criticism in a 2010 interview, stating, "Most of us [critics] begin writing about music because we love it so much. We can't wait to tell our friends and neighbors about what we're hearing." According to McCall, even over the course of a long professional career, the enthusiastic impulse to share "never fades". McCall expressed his interest in "examining why people respond to what they respond to. I hazard guesses. Sometimes I'm wrong, but I hope I'm always provocative." In the 2010s, some commentators noted and criticized the lack of negative reviews in music journalism. Saul Austerlitz from the New York Times Magazine noted that unlike other art forms, "music is now effectively free. Music criticism’s former priority — telling consumers what to purchase — has been rendered null and void for most fans." He argued that this and "click culture" causes music critics to act as "cheerleaders" for existing stars. The 2010s saw a rise of music critics who used YouTube and social media as their platform. According to Vice magazine's Larry Fiztmaurice in 2016, Twitter is "perhaps the last public space for unfettered music criticism in an increasingly anti-critical landscape". In 2020, The New York Times described YouTuber Anthony Fantano as "probably the most popular music critic left standing." Gender and race theory Applying critical theory (e.g., critical gender studies and critical race theory) to music journalism, some academic writers suggest that mutual disrespect between critics and artists is one of many negative effects of rockism. In 2004, critic Kelefa Sanneh defined "rockism" as "idolizing the authentic old legend (or underground hero) while mocking the latest pop star". Music journalism "infected" with rockism has become, according to Yale professor Daphne Brooks, a challenge "for those of us concerned with historical memory and popular music performance". Simon Frith said that pop and rock music "are closely associated with gender; that is, with conventions of male and female behaviour". According to Holly Kruse, both popular music articles and academic articles about pop music are usually written from "masculine subject positions". Kembrew McLeod analyzed terms used by critics to differentiate between pop music and rock, finding a gendered dichotomy in descriptions of "'serious,' 'raw,' and 'sincere' rock music as distinguished from 'trivial', 'fluffy,' and 'formulaic' pop music". McLeod found that a likely cause of this dichotomy was the lack of women writing in music journalism: "By 1999, the number of female editors