It’s been called a venerable throwback, a hidden gem, a cathedral of college sports. Since its inaugural game in January 1925, ‘Rose Thrill’ has always been much more than a gym.

They don’t make them like they used to, you might say, and you’d be right. Consider Rose Hill Gym’s exterior walls. The builder’s “local gray stone” is likely a mix of Fordham gneiss and Manhattan schist—the ancient, gritty bedrock upon which much of New York City is built. Could there be a more symbolically apt building material for a Fordham icon?

Through the decades, the gym has been the site of countless athletic contests. It’s where students push themselves to excel—amid the roar of the crowd or just the echoey squeak of sneakers on hardwood. And it’s where generations have gathered for momentous events, from Fordham presidents’ welcome addresses (where many students and families first fall in love with the University) to unforgettable concerts, baccalaureate Masses, and award ceremonies.

As the gym turns 100, here’s a look at some of the many moments and people whose energy, camaraderie, grit, and grace have brought the building to life since 1925.

The strength of the Fordham athlete finds root in spirited competition, a strong will to win, forbearance in defeat, and tempered joy in victory.

John Francis “Jack” Coffey

Widely considered the father of Fordham sports, Jack Coffey, a 1910 grad, served as the graduate manager of athletics and baseball coach for nearly 35 years, overseeing the Rams’ rise to national renown, particularly in football.

When Coffey retired in 1958, Pulitzer Prize-winning sports columnist and fellow Fordham grad Arthur Daley wrote that Coffey always “seemed as much a part of the Fordham landscape as the university’s gymnasium.” He called Coffey “the soul of erudition,” not just a coach and administrator but “a friend, confidant, and advisor of … generations of athletes.”

Test Your Rose Hill Gym IQ

Rose Hill Gym has been the beloved stomping grounds of many a Ram. Do you know it well enough to knock out this quiz as quickly as the Fordham Flash* might have?

Check out the answers at the bottom of this story.

* Who’s the Fordham Flash? None other than Frankie Frisch, Class of 1920. Arguably the Fordham sports GOAT, he excelled in baseball, track, football, and basketball before going on to a Hall of Fame pro baseball career.

1. The gym was considered so big for its time that Rams called it …

• The Meadow
• The Prairie
• The Plains

2. When it opened, the gym boasted …

• Equipment for weightlifting
• Three 400-square-foot boxing rings in the basement
• A swimming pool, with cutting-edge machinery for filtering and purifying water

3. Which Fordham men’s basketball star was the latest to have his number retired and jersey hoisted to the gym’s rafters?

• Ken Charles
• Ed Conlin
• Charlie Yelverton

4. What did Cindy Vojtech do for a Rose Hill Gym encore after her stellar volleyball career?

• Sang the national anthem
• Joined the WFUV broadcast team
• Delivered a valedictory address

5. Which women’s basketball star’s buzzer-beater against Rhode Island inspired a SportsCenter anchor to kick off the night’s highlights from the “Boogie Down Bronx”?

• Anna DeWolfe
• Mobolaji Akiode
• Abigail Corning

Highlights in the History of the Rose Hill Gym

1925 Brought a Flurry to Fordham

Fordham was in the midst of “a million dollar year” when the Rose Hill Gym opened in 1925, declared the Maroon yearbook staff. In addition to the gym, they cited a new campus bookstore and seismic lab along with a new library that was halfway to completion.

But it was the gym that dominated the team’s attention: “The sight of its huge, though artistically proportioned bulk is quite enough to instill in every Fordhamite a full-grown superiority complex.”

Fordham leaders clearly had great confidence in the gym’s architect, Emile G. Perrot, who also designed what would become Duane Library. “Architecture,” Perrot once said, “is the incarnation in stone of the thought and life of the civilization it represents.”

Keepsakes Lie Behind the Cornerstone

When the gym’s cornerstone was laid on a Sunday afternoon in early November 1923, a copper box of treasures from those times was buried alongside it. A list in the Walsh Library archives documents the contents.

Some items speak to Fordham’s Catholic and Jesuit ties, among them a medal of St. Ignatius and St. Francis Xavier. There are U.S. stamps, coins, and a flag bearing 48 stars along with copies of New York newspapers from the day.

There is no mistaking the school pride of the collection’s curators. Included are the Fordham catalog, University seal and colors, a copy of The Fordham Ram, and photos of campus buildings and grounds.

Finally, recognizing the gym’s calling as a home for sports and community, the copper box boasts Fordham athletics schedules, popular University songs, and the athletic association’s constitution.

A treasure trove, indeed—one now more than a century old.

1925: The new gym opens, hosting its first basketball game on January 16. The Rams beat Boston College 46-16 in a contest refereed by former four-sport star Frankie Frisch, the Fordham Flash, then a second baseman for the New York Giants.

Coach Ed Kelleher’s “Wonder Fives” go on to win 85 games and lose only nine between 1924 and 1929, christening the gym in spectacular fashion.

1927: A record 6,000 fans turn out to see Fordham beat City College of New York on January 22, a crowd well beyond the gym’s current 3,200-seat capacity.

1936: Foul weather forces the football Rams to practice in the gym. The team’s nationally renowned line, the Seven Blocks of Granite, includes Fordham senior and future pro football icon Vince Lombardi.

c. 1940: Trainer Jake Weber operates out of the gym’s basement. A fixture at Fordham for more than three decades until 1942, he also trains U.S. Olympic teams and is known for his “magic elixirs” and “baking machines” used to soothe student-athletes’ sore muscles.

1943: Bob Mullens earns All-America honors and leads the Rams to their first appearance in the National Invitation Tournament. He goes on to play for the New York Knicks in their inaugural season (1946–47), and in 2019, Fordham retires his No. 7.

1953: In his third season as head coach, Johnny Bach, a 1948 grad, leads the Rams to their first NCAA Tournament berth. He goes on to become Fordham’s all-time winningest coach, compiling a 264-192 record in 18 seasons. He departs Fordham in 1968 and later joins the NBA. As an assistant coach, Bach helps lead the Chicago Bulls to three straight titles in the early 1990s and leaves an indelible mark on Michael Jordan, who calls him “truly one of the greatest basketball minds of all time.”

1964: Women’s basketball begins as a club sport after Barbara Hartnett Hall and several of her classmates pitch the idea. “We went to talk to the athletic director … and [he was]surprisingly open to it,” Hall, a four-year captain, later recalls.

1965: The gym is the scene of Kareem Abdul-Jabbar’s final high school game. Then known as Lew Alcindor, he leads Power Memorial to victory in the New York Catholic High School Athletic Association Championship on March 7.

Video: Watch highlights of the NBA legend’s standout performance in a packed Rose Hill Gym.

1966: The Beach Boys bring their surf rock to the Bronx on March 18, at the height of their popularity. The Lovin’ Spoonful is also on the bill.

On December 3, Simon and Garfunkel perform the first of their two concerts at the Rose Hill Gym, taking the stage for Winter Weekend. The following year, they return on October 13 to play Homecoming.

RELATED STORY: Rockin’ Rose Hill: A Look Back at Campus Concerts Since the ’60s

1967: Men’s basketball beats Iona on February 25 to launch a school-record 25-game winning streak in the gym. The home streak lasts until December 17, 1969.

The Supremes, featuring Diana Ross, perform in the gym on March 11. Future stars Gladys Knight & the Pips open the show.

1970: Women’s basketball debuts as a varsity sport, beating NYU in its first game.

“We started winning games we weren’t supposed to win, and you couldn’t get in the Rose Hill Gym. It was … a real happening. When that team played, it was New York City’s team.”

Frank McLaughlin, FCRH ’69, former longtime athletics director, on the magical 26-3 season of the 1970–1971 men’s basketball team. He was an assistant to head coach Digger Phelps that year, when the Rams rose to No. 9 in the national rankings.

1971: With gritty team play, men’s basketball captures the hearts of New Yorkers, packing the gym and selling out multiple games at Madison Square Garden on the way to a 26-3 record and a top 10 national ranking. The magical season ends with a loss to Villanova in the NCAA Tournament’s East Regional Semifinals.

RELATED STORY: ‘The Darlings of New York’: An Oral History of the 1970–1971 Fordham Men’s Basketball Team

1974: Women’s volleyball posts a 4-3 record in its first season.

1975: Eight years after his last performance in the Rose Hill Gym, singer-songwriter Paul Simon returns to tape a skit for the second-ever episode of Saturday Night Live. In the skit, which airs on October 18, he goes one-on-one with basketball great Connie Hawkins. Despite a 1-foot-4-inch height disadvantage, Simon pulls off the upset—and some deadpan comedy. “First of all, when my outside shot is on, it’s really on,” he says in a mock postgame interview with broadcaster Marv Albert.

1983: Men’s basketball upsets top-seeded Iona to win the Metro Atlantic Athletic Conference title.

1984: The Ramones play their hits in the gym on April 27. But basketball is also on the mind of NYC’s seminal punk band, according to concert committee chair Joe Cerra, then a Fordham senior. “[We] had to keep giving Joey Ramone updates on the Knicks game,” he recalled in a 2013 interview with this magazine.

1990: Jean Prioleau hits a buzzer-beating 3-pointer to lead Fordham to a 69-68 win over Seton Hall on November 29, spoiling Fordham grad P.J. Carlesimo’s return to Rose Hill as Seton Hall’s head coach.

Video: “Bang!” Fordham grad and Hall of Fame basketball broadcaster Mike Breen, FCRH ’83, makes the call as Prioleau hits the game-winning shot. Fans rush onto the Rose Hill Gym floor to join the celebration as Prioleau is carried off the court.

1991: Men’s basketball wins the first of two straight Patriot League titles.

1992: Women’s basketball claims its first Patriot League title, a feat the Rams would repeat in 1994.

2000: Volleyball star Cindy Vojtech becomes the first (and, to this date, only) Ram to earn three straight Academic All-America honors, picking up the awards in two sports. Following her senior volleyball season, she joined the women’s crew and helped lead them to a second-place finish at the Dad Vail Regatta in 2000.

She went on to earn a Ph.D. in economics and is currently a principal economist with the Federal Reserve in Washington, D.C., and a member of the Fordham President’s Council, helping to provide scholarship support to Fordham students.

2001: Fat Joe and Ashanti use the Rose Hill Gym in their “That’s Luv” music video.

2004: Fordham retires the No. 11 jersey of Ed Conlin, a standout player for the Rams who went on to a 10-year NBA career after graduating in 1955. “He played with a passion,” Conlin’s former Fordham coach, Johnny Bach, says at the ceremony. “We need people like Ed Conlin, people who love the game and who love Fordham.” He remains the men’s team’s all-time leading scorer (1,886) and rebounder (1,930).

2010: Fordham retires Anne Gregory O’Connell’s No. 55. A 1980 grad, she led the Rams to four consecutive postseason appearances and remains Fordham’s all-time leading scorer (2,548) and rebounder (1,999).

2012: Cardinal Timothy Dolan and Stephen Colbert meet in the gym on September 14 for “The Cardinal and Colbert: Humor, Joy, and the Spiritual Life.” The discussion, moderated by bestselling author James Martin, S.J., draws a crowd of more than 3,000 “cheering, stomping, chanting students,” The New York Times reports, calling it “the most successful Roman Catholic youth evangelization event since Pope John Paul II last appeared at World Youth Day” in 2000.

2014: Women’s basketball captures its first Atlantic 10 title and holds an NCAA Tournament selection show watch party in the gym. They would go on to win the title again in 2019.

2021: The rapper A$AP Ferg (now known as Ferg) headlines the November 4 “Late Night on the Hill” event that kicks off the 2021–2022 basketball season.

2022: Fordham hosts—and on November 22, the men’s basketball team wins—the first Konchalski Classic, an annual basketball tournament to honor the life and legacy of 1968 Fordham grad Tom Konchalski, one of the most trusted basketball scouts in the country. His four-decade career included assessments of Michael Jordan, Kobe Bryant, and LeBron James as high schoolers.

In February 2021, one day after Konchalski’s death at the age of 74, New York Knicks broadcaster Mike Breen, FCRH ’83, told viewers that while Konchalski “may not have been what’s called a household name, in basketball homes, he was legendary.”

“Tom was the most influential, the most respected, and the most loved high school basketball scout in the country,” Breen said. “He helped thousands of young men, thousands of high school basketball players, achieve their dreams of playing college basketball and beyond. And every single day, he did it with kindness and humility.”

On November 29, the gym floor is designated the Frank McLaughlin Family Court—a tribute to Frank McLaughlin, the 1969 grad and former basketball star who became a devoted coach and longtime athletic director.

2023: After raucous home crowds seem to will the men’s basketball team to a pair of impressive victories in January, head coach Keith Urgo coins a new nickname for the historic gym when he opens a press conference with five words: “How about Rose Thrill, man!”

RELATED STORY: The Rise of ‘Rose Thrill’: Fans Fuel Fordham Basketball Resurgence

2024: In September, the University unveils a new court surface featuring a prominent Fordham script wordmark set over the silhouette of a large Ram head.

Did we miss your favorite Rose Hill Gym moments?

Share your own Rose Hill Gym story on the Fordham athletics website celebrating the gym’s 100th anniversary.

Answers to the ‘Test Your Rose Hill Gym IQ’ Quiz

1. The Prairie 2. A swimming pool 3. Fordham retired Charlie Yelverton’s No. 34 in 2023. 4. Cindy Vojtech was the valedictorian of the Gabelli School of Business Class of 2000. 5. Anna DeWolfe hit the game-winner against Rhode Island on February 22, 2023.

VIDEO: Watch DeWolfe’s game-winning shot.

B.A. Van Sise was driving his young nephew to the Cherokee Heritage Center in Tahlequah, Oklahoma, several years ago when he heard Dwayne “The Rock” Johnson on the radio. The Moana actor was reflecting on his Samoan heritage. For years he had a hole in his heart, he said, because he didn’t speak the language of his maternal ancestors.

“I suddenly had this moment of epiphany,” Van Sise recalled.

Since graduating from Fordham College at Lincoln Center in 2005, Van Sise has worked as a photojournalist, artist, and author, but he studied linguistics at the University, and his degree is in both visual arts and modern languages. He took courses in Italian and Russian, and he also speaks French, German, and Ladino, an endangered language he learned from his mother and maternal grandfather growing up in New York.

“I realized I wanted to explore language in America,” he said. “​​What does American language look like?”

It’s more diverse than you might think.

The Resilience of America’s Endangered Languages

English has been dominant on the North American continent for centuries, subsuming other languages, “turning them upside down and shaking their pockets for loose vocabulary,” Van Sise said. And yet, “against unspeakable odds”—despite colonial forces, disease, cultural displacement, migration, and remixing—hundreds of Indigenous and diasporic languages exist in America.

Much of these languages’ variety and complexity is on brilliant display in Van Sise’s latest book, On the National Language: The Poetry of America’s Endangered Tongues, and in a solo exhibition at the Skirball Cultural Center in Los Angeles through March 2.

The book features speakers, learners, and revitalizers of more than 70 languages in the United States. From Afro-Seminole Creole to Zuni, each language featured includes a brief cultural summary. And each portrait is paired with a single, often hard-to-translate word designed to inspire Van Sise’s visual approach and “show off the poetry inherent in each language,” he said. “Fundamentally, it is not an ethnicity project. It’s about the poetry of languages.”

In that sense, it’s a sequel of sorts to Van Sise’s first book, Children of Grass: A Portrait of American Poetry (2019), and it bears a kinship to his portraits and essays about Holocaust survivors in Invited to Life: Finding Hope After the Holocaust (2023). Like Holocaust survivors he met, endangered language speakers and revitalizers are “obsessed with the future,” Van Sise said, “the future of their stories, their legacies, their own families, and the people who come after them.”

Van Sise initially thought he might photograph “the last speakers” of various languages, “a really colonialist idea that I’m slightly embarrassed of,” he said. But he ultimately focused on the many people and groups working to revitalize—and in some cases resurrect—these languages. He traveled to 48 states with pivotal support from the Philip and Edith Leonian Trust, he said, and worked with dozens of Indigenous and diasporic cultural organizations, Native tribes and nations, and the Tribal Trust Foundation.

And while he photographed a Bukhari speaker and a Judeo-Spanish singer in his hometown of New York City, most locations weren’t so easy to reach. “Endangered languages really do best in places that are remote and where communities can still speak to each other,” he said.

Striving for Balance

Laura Tohe, former poet laureate of the Navajo Nation, met Van Sise near the Superstition Mountains, two hours east of Phoenix. She had a turquoise dress made specifically for the photo session, and “God gave me the sky” to match, Van Sise said. His playful sense of humor is on display in the way he and Tohe depicted hózhó, or striving for balance, “an extremely famous concept in Diné,” the Navajo language, he said.

Whimsy is also evident in Van Sise’s portrait of former Houma chief Kirby Verret in Gibson, Louisiana. Verret and an alligator teamed up to show off the Houma French word onirique, or something that comes from a dream.

Van Sise spent nearly a week with Amish community member Sylvan Esh before Esh agreed to work with Van Sise on the photograph. Part of getting to know Esh included waking up at 4 a.m. several days in a row to milk his cows, Van Sise said. The Pennsylvania Dutch concept he ultimately depicted with Esh, dæafe, or to have permission to do something, is “extremely, unbelievably important in the culture,” Van Sise said.

A Movement to Revive Lost Languages

Amber Hayward, a member of the Puyallup tribe in Tacoma, Washington, chose the Lushootseed word ʔux̌ʷəlč, or the sound of saltwater waves washing onto the beach. Lushootseed once numbered 12,000 speakers along the Puget Sound “before going extinct approximately twenty years ago,” Van Sise writes. As director of the Puyallup language program, Hayward has aided its rebirth. It’s just one of several languages featured in the book that boast healthy revitalization programs.

Another is the Kalispel language, represented by Jessie Isadore. She recommended the word cn̓paʔqcín, or the dawn comes toward me, said Van Sise, who explained that Kalispel is one of several languages historically spoken in what is now Montana and Washington state that make no distinction between nouns and verbs. “The whole thing just becomes one idea,” he said. “There’s something really lovely about that.”

Nahuatl is one of few languages highlighted in the book that is not spoken primarily in the U.S., but Van Sise could not resist the Aztec language’s centuries-old tradition of making as big a poem as possible with a single compound word. He and Los Angeles–based folkloric dancer Citlali Arvizu (pictured at the top of the story) chose tixochicitlalcuecuepocatimani, or, you are bursting into bloom all over with stars like flowers.

Working with people like Arvizu to create “visual poems” in these languages is more than an artful way to document linguistic diversity. For Van Sise, the goal is to raise awareness and inspire further education and preservation.

“I can’t do much to make the Haida language revitalization program more robust,” he said, picking just one example. “But I can provide the sizzle for the steak.”

8 Uncommon Words to Spark Your Interest in Endangered Languages

B.A. Van Sise’s book On the National Language features conceptual portraits of more than 70 speakers, learners, and revitalizers of endangered languages in the U.S. Each image is inspired by a single word in the speaker’s language, one that isn’t always so easy to translate into English. He hopes readers might “find one impossible word, and want to learn another and another.” Here are eight.

tekariho:ken
between two worlds
Mohawk

kapará
worse things have happened
Judeo-Spanish, or Ladino

puppyshow
showing off behavior
Afro-Seminole Creole

amonati
something you hold and keep safe for others
Bukhari

koyaanisqatsi
nature out of balance
Hopi

ma’goddai
feeling when the blood rises that makes you act both violently and lovingly
Chamorro

opyêninetêhi
my heart is taking its time
Sauk

uŋkupelo
we are coming home
Lakota

An Essay by Afrika Owes, Fordham Law School Class of 2024

When I returned to jail this past summer, I lost a bet I made with a correction officer in 2011—that I would never set foot in Rikers again. Back then, I also wrote in my journal that I’d become a lawyer. I kept that pledge. As I walked through those familiar halls, this time as an invited speaker, I recalled the number they once gave me: ‍6001100148. That number stripped away who I was. It was a constant reminder that I was just a body, a statistic, a faceless soul among hundreds in a system designed to forget me. But that number couldn’t erase my name, my identity, my aspirations.

I returned to Rikers in July to talk with young women at the Rose M. Singer Center, where I had been incarcerated at 17. In their eyes I saw the same fear, the same sadness, and the same yearning for hope that mine had reflected 13 years earlier. I had been one of them, convinced that a bright future wasn’t something I deserved. But now I stood before them not as ‍6001100148 but as a woman who had fought like hell to reclaim her name and her power.

Less than 10 miles from where I served my six-month sentence, Fordham Law School was integral in that battle. Drawn to the University by the support and leadership of the Black Law Students Association, whose president went so far as helping me with my law school application, I soon found mentors who believed in me and opportunities that led to my success.

At Rikers that day, I told the women the truth: The system wasn’t built to rehabilitate them. It would try to break them. I had been where they were—lost, angry, ashamed, and hungry for love. My life felt like a series of small deaths. Every court date that got pushed back, every visit that never came, every letter that went unanswered. I feared I would never be seen as anything more than that number.

But what I didn’t know then, and what I needed them to understand, was that resilience—the kind that carries you through—isn’t found in the world around you. You build it within yourself, piece by piece. As I studied for the GED and SAT exams in my cell, I wasn’t just chasing a way out; I was keeping hope alive.

Hope was something no one could take from me, and it’s something I urged the women to hold on to as well. Though fragile, their hope was their power. Together with strength and purpose, it could propel them forward.

I shared the darkest parts of my journey: The nights I cried alone in my cell. The moments I thought my life was over. How after my release, the world didn’t suddenly open its arms to me. Bank accounts were closed, job offers rescinded. I was rejected again and again.

But every time someone told me “no,” I told myself “yes.” Every time the world tried to reduce me to my mistakes, I dared to believe that I was more than my past. And with each step forward, I built a new life—a life that no one ever expected me to have.

As I spoke, I watched their faces. Some were stoic, guarded, skeptical. I get it—hope is dangerous when the world has only ever let you down. One young woman, tears in her eyes, stood up and shared that she had passed her GED. She hadn’t thought it was a big deal—until that day. She realized how powerful that achievement truly was. In her, I saw my younger self—the girl who once thought she had nothing left, but now, standing before them as a lawyer, knew that she was unstoppable.

As I departed, I didn’t feel lighter. I felt the weight of the women I met, the lives they still had to live, the battles they would face. But I also felt hope. I made a promise—to myself, to those women, and to every girl who has ever been buried by the weight of the world: That world may feel impossible, but its soil is where you’ll grow.

Even within the coldest of concrete of Rikers Island, a rose will find its way to the light. Hope, like a rose breaking through concrete, defies the odds. It grows where it shouldn’t. And once it blooms, it transforms everything around it—quietly, relentlessly, and without permission.

—Afrika Owes is a 2024 Fordham Law graduate and a first-year law clerk in the tax practice group at Davis Polk & Wardwell.

Today, as the administrator for the parkland along the Bronx portion of the river, Martinez oversees a vibrant collection of green space that offers everything from canoe tours to dolphin sightings.

As a political science major at Fordham, Martinez dreamed of a career in politics. He interviewed with New York City Council member Phil Reed after graduating in 1996, and Reed passed his resume along to Tim Tompkins, who had recently founded Partnerships for Parks—a nonprofit dedicated to connecting the city’s communities with their public parks through volunteering opportunities.

Martinez worked for the organization for 17 years, many of which were spent as an outreach coordinator for Bronx parks that he says were neglected over the years. “It was an opportunity to give people the ability to fight for change in their neighborhood,” he said.

After a period working in the Parks Department’s personnel division, Martinez landed his current job. He manages a staff of city employees and partners with the nonprofit Bronx River Alliance to help restore and protect the river, and to engage the community in activities centered around the water.

“You have this unique feature running through the Bronx that a lot of people don’t think about,” he said. “I see myself in the role of connecting people to the river and helping them navigate the system—showing what they can contribute and how they can also benefit from it.”

And his message for those who haven’t visited the Bronx River?

“Take advantage of this natural resource. And once you do, spread the word and let people know that it’s here and experience all it has to offer.”

A decade ago, Fordham officially became a “changemaker campus.” But the changemaking impulse has been at the heart of a Fordham education for generations. Read more about other Fordham changemakers.

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“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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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.

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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.

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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.

On Sunday evening, the show won the Emmy Award for Outstanding Scripted Variety Series—its ninth win in a row—and as senior writer on the show, Vali took home his eighth Emmy for Outstanding Writing for a Variety Series, a dynastic run of critical success that he calls “humbling.” The show, which each week takes an irreverent deep dive into a broad range of issues like net neutrality, televangelism, and predatory lending, also earned Vali a prestigious Peabody Award in 2018. Fordham Magazine spoke with the 2010 Fordham College at Rose Hill grad about the role comedy plays in tackling big issues, why Oliver is so good at what he does, and, naturally, the thrills of ice climbing.     

What are some of the big differences you encountered going from a print/digital publication to working on a weekly TV show?
I think the biggest thing is that here, there’s such a heavy research element to the show. Obviously we did research at The Onion, and we wanted things to be accurate in the world of the stories, but we weren’t really consulting experts from Harvard about anything.

To give you a rundown of how we make a story, a topic is pitched and the research team will compile a document that can be 100 pages, like “I’ve talked to people at Boeing, I’ve talked to people who are experts in aviation at various universities.” And meanwhile, the footage department will compile documentaries and news reports, all sorts of footage, as well as funny clips that we could potentially use. Most stories here are a four- or five- or six-week process.

Another element I’m really interested in is that you’re writing for a specific person—a specific voice—in John Oliver. How did you get used to writing things for his particular delivery?
It was its own bit of a learning curve. But then once you know where the boundaries are and what works and what doesn’t, you can just have fun.

To John’s credit, I think he does a great job of adopting elements of our comedic voices as writers. So there are definitely jokes where he’s obviously speaking as himself, but I am injecting my comedic sensibility in there as well, and he is manifesting that. It’s a cool two-way street where we’re writing for his voice, but he is also giving us the freedom to write in our own voices and he will find his own way to perform it.

How would you describe what makes something funny coming from him?
He has a humongous comedic range, which is why I think he’s able to manifest different writers’ voices. I always write long runs with him being obsessive over weird things, where he’ll zero in on some weird esoteric thing that is only tangentially related to the topic of the show and talk about it for six minutes—where he’ll be really into weightlifting or really into horses or really into aquatic life. Those are always really fun for me. I feel like it gives us the opportunity as writers to obsess over those topics.

While it’s not necessarily focused on electoral politics, Last Week Tonight is certainly a political comedy show in some ways. What do you see as the societal role of that style of comedy?
I think everyone falls on a different spot on that map of making people laugh versus taking a more activist approach towards what you’re writing. The kind of comedy and satire that I find to be the most effective is when you’re talking about something that’s a really difficult issue, but you’re finding a moment of catharsis that everyone can collectively feel.

I don’t know if we’re going to change anyone’s mind on anything. I’m guessing that most of the people who watch this show are probably more politically aligned with us than not. But I do think if you can make them think about something in a way that they hadn’t before, that’s a success. And if you can do that while making them laugh and entertaining them—that’s what I strive to do.

One thing that I think is smart about the show is that there are often built-in calls to action—and some of those are really funny calls to action that speak to the absurdity of a situation.
Totally. And I think we like highlighting things that are maybe on the more boring side or technical side of politics—something as technical as gerrymandering or zoning. It’s cool to put a magnifying glass on things that can go under the radar but that are actually really important.

Between seasons, I’m sure there’s a lot of work being done, but presumably you have at least a little bit of a break there. How do you spend that time?
Yeah, we usually get about seven or eight weeks between seasons. It’s really nice to have a break to decompress and work on my own personal writing. And I also really like ice climbing, so I go to western Colorado and ice climb for a few weeks, which is always fun.

Oh wow, ice climbing?!
Yeah, I started getting into it around 2019. I tried it for the first time and I started getting super into it. There’s a place in southwestern Colorado called Ouray that actually has an ice climbing park. It’s a gorge that they water and they actually make ice on it. I’ve been going there for a few weeks every year for the last few years. Just getting to play in this ice wonderland for a few weeks is a nice way to decompress after the season, and then I feel like I’m rebalanced and ready to go for the new one.

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

They step in unison, arms pumping down in front of them like pistons. They kick a leg out and, exactly on the six-count, spin 90 degrees to repeat their march. Then again, another 90 degrees, before launching off the ground for a spin. Floor-to-ceiling windows frame their movements with views of West 55th Street and Ninth Avenue, where cars, buses, and pedestrians are engaged in their own choreography, sometimes slowing to take in the studio scene. There’s no music inside—only footsteps, hard breathing, and shouted notes of correction and encouragement.

The dancers are seniors in the Ailey/Fordham BFA in Dance program, which is celebrating its 25th year. They’re in the Joan Weill Center for Dance in Manhattan—home of the Ailey School, five blocks from Fordham’s Lincoln Center campus—rehearsing teacher and choreographer Earl Mosley’s Running Spirits (Revival and Restaging) for the program’s annual benefit concert in mid-April.

In another ground-floor studio about a month before the concert, first-year students take West African Dance with Imani Faye. As a drummer slaps out a beat on a djembe, Faye guides the students through their own performance piece, Den-Kouly (Celebration), with its traditional Tiriba and Mané dance styles from Guinea.

As the students work to nail the choreography, they’re also grappling with bigger, more complex movements. For the first-years, it’s the culmination of nine months spent testing themselves, body and mind. Are they able to balance a rigorous dance training program and a rigorous academic curriculum? And for the seniors, it’s a time of final exams and frequent auditions. Are they ready to secure their place in the professional dance world?

Carrying on the Legacy of an American Dance Pioneer

The idea for a best-of-both worlds BFA program—top dance training and top academics in New York City—came several years before the first class arrived in the fall of 1998. Edward Bristow, then dean of Fordham College at Lincoln Center, struck up a conversation with Ailey School director Denise Jefferson in line at the West 60th Street post office. He believed Fordham could do more to make its presence felt “at the center of the arts world,” and Jefferson was interested in building a college degree program for Ailey dancers. “We knew that given our strengths, we could pull off something special,” he recalled.

Today, the program is led by Melanie Person, co-director of the Ailey School, and Andrew Clark, a Fordham professor of French and comparative literature who had served as an advisor to many BFA students before succeeding Bristow as co-director in 2023. Through their leadership, the Ailey/Fordham students are staying true to the vision set forth by Bristow and Jefferson, who died in 2010. They’re also upholding the legacy of Alvin Ailey himself, a towering figure in modern dance.

Ailey founded his namesake dance company in 1958, when he was 27 years old. His story and the story of the company he founded are inextricable from the histories of Black art in America and the Civil Rights Movement. At a time when Black dancers found it next to impossible to make a career through their craft, Ailey created a home for them. Since its inception, the Alvin Ailey American Dance Theater has become not only one of the most successful Black-founded arts institutions in the United States but also one of the premier modern dance companies in the world, described in a 2008 congressional resolution as “a vital American cultural ambassador to the world.”

Texas native Antuan Byers, FCLC ’17, is one of many BFA students and alumni who say they were drawn to the program after seeing the company perform during their formative years. “I attended my first Alvin Ailey performance my senior year of high school, in that moment of still being on the fence about where I wanted to go to school,” said Byers, who was a member of Ailey II, the company’s junior ensemble, and now dances most frequently with the Metropolitan Opera. “After seeing the Ailey company, it all became clear.”

For many Black students in the BFA program, Alvin Ailey’s legacy serves both as an inspiration and a reminder of the challenges that dancers of color have faced. It’s hard to miss that legacy when you’re inside the Weill Center, with its walls lined with photos and ephemera spanning seven decades.

“Every day I try to use the weight of his legacy to further encourage me and push me in my craft,” said Naia Neal, a rising senior from Santa Cruz, California, who earned the program’s Denise Jefferson Memorial Scholarship and is pursuing a minor in math. “Alvin Ailey loved to dance, but he also understood that dance should be for everyone. He made it known that everybody deserved to be there.”

The dance landscape looks a good deal different today than it did in 1958. Black choreographers like Kyle Abraham and Camille Brown have had their work performed by New York City Ballet and the Metropolitan Opera; Black dancers are members of most major companies in the United States; and Black administrators are artistic directors at places like Pacific Northwest Ballet and Philadanco. But on many stages, Black dancers are still underrepresented, and for many students of color, a place like the Ailey School still functions as a home where they can chart a professional path.

“Something about being here has opened up a completely different relationship with me and what I add to different spaces and what it means to be a Black dancer,” said Carley Brooks, a rising Ailey/Fordham senior from Chicago pursuing a minor in communication and media studies. “The [Ailey] building allows me to feel so comfortable and confident in my body and what I have to present.”

Developing the Whole Dancer

If one thing defines the Ailey/Fordham experience, it’s the need to find balance within a hectic schedule. All students take ballet every semester, a way to keep them grounded in classical technique, and in their first year, they also take West African Dance and begin training in either the Horton technique or Graham-based modern dance. They also have foundational classes like Improvisation, Body Conditioning, and Anatomy and Kinesiology. And they take two Fordham core curriculum classes each semester, including first-year staples like English Composition and Rhetoric and Faith and Critical Reasoning.

In their sophomore year, students decide if they want to pursue a second major or a minor. It’s a decision they don’t make lightly, as it comes with extra coursework, but for many students, it’s a way to help them plan for careers beyond performing—and to infuse their dance practice with outside influences. That year, they also take Composition, and for many of them, it’s the first time they formally work on their own choreography—a complex process, with varying notation systems and a good deal of trial and error.

As juniors, the students continue to branch out intellectually. In the Ailey academic class Black Traditions in Modern Dance, they engage with history while also thinking about the artistic choices involved in a performance. Meanwhile, in Fordham classrooms, many begin fulfilling the requirements for a second major.

They also have a chance to become mentors to their first-year counterparts. Jaron Givens, a rising senior originally from Prince George’s County, Maryland, who is majoring in both dance and environmental studies, has relished the opportunity to pay forward the mentorship he received during his first year. He took part in the Ailey Students Ailey Professionals mentorship program, which pairs students with Ailey company members. Givens met with Courtney Celeste Spears, FCLC ’16, who he said “facilitated a space where I was able to be vulnerable … and showed me how much Ailey cared.”

The Ailey School has been working with Minding the Gap, an organization that offers mental health services to dancers. The hope is to give students as much access to mental health support as they have to things like on-site physical therapists at the Weill Center. On the Fordham side, faculty describe a similar focus on students’ well-being. “I try to … get a sense of what their concerns are, what they’re enjoying, and what they’re struggling with,” Clark said. “That’s where you really get a sense of the whole person and you have the ability to help out.”

There’s also a natural level of camaraderie that comes from spending so much time with fellow BFA students, both in dance classes and often in academic ones. “For us, it’s not a competition,” said Sarah Hladky, a rising junior who is majoring in English as well as dance. “Ailey very much emphasizes the fact that there is a space for everyone. And so even if people come in feeling like they need to prove themselves, at the end of the day you leave being like, ‘No, I am the dancer that I am, and you are the dancer that you are. And we can coexist and really make a great environment for each other.’”

While a sense of community is integral to the Ailey/Fordham experience, students are well aware that they’re training for a highly competitive profession. The postgrad goal for many of them is to join a dance company full time—with the Alvin Ailey American Dance Theater and Ailey II often at the top of the list. Many alumni earn a spot in those companies and others such as Dance Theatre of Harlem, the Martha Graham Dance Company, and the Radio City Rockettes. Others regularly appear on Broadway stages and in film and TV productions. But a benefit of their Fordham studies is that they graduate prepared for any number of career paths.

“My education at Fordham was instrumental in my formation as an artist and businesswoman, providing me with a depth of knowledge, curiosity, and appreciation for many subjects that gave me a foundation to build on,” said Katherine Horrigan, a 2002 graduate who went on to dance with Ailey II, Elisa Monte Dance Company, and a number of other companies around the world before launching a dance academy in Virginia.

Spears encourages Ailey/Fordham students to “build your academic resume as much as you build your dance resume.” She said the program expanded her ideas of what she could do as an artist and a leader. She began dancing with Ailey II in 2015, her senior year, and moved up to the Alvin Ailey American Dance Theater before deciding in 2023 to focus full time on ArtSea, her arts organization in the Bahamas. “I think if you focus on having viable options and stretching how many different places you are able to impact, you then have the mountaintop,” she said.

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For Samar Haddad King, a 2005 Ailey/Fordham graduate, a composition class with Kazuko Hirabayashi was so transformative that she decided to focus on choreography. For her class’s senior concert, she premiered an original piece, and the following year, with her BFA classmate Zoe Rabinowitz, she co-founded the company Yaa Samar! Dance Theatre, based in both New York City and the West Bank. Nearly 20 years later, they have brought their work to 17 countries around the world.

Rabinowitz has carved out her own unique path since graduating in 2005. While she still dances in Yaa Samar! and elsewhere, her role as the company’s executive director builds upon several post-college jobs in arts administration, and she has also taught yoga and Pilates throughout her career. Acknowledging the finite amount of time most people can dance professionally, she said it’s important for young dancers not only to develop academic interests but also to take an expansive view of the dance world.

“Finding the things that you enjoy doing—the passions and the strengths that you have cultivated inside and outside of your dance training—and finding ways that you can do those things to implement jobs and create sources of income is going to be critical for most people,” Rabinowitz said, adding that dancers are known as great team members across industries. “Recognize that you come with a really strong skill set and work ethic, and that you have the capacity to do a lot of things.”

Person, the Ailey School co-director, echoed that sentiment. “The skills that they acquire as dancers are going to be transferable in any aspect of their lives. With the Fordham degree and their strong academics, they’re well situated to exist in the world.”

Whatever part of the dance or professional world they end up in, Ailey/Fordham alumni often maintain the close bonds they shared as undergraduates, and now there’s an additional way for them to stay connected. Ahead of the program’s 25th anniversary, Byers and Maya Addie, a 2021 graduate who is a member of the Radio City Rockettes, learned about Fordham’s affinity chapters—alumni communities formed around shared interests, past student involvement, or professional goals. They decided to start one for Ailey/Fordham BFA graduates.

“It’s a personal goal of ours to bring together our alumni because we have such a wealth of knowledge in that group,” Byers said. “In dance but also in our incredible business owners, or folks working in politics, folks working in finance, people teaching, people with kids. We see this 25th anniversary as an opportunity for us to really build an alumni program with all that excitement and energy.”

A Performance to Mark Endings and New Beginnings

On the evening of the spring benefit concert, after a cocktail reception on the sixth floor of the Weill Center, family, friends, and fans of the BFA program made their way to the Ailey Citigroup Theater on the building’s lower level. Following a brief video highlighting the history and mission of the program, Neal kicked off the evening’s performances with The Serpent, a solo piece choreographed by Jonathan Lee. To the pulsing beat of Rihanna’s “Where Have You Been,” she gave a high-energy performance that incorporated styles ranging from modern and hip-hop to voguing. Unlike the more restrained audience traditions one might see up the street at Lincoln Center for the Performing Arts, the audience cheered throughout the piece.

That energy level, both onstage and in the crowd, continued with the first-year students’ West African piece, Den-Kouly (Celebration), featuring vibrant costumes and jubilant movement. The sophomores performed an excerpt from the more ballet-centric For They Are Rivers, choreographed by Becky Brown, and the juniors danced an excerpt from Darshan Singh Bhuller’s athletic, abstract Mapping. Three Ailey/Fordham alumni—Mikaela Brandon, FCLC ’19; Naya Hutchinson, FCLC ’21; and Shaina McGregor, FCLC ’18—came back to dance alongside Neal in Four Women, choreographed by senior student Baili Goer.

The final performance of the night, appropriately, belonged to the seniors. Since that March rehearsal of Running Spirits, Mosley had revealed to the students the meaning behind the piece, which he first choreographed for a group of preteen boys at a summer program in Connecticut in the late 1990s. At the time, he explained, he was dealing with a group of rambunctious kids who loved to run around—and whose parents thought of them as “little angels.” It made him imagine a scene in which a group of angels, who get around via running instead of flying, are all gathering in the morning to plan out their work agenda for the day.

“When I tell dancers that’s what it’s about,” Mosley said, “they always laugh because they’re like, ‘Really? That’s all? So we’re just literally getting ready to go to work?’ I’m like, ‘Yeah, you’re just getting ready to go to work.’”

It’s a playful piece, but the version Mosley created for these graduating dancers is one that requires strong technique and collaboration, and features impressive jumps, lifts, and, as the title suggests, speed. There was a sense of mischief onstage, an almost conspiratorial glee to the movements. That tone felt appropriate considering all the students had been through in their nearly four years together, from beginning the program at the height of the COVID-19 pandemic to trying to wrap up their final semesters while planning for the future.

“This past year has probably been the most challenging in terms of juggling my schedule,” said Meredith Brown, a dance and economics double major from Asheville, North Carolina. “Because I’m also auditioning and making sure that I’m taking care of myself and enjoying the city and taking advantage of all these wonderful things.”

Brown and her fellow 2024 graduates are in a better place to manage those competing demands than they were four years ago—not only more experienced but also more confident.

“When I think about my first year, there was a lot of imposter syndrome,” said Abby Nguyen, a 2024 grad from the Bay Area who double majored in dance and psychology. “There was this constant feeling like I needed to prove myself, that I needed to prove that I was good enough to be here. But ultimately, you are here, and you are good enough to be here—or else you wouldn’t be in the building.”

The dancers’ growth has also been visible to Person, who recalled the challenges the Class of 2024 faced starting college during the pandemic. “I was watching them rehearse the other day, and I think they really came together as a class,” she said. “I think they relied on each other to push through this, honestly. … I think it gave them this inner strength that they might not have even recognized that they have.”

And while challenges certainly lie ahead—auditions, demanding dance jobs, the threat of injuries, and more—Mosley believes this group of graduates is ready to face them.

“They give me the energy like, ‘Oh, I know I’m going to do something,’” he said. “‘There’s
no doubt, I’m going to do something.’ This group as a whole is all about it.”

“Artists are entrepreneurs. We are our own business.” That’s what Fordham Theatre grad Marjuan Canady, FCLC ’08, says when she teaches creative entrepreneurship at places like Georgetown University and NYU. Her words ring true for many Fordham alumni who have cut a professional path with their arts and business acumen.

“There’s creativity in everything that is going on in the room, whether it’s the business side or the actual creative side,” said Canady, who founded Sepia Works, a multimedia production company, and Canady Foundation for the Arts, a nonprofit that creates educational and career opportunities for youth of color by connecting them with professional artists. “That’s what makes it fun.”

SaVonne Anderson, FCLC ’17

Founder and Creative Director, Aya Paper Co.

After graduating from Fordham in 2017 with a degree in new media and digital design, SaVonne Anderson worked at the Studio Museum in Harlem, where she had interned as a student. Being around inspiring art got her gears turning, and she decided to start her own greeting card and stationery business, Aya Paper Co., in 2019. The following year, she decided to focus on Aya full time. Since then, her work has been featured in Time, Allure, and Forbes magazines, and carried in stores like Macy’s, Nordstrom, and Whole Foods. And while it can be difficult to balance her design and illustration work with the demands of running a business and the challenges of parenting a toddler, Anderson feels it’s all worth it.

Martha Clippinger, FCRH ’05

Artist and Designer

Like many textile artists, Martha Clippinger, FCRH ’05, was greatly influenced by the Gee’s Bend collective, a group of African American quilters whose work she first saw at the Whitney Museum as a Fordham student. “It ignited a desire to explore color and shape and rhythm,” she says. More than 20 years later, Clippinger has made a career out of that artistic exploration, displaying her work in museums, galleries, and corporate collections, and selling bags, rugs, and tablet covers on her website. Some of those items are woven by her professional partners in Oaxaca, Mexico, where she spent time on a Fulbright-Garcia Robles grant in 2013.

Katte Geneta, FCLC ’06

Founder, Narra Studio

Katte Geneta grew up thinking she was going to become a doctor. But when she arrived at Fordham and took a fine arts class, she discovered a talent for drawing. After graduating in 2006, she exhibited her paintings and later pursued a master’s degree in museum studies at Harvard. Soon, she took up weaving—the smell of oil paint made her nauseous while she was pregnant. Motivated by a conversation with a weaver in the Philippines who was hoping to find broader exposure, she started Narra Studio. The studio sometimes designs goods and sometimes just works on distribution. It partners with upward of 15 weaving communities in the Philippines and sells the pieces—from jewelry and blankets to jackets and traditional barong tops—through its website and at markets.

Bryan Master, FCRH ’99

Composer; Founder and Executive Producer, Sound + Fission and Partner in Crime Entertainment

Bryan Master has been writing and playing music for as long as he can remember—he apologizes to any Fordham neighbors who may have heard his frequent drumming at Rose Hill. But when he graduated in 1999 with a degree in communications, his passion took a backseat to his job in advertising—until 2022. That’s when his side hustle—a music, production, and creative services company called Sound + Fission—became a sustainable, full-time endeavor, thanks, he says, to a boom in audio storytelling listenership. Along with his other company, Partner in Crime, which focuses on creating and developing series, Sound + Fission was behind Can You Dig It?, an original Audible series about the birth of hip-hop that featured narration from Public Enemy’s Chuck D.

Courtney Celeste Spears, FCLC ’16

Co-Founder and Director, ArtSea

Courtney Celeste Spears had achieved many of her dreams as a dancer: She began dancing with Ailey II—Alvin Ailey American Dance Theater’s second company—while she was still a student in the Ailey/Fordham BFA in Dance program, and she joined the main company in 2018, two years after graduating. Last summer, though, she made the leap to devote herself full time to ArtSea, a Bahamas-based arts organization she founded with her brother, Asa Carey, in 2017. Now living on the island, where she spent time visiting family as a child, Spears works to bring high-level dance education and entertainment to the Caribbean and expose young artists to the wider dance world.