Elizabeth Beggan Portfolio

Marist senior Dylan O’Connor is flipping through his inspiration book for his next line: “The 12th Man.” In the Steel Plant design room, the light bounces off the black binding that’s holding the childhood photos, patterns, sketches and eraser marks from past, disregarded sparks of design. There’s blue painter’s tape surrounding the edges of the pages to hold together the prominent plaid patterns that were frequented in his childhood. 

His collection is divided into four moments, with inspiration drawing from his favorite team for as long as he could remember, Manchester United. Born in the United Kingdom, soccer is a constant in his life and ultimately the inspiration for his line. O’Connor’s goal for the line is to combine traditional soccer clothing with his personal style of men’s formalwear for that perfect inbetween. 

Between the four different archetypal looks, training wear, pre-match look, substitute and manager, he’s able to elevate the traditional casual looks using fabric. O’Connor, along with the four looks, is also designing a soccer kit with the plaid that was found on childhood chairs and polo shirts. “I brought it in as a graphic because a lot of the jerseys are very graphic heavy,” O’Connor says. The pieces are executed using brushed cotton twils, neoprene structured fabric and button tailored waistbands instead of elastic.

O’Connor approached designing the training wear by combining his fabrics with the traditional 

silhouettes and paneling used. The prematch look is a structured, formal outfit that fans could easily create their own rendition of. Both the manager look and the substitute stay consistent in his theme of structured formalwear, taking simple silhouettes and transforming them for the runway.

“One of the main things I drew for inspiration was the paneling and the seaming because you don’t normally see that in normal formalwear,” O’Connor says. “That’s a way I’m making it formal runway wear, I was taking that design content concept and applying it to a completely different style of clothing.”

His collection is constantly evolving and changing. O’Connor needs to have a shell of a design made of muslin every two weeks to present to professors for feedback. A brand he turns to for artistic guidance is one he was able to intern for this past summer, KidSuper.

Colm Dillane, owner of KidSuper, massive soccer fan, focuses on streetwear and is based in Brooklyn. Dillane, because of his infatuation with soccer, releases clothing revolving around the sport. He has hundreds of track jackets, wide legged pants, shorts and much more with elements like patchwork, different fabrics and graphics on each of his clothing. 

The plethora of garments have walked down renowned runways like Paris Fashion Week and have collaborated with names such as Louis Vuitton and even Jameson. “He even has a soccer pitch on the roof of their office,” O’Connor says. Narrowing his focus to the trends of the 90s to early 2000s, his research was focused on iconic figures like David Beckham and Eric Cantona. O’Connor realizes the upsurge in popularity for soccer kits and the style and uses it to his advantage to evaluate the intersection of fashion and the culture of soccer. He notes that today, soccer players are turning back to what was popular in the 90s to the 2000s, replicating the “Beckham look.”

Translating the culture onto the runway is a challenge but something he feels passionate about. An advantage he has recognized is his global perspective, being able to identify the garment gaps that the United States lacks. “In the U.S. I’ve noticed that there’s not really a middle ground for formalwear and streetwear, whereas in the U.K. the two were very much blended together,” O’Connor says. 

Through his kits and archetypes, he’s able to take worldwide sport and narrow it into a malleable representation of the cultural impact it has on fashion. 

Soccer has integrated itself into the field of fashion, almost evolving into a sister discipline dynamic. While their influence on fashion cannot be disputed, the trends are noted by fans and multimillion dollar fashion houses and small brands. Designers like OffWhite, Prada, Gucci and Louis Vuitton have collaborated with players to engage audiences further. 

Fans have always been infatuated with players on and off the field. For young men, they’re idols they turn to for fashion inspiration and lifestyles. More recently, soccer kits are seen outside the stadium and in the streets of New York City and London. The resurgence of wearing the kits in a more casual tone brings a sense of nostalgia to the newer generation. 

Brands such as Puma, Adidas and Nike releasing their “teen 90” collection have embraced this nostalgia feeling, bringing back vintage kits from the 90s to the 2000s for consumers to purchase. “Because it’s come around back to that style so much, all of the players are being funneled through it,” O’Connor says. 

Marist junior Cristobal Martinez Torres has been a first-hand witness to the soccer kits uproar. Athletica, a brand that started in 1994 as a textile company owned by his grandfather has now transformed into a soccer kit development business with Torres at the helm. Athletica is a Mexican brand that has evolved into a global presence that has accomplished many feats. 

From partnering with the Mexican National Team in the 2002 Olympics to having their own jerseys repped by Messi and the Dallas Cowboys, Athletica’s business has never been better. “In the past two to three years, soccer kits have been selling more than ever. Teams are releasing third, fourth, even fifth kits. Leagues like La Liga have retro kit days,” Torres says. 

“It’s great for nostalgia and also creates new revenue. As Atletica, we’re relaunching historic kits because there’s huge demand. Even after 20–30 years, people still wear my grandfather’s jerseys. You still see them in stadiums,” he continued. Soccer fans or not, the kits are seen on the backs of everyone.

There’s a global influence from players like Messi, Renaldo and Neymar. It’s not just sportswear — it’s fashion. Nostalgia is driving the resurgence, fans are after a time period in soccer that brings a sense of culture and pride. “It really picked up around 2021–2022. Collaborations, celebrities, and a more open mindset toward fashion all played a role,” Torres says.

To align with the demands of retro kits by audiences, Athletica, under Torres’ direction, is re-releasing kits from 2002 and making new designs look retro. “As a designer, I design for the people,” Torres says.

O’Connor’s line isn’t just for the avid soccer players and their fans but trend followers, fashion fanatics and everything in between. He’s telling audiences the story of the relationship between him and soccer, his loyalty and commitment to the sport. By spinning straw into gold, O’Connor is opening the doors to a new understanding of how much soccer has a cultural impact on the world around it. 

I followed the bright red DATCO bus to the baseball field. “Hey, when’s the softball game,” I asked a lingering man on the baseball team. “This is the baseball field,” he said. “Are they two different fields?” It was then and there, in that split second of a moment that I found out that yes, they are two different fields. 

Down by North End, where the game takes place in front of the river, buses are lined up with young women standing beside it. They’re seen gathering their bags, tying their shoes, tying ribbons into their hair and chatting about the game ahead of them. 

Iona, Fairfield University, Sacred Heart University, Quinnipiac and of course, Marist University have the afternoon slot for their games. The concession stand is a white folded table with snacks displayed unevenly and a sign showing said snacks prices.

There’s ketchup, mustard and relish. They’re lukewarm and the lids are crusted. $3 for chips, $3 for hotdogs, $3 for a cheeseburger and beverages are $2. 

Set behind the table sits a melancholy girl on a matching white folded chair with an empty cashbox in front of her, on her phone, unbothered. No peanuts, branded soda, or cooked hot dogs (or anyone in line to buy one) to be found. 

The barbeque is black, obviously old, and obviously hasn’t seen a customer all day. There’s surrounding parents, teammates, sisters, brothers standing around by the entrance to the softball field drinking Starbucks, picking at trailmix, wearing their respective merchandise, all of which start to blend into a sea of red fox red. 

Down the stairs, the stainless steel bleachers are filled with Sacred Heart Players, they’re wearing red shimmery headbands, visors, their uniforms and truly red head to toe. They sit with their Adidas sliders analyzing the team playing in front of them, occasionally turning around to gossip with a friend.

“What braid are you doing?” a player asks.

“A 3D braid,” the hair braider answers.

“You mean a 3d tower braid,” another girl chimes in.

“That’s what I meant, I learned it at like two in the morning,” the hair braider says, continuing running her fingers through the blonde, long hair that sits beneath her. 

The rest of the benches are filled with family. Grandma is sitting on the lowest bench, wearing a bucket hat and taking risks by constantly walking up and down the shaky bleachers, clearly challenging her physical limits and astonishing all who watch.

As the players are getting ready for their game, they practice flyballs with one another as “Free Bird” starts playing on the aged speakers. “I love this song but I think one of the band members is dead, they were very good,” a benchmate comments. 

Players in the dugout are standing, chanting for their friends on the field, hands through the fence, applauding accordingly. “J Money,” a player on Iona, is up to bat. “Hey J Money Hey J Money Hey” they chant, clapping in sync. “J Money” taps her green metal bat on the dirt before the pitcher throws an underhand ball towards her. She walks to first base after the pitcher pitches poorly. 

The announcer, sounding muffled and a bit like Walter Cronkite, says something indistinguishable to the audience, everyone just nods along and claps. I imagine there’s a lit cigar flapping from his lip, but probably not. 

Iona is on the field while Fairfield bats. Sitting adjacent to me is what I think, parents and siblings of a girl on the Fairfield team. As their daughter Abigail cracks the bat at a perfect pitch, they stand and cheer, the brother, with his loose fitting lightwash jeans and navy blue sketchers stands cheering, clapping. The mother takes her sunglasses off to see her daughter more clearly.

The grass is very green, so green that it almost looks fake, but it’s not because when the girls slide against it the brown dirt is revealed with their elbows tainted green. Number 9 for Iona is up to bat, many of her swings are missed, her whole body does a 180 around towards the umpire who’s wearing a mask that resembles Hannibal Lecter.

Number 9 hits the ball, far, but a girl in the outfield catches it. “POP!” Just like the opening of a soda can into her beige glove.  And just like that the teams switch positions. Fairfield is at bat, the player pitching swings her arm around and around, kind of like how a piece of clothing moves through a washing machine and with her braided ponytail, she sends a girl to first base.  

“So far so good,” a Fairfield supporter says, “pretty good,” another one says. They’re men of very few words but once the ball hits the bat, screaming and shouting ensues. Iona strikes a double, going to second base, shaking her hands in the air enthused. 

She lands her feet on the marshmallow of a base and with her bright yellow knee high socks, she attempts to run to third at every opportunity. She slides! She glides! She swan dives into third!

The music that comes out of the speakers is ten years behind, if not more. They must keep one station on that plays a mixture of pop, country and rap all in one. There’s another competition that’s going on between the voices of singers through the speakers and the faint voice of the announcer, competing for the audience’s attention.

Both Fairfield and Iona manage to all score home runs in the matter of a few minutes. The players on the bench stand, straining their voices from all of the cheering. Fans jump up and down, shouting while balancing on rocking bleachers. Music plays, Iona storms the dirt field, their cleats forming dust clouds behind them like the road runner cartoon. Iona wins 10-6. 

There’s something charming and nostalgic about softball games. It makes you feel proud to be an American, cheering, screaming under the beating sunlight, if you’re lucky, with a pack of reds and a warm beer in your hands. 

The girls in their uniforms, the team camaraderie, it gives the same feeling as watching “Grease.” I don’t know why or how, but for some reason I felt that Sandy and Frenchie were leaning against a pastel car, watching the flyballs from the parking lot. It’s the same feeling as sharing a milkshake with two straws as your thighs stick to the hot plastic seats.

“How many hotdogs did you sell?” I ask, leaving.

“Not many,” the melancholy girl says.

There’s an unspoken symbiotic relationship between fashion and basketball. It blends ever-so seamlessly and has trickled down from NBA tunnel walks to the McCann Arena. For Marist students Jaden-Collin Roberts and Trace Salton fashion stretched beyond city lines and onto the McCann court. 

When Collins arrived at Marist, he was a recruit from Edison, New Jersey who played for Rutgers Prep. His mind was consumed by basketball and was eager to start his athletic career at Marist with a brand new team. Inevitably, Collins made connections within the team to further their dynamic on the court and off of it. Enter 6’5 Trace Salton. 

Collins, a year younger than Salton, felt gravitated towards Salton’s open and creative energy. New York City is only a train ride away from Poughkeepsie and through Salton’s time at Marist he has taken full advantage. “He’s a big city guy because New York City is the city of fashion,” Collins said. Salton extended open (decorated with bracelets) arms to Collins to join him for a  weekend. 

From there, fashion flourished in the eyes of Collins. The duo began sifting through the city for the best fashion items they could find. Salton notably kept his eye out for eccentric backdrops to document his style. Through city trips, a growing relationship with Salton, photos in front of gratified brick walls, it clicked for him. Fashion and basketball mix. 

Recently, the Marist Basketball team held a photoshoot for promotional videos. Some players just wore their jerseys and stood deadpan in front of the camera. Salton and Collins took a different approach.

Underneath the bright white light that shined onto the McCann floor, Collins lay flat on his back surrounded by fashion and basketball memorabilia. A spiderman rug laid beneath him, a spiderman t-shirt, spiderman plushie toy, his red jersey, a basketball under the palms of his hand, and on his feet – bright red sneakers. Collins was obviously comfortable in front of the camera, moving the items around him to capture every possible angle. 

Salton took the photoshoot standing with two mannequins by his side. Salton dressed in his uniform and the mannequins beside him looked as if they were displayed in a windowsill in Manhattan. To his right, one wears a tan leather jacket with a red Louis Vuitton canvas bag and a blue velvet vintage baseball cap. 

To his left, the mannequin was drowned completely in a brown fur coat. A red scarf was tied around the plastic neck with a red baseball cap slouched over it. Salton carried a black slouch bag over his shoulder with sneakers in his hands held to his head like telephones. Salton was wearing thin black sunglasses with a fur cuff hat atop his head. 

The two stayed an hour longer than everybody else because of their creative approach. Behind the camera, the players were hyping each other up making the photoshoot a forever memory for Collins.

“I’ve always had a love for fashion and being creative, but with basketball being my main priority growing up, I didn’t have as much time as I would’ve liked. And that’s okay, it was never a push and pull relationship. As I got closer to college, I knew that being classically trained and majoring or minoring in fashion would benefit me in the long run,” Salton said. 

Being immersed in any environment it’s inevitable that customs translate to anyone in the vicinity. New York City is one of the most influential cities in the world when it comes to fashion. 

Students as well as Salton and Collins spend weekends there gathering creative innovation to bring back to Marist. 

“It’s rare to find a school that has a fashion program with this much success and a well-run, talented basketball team. I’m extremely grateful for that,” Salton said. “I’ve always wanted to be more than just an athlete, so being part of the campus community, on and off the court, has been a really rewarding experience.”

Marist University is home to one of the most well-known fashion programs in the United States. Recognized by Forbes and the Princeton Review, fashion majors flood the campus with style ingenuity. Walking around campus, sitting in the library, picking up a coffee from Saxbys, inspiration is everywhere.

“It’s a proximity thing, before you thought fashion was way over there, now it’s walking by you in the street, a person who’s doing it,” said Fashion Professor Bradley Erikson. “It’s that opening eye that it’s not just people in the industry.”

There is frequent overlap between the fashion program and the basketball team. With the athletes being immersed so heavily in the fashion culture at Marist, it opens the minds of exploring the program opportunities. MPorium, a student-run boutique, has collaborated with the basketball team because “we knew it would sell,” Student Buyer Madison Shanely said. 

Sweatshirts, stickers, basketball shorts, accessories and even mock jerseys were sold by MPorium. The items that were put online were modeled by the basketball team and displayed on the small billboard in front of the store. The collaboration between the two brought success for MPorium and strengthened the relationship they have with the team. 

“So Be It,” a clothing brand created by Collins is also sold through MPorium. “It started as a family motto, it means having the mindset of what’s next,” Collins said. The brand started a year and a half ago with the intention of spreading positivity for the court and off of it. The logo is printed on plain black shirts, sweat towels, sweatshirts and hats. Collins has his own website where he sells the shirts as well as a fashion instagram where he posts his latest fashion outfits. 

Silverneedle Runway is a student-run fashion show that exhibits new and original work by fashion design majors at the end of each spring semester. SNR has taken advantage of the 6ft tall basketball players to model their clothing on the runway. Through recent years, the SNR production team has built a strong relationship with the players for modeling their clothing. 

SNR shines light on students’ creativity and innovation by embracing curiosity. It’s an opportunity for players to make connections and network with fashion students. “ I think any young person should be networking and if you have a taste for it, don’t hesitate,” Erikson added. 

With a substantial number of students having at least one foot in the fashion door, Salton felt inclined to join. “Marist showed me that these two parts of my life don’t have to be separate. They can exist together in my everyday routine and feel natural. Being involved in the Marist fashion programs influences me in so many ways. I’m truly thankful for each project I get to work on, not just because it builds experience but because it reminds me that I’m exactly where I’m supposed to be,” Salton said.

Although the basketball court has strict rules when it comes to what players can wear on the court, Collins found a loophole: accessorizing. “We wear headbands, armbands, legsleeves and armsleeves, we have so much to wear,” Collins said. 

Players navigate finding their own personal play style in basketball through perfecting their short-stops, dunks or defensive skills. As a team player, finding individuality through fashion on the court is a way to express personality without saying a word. The game on the court isn’t the only one that’s going on. The Red Fox plays a game of sleek, polished fashion.

The speaker is playing “Welcome to the Jungle” as senior Marist Dance Ensemble choreographers Alyssa Bruno and Jacquelyn Nasiatka demonstrate their new dance. Behind them stand 30 dancers dressed in athleisure wear – some still sweaty from their dance class before. “Here here hit boom here,” Bruno shouts to the dancers watching. The basement walls have a pungent smell to them. Somehow they must have absorbed sweat from dancers over the years. There isn’t much room for all 32 of them to fit comfortably – especially with their bags shoved against the peeling walls. 

Creative pressure is a prominent feeling Bruno and Nasiatka experience. With stand-out performances under their belts, they find it difficult to know when the stopping point is for their new dance. “It’s so much pressure to top ourselves,” Bruno says. “What if we don’t live up to that?” To participate in a dance there is no audition process, it’s done through whoever emails choreographers the fastest at 5p.m. on the dot. 

Their previous performances is what keeps Bruno and Nasiatka at the top of email lists for signing up. Bruno and Nasiatka have been dancing for the Dance Ensemble since the fall of their freshman year. They’ve been the most coveted choreographers since the spring of their freshman year. 

Resources for constructing the show are limited. With resources low and pressures high, participants like Bruno and Nasiatka have to adjust. The dance ensemble sells 1200 tickets in a year for their shows each semester – bringing in just below $10,000. 

Their $30,000 a year budget is allocated meticulously. For each semester the budget is split in half, evening out to $15,000. Out of the $15,000, $11,000 of it goes to sound and lighting, $1,000 goes to video production and the leftover amount goes to student workers. 

With two shows each year, the costs add up. Students are relied on for buying their own costumes with a $10 cap for each dance they are in which is an average of three. Dance, while mostly based on ability, is also based on aesthetics. Costumes enhance the dance by adding a visual impact. By using textures, colors, patterns and unique detailed costumes creates a visual dynamic to the performance. With a $10 limit there isn’t much room for more than a bright-colored t-shirt. 

Since 1991, the ensemble has consistently practiced in the commuter lounge dance room – the only exception being tech week, when it is held in the McCann center. For one of the biggest clubs on campus, their resources are perpetually limited. Their fall 2025 show sold around 450 tickets and all 450 people – despite the demand for space – were put in the rec gym. Lucky for them, their spring show is held in the McCann arena with all 800 seats filled. 

Darren McCormick, the man who decides the scheduling for the McCann center receives the same email every June regarding the spring dance show. “We make sure to email him every June for the same dates every year for the spring show,” club president Anna Freeh says.  “He takes weeks to respond and when he finally does it’s a no.” 

While Marist puts their focus on a shiny and new multi-million dollar track that brings in little to no outsider interest, the dance ensemble is running circles around them with audience attraction. It makes Bruno and Natasistka wonder what lengths they have to reach in order to get the same attention. Their dance space has been the same since 1991 and there’s no signs of it changing. 

Along with the deteriorating dance space, the air conditioning fails to keep dancers cool while in use. On occasion it has leaked onto the floor and dancers, some have slipped from it being neglected by cleaning services. If it gets too hot, dancers take their five outside. With the space being so small and at least 30 dancers occupying it from 5 p.m. to 10 p.m. each night of the week for eight weeks, it’s inevitable that it overheats. 

Dancers are not able to see the front of the classroom, see themselves and it limits dance movement. The basement is overall limiting their creative aspirations – it’s a perfect analogy for how Marist governs them. 

Tech week is where the vision can fully be executed without the space limitation that the basement has. “It literally all comes together during hell week,” dancer Madison Chan says. Typically, Bruno and Naisatka have their dancers split into two groups during regular rehearsals to concentrate on format. Once tech week hits, and allowed to practice in McCann, choreographers are changing formatting until the last second. 

Board members and choreographers have continuously overcome their ensemble’s limitations. “Seeing the show come together and being able to do it with all the girls I’ve gotten so close with over the years makes it worth it,” Nasiatka says. The passion and commitment that the dancers have for accomplishing one of the most anticipated performances of the year keeps them motivated. 

The dance ensemble proves that talent and commitment trump limitations. The true commitment that the ensemble has, no matter the restrictions, keeps the audience chairs filled. “I think just seeing all the dances and the show come together at the end of semester and also just knowing everything will work out eventually,” Chan says. 

But now, here, during this first meeting, 32 girls are sitting in a circle getting to know each other, asking about majors and hometowns. The seniors sit arm-in-arm with heads on each other’s shoulders while the freshmen are spread out. Bruno is leading the conversation in a casual tone constructing a playlist for the group to warm-up to. In eight weeks the freshman will also be sitting arm-in-arm, indistinguishable from the seniors.

In recent years, the WNBA has flourished in popularity within the basketball fanbase but contracts are struggling to keep up. The players union is in negotiations over a new collective bargaining agreement, the agreement that regulates salaries, licensing rights, roster size, benefits, and working conditions. With the stands being as full as ever, skyrocketed TV ratings, and the addition of the Golden State Valkyries, players demand more. 

Over a year ago, the WNBPA chose to opt out of the CBA that was originally signed in January of 2020. The decision was monumental, reflecting the WNBA’s evolution in the industry over the last five years. The signing of the original contract was before the WNBA shattered the glass ceiling with top moments that shifted the industry forever.

It was signed before the New York Liberty broke their 28-year championship losing streak, before there were reports of record viewership, before Sabrina Lonescu made history as the first college  player to accrue 2,000 points, 1,000 assists and 1,000 rebounds in her career. And especially before young prodigies like Caitlin Clark, Paige Bueckers, Angel Reese and Aliyah Boston transformed the league to what it is today.

With all of that change, the industry was struggling to trail the success with the financial means that were being demanded by players. The priorities of the business wasn’t paying the players what they owed but instead expanding to new cities and making billion dollar media deals. 

As well as adding new teams to their roster, the WNBA also just secured an 11-year media rights deal. Partnerships with Disney, Amazon Prime Video and their new rights holder NBCUniversal cost about $2.2 billion or $200 million per year with hopes of additional partners bringing their total to $3 billion dollars. 

In the months leading up to the contract deadline on Oct. 31, players attended an in-person CBA meeting last July during WNBA All-Star weekend. The meeting that was held in Indianapolis was full of open ears and failed to satisfy the needs that the union demanded. A few days later the players wore “Pay Us What You Owe Us” t-shirts during the game to protest against the league. Tensions between the players and the league had grown, laying the groundwork for what’s going on right now. 

This season particularly is the most successful season in history and players deserve to get their well-deserved piece of the pie. The player’s salary has yet to be matched by the rapid increase in revenue this past season.

Forbes reported that the revenue for the 12 teams that played in the 2024 season was a total of $226 million. Bloomberg reported that in the last two years, the revenue had increased from $100 million in 2019 to $200 million in 2023. Sportico reported that their new addition of the Golden State Valkyries are on track to earn more than $70 million in revenue in 2025. With the addition of the Valkyries, it’s safe to assume that the total revenue for the WNBA is at least $300 million. Through all of this, the player’s salary remains at a standstill. And with the additions of Detroit, Philadelphia and Cleveland teams, the average franchise value has increased up to a record-setting 180% since last year. Not to mention the investment groups that paid $250 million dollars for each team added. 

The basketball industry is no stranger to the gender wage gap. The minimum salary for the 2025 season for WNBA players is a whopping $66,000 with the maximum reaching $250,000. With that being said, the minimum salary for an NBA player as a rookie is at a whopping $1 million dollars. As of right now, WNBA players receive 20-25% of basketball related income – the NBA is at 50%. The average NBA player earns around $10 million – which is 80 times more compared to the $127,000 salary the WNBA. 

The WNBA finds itself attracting one-third of viewers per player as the NBA does. According to the estimated ratio of broadcast revenue per player, WNBA players should be receiving 30% of what NBA players receive. Instead, it’s 1/80th of what they are earning. Since the NBA owns the WNBA, their response to this dilemma is that the WNBA is causing them to lose money. The investors that paid upwards of $200 million dollars prove otherwise. 

In a world where WNBA players can strut the catwalk in Victoria Secret lingerie and become the faces of signature brands, how many spinning plates are needed to receive a fair contract? 

With a game that requires men to tackle and smash their heads into one another it’s inevitable that brain injuries follow suit. CTE (Chronic Traumatic Encephalopathy) , caused by repetitive brain trauma (concussions), is a progressive neurodegenerative disease that results in symptoms such as cognitive impairment, behavioral changes, motor problems and dementia. 

The NFL has been sweeping this predicament under the rug for decades. Their solution? A new kickoff rule – and it isn’t enough. 

CTE has been addressed in the realm of sports for almost a century ever since boxers showed massive symptoms of memory loss and an overall decline in neurological function. CTE can only be diagnosed through a postmortem examination. Although the disease has emerged in sports such as hockey, soccer and team sports, football takes the cake for the greatest potential for CTE. The repeated collisions over months and years raise the chances of CTE for football players specifically. 

The NFL has taken steps to rectify the situation of just head-injuries in general and in 1994 they established the Neck and Spine Committee. But not until the death of “Iron Mike” Mike Webster in 2002, a 1970s Steelers player who sustained thousands of hits to the head did worries really begin to arise. After his time in the NFL, Webster suffered from dementia, severe depression and amnesia which eventually led him to living in his pickup truck. Webster was the first case of CTE reported within the NFL and sparked the ongoing debate of player safety and education. 

Research findings following Webster’s death were presented to Ira Casson, a neurologist who co-chaired the committee and quickly disregarded it. Casson also claimed that there was no proven connection between football head injuries and long-term brain disease. 

Since 2015, the NFL has reported 22,000 thousand concussions in practices and games. Regularly, men and women require at least 25 days to fully recover from concussions – in the NFL, it’s nine.

In extreme cases such as Aaron Hernandez, CTE can manifest itself through violent and impulsive behavior. Hernandez has been recognized as one of the worst cases of CTE with signs of  an atrophied fornix and enlarged ventricles, which suggest that his brain had actually shrunk. Director of Boston University Chronic Traumatic Encephalopathy Center Ann McKee has done pioneering research through numerous donations to her center for brain related injuries from football. 

In another study for the correlation between CTE and football, researchers at BU found that 345 former NFL players out of 376 had been diagnosed with CTE. The earlier a person enters the field the more likely they are to develop CTE. A study that was conducted in 2015 found that NFL players who played before the age of 12 did worse on cognitive assessments than those who started in their later-teen years. 

Guardian Caps, an attempt from the NFL to reduce the impact of hits has proven to not be successful in protecting from head-injury. Since 2022 they have been mandated to be worn during NFL practices and in 2024, they were approved for the regular season. Only six players per game were actually reported wearing Guardian Caps. 

“Helmets do not protect athletes from the jarring head movements associated with CTE, ” McKee said in an interview. “It’s an intrinsic component of football.” “Every time you have a tackle or a collision, you’re going to have these rapid forces affecting the brain.…That’s one of the difficulties of keeping football safe.”

The “dynamic kickoff” was the solution that the NFL mandated to increase player safety in 2024 after decades of denying the connection between tackle football and long-term brain disease. Kickoffs are where most of the damage occurs for players due to its high-speed collisions with one another with immense force. The NFL’s “dynamic kickoff” is designed to “resemble a typical scrimmage play by aligning players on both teams closer together and restricting movement to reduce space and speed.” 

The new rule is an admirable attempt by the NFL to prevent brain damage but not an effective one. Research conducted at BU by McKee goes against the new “dynamic kickoff.” It has proven that CTE is not caused by isolated incidents but rather by smaller repetitive hits to the head over months and years. Furthermore, research has shown that players who consistently play tackle football at a young age through their teen years are more likely to suffer from CTE. 

Teams at a lower level than the NFL such as high school and collegiate continue to still use the older kickoff format. And it’s the younger athletes who are the NFL’s next generation who need to be protected against CTE the most. 

The younger generation of football players who will soon flood the fields are entering with a lack of education on the long-term damages that playing can cause. The NFL is not doing enough to prioritize education as they are the direct mentors of the younger generation. Players need to be taught to care for themselves and brain function above playing for a sport that lacks self-governance and honesty.

The Marist Red Foxes hosted West Point Army Black Knights, their first match-up of the season. Marist bagged another win against the Knights 76-65 following their overtime win from last season.

Within the first several minutes of the game, the Black Knights successfully managed to set their strong defensive tone against the Foxes, snagging many offensive rebounds. Marist had coach John Dune paced back and forth compared to the much calmer Black Knights head coach Kevin Kuwik. 

In Red Fox possession, the ball moved quickly but lost control once it reached the net only making 4 -18 shots attempted in the first ten minutes. With the ball up in the air, the Knights stole possession with ease throughout the first half. 

Red Fox senior Trace Salton tied the score 16-16 with a 3-pointer towards the end of the first half. The tension on the court was high, both teams were in a constant physical battle for the ball as the score was neck-and-neck with the lead being no greater than four. 

The Knights seemed to be more controlled with the ball and worked well under pressure from the shot-clock. Red Fox junior guard Jadin Collins-Robert snagged the ball from under a Knight, darted down the court, and made a layup score. 

The first half of the game started out rocky for the Foxes with the Knights leading before Salton’s 3-pointer. With five fouls, three turnovers, and four missed foul shots, the Foxes were able to progress at a slow but productive speed. 

“Being in a big game we were a little antsy, I think at the end of the first half we started getting a rhythm going and then we were up,” Lewis said.

With 50 seconds left in the first half, the Knights called a time-out followed by a heated back-and-forth between the Referee and Dune. The Foxes lead the game with 28-22 in the first half.

The Foxes had the first possession for the second half and quickly lost it to a rebound by McCarthy – a pattern throughout the game. Elijah Lewis was slammed to the ground by Knight Jason Holloway, earning two foul shot points for the Foxes. 

Lewis scored two more points followed by a slam dunk by Red Fox Myles Parker. With one second left on the shot clock, Curry scored putting the Knights 34-38 – catching up with the Fox’s four-point-lead. 

“They coached me well during the summer and let me know what my role was, so I expected to play how I’m playing now,” Parker said. “It’s the time on the court, I was expecting it so I was ready to go.”

By the middle of the second half, the Knights found a comfortable offensive rhythm with the flow of the ball leaving Marist leading by a single point. Parker approached the free-throw line for his 11th point, giving the Foxes a five point lead. Parker scored five more points within just a few minutes, Kuwik called for an immediate time-out. 

The players continued to get more intense with the clock ticking down to the last five minutes of the game. With the Knights nine points behind, their defense was lacking, allowing the Foxes to make scores from right under the basket. 

“I do notice the crowd, the crowd just exploded in my mind I was just like, ‘That’s pretty awesome,’” Dunne said. “It gives you that boost of energy.”

The Red Foxes took the pressure from Knights extremely well, scoring a whopping 11 points in just three minutes. A combination of layups by Collin-Roberts, slam dunks by Lewis and jumpshots by Schofield, the Foxes lured their foe into the Red Fox hole.