Greetings MAC members:
 
Here's my speaker suggestion: Callie Crossley with Harvard University's Nieman Foundation.
 
Best regards,
Prof. Claire Serant
St. John's University/ New York 
Here's an article about Crossley...
Interview with Callie Crossley

By Britt Wahlin for Imagine News Magazine

 <http://www.imaginenews.com/Archive/2002/Nov_2002/FEATURES/11_CALLIE_CROSSLEY_PIC01.jpg> 


Two stories chart the trajectory of Callie Crossley's career in media and journalism. The first is the time Crossley, a recent Wellesley grad with no broadcast experience, talked her way into a job as a news reporter at a television station in Memphis. The second is the time she talked her way into a producing role for EYES ON THE PRIZE, the epic documentary series about the civil rights movement, which was nominated for an Oscar, went on to win an Emmy, and to this day is used in colleges and high schools across the country. Crossley's experiences in Memphis and with EYES indicate a career that has wound a double helix of commercial and noncommercial ventures, spanning network and public television, in which Crossley has straddled roles of both creator and critic of media. 

Never long the ingenue, Crossley sought out mentors a couple of years into her Memphis job, and, as she describes it, "started my climb." She landed her next job at a CBS feeder station in Indianapolis, followed by stints at the now defunct 10 O'Clock News at WGBH-TV, as an EYES producer at Blackside, Inc., and at ABC News 20/20, where she was a producer of health and medicine stories for thirteen years. Running parallel to these ventures was Crossley's desire to make a lasting contribution as a journalist. During her time at 20/20, she developed a whole roster of activities outside her job-speaking engagements, consulting projects, and regular appearances on Beat the Press, the weekly media criticism show covering national and local networks. The show airs Friday nights on WGBH at 7 PM. She was also becoming increasingly known as a lecturer on race, gender, and the media. 

Crossley's interest in journalism dates back to high school where she wrote a column for the school newspaper. Typical story, maybe, but this was, in Crossley's words, "a big deal," since she was responsible for integrating her high school and consequently was one of only two Black people on the newspaper staff. Looking ahead to ABC, not much had changed by the time Crossley got there. At 20/20, people of color in producer roles, much less women of color, were few and far between. Crossley felt that for white women, "it was little easier-to some degree," but that the old boys' network prevailed. Still, Crossley held a lot of a power as a producer for a major network news program viewed by millions. So it's unnerving to hear Crossley describe how countless times she witnessed others' utter shock when they discovered that the producer they had been dealing with on the phone was a Black woman. In the field, she was often invisible to the people she was to direct: "[it happened many times that] I am on the scene for a shoot and people approach the camera crew [to ask for instructions] and then the cameraman says, 'Go talk to her, I don't know.'" 

Simultaneously insider and outsider, Crossley's experience working for a media conglomerate gives an interesting edge to her role as outspoken critic of the media and as a proponent for responsible journalism. Says Crossley, "There is a difference between media and journalism . . . . Certain rules and traditions . . . apply to journalism that don't apply to other forms of media"-made all the more challenging in an age in which a handful of corporations own most major media outlets, networks have edicts about what should or should not go on the air, and, even with the current proliferation of media, it's all more of the same, in Crossley's opinion. Journalism and, by extension, media "need to address underlying issues, what's going on around the world. And have a constant vigil on these things." 

Much of this thinking began in the years before 20/20. During her year as a Neiman Fellow, a sabbatical for professional journalists at Harvard University, Crossley began a process of reflection about leaving a personal legacy. "I came out of that [experience] thinking, there's more to this job than just doing this for the day, there ought to be something I can do with this skill that is lasting." Shortly after the fellowship she was to meet Henry Hampton, the late visionary and founder of Blackside, a company, which would over the years develop a legendary status for producing acclaimed films concerning African American history, culture, and experience. Once EYES ON THE PRIZE was off the ground, Crossley spent a year and a half as a producer for two episodes of the series. "It remains the best professional working experience I've ever had," says Crossley, recalling the camaraderie, inclusiveness, and support she felt characterized Blackside's working environment. 

So what is the role for someone as seasoned in broadcast journalism as Crossley, equipped with a stringent critique of media and informed opinions about what directions it should take? "I would really like to make a living moderating, a mini-expert of the moment," one who facilitates discussion, she suggests, often on thorny issues. This she has done for numerous panels and civic dialogues. Also an occasional commentator on National Public Radio, Crossley lends her own insights and opinions on a range of issues. A third component of her work is media coaching, helping people get past their fear of the media and teaching them how to locate the points of intervention. There seems to be a clear thread through these diverse roles: Once people understand how to interact with the media, instead of seeing it as a ubiquitous, uncontrollable force, perhaps there can be more thoughtful public discussion and engagement in issues. 

And the personal legacy? It's EYES that still thrills her, where she feels she has made her most significant contribution. "I am in a very unusual position to be able to say while still alive that I know what [my personal legacy] is, and I feel very good about it. If I don't do anything else, that's it!" But one of her ongoing contributions is the mentorship of aspiring journalists and filmmakers. "I'm a tough mentor, so you've really got to want to hang in, I'm not kidding around." At the same time, her management style has always encouraged collaboration and the opportunity for everyone to weigh in, including-and especially-those with less experience. "I know what a wonderful, supportive atmosphere can do for you. I learned that at Blackside . . . to be part of a real team where you feel like you have a voice." This, then, is Blackside's legacy to Crossley, whose own double helix is generating more of those who use media to its true potential: as a conduit for bringing meaningful stories to the world. 

 
 
 
 
-----Original Message----- 
From: FOR THE MINORITIES AND COMMUNICATION DIV. OF AEJMC on behalf of Ilia Rodriguez 
Sent: Thu 11/13/2008 8:33 PM 
To: [log in to unmask] 
Cc: 
Subject: nominations for 2009 luncheon speakers



	Dear MAC members:
	I am requesting nominations for the speaker at the 2009 luncheon
	co-sponsored by MAC and the Scholastic Division. We are trying to identify
	speakers in the Boston area and would appreciate your suggestions.  See some
	of the conditions below.  Please send names to me at: [log in to unmask] 
	--A local speaker (Boston area in this case) has been the practice because
	the divisions do not have funds to cover the speaker's travel cost. 
	--Speakers can be AEJMC members
	--The speech (about 20 minutes plus Q&A) should be related to access and
	equity in mass communication, diversification of journalism education.
	
	Please send your nominations to me, and I will process the information with
	division officers. 
	Thanks for your collaboration,
	Ilia Rodriguez
	MAC Second Vice-Head and Secretary
	[log in to unmask]