Since the 1970s, Fordham students have been studying and contributing to the spirit of innovation and community renewal that has come to define what it means to be a Bronxite.

Fifty years ago, a new art form burst forth on the streets of the Bronx, born from rich musical traditions and a spirit of innovation in neighborhoods of color ravaged by deindustrialization and written off by most of the country. In the ensuing decades, the Fordham community has not only studied and celebrated hip-hop as a revolutionary cultural force but also helped preserve its Bronx legacy—through efforts to recognize the apartment building at 1520 Sedgwick Avenue as the genre’s birthplace, and through oral-history interviews with some of hip-hop’s seminal figures.

“I think the lesson is, let’s explore, interrogate, and embrace the cultural creativity of our surrounding areas because it’s unparalleled,” said Mark Naison, Ph.D., professor of African and African American studies and founding director of Fordham’s Bronx African American History Project.

Naison teaches a popular class, From Rock and Roll to Hip-Hop, that draws on artists like Cardi B, Nas, and Run-DMC to understand the music and its part in U.S. history—and to explore issues he’s spent his career teaching. “I’m not a hip-hop scholar,” he said. “Rather, I’m someone who works to have community voices heard.”

And just as the music has evolved over the past 50 years, so have efforts to revitalize the borough and tell the stories of its residents.

Challenging ‘Deeply Entrenched Stereotypes’

Amplifying community voices is at the heart of the Bronx African American History Project (BAAHP). Fordham launched the project in 2002, at the request of the Bronx County Historical Society, to document and preserve the history of Black people in New York City’s northernmost borough. Naison and his team of Fordham students, faculty, and community historians have spoken with hip-hop pioneers like Pete DJ Jones and Kurtis Blow, but the project is much broader: The archive contains verbatim transcripts of interviews with educators, politicians, social workers, businesspeople, clergy members, athletes, and leaders of community-based organizations who have lived and worked in the Bronx since the 1930s. The archive, which also includes scholarly essays about the Bronx, was digitized in 2015, making the interviews fully accessible to the public.

“Starting by interviewing a small number of people I already knew,” Naison wrote in Before the Fires: An Oral History of African American Life in the Bronx from the 1930s to the 1960s (Fordham University Press, 2016), “I stumbled upon a large, passionate, and knowledgeable group of people who had been waiting for years to tell stories of communities long forgotten, communities whose very history challenged deeply entrenched stereotypes about Black and Latino settlement of the Bronx.”

For Naison, the project highlights how the borough, defying the odds, rebuilt neighborhoods following the arson of the 1970s and the crack epidemic of the 1980s. The neighborhoods, with lower crime rates, saw community life flourish again, and in recent decades, the Bronx became a location of choice for new immigrants to New York. BAAHP research includes interviews with Bronxites from Ghana, Nigeria, Mali, Sierra Leone, Guinea, and Burkina Faso, among other nations. It gives voice to growing, diverse immigrant communities that have enlivened Bronx neighborhoods where Jewish, Irish, Italian, Puerto Rican, and Dominican people lived before them. “The Bronx is this site where people mix their cultures and they create something new,” Naison said. “It makes this a lot of fun to study.”

Shaping Global Perceptions

Brian Purnell, Ph.D., FCRH ’00, helped facilitate at least 50 BAAHP interviews from 2004 to 2010, when he was the project’s research director. He said the archive is useful for anyone studying how cities have changed over the decades.

“I hope people use it to think differently about the Bronx, to include the Bronx more deeply and broadly in urban studies in the United States,” said Purnell, now an associate professor of Africana studies and history at Bowdoin College, where he uses the Fordham archive in his own research and in the classroom with his students. “I hope that it also expands how we think about Black people in New York City and in American cities in general from the mid-20th century onward.”

Since 2015, when the BAAHP archives were made available online, the digital recordings have been accessed by thousands of scholars around the world, from Nairobi to Singapore, Paris to Berlin. Peter Schultz Jørgensen, an urbanist and author in Denmark, has been using information from the digital archive to complete a book titled Our Bronx!

“Portraying and documenting everyday life in the Bronx, as it once was, is essential in protecting the people of the Bronx from misrepresentation, while at the same time providing valuable knowledge that can help shape their future,” he said. “Just as BAAHP gathers the web of memory, my book is about the struggles that people and community organizations have waged and are waging in the Bronx. And more important, and encouraging, it talks about how they are now scaling up via the Bronxwide Coalition and their Bronxwide plan for more economic and democratic control of the borough.”

Championing Bronx Renewal

The movement Jørgensen describes is one in which members of the Fordham community have long played key roles, according to historian and journalist Jill Jonnes, author of South Bronx Rising: The Rise, Fall, and Resurrection of an American City. In the mid-1980s, when she published the first edition of the book, Bronxites were just beginning to reverse the toxic effects of long-term disinvestment and arson that had ravaged the borough.

“Today, we far better understand the interplay of blatantly racist government policies and private business decisions … that played a decisive role in almost destroying these neighborhoods,” Jonnes wrote in a preface to the third edition of South Bronx Rising, published last year by Fordham University Press. “Even as fires relentlessly spread across the borough—as landlords extracted what they could from their properties regardless of the human cost—local activists and the social justice Catholics were mobilizing to challenge and upend a system that rewarded destruction rather than investment.”

One of those Catholics was Paul Brant, S.J., a Jesuit scholastic (and later priest) who arrived at Fordham’s Rose Hill campus in the late 1960s to teach and to pursue graduate studies in philosophy. At the time, faith in the viability of cities was at a low point. Deindustrialization, suburbanization, and two decades of studied underinvestment had taken their predictable toll. The Bronx was experiencing the worst of it, and the people who lived in its neighborhoods were demonized as the cause of the problems.

Brant, who died in May 2023 at the age of 82, wanted to understand what could be done. He earned a spot in New York City’s prestigious Urban Fellows program, meant to harness ideas for a city in crisis. Gregarious and forceful, yet able to work diplomatically, he had the backing of Fordham’s president at the time, James Finlay, S.J., to serve as the University’s liaison to the Bronx. With other young Jesuits, he lived in an apartment south of campus, on 187th Street and Marion Avenue, gaining firsthand insight into the scope of neglect and abandonment afflicting the borough.

“Paul felt, well, look, there’s a lot of people still in these neighborhoods. It’s not inevitable that everything gets worse,” said Roger Hayes, GSAS ’95, one of Brant’s former Jesuit seminary classmates. “What are we going to do?”

Long conversations with Hayes and Jim Mitchell, another seminary friend, convinced Brant that solutions to the Bronx’s problems would come by directing the power of the people themselves. In 1972, they formed a neighborhood association in nearby Morris Heights. They used relationships within the parish to confront negligent landlords. Seeing nascent successes there, they moved to launch a larger group.

In 1974, Brant convinced pastors from 10 Catholic parishes to sponsor an organization to fight for the community, and the Northwest Bronx Community and Clergy Coalition (NWBCC) was born. The group expanded to include Protestant and Jewish clergy—membership was always nonsectarian—and went on to train leaders in hundreds of tenant associations and neighborhood groups, including the University Neighborhood Housing Program, which Fordham helped to establish in the early 1980s to create, preserve, and improve affordable housing in the Bronx, and which has been led for many years by Fordham graduate Jim Buckley, FCRH ’76.

All of these groups were knit together across racial lines and around share interests during the worst years of abandonment and destruction. When they learned that rotten apartments had roots beyond individual slumlords, they picketed banks for redlining, the practice of withholding loans to people in neighborhoods considered a poor economic risk. Before long, Bronx homemakers and blue-collar workers were boarding buses to City Hall, demanding meetings with commissioners and testifying at the Federal Deposit Insurance Corporation.

With similar people-power organizations nationwide, they won changes in the nation’s banking laws through the Community Reinvestment Act of 1977, drove reinvestment to cities, and sprouted a new ecosystem of nonprofit affordable housing.

Preserving Hip-Hop’s Bronx Birthplace

It’s the stuff of legend now: On August 11, 1973, Cindy Campbell threw a “Back to School Jam” in a recreation room at 1520 Sedgwick Avenue, a 100-plus-unit apartment building just blocks from the Cross Bronx Expressway in the Morris Heights neighborhood of the Bronx. Her brother, Kool Herc, DJ’d the party, which came to be considered the origin of hip-hop music.

Fast forward to 2008, when 1520 Sedgwick was laden with debt acquired by Wall Street investors who were failing to maintain the building. Organizers from the Urban Homesteading Assistance Board, a group focused on preserving affordable housing, hoped that documenting 1520’s history would help save it. They asked Fordham professor Mark Naison, Ph.D., to help. His research—which led to a lecture on C-SPAN and was highlighted in an August 2008 appearance on the PBS show History Detectives—helped convince the city government to intervene, eventually preserving the building as a decent and affordable place to live. In 2021, its standing became official: The U.S. Congress adopted a resolution acknowledging 1520 Sedgwick as the birthplace of hip-hop.

Learning About Bronx Renewal

Each year, Fordham’s Center for Community Engaged Learning shares this view of Bronx (and Fordham) history with incoming students, particularly those who participate in its Urban Plunge program in late August. The pre-orientation program gives new students the chance to explore the city’s neighborhoods and join local efforts to foster community development.

“For 30 years, the Plunge experience has offered our students their first introduction to institutions like Part of the Solution and the Northwest Bronx Community and Clergy Coalition, organizations founded by Fordham community members in collaboration with local residents that have built community, advocated for justice, and provided services and resources for the whole person,” said Julie Gafney, Ph.D., Fordham’s assistant vice president for strategic mission initiatives and executive director of the Center for Community Engaged Learning.

Students learn directly from local residents and policy experts about how they can shape policy decisions and build a better future for Fordham and its neighbors. “We really want to introduce first-year students, along with their upper-class mentors, to what’s driving community work in the Bronx right now,” Gafney said. “It’s an ideal ground for fostering a four-year commitment to community solution-building here in the Bronx.”

Reimagining the Cross Bronx

On August 25, nearly 250 first-year Fordham students fanned out across the Bronx as part of Urban Plunge. They served lunch to those in need at POTS—Part of the Solution, where Fordham graduate Jack Marth, FCRH ’86, is the director of programs; they helped refurbish Poe Park and the community-maintained Drew Gardens, adjacent to the Bronx River; and they visited the NWBCCC, now led by Fordham graduate Sandra Lobo, FCRH ’97, GSS ’04.

Students also learned about the Cross Bronx Expressway, a major highway built in the mid-20th century that has been blamed not only for separating Bronx communities but also for worsening air and noise pollution in the borough, contributing to residents’ high rates of asthma and other respiratory diseases.

Before visiting parts of the expressway, students heard from Nilka Martell, founding director of Loving the Bronx, a nonprofit that has been leading community efforts to cap the Cross Bronx and develop public green spaces above and around it. A few years ago, Martell connected with Fordham graduate Alex Levine, FCRH ’14, who was pursuing the same goal.

At Fordham, Levine majored in economics and Chinese studies and interned at the Department of City Planning in the Bronx. By 2020, he was a third-year medical student at Albert Einstein College of Medicine, where he co-founded the Bronx One Policy Group, a student advocacy organization focused on capping an approximately 2.5-mile section of the Cross Bronx that runs below street level. The idea is to cover the road with parks and install vents to remove toxic fumes caused by vehicular traffic. They said the cost of the project, estimated to be about $1 billion, would be offset by higher property values and lower health care costs.

“When you think of preventive medicine, it impacts everyone’s life,” Levine told the Bronx Times in 2021. “If we can get a small portion of this capped, then it might be a catalyst to happen on the rest of the highway. This is a project that can save money and lives.”

Martell said Levine’s group connected her with Dr. Peter Muennig, a professor at Columbia University’s Mailman School of Public Health who had published a study on the benefits of capping the Cross Bronx.

“We created this perfect trifecta,” she said. They brought their idea to Rep. Ritchie Torres, and in December 2022, the city received a $2 million grant from the U.S. Department of Transportation to study how to reimagine the Cross Bronx. Fordham’s Center for Community Engaged Learning later received a $25,000 grant from the New York City Department of Transportation as one of only 10 community partners selected to help the department gather input from residents who live near the expressway.

The feasibility-study funding is just a first step, Martell told students during an Urban Plunge panel discussion that featured a representative of the city planning department’s Bronx office and an asthma program manager from the city’s Department of Health and Mental Hygiene. “This isn’t easy,” Martell said. “If this was easy and there was a point-by-point playbook on how to get it done, all these projects would happen.”

But recent Bronx history gives her ample reason to press on. “You know, 40 years ago, we had the restoration of the Bronx River. Fifty years ago, we had the creation of hip-hop.” When there was little support and “no other outlet,” she said, “Bronxites came together to create an outlet.”

“For me, this is what it’s like to be a Bronxite; this is what it’s like to be in the Bronx—to have this kind of energy and these organizing skills to get things done.”

—Eileen Markey, FCRH ’98, teaches journalism at Lehman College and is working on a book about the people’s movement that helped rebuild the Bronx in the 1970s and ’80s. Taylor Ha is a senior writer and videographer in the president’s office and the marketing and communications division at Fordham.

The Marvelous Mrs. Maisel
featuring Joel Johnstone, FCLC ’01—and the Rose Hill campus

After five celebrated seasons, The Marvelous Mrs. Maisel has come to an end. The fan-favorite comedy about a rule-breaking 1950s housewife turned raucous comedian featured Rachel Brosnahan as the title character, Miriam “Midge” Maisel, and Michael Zegen as her soon-to-be-ex-husband Joel, vice president of a plastics company and an aspiring comedian. Fordham’s own Joel Johnstone, FCLC ’01, starred as Archie Cleary, who, along with his wife Imogene, is one of the couple’s best friends. Johnstone aside, the cast and crew were no strangers to Fordham, having filmed at the Rose Hill campus a couple of times. In fact, if you look closely at episode eight of the final season, you’ll notice something familiar in the background: Cunniffe Fountain and Edwards Parade (see above). In this episode, in which Fordham provides the setting for Midge’s college reunion, the characters engage in a lot of self-reflection, illustrated with some throwback clips, and Midge’s dad, Abraham (Tony Shalhoub), finally comes to appreciate the women in his life. Mrs. Maisel is far from the only production to be drawn to Rose Hill’s idyllic beauty. Since the 1940s, dozens of TV shows and films have been shot, in part, at Fordham—including 2015’s True Story, which starred James Franco, Jonah Hill, and Felicity Jones, and featured Fordham Theatre grad Betty Gilpin, FCLC ’08, in a supporting role.
—Sierra McCleary-Harris

Can You Dig It?
co-created and executive produced by Bryan Master, FCRH ’99

This past August marked the 50th anniversary of hip-hop, and media outlets across the world have been looking back at the early days of the culture. In this audio series, though, the focus is on events that led to the birth of hip-hop—ones that took place not far from Fordham’s Rose Hill campus. Co-created by Bryan Master, FCRH ’99, and narrated by legendary Public Enemy rapper Chuck D, Can You Dig It? chronicles the 1971 gang peace treaty in the Bronx that paved the way for hip-hop. Through scripted scenes and unscripted interviews, it tells the story of the murder of Ghetto Brothers member Cornell “Black Benjie” Benjamin, which 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. For Master, the founder and owner of Sound + Fission, a music and audio production company, the series is a tribute to the peacemakers and an open “love letter to the Bronx.”
—Adam Kaufman, FCLC ’08

The Color of Family
a novel by Jerry McGill, FCRH ’92

In his latest novel, Jerry McGill, author of Bed Stuy: A Love Story (2021) and the memoir Dear Marcus: A Letter to the Man Who Shot Me (2012), shares a portrait of the Paynes, an upper-class, African American family that lives in suburban Connecticut. Despite appearances, the Paynes aren’t quite as happy as people assume, especially when twins from France—the result of one of patriarch Harold Payne’s extramarital affairs—arrive on the family’s doorstep. One fateful night, brothers Devon and James are in a car accident that leaves Devon paralyzed. James eventually goes off to college and excels at football, the sport they both loved. When Devon is moved into a rehabilitation center across the country, the distance between the two brothers— wrought by their explosive, sports-fueled rivalry—is no longer just figurative. Years later, as Devon travels around the world over the course of a decade to visit his seven siblings, he sees how the traumatic accident of his youth has affected—and connected—all of them. They each may have moved on in their own way, but it’s only through forgiveness and by coming to terms with the past that they’ll be able to live freely in the present. Though Devon is at the center of the novel, McGill weaves in diary entries and first-person narratives from the other characters, giving readers a chance to examine the relationships, events, and heartbreaks from multiple perspectives. The novel is less than 300 pages, and that, coupled with the shifting points of view, makes it a great, page-turning read.
—Sierra McCleary-Harris

When 1520 Sedgwick Avenue—the Bronx building considered by many to be the place where hip-hop began—had fallen into disrepair, Fordham professor Mark Naison, Ph.D., contributed his research to community organizers who were trying to save it. He also led other Fordham efforts to preserve hip-hop’s past, including the University’s Bronx African American History Project’s (BAAHP) interviews with artists from the early days of the genre, which created an important collection of oral histories from DJs and MCs. Naison also teaches a popular class called From Rock and Roll to Hip-Hop that spans past to present, drawing on artists like Cardi B, Nas, Run DMC, and onetime Fordham “rapper-in-residence” Akua Naru to help students understand the art form and its part in U.S. history.

“I think the lesson is, let’s explore, interrogate, and embrace the cultural creativity of our surrounding areas because it’s unparalleled,” said Mark Naison, Ph.D., director of the BAAHP and professor of African American Studies and History.

The Party That Started It All

It’s the stuff of legend now: On August 11, 1973, teenager Cindy Campbell hosted a back-to-school party in the community room of her building at 1520 Sedgwick Avenue,  just blocks from the Cross Bronx Expressway. She charged admission and had her brother Clive, aka DJ Kool Herc—they called him Hercules because he was so big—spin some records. Herc had been practicing on his father’s sound system, jumping just to the hottest percussive grooves—the bits where dancers really got down—and stretching those out by manipulating two copies of the same record. He had two turn tables and a microphone, and played a mix of funk and disco that he blended with the talking-over style he’d grown up hearing in Jamaican dancehall music. While many have pointed out that the art form was developing in other places as well, that party is commonly celebrated as the birth of hip-hop.

Saving 1520 Sedgwick

Fast forward 40 years to the aftermath of the financial crisis of 2008. In a perverse inversion of the redlining that had devastated the Bronx at the time of hip-hop’s birth, 1520 was now laden with debt acquired by Wall Street investors who were failing to maintain the building. Organizers from the Urban Homesteading Assistance Board, a group focused on preserving affordable housing, hoped documenting 1520’s history would help save it. They asked Naison to put his scholarly acumen into determining 1520’s significance. Naison’s research—which later led to a lecture on C-Span and an appearance on PBS’ History Detectives —was among the efforts that helped convince city government to intervene, eventually preserving the building where hip-hop was born as a decent and affordable place to live. And in 2021 the U.S. Congress adopted a resolution acknowledging 1520 Sedgwick as the birthplace of hip-hop. 

In Their Own Words

Brian Purnell, FCRH ’00, former research director of the BAAHP and current associate professor of African American Studies at Bowdoin College, said hip-hop culture “exemplifies hallmarks of the long history of Black culture in the U.S.”

“Hip-hop turned the supposed blight of the context its creators lived in into something stunning and fantastic and beautiful—and this is tried and true to Black culture over the centuries,” he said.

In 2003, Fordham formed the BAAHP, at the request of the Bronx County Historical Society, to document the history of Black people in the Bronx. Naison said soon DJs and MCs were calling saying, “Aren’t you going to record our story?”

Over the next several years BAAHP built an archive of interviews with some of the first hip-hop practitioners like Pete DJ Jones and Kurtis Blow, as well as Benjy Melendez —who in 1971 brokered a gang truce allowing the movement between neighborhoods that pollinated the music. The digital recordings have been accessed by scholars the world over, from Nairobi to Singapore, Paris, and Berlin.

WFUV in the House

One of those early hip-hop DJs, Eddie Cheeba, spun both in downtown clubs and uptown parties. In the summer of 1978 he worked at Fordham’s radio station WFUV. He rapped about it at a legendary 1979 party with Melle Mel, Grandmaster Flash, and DJ Hollywood: “Cheeba’s gonna be the winner. I’m mean, I’m bad, I’m cool and smooth, so I know you’ll do it with me. I guess that’s why I ran my game on WFUV. (22-minute mark)”

‘It Was Black People Being Free’

Michael Partis, FCRH ’08, who grew up in the Bronx and has contributed to the BAAHP, said preserving that joy and experimentation palpable in the first years of hip-hop is crucial.

“I think it’s important that the history of hip-hop is documented, because it really shows Black freedom. In this country people of African descent are often tied down by segregation and racism, by respectability that says you can’t be a certain way,” he said. “And hip-hop in its earliest form kind of broke through all that stuff. It was Black people being free.”

While Partis was at Fordham, a student-led Hip-Hop Coalition focused on the politically conscious roots of hip-hop. They brought acts to campus that weren’t mainstream or corporate. “These were street guys who were talking about socioeconomic inequality, and how these working poor communities, Black and Brown working communities, responded to that,” he said. “I thought it was excellent political education for the Fordham kids,” he said.

Today, Naison is helping to continue that education at Fordham.

“I’m not a hip-hop scholar, rather I’m someone who works to have community voices heard,” he said.

The Power—and Reach—of the Music

“When students in my class study hip-hop, there are two things that make the most powerful impression on them: First, the power of the best hip-hop artists, like Tupac Shakur, Lauryn Hill, and Wu-Tang Clan, to tell stories that can touch your heart strings as well as make you think. And second, the truly global impact of hip-hop, which includes dance and visual arts as well as music and is now deeply entrenched in Europe, Africa, and Asia, as well as the Western Hemisphere,” he said.

“Hip-hop was a multicultural arts movement of the most isolated, marginalized, disenfranchised people in society and they created a movement that swept the world.”

–By Eileen Markey, FCRH ’98