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In American contexts, the word "Camelot" is sometimes used to refer admiringly to the presidency of John F. Kennedy, as his term was said to have potential and promise for the future, and many were inspired by Kennedy's speeches, vision, and policies.
At the time, Kennedy's assassination had been compared to the fall of King Arthur. The lines "Don't let it be forgot, that once there was a spot, for one brief shining moment, that was known as Camelot," from the musical Camelot, were quoted by his widow Jacqueline as being from his favorite song in the score. "There'll be great Presidents again," she added, "but there'll never be another Camelot again … it will never be that way again."
Camelot has become a permanent fixture in interpretations of the Arthurian legend. Modern versions typically retain Camelot's lack of precise location and its status as a symbol of the Arthurian world, though they typically transform the castle itself into romantically lavish visions of a High Middle Ages palace. It lends its name to the 1960 musical Camelot by Alan Jay Lerner and Frederick Loewe, which is based on T. H. White's literary version of the legend, The Once and Future King. The musical was adapted into a 1967 film of the same name, which starred Richard Harris as Arthur, and which featured the Castle of Coca, Segovia as a fittingly opulent Camelot. The symbolism of Camelot so impressed Alfred, Lord Tennyson that he wrote up a prose sketch on the castle as one of his earliest attempts to treat the Arthurian legend. Some writers of the "realist" strain of modern Arthurian fiction have attempted a more sensible Camelot; inspired by Alcock's Cadbury-Camelot excavation, writers Marion Zimmer Bradley, Mary Stewart, and Catherine Christian place their Camelots in that city and describe it accordingly.