<p>Back in the '70s, my finalists for communications were Ithaca, Syracuse, Temple, and GSC (now Rowan). I chose Rowan, if only because I got a “ride” there for tuition (I decided to commute, but as involved as I got, no one knew it). The downside is that, at the time, the communications school at GSC was new and far less established than the others.</p>
<p>It didn’t slow me down a bit. I got my first pro radio job junior year, and stayed in the field (radio, TV, journalism, and PR) until the early 2000s when my 2nd child was born. Still using my education in a different field. And, in the “real world”, I was no worse off than the grads from the other schools, some of whom called me “boss”.</p>
<p>I have friends and former crew members/co-workers still active in the field, many of whom have won Emmys, in front of and behind the camera. They work for Letterman, 60 Minutes, Boardwalk Empire, ABC/NBC,CBS and Fox Sports, PR/Ad agencies in NYC and elsewhere. Others manage their own production houses. One became GM of the NY Jets. Another became president of the Philadelphia 76ers for a time.</p>
<p>And you know what? It really didn’t matter where they went. Some went to Rowan, but others above went to Ramapo, Stockton, William Paterson, Cincinnati, Villanova. Some went the trade school route.</p>
<p>What truly mattered was their (1) PERSISTANCE and adaptability. #2 is that they weren’t so desperate to pay-off loans that they were forced to decline low-pay or no-pay opportunities to develop a portfolio/audition tape. #3 was talent and abilities. Talent helps, but I know a lot of more talented people who left the biz because of lack of #1 (which includes the pressure from “significant others”) and an excess of #2.</p>
<p>If your advisor at Ithaca was not familiar with Rowan, he/she is either deceiving you or unqualified to advise. </p>
<p>Pick a school that allows for you to shine and get involved and develop skills. To get some on-air or production time. Choose internships wisely. Most of the time, the “glamour” ones (union) have you stapling scripts or running for pizza or hustling up a studio audience. The better ones, at smaller places (non-union), have you running a camera or editing tape or writing scripts or actually giving you an on-air shot.</p>
<p>I’ve also found “state-of-the-art” technology to be overrated, too. It’s a “dog-and-pony” show. Bear in mind that the place where you start your career most likely have even more outdated technology, or “duct tape and rubber bands” holding things together. From practical experience, it’s far easier to learn state-of-the-art than outdated.
Again, I started in the '70s. Video tape (and the editing equipment) was new; my ability to edit film by eye/hand/razor/splice technology was a premium. </p>
<p>Bottom line: It’s not the school, it’s you. Your involvement will give you an edge, not necessarily the brand on your diploma.</p>