Liberal-reformist gay and lesbian activists continue to work for full acceptance of gays and lesbians in the institutions and culture of mainstream society, but queer activists instead make a point of declaring themselves outside of the mainstream and having no desire to be accepted by or join it. Identity politics has sometimes been criticized as narrow, even childish, and essentialist. Social critic bell hooks, for example, argues that identity is too narrow a basis for politics. However, as long as LGBTQ people are stigmatized and discriminated against on the basis of their sexual and gender identities, identity politics are likely to be seen as an appropriate response. By the 1980s, the politics of identity had become central to the gay movement's struggles. This opened the path for change but also critique. Some LGBT rights activists, along with queer theorists, came to criticize the identity politics approach to gay rights, particularly the approach based around the terms and concepts of queer theory. Other queer activists, drawing on the work of Judith Butler, stress the importance of not assuming an already existing identity, but of remaking and unmaking identities through performance. There are also conscientious supporters of identity politics who have developed their stances on the basis of Gayatri Chakravorty Spivak's work, and have described some forms of identity politics as strategic essentialism, a form which has sought to work with hegemonic discourses to reform the understanding of "universal" goals. In a wider context, some critics counter that the intolerant homogeneity of mainstream culture is precisely the fact that makes full acceptance impossible and that social justice movements should aim toward not integration but rather multicultural pluralism, without recourse to the types of oppressive homogeneity now at play. (See the work of Urvashi Vaid for a discussion of the perils of homogeneity.) The 1920s ushered in a new era of social acceptance of minorities and homosexuals, at least in heavily urbanized areas. This was reflected in many of the films (see Pre-Code) of the decade that openly made references to homosexuality. Even popular songs poked fun at the new social acceptance of homosexuality. One of these songs had the title "Masculine Women, Feminine Men." It was released in 1926 and recorded by numerous artists of the day and included the following lyrics:  Masculine women, Feminine men Which is the rooster, which is the hen? It's hard to tell 'em apart today! And, say! Sister is busy learning to shave, Brother just loves his permanent wave, It's hard to tell 'em apart today!