Potentially more damaging for Copland was a sea-change in artistic tastes, away from the Populist mores that infused his work of the 1930s and 40s. Beginning in the 1940s, intellectuals assailed Popular Front culture, to which Copland's music was linked, and labeled it, in Dickstein's words, as "hopelessly middlebrow, a dumbing down of art into toothless entertainment". They often linked their disdain for Populist art with technology, new media and mass audiences—in other words, the areas of radio, television and motion pictures, for which Copland either had or soon would write music, as well as his popular ballets. While these attacks actually began at the end of the 1930s with the writings of Clement Greenberg and Dwight Macdonald for "Partisan Review", they were based in anti-Stalinist politics and would accelerate in the decades following World War II.