As we write this Editors’ Note, global multimedia streaming service Netflix has just laid off approximately 150 employees, including a significant number of people working for the company’s social media and editorial platforms geared toward diversity—specifically, the channels Most, which centers LGBTQ+ stories; Golden, which promotes content related to the “pan-Asian diaspora;” the Latinx community-focused Con Todo; and the Black-audience-oriented Strong Black Lead. These firings also come on the heels of Netflix’s letting go of several women of color writers at its fandom subsidiary, Tudum. All of this is, of course, occurring as Netflix continues to produce transphobic content while still publicly declaring a commitment to “diversity.” For us (and for many), these events tap into a much broader set of sociopolitical concerns facing our contemporary world, namely the racialized/gendered/sexualized dynamics of labor and tech, the politics of representation, and the neoliberal logics of diversity and inclusion. We, thus, open...
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September 2022
Editorial|
September 01 2022
Editors’ Note
Journal of Popular Music Studies (2022) 34 (3): 1–5.
Citation
Editors’ Note. Journal of Popular Music Studies 1 September 2022; 34 (3): 1–5. doi: https://doi.org/10.1525/jpms.2022.34.3.1
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