The rise of post-modernism made "camp" a common perspective on aesthetics, which was not identified with any specific group. The attitude was originally a distinctive factor in pre-Stonewall gay male communities, where it was the dominant cultural pattern. It originated from the understanding of gayness as effeminacy. Two key components of camp were originally feminine performances: swish and drag. With swish featuring extensive use of superlatives, and drag being exaggerated female impersonation, camp became extended to all things "over the top", including women posing as female impersonators (faux queens), as in the exaggerated Hollywood version of Carmen Miranda. It was this version of the concept that was adopted by literary and art critics and became a part of the conceptual array of 1960s culture. Moe Meyer still defines "camp" as "queer parody".