUV. And he hasn’t missed a day of work for the Mets since his sister’s wedding the year he started.

What does your average Mets game day look like?
If it’s a night game, I’ll get to the ballpark around 3 p.m., about four hours before first pitch, and just set up the booth—do all the cabling, check all the connections, check the studio.

And then it’s, “Okay, what are we doing on the pregame show today?” Then we have other segments during the game: “This Date in Mets’ History” and the “Electrifying Play of the Game.” The sound needs to be edited for that and I will do research for “This Date.”

Then the broadcasters and I go through the news and the notes from the day, not just for our game but for the rest of the league. We make sure we go through the commercial log. And then I’ll get something to eat and it’s “play ball.”

And then what are you doing during the game?
If something comes up during the game, like [play-by-play announcer] Howie Rose, says, “Hey, I remember back in … ” or whatever, I’ll look into that. And the whole time, I’m also mixing the show. If something’s happening and the announcers are yelling and the crowd is loud, you have to balance that.

I also do the posts for the Mets Radio Booth X account to keep the masses informed and say, “Hey, something’s happening. Maybe you want to tune in.” Don’t ever say that there’s a no-hitter going, though, because then the fans tell you that you jinxed it all if it doesn’t happen.

Next year, you’ll potentially work your 5,000th consecutive game. Do you get sick of hearing or thinking about that streak?
So, the funny thing is, I recently worked an event for Bloomberg Radio, and Cal Ripken Jr., who of course has the streak of 2,632 straight games that he played, was there as a guest. I’m not one to ever ask for a picture or anything, [but] I wish I had because I think that that would’ve been pretty neat.

Back in August, I worked my 5,000th game overall. The 5,000th straight game will happen sometime next year. Well, 5,000 is a nice round number, so maybe I’ll take the next day off.

Do you have any favorite road cities or ballparks?
San Francisco, Chicago, San Diego for the city. Boston as well. That’s not an every-year stop, but Fenway is great, and Boston as a city is great. We had a couple games against the Phillies in London back in June, and we went to Tokyo in 2000.

Maybe I’ll start cutting back so I can go back for a trip to London or maybe a trip to Tokyo where I don’t have any responsibilities and can just be a tourist.

Was there a moment you realized this year’s team might have something special?
Maybe you look back and you say, “That was the moment,” but that’s only looking back. Earlier in the season, we were thinking, “Oh, this is one of those years,” and it’s all down and out. And then suddenly, we’re flying to California for a League Championship Series and hopefully beyond. So yeah, it has been remarkable.

We’ve had a couple of years—2015, now this year—where you have the moments when the stadium becomes more of a home. This is our place now. It’s not just another ballpark, not just another booth, but this is home.

RELATED STORY: New York Mets Radio Engineer Shares 5 Most Memorable Moments

How did you decide to go to Fordham and get involved with WFUV?
At Herricks High School [on Long Island], there was an English teacher who was a Fordham alum, and he always tried to steer one or two of us a year to Fordham. Around that same time I had started listening to One on One, FUV’s sports call-in show on the weekend. So, through Mr. Desmond at Herricks High School, and then listening to FUV, I was introduced to Fordham, and I applied and got in.

When I got to Fordham, I thought I would go more toward writing and just never made it to the newspaper. A bunch of friends and I were all commuter students and instead of hanging out in the commuter lounge, we hung out in the hallway at FUV.

I started doing some stuff on air. By the time senior year rolled around, I was the sports director. We were doing the play-by-play for football and basketball and even some baseball. There’s a group of us from the radio station who still are close, and we get the whole gang together when we can.

And you still do public address work at Fordham too?
Yep. I was still in school, and I started doing the public address for some of the women’s basketball games. I’ve continued to do that to this day. Joe DiBari and the folks over in the athletic department are very accommodating. They’ll say, “Hey man, whenever your schedule allows, we’d love to have you up to still do the game.”

So I still do a couple of football games a year and about 20 basketball games between the men and the women. In a way, it’s like I never left because I’m still up there all the time. Once Fordham gets in your blood, it’s tough to get it out.

Interview conducted, condensed, and edited by Adam Kaufman, FCLC ’08.

This story was updated on October 25.

Many fans arrived early to mix and mingle at a special pregame reception on the deck in center field, and all attendees received a Fordham maroon quarter-zip sweatshirt with the Fordham and Yankees logos. 

Here’s a look at four Fordham College at Lincoln Center graduates, three faculty members, and one former Denzel Washington Chair in Theatre who are among the nominees for Broadway’s highest honor. 

This year’s awards ceremony will take place at the David H. Koch Theater—across the street from Fordham’s Lincoln Center campus—on Sunday, June 16.

Marjuan Canady, FCLC ’08
Hell’s Kitchen

Canady, a Fordham Theatre graduate, is a co-producer of Hell’s Kitchen as part of Score 3 Partners. The musical, from Grammy Award winner Alicia Keys, is a coming-of-age story based on her experiences growing up in New York City. The production received 13 total nominations. 

John Johnson, FCLC ’02
Stereophonic

Johnson, who returned to his alma mater this spring to teach a new course called Creative Producing, is an eight-time Tony Award-winning producer. He’ll be looking to earn his ninth for Stereophonic, which was nominated for Best New Play. It follows a fictional 1970s rock band on the cusp of superstardom and dealing with pressures that could “spark their breakup or their breakthrough.” The production received 13 total nominations. 

Tom Pecinka, FCLC ’10
Stereophonic

Pecinka, a Fordham Theatre grad who is making his Broadway debut, was nominated for Best Featured Actor in a Play for his role as Peter in Stereophonic. The New York Times called his performance “riveting.”

Morgan Steward, FCLC ’19
Suffs

Steward is an associate producer and co-producer of Suffs, which was nominated for Best New Musical after opening on Broadway last month. She graduated from Fordham only five years ago, earning a degree in new media and digital design and communications while interning at the NY1 show On Stage. On April 10, she addressed a group of Fordham alumni and guests at a private reception before they attended a preview of the show. Suffs tells the story of the American women’s suffrage movement in the first decades of the 20th century. The production received six total nominations. 

Dede Ayite
Adjunct Professor, Fordham Theatre
Appropriate, Jaja’s African Hair Braiding, Hell’s Kitchen

Ayite, who teaches Costume Design at Fordham, was nominated for two Tony Awards for her work on three productions—Best Costume Design of a Play, for both Appropriate and Jaja’s African Hair Braiding; and Best Costume Design of a Musical, Hell’s Kitchen.

Santiago Orjuela-Laverde
Adjunct Professor, Fordham Theatre 
Appropriate, An Enemy of the People

Orjuela-Laverde, who teaches Design and Production at Fordham, was nominated for two Tony Awards for his work with dots, a design collective that specializes in creating “environments for narratives, experiences, and performances.” He and his colleagues Andrew Moerdyk and Kimie Nishikawa, are up for Best Scenic Design of a Play for their work on Appropriate and Best Scenic Design of a Play for their work on An Enemy of the People.

Steven Skybell
Adjunct Professor, Fordham Theatre
Cabaret

Skybell, who currently teaches an Acting Shakespeare course, was nominated for Best Featured Actor in a Musical for his role as Herr Schultz in Cabaret. Variety said the romance between his character and Bebe Neuwirth’s “elegant and maternal” Fraulein Schneider “spins a sweet and aching emotional thread” in the latest revival of the 1966 musical. Skybell has starred on Broadway in productions including Fiddler on the Roof, Pal Joey, and Wicked, and his numerous Shakespeare credits include the title role in Hamlet. 

Kenny Leon 
Former Denzel Washington Chair in Theatre
Purlie Victorious

Leon served as the Denzel Washington Chair in Theatre at Fordham in fall 2014, the same year he earned a Tony Award for his direction of A Raisin in the Sun. This year, he’s been nominated for his work as director of Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch, which is up for Best Direction of a Play and five other Tonys. The three-act play tells the story of a Black preacher’s efforts to reclaim his inheritance and win back his church.

Take Frances Berko, for example. A pioneer in the disability rights movement, she earned a Fordham Law degree in 1944. By 1949, Berko, who had ataxic cerebral palsy, helped start United Cerebral Palsy. She later served as New York state’s advocate for the disabled.

“I’ve had much success,” she told a panel of legislators in 1981. “But the one achievement which I held most precious—for which I’ve most constantly striven—I’ve never been able to attain completely: that is, the full rights of a citizen of this country and this state.”

That achievement came in 1990 with the signing of the Americans with Disabilities Act. In 1994, two years before Berko died, Fordham awarded her an honorary doctorate, and Janet Reno, then U.S. attorney general, called her “a symbol to me of what you can do and how you can do it magnificently.”

Today at Fordham, Berko’s spirit is evident in the work of senior Abigail Dziura, who has focused her research on improving the New York City subway system, where only 27% of all stations are considered fully accessible to people with disabilities.

In April, she earned a prestigious Harry S. Truman Scholarship, which recognizes college students dedicated to public service. “One of the hardest parts of advocacy work is knowing that you don’t always get to see the end result,” she told Fordham News. “Sometimes you’re setting things up for future generations because something can’t be completed for another 20 years. … But someday, I’d love to see a fully accessible New York subway system.”

The ever-striving, regenerative spirit that links Berko to Dziura and beyond is just one example of Fordham people working to build stronger communities. You’ll find more in our latest “20 in Their 20s” series.

Horbatiuk, an attorney who majored in history at Fordham College at Lincoln Center before earning a J.D. at Fordham Law School, has been enthralled by the storied bivalve since reading Mark Kurlansky’s 2006 book The Big Oyster: History on the Half Shell. In public talks, he recounts oysters’ emergence as New York City’s leading export in the 19th century, when “New York had street cart vendors selling oysters for a penny a shell.” He also describes the demise of the city’s oyster beds due to overharvesting and pollution.

The Environmental Benefits of Oyster Restoration

In recent years, New Yorkers like Horbatiuk have been reintroducing oysters, not to be eaten but for the environmental benefits—the mollusk’s circulatory system filters contaminants from the city’s waterways, and the reefs help create habitats for other marine life. On Saturday mornings from May through September, he travels to City Island to measure the oysters’ growth, determine how many of them are growing on each craggy shell pulled from Long Island Sound, and pal around with a diverse group of volunteers devoted to the research project.

Measuring and counting the oysters is painstaking work that demands focus and dedication. Horbatiuk clearly has both, as he works methodically through an orange plastic pail filled with oysters affectionally labeled “Kevin’s Bucket.” His volunteer efforts that sunny Saturday morning in August were part of City Island Oyster Reef’s research study on oyster propagation and biodiversity in Long Island Sound. Among the species found living with the oysters that morning were grass shrimp, bristle worms, skillet fish, slipper snails, and boring sponges.

Horbatiuk recalls that in the 1830s, as many as 39 million bushels of oysters were harvested annually, with New York the center of the world’s oyster trade. Since industrialization, however, the oyster beds died. And today’s oysters, while helping to improve water quality by filtering up to 50 gallons of sea water a day, are inedible because the toxins that get filtered out remain in the oyster flesh.

“The history grabbed me first,” said Horbatiuk, who grew up on New York’s Lower East Side and now lives in the Riverdale section of the Bronx. “Very few people realize how important they are historically and what they do for the water’s health.”

‘Oysters for a Penny a Shell’

Horbatiuk’s love of the city’s past dates back to his undergraduate days at the Lincoln Center campus. His favorite courses focused on social and intellectual history, which helped illuminate developments in pop culture in American society.

His Saturday morning efforts on City Island dovetail with his role as a volunteer as an ambassador for the Billion Oyster Project, which does public outreach on oyster restoration and monitors oyster propagation in New York waterways. That outreach includes talks he gives throughout the metropolitan area to New Yorkers interested in learning more about the history of oysters. At his talks, he’ll mention that the Fanny Farmer cookbook from the 1860s had 40 recipes for oyster dishes. He’ll also hearken back to the early 1600s, when the Lenape people, who had lived in the region for centuries, traded oysters with the Dutch and piled them high in middens along the coast.

“It’s an easy sell to the public,” he says. “It just captures their imagination when you tell them you could find oysters in Spuyten Duyvil in the Bronx, and instead of hot dog carts on the street, New York had street cart vendors selling oysters for a penny a shell.”

In June, he manned a table at the New York Philharmonic performance at Lincoln Center that featured three classical pieces inspired by water—one depicted foreboding ocean moods and a vicious storm, while another portrayed the role of water in an Australian myth. During intermission, he chatted with concertgoers about the oyster project.

In mid-July, he participated in the City of Water Day by visiting the Sebago Canoe Club in Jamaica Bay in Brooklyn to talk about conservation and oyster restoration. That same month he spoke at the Beczak Environmental Education Center in Yonkers about the history of oysters in the Hudson River estuary. That’s where he’s a member of the Yonkers Paddling and Rowing Club and served as club commodore from 2019 to 2021.

“Kevin may be a lawyer, but he’s found another passion: the history of oysters,” said Bob Walters, executive director of the Beczak Center. “He tells that story with such enthusiasm and passion. And he’ll share what he’s learned at the drop of a hat.”

Can You Dig It? was released on August 10 by Audible, as part of a slate of original series celebrating this milestone year. The series, co-created and executive produced by Bryan Master, FCRH ’99, and narrated and co-produced by legendary Public Enemy rapper Chuck D, chronicles the 1971 gang peace treaty in the Bronx that paved the way for hip-hop.

Through both scripted scenes and unscripted interviews, Can You Dig It? tells the story of the murder of Ghetto Brothers member Cornell “Black Benjie” Benjamin. Benjamin had been working toward a truce among rivals when he was killed, and his death resulted in an escalation of violence. That moment of chaos was followed by the Hoe Avenue peace meeting, organized by the Ghetto Brothers’ Benjamin “Yellow Benjy” Melendez, which ushered in an era of relative calm among gangs in the South Bronx. Two years later, on August 11, 1973, with young people in the area safer to socialize across neighborhood boundaries, Cindy Campbell threw a “Back to School Jam” in a recreation room at 1520 Sedgwick Avenue. Her brother, Kool Herc, DJ’d the party, which came to be considered the origin of hip-hop music.

The series features documentary-style interviews with photographers Henry Chalfant and Joe Conzo, pioneering MC Coke La Rock, and a number of former members and associates of the Ghetto Brothers. These are interspersed with Chuck D’s narration, as well as dramatized portions, for which the series tapped into local voice talent from the Bronx’s community arts programs.

“It’s a love letter to the Bronx,” said Master, a composer who is also the founder and owner of Sound + Fission, a music and audio production company.

In a recent interview with Fordham student Jay Doherty, a co-host of WFUV’s What’s What podcast, Master described the story of the truce at the heart of Can You Dig It? as a manifestation of the Jesuit ideal of being people for others. “We applied that mantra by being a vehicle for a story that inspires people, that gives hope to others. That’s what this is all about. Black Benjie, Yellow Benjy, the Ghetto Brothers—they were men for others.”

The series comes at a moment when hip-hop is being celebrated not only as a revolutionary musical force but also as a vital part of New York City history. In June, the Bronx intersection of East 165th Street and Rogers Place was renamed Cornell “Black Benjie” Benjamin Way, making the site of the murder a landmark—and a reminder of the positive action that came out of the tragedy. In recent decades, Fordham has also been preserving hip-hop’s Bronx legacy, though efforts to recognize 1520 Sedgwick as the genre’s birthplace and through oral-history interviews with seminal figures such as Yellow Benjy and Kurtis Blow as part of the Bronx African American History Project.

“During this 50th anniversary of hip-hop, we hold the attention of the planet,” Chuck D told SPIN in June. “Now is the time to bring out the stories of people who paved the way for hip-hop and shaped its earliest days.”