All eyes will be on "The Golconda Blue" on May 14 as the largest fancy vivid blue diamond ever to appear at auction goes under the hammer at Christie's Magnificent Jewels sale in Geneva. Weighing in at 23.24 carats, this exceptional and historic stone carries a pre-sale estimate of $35 million to $50 million and is poised to rival the prices achieved by the most famous blue diamonds in history.



Set in a ring by celebrated Parisian jeweler JAR, The Golconda Blue is far more than an impressive fancy-colored diamond. Its royal provenance can be traced back to Yeshwant Rao Holkar, the Maharaja of Indore, a style icon of the 1920s and 1930s, whose passion for fine jewelry led him to work with design houses, such as Chaumet, Mauboussin and Harry Winston.



Originally acquired by Holkar’s father, the pear-shaped blue diamond was first set into a bracelet in 1923. A decade later, Holkar commissioned Mauboussin to redesign it into an Art Deco necklace worn by his wife, the Maharani, and immortalized in a portrait by artist Bernard Boutet de Monvel.

In 1947, the stone changed hands again, acquired by Harry Winston, who crafted it into a brooch alongside a 23-carat white diamond. The piece was sold to the Maharaja of Baroda before Winston reacquired and eventually sold it to its current owner.

Now, The Golconda Blue is making its first-ever appearance at auction, reimagined in a ring that marries the artistry of JAR with the rarity of the diamond itself. The provenance and pedigree of this gem are virtually unmatched, but it is the stone’s origin that makes it even more extraordinary.

As its name implies, The Golconda Blue hails from the famed Golconda mines of India — a region revered as the birthplace of the world’s most legendary gems, including the "Hope Diamond," "Koh-i-Noor," "Regent Diamond," "Orlov Diamond," "Idol’s Eye," "Princie Diamond" and "Wittelsbach-Graff Diamond."

Golconda diamonds are known for their remarkable purity, transparency and lack of nitrogen, characteristics that contribute to their luminous clarity. In today’s gemological terms, they are classified as Type IIa — the highest quality grade for diamonds.

“Over the course of its 259-year history, Christie’s has had the honor of offering some of the world’s most important Golconda diamonds,” said Rahul Kadakia, Christie’s International Head of Jewelry. “With its royal heritage, extraordinary color and exceptional size, The Golconda Blue is truly one of the rarest blue diamonds in the world.”

This historic offering follows in the footsteps of other blue diamond milestones, such as the $57.54 million sale of the 14.62-carat “Oppenheimer Blue” at Christie’s Geneva in 2016 and the $57.47 million sale of the 15.10-carat “De Beers Blue” at Sotheby’s Hong Kong in 2022.

The Golconda Blue will be touring Christie's locations in Hong Kong, Bangkok and New York before returning to Geneva just ahead of the sale.

As the countdown to May 14 continues, The Golconda Blue stands poised not only to challenge these auction records, but also to etch its name into the pantheon of history’s most storied blue diamonds.

Credits: Photos courtesy of Christie’s Images Ltd. 2025.

Russian mining giant Alrosa recently revealed the “New Sun,” a radiant, 100-plus-carat, fancy vivid yellow diamond that now ranks as the largest polished colored diamond ever produced in Russia.



With its rich honey-golden hue and flawless proportions, this gem is the end product of a journey that began in August 2020, deep within the permafrost of Yakutia, at the Ebelyakh placer deposit on the Anabar River. The remote area is 3,800 km (about 2,400 miles) northeast of Moscow, near the Arctic Ocean.



There, Alrosa unearthed a 236-carat rough diamond, the largest natural colored diamond ever discovered in Russia. With dimensions slightly larger than a golf ball (47mm x 24mm x 22mm), the rough stone exhibited an extraordinary "fancy intense yellow-brown" color — just a grade below the rarest "fancy vivid" classification.

The rough was fittingly named “Dawn” for its golden glow and the promise of something extraordinary. Rather than auctioning it off as rough, Alrosa opted to handle the transformation in-house — entrusting the gem to its elite team of 15 master cutters.

Over the course of two painstaking years, the team at Alrosa’s Cutting Complex meticulously planned and executed the diamond’s transformation. Using 3D modeling, spectral analysis, and virtual simulations, they evaluated all possible shapes to determine the best design to maximize both carat weight and color brilliance. Every facet was placed with precision to achieve what Alrosa calls “the perfect balance between light, color and the play of shades.”

The result is the New Sun, a dazzling, 100-plus-carat fancy vivid yellow diamond that showcases the full potential of Russian gem-cutting expertise. Its sunny hue, echoing the brilliance of its rough predecessor, lives up to its name as a new bright star in Alrosa's galaxy.

The New Sun also represents a milestone in the evolution of the “Russian Cut” — a style and standard of cutting known worldwide for its precision and brilliance.

While Alrosa has not yet disclosed when or how the New Sun will be sold, its importance transcends the commercial. This diamond tells a story of how ancient Arctic geology and human artistry intersected to create a modern masterpiece.

Credits: Images courtesy of Alrosa.

On Friday, April 11, the American Museum of Natural History unveiled "Cosmic Splendor: Jewelry from the Collections of Van Cleef & Arpels," a glittering new exhibition where natural history meets high jewelry in a tribute to the cosmos.



Set in the Melissa and Keith Meister Gallery within the renowned Allison and Roberto Mignone Halls of Gems and Minerals, the exhibition showcases more than 60 celestial-inspired creations — from dazzling diamond clips to planetary timepieces — all echoing humanity’s long-standing fascination with the universe.

Van Cleef & Arpels, the French high-jewelry maison with a legacy dating back to 1906, has translated the mysteries of space into intricate wearable art. Through seven thematic sections, Cosmic Splendor invites visitors on a stellar journey through the night sky, one gem at a time.



Take Me Away opens the exhibition with pieces that capture the sense of cosmic adventure, featuring exquisite pieces that evoke the wonder and grandeur of space, from meteors and shooting stars to legendary science fiction voyages, such as the Tampa necklace (2010), which pays tribute to Jules Verne’s novel From Earth to the Moon.



Next, Across the Universe zooms out to the grand scale of galaxies. The standout Double Galaxies clips (2021) mimic the sweeping spiral arms of the Butterfly Galaxies in Virgo, rendered in swirling hues of pink and mauve stones.



Lunar Wonders brings the Moon into focus. Among its most striking pieces is a 1969 yellow gold pendant, marked with a ruby cabochon at the Apollo 11 landing site — mirroring those gifted to the astronauts of that historic mission. It’s a powerful reminder of how jewelry can commemorate humanity’s most awe-inspiring achievements.



Our Star celebrates the radiant heart of our solar system: the Sun. Fiery orange garnets, glowing citrines and brilliant diamonds converge in pieces, such as the Fleur de Soleil clip (2016) and a vintage Sun pendant-clip from the 1970s, radiating both warmth and elegance.



Venturing farther into the cosmos, Beyond Earth showcases jewelry inspired by planetary systems and science fiction dreams. The TRAPPIST-1-themed transformable necklace and earrings (2021) blend discovery with design, while the Midnight Planétarium watch (2012) mesmerizes with its accurate miniature orbits of six planets.



Burning Bright focuses on the stars themselves — luminous and eternal. The Astre Necklace (2010), featuring a glowing black opal, and the Asterisk clip (1966-1967), with its timeless starburst motifs, exemplify Van Cleef & Arpels’ ability to capture the sky’s brilliance in gem form.

Finally, Lucky Stars brings it all home, interpreting the constellations and Zodiac signs in playful, personal designs — pendants, bracelets and watches that speak to the stories written in the stars.

Cosmic Splendor isn’t just a display of opulence, it’s a conversation between science and art. As Museum President Sean M. Decatur noted, the exhibition celebrates “natural beauty, creativity and craft.” It’s a fitting tribute in a museum that has long explored the mysteries of both Earth and space.

On view through January 4, 2026, Cosmic Splendor is included with museum admission. The American Museum is adjacent to Central Park on the Upper West Side of Manhattan in New York City.

Credits: Courtesy image by Alvaro Keding/© AMNH. Jewelry and watch photos courtesy of Van Cleef & Arpels.

Welcome to Music Friday, when we feature classic songs with jewelry, gemstones or precious metals in the title or lyrics. Today, we rewind to 1965 and turn up “Play With Fire,” a haunting tune by The Rolling Stones that puts diamonds front and center.



The song opens with a glittering nod to high-society indulgence with Mick Jagger singing, “Well, you’ve got your diamonds and you’ve got your pretty clothes / And the chauffeur drives your car / You let everybody know / But don’t play with me, ’cause you’re playing with fire.”

Jagger warns a privileged lover that her glamorous lifestyle should never be taken for granted. She must appreciate what she has because her social status could change in a blink — as it did for her mother — and the consequences of her pompous behavior might come back to haunt her.

Though officially credited to Nanker Phelge — a pseudonym used for Rolling Stones collaborations — “Play With Fire” was actually recorded by Jagger and Keith Richards in a late-night session at RCA Studios in early 1965.

According to SongFacts.com, they were the only band members present, with legendary producer Phil Spector stepping in on the bass and his assistant, Jack Nitzsche, playing the harpsichord.

Despite being relegated to the B-side of the single “The Last Time,” “Play With Fire” has proven to be a slow-burning classic. It peaked at just #96 on the Billboard Hot 100, but its eerie vibe and sharp social commentary helped it endure. The Stones played it live throughout the mid-60s, then resurrected it for their 1989-1990 tour, and again in 2017 — after a 27-year hiatus — thanks to guitarist Ron Wood’s suggestion.

Jagger himself reflected on the song’s power in a 1995 Rolling Stone interview: “I mean, it’s a very in-your-face kind of sound and very clearly done. You can hear all the vocal stuff on it… it’s very pretty.”

After more than 60 years of performing, The Rolling Stones continue to leave their mark on music history. With more than 250 million albums sold and a staggering 93 albums across studio, live, and compilation formats, they remain icons of rock. Inducted into the Rock and Roll Hall of Fame in 1989, the Stones rank #4 on Rolling Stone magazine’s list of “100 Greatest Artists of All Time.”

While the Stones recently shelved plans for a 2025 European tour, a global tour is reportedly still on the books for 2026.

Please check out the vintage 1966 video of Mick Jagger and The Rolling Stones performing “Play With Fire.” The lyrics are below if you’d like to sing along.

“Play With Fire”
Written by Nanker Phelge (The Rolling Stones). Performed by The Rolling Stones.

Well, you’ve got your diamonds and you’ve got your pretty clothes
And the chauffeur drives your car
You let everybody know
But don’t play with me, ’cause you’re playing with fire

Your mother she’s an heiress, owns a block in Saint John’s Wort
And your father’d be there with her
If he only could
But don’t play with me, ’cause you’re playing with fire

Your old man took her diamonds and tiaras by the score
Now she gets her kicks in Stepney
Not in Knightsbridge anymore
So don’t play with me, ’cause you’re playing with fire

Now you’ve got some diamonds and you will have some others
But you’d better watch your step, girl
Or start living with your mother
So don’t play with me, ’cause you’re playing with fire
So don’t play with me, ’cause you’re playing with fire



Credit: Photo by Raph_PH, CC BY 2.0, via Wikimedia Commons.

Before the Winston Red Diamond took its place as the dazzling centerpiece of a new exhibit at the Smithsonian’s National Museum of Natural History in Washington, DC, on April 1, the ultra-rare, 2.33-carat gem underwent one of the most thorough scientific evaluations ever conducted on a "Fancy red" diamond.



The examination was a collaborative effort between Gemological Institute of America (GIA) experts, Smithsonian mineral scientists and a curator from the Paris School of Mines. The team applied decades of research and cutting-edge instrumentation to analyze the diamond’s structure, color origin and geographic source.

“The Winston Red diamond is one of the most exquisite gems on Earth, from its unparalleled deep-red color to its rich history,” said Susan Jacques, GIA president and CEO. “Evaluating this spectacular gem is a scientific milestone for GIA and builds upon our expansive expertise in fancy-colored diamonds.”



Red diamonds are famously rare — less than one in 25 million diamonds receives a Fancy red grade. Of more than one million colored diamonds analyzed by GIA, only 0.07% are red, and fewer still qualify as Fancy red with no secondary hue. The Winston Red is the fifth-largest Fancy red diamond ever recorded and the only one of its kind currently on public display.

“When the Winston Red was recently submitted to GIA for grading, I immediately recalled examining it in 1987 — it is an unforgettable diamond,” said Tom Moses, GIA’s executive vice president and chief laboratory and research officer. “Its old mine cut, deep red hue and inclusions tell a story that can be traced back to September 1938 when Jacques Cartier sold the stone to the Indian Maharaja of Nawanagar.”

The diamond’s striking color and complex internal structure were of particular interest to researchers.

“It’s as if the diamond was squeezed and is now intensely blushing,” explained Dr. Ulrika D’Haenens-Johansson, senior manager of diamond research at GIA.

Her team determined that the Winston Red’s vivid red coloration is the result of plastic deformation—microscopic distortions in the diamond’s crystal lattice formed under extreme heat and pressure during its formation deep within the Earth.

Unlike other colored diamonds that owe their hues to trace elements in their chemical composition, red diamonds are colored by structural changes caused by immense geological stress. These same conditions often result in significant internal fractures. The Winston Red has an I2 clarity grade, reflecting visible inclusions, but these are characteristic of red diamonds and do not detract from its extraordinary value or rarity.

Mineralogical and historical evidence suggest the Winston Red likely originated in Brazil or Venezuela, further enhancing its mystique. Interestingly, the world's largest faceted Fancy red diamond — the 5.11-carat Moussaieff Red — was discovered in Brazil in 1989. Other regions known to produce red diamonds include Western Australia and South Africa.

“This gift by Ronald Winston is one of the most significant additions to the National Gem & Mineral Collection in recent decades,” said Dr. Gabriela Farfan, the Smithsonian’s curator of gems and minerals. “We’ve been working closely with GIA over the past two years to study and prepare the Winston Red for its debut.”

Now on display in the Smithsonian’s Winston Gallery — just steps from the famed Hope Diamond — the Winston Red acts as the conductor of a “symphony” of 40 other fancy color diamonds, all part of Ronald Winston’s extraordinary donation.

Credits: The 2.33-carat Winston Red diamond. Photo by Robert Weldon, courtesy of Ronald Winston. The Winston Red (center) is shown alongside two other colorful diamonds included in the Smithsonian exhibit: the “red-brown” "DeYoung Red" (left, 5.03 carats) and the DeYoung Pink (right, 2.82 carats). Photo by Dr. Gabriela Farfan.

In the rolling hills near Beit Shemesh, Israel, where the echoes of ancient civilizations still linger, the discovery of a 3,800-year-old scarab amulet has captivated the imaginations of archaeologists, historians — and jewelry lovers alike. That's because the amazing find didn't result from the arduous digging of a highly skilled research team but, instead, the curiosity of a 3½-year-old girl named Ziv Nitzan.



In early March, during a family hike near Tel Azekah, a historic site associated with the biblical battle of David and Goliath, Ziv bent down and picked up a seemingly ordinary stone.

Her older sister, Omer, recalled the moment vividly: “Out of all the stones around her, she picked up this particular one. When she rubbed the sand off, we realized it was something different.”



That “something” turned out to be a Canaanite scarab amulet — an object steeped in both artistic and symbolic significance.

The family quickly contacted the Israel Antiquities Authority (IAA), which confirmed the object's age and origins. The scarab, shaped like a sacred dung beetle, is a powerful emblem of rebirth and divine creation in ancient Egyptian culture.

Dr. Daphna Ben-Tor, a renowned expert in ancient amulets and seals, identified the artifact as a Middle Bronze Age scarab.

“Scarabs were found in graves, homes and public buildings,” she explained. “They often bore inscriptions reflecting religious beliefs or status.”

Beyond its spiritual and archaeological value, the scarab represents a deep connection between ancient Egypt and Canaanite cultures — an era when art and adornment served both aesthetic and symbolic roles.

These intricately carved pieces, often worn as pendants or set into rings, were not only fashionable, but meaningful, believed to carry protective powers and messages from the gods.

Ziv’s discovery has earned her a certificate of appreciation for good citizenship from the IAA. More importantly, it has reignited public interest in the intersection of archaeology and adornment.

The amulet will now be part of a special Passover exhibition at the Jay and Jeanie Schottenstein National Campus for the Archaeology of Israel in Jerusalem. The showcase will feature Egyptian and Canaanite artifacts, including jewelry, seals, statues and ritual items — many displayed for the first time.

According to Professor Oded Lipschits of Tel Aviv University, whose team has been excavating Tel Azekah for more than a decade, this scarab joins a long list of finds that tell the story of cross-cultural exchange in the ancient world.

“It’s incredible that such a small artifact can reveal so much about the past," he said. "And that it was found by a child is even more inspiring.”

As Israeli Minister of Heritage Amichai Eliyahu put it, “Even children can be part of discovering history.”

Credits: Photos by Emil Aladjem, Israel Antiquities Authority.

Billed as the world's largest flawless Paraiba tourmaline, the 181.61-carat "Kat Florence Lumina" is expected to make a splash at Bonhams' auction on May 22 in Hong Kong.



The journey of the Lumina began more than two decades ago in the rugged terrains of Mozambique’s Mavuco district, where famed gem hunter Don Kogen unearthed an extraordinary 830-carat crystal. From the moment of its discovery in 2003, the stone radiated promise — intense neon blue-green hues, rich with the copper signature that distinguishes true Paraiba tourmalines.

Kogen estimated that the huge crystal might one day yield a clean 300-carat gem, an almost mythical prospect in the world of Paraibas.

For years, the stone lay untouched. Then in 2025, spurred by his wife — jewelry designer Kat Florence — Kogen finally decided to cut the gem. The result? A massive, but not quite perfect, 315-carat Paraiba tourmaline.

Despite its size, it suffered from the common fate of large tourmalines: windowing. This optical flatness muted its inner fire.



The designer wasn’t content to let the story end there. Instead, she led her elite team of artisans in a painstaking reimagining of the gem. Through months of precision cutting, analysis and refinement, the stone was reborn — this time as the Kat Florence Lumina, a gem perfectly proportioned to unleash its brilliance from every angle.

The final masterpiece weighed in at 181.61 carats. Though smaller than its earlier iteration, it gained immeasurably in life and luminosity. Unheated and vividly saturated, the Kat Florence Lumina is now the largest flawless Paraiba tourmaline of its kind — a gem that unites size, color, clarity and cut.

Certified by three of the industry’s top gemological labs — Bellerophon, AGL and Gübelin — the Kat Florence Lumina is expected to earn international acclaim as a once-in-a-generation stone. Its exceptional qualities recall the legendary "Ethereal Carolina Divine Paraiba," a 191.87-carat brilliant-cut oval recognized for its size by Guinness World Records in 2009.

The term "Paraiba" represents the most coveted variety of tourmaline. Originally unearthed in Paraiba, Brazil, in 1987, the neon blue crystals sparked a mining frenzy in Brazil, and within five years, the supply was largely tapped out, according to the Smithsonian.

In 2001 and again in 2002, new Paraiba-like tourmalines were discovered in Nigeria and Mozambique. Interestingly, the vivid blue-green gems boasted a similar color and chemistry as the Brazilian-sourced goods.

Gemologists learned that Paraiba tourmalines were distinctly different from the rest because they owed their intense blue color to trace impurities of copper. Other tourmalines got their color from the presence of iron, manganese, chromium and vanadium.

Today, gem dealers refer to neon blue or green, copper-infused tourmalines as “Paraiba,” regardless of their origin.

Now completing its final exhibition tour — with stops in Taipei, Singapore and Hong Kong — the Kat Florence Lumina is poised to become one of the most talked-about gems of the season. On May 22, the world will watch as this reimagined wonder goes under the hammer at Bonham's Hong Kong Jewels and Jadeite sale.

Credits: Photos of The Kat Florence Lumina courtesy of CNW Group/Kat Florence.

In a twist of geological poetry, Rio Tinto’s Diavik Diamond Mine in Canada’s remote Northwest Territories has delivered one of its most exceptional finds yet — a 158.20-carat gem-quality yellow diamond — just as the mine prepares to shutter its operations.



The discovery of this rare stone, one of the largest yellow diamonds ever found in Canada, and only the fifth yellow diamond over 100 carats unearthed at Diavik, underscores the mine’s uncanny ability to surprise even in its final chapter.

With production expected to wrap by early 2026, the timing of this discovery is as bittersweet as it is brilliant — a final encore from a mine that’s been rewriting North America’s diamond story for over two decades.

Situated 200 kilometers south of the Arctic Circle, the Diavik mine has operated since 2003 under some of the harshest conditions on Earth. While it’s long been known for producing high-quality white diamonds, yellow diamonds have remained an elusive rarity, making up less than 1% of its total output.

The mine’s sub-Arctic setting, surrounded by frozen lakes and permafrost, has added layers of complexity to every operation — making each gem pulled from its ancient kimberlite pipes a triumph of both nature and engineering.



This isn’t the first time Diavik has stunned the world with a yellow gem of staggering proportions. In 2018, the mine unearthed the legendary 552.74-carat yellow diamond — the largest ever found in North America. Roughly the size of a chicken egg and bearing a unique bi-color transition from vibrant yellow to near white, the diamond was a showstopper even in its rough form.



After nearly a year of precision mapping and cutting, the 552 gave birth to “The Dancing Sun” — a 204.36-carat, fancy intense yellow cushion-cut diamond with VVS2 clarity. The finished gem dazzled its way to the auction block at Christie’s in New York, ultimately selling for nearly $5 million in June 2021. It remains the largest polished yellow diamond ever cut in North America and a shining emblem of Diavik’s surprising legacy.

That such a rare gem — the 158.20-carat yellow — would be found as the mine winds down feels like a fitting curtain call. It’s a quiet irony not lost on those who have worked in the frozen north to pull beauty from the bedrock.

“This two billion year old, natural Canadian diamond is a miracle of nature and testament to the skill and fortitude of all the men and women who work in Diavik’s challenging sub-Arctic environment,” said Matt Breen, Chief Operating Officer at Diavik.

Though the mine’s future may be measured in months, its legacy will be measured in carats (140 million since commercial production began in 2003) and moments like these. Diavik may be entering its twilight, but it’s not going quietly.

Credits: Photo of 158.20-carat yellow diamond courtesy of Rio Tinto. Photo of "552" diamond by The Jeweler Blog. Photo of "The Dancing Sun" diamond courtesy of Christie’s.

In 1964, a 22-year-old Aretha Franklin declared in a song called “One Room Paradise” that she didn’t need to live in the lap of luxury or be draped in diamonds to be happy. A little one-room apartment would be totally fine as long as she could be with the man she loved.



Halfway through the tune, however, Franklin seems to be open to other possibilities: “Now, if one day he lucked up on a magic pot of gold (Pot of gold) / I wouldn’t mind a little diamond ring or a fur coat for the cold (Oooh!).”

Welcome to Music Friday when we often bring you throwback songs with jewelry, gemstones or precious metals in the title or lyrics.

Written by John Leslie McFarland, “One Room Paradise” first appeared as the final track of Runnin’ Out Of Fools, Franklin's seventh studio album.

While the song’s protagonist aspires to own something precious, Franklin — the star — had a penchant for regal jewelry. Throughout her nearly six-decade career, she was photographed wearing long strands of cultured pearls, jeweled earrings and ornate diamond rings.

The first woman to be inducted into the Rock & Roll Hall of Fame (1987), Franklin earned 18 Grammys, including a Lifetime Achievement Award in 1994. She scored 17 top-10 pop singles and 20 #1 R&B hits. She’s sold more than 75 million records worldwide and performed at the inaugurations of three presidents: Jimmy Carter, Bill Clinton, and Barack Obama.

Some of her most memorable hits include "Respect" (1967), "Chain of Fools" (1967), "I Say a Little Prayer" (1968), "(You Make Me Feel Like) A Natural Woman" (1968) and "Think" (1968). In 2008, Rolling Stone magazine ranked Franklin #1 on its list of the Greatest Singers of All Time.

Singer Mary J. Blige once commented, “Aretha is a gift from God. When it comes to expressing yourself through song, there is no one who can touch her. She is the reason why women want to sing. Aretha has everything — the power, the technique. She is honest with everything she says.”

Born in Memphis, TN, Aretha Louise Franklin honed her singing talent in the choir of her father’s New Bethel Baptist Church in Detroit. At age 18, in 1960, she was signed by Columbia Records. By the end of that decade, she had cemented her status as the “Queen of Soul.” Franklin passed away in 2018 at the age of 76.

Please check out the audio track of Franklin’s “One Room Paradise.” The lyrics are below if you’d like to sing along…

“One Room Paradise”
Written by John Leslie McFarland. Performed by Aretha Franklin.

I don’t need no diamonds (She don’t need)
And I don’t need no money (She don’t need, she don’t)
Some people live in castles with 60 or 70 rooms (She don’t)
Some people dream about a penthouse tall or a mansion on the moon

But I got me a little one room paradise
And the man I love (And the man I love)
And that’s all I need now
And the man I love (And the man I love)

Some girls are crazy about diamonds (Diamonds)
Some go wild about furs (Go wild)
Some girls go for a lot of loot from a check book that ain’t hers (Sho’ ain’t hers)

But I got me a little one room to paradise
And the man I love (And the man I love)
And that’s all I need now
And the man I love (And the man I love)

Now, if one day he lucked up on a magic pot of gold (Pot of gold)
I wouldn’t mind a little diamond ring or a fur coat for the cold (Oooh!)
But if it meant I had to lose just what I’ve got right now (Right now)
Then I don’t need no gold anyhow (No, no!)

I can’t make love with no diamonds (Diamonds)
Give them all to somebody else (Anybody)
And what good is one hundred rooms if you’re there all by yourself (Yes, you)

So I’ll take me my little one room paradise
And the man I love (And the man I love)
Well, that’s all I need now
And the man I love (And the man I love)

I don’t need no diamonds (She don’t need no diamonds)
Said I don’t need no money (She don’t need no money, she don’t)



Credit: Image by Atlantic Records(Life time: Published before 1978 without a copyright notice), Public domain, via Wikimedia Commons.

Love stories come in all shapes and sizes, but few can rival the grand romantic gesture of Denos Vourderis, a hardworking immigrant who made good on a fanciful engagement promise by purchasing one of New York City's most enduring landmarks.



When Denos proposed to his beloved Lula in 1948, he didn't just offer her a traditional diamond ring. Instead, he vowed to give her "a ring so big that everyone in the world would see how much he loved her, a ring that would never be lost."

That ring turned out to be none other than the Wonder Wheel, a towering Ferris wheel in Coney Island that would become both a symbol of their love and a legacy for generations to come.

Denos was a Greek immigrant who arrived in America as a 14-year-old to pursue the American Dream. Denos joined the Merchant Marines and then served during World War II. When he returned from service, he sold hot dogs from pushcarts and ran small eateries, working tirelessly to build a future. Throughout the 1940s, he and Lula would often visit Coney Island, a place of joy, excitement and wonder.

It was there that Denos first laid eyes on the Wonder Wheel, a 150-foot-tall, 400,000-pound Ferris wheel that had been operating since 1920, the same year he was born. He marveled at the 24 colorful cars, 16 of which slid on a serpentine track towards the hub of the Wheel as it rotated. Enchanted by its beauty, he promised Lula that if she accepted his marriage proposal, one day he would buy the Wonder Wheel for her as a wedding present. It was a promise she never forgot.

For decades, Denos worked to make good on his vow. He took every opportunity to grow his business, running restaurants and boardwalk food stands while continuing to dream about the Wonder Wheel.

By the 1970s, he was a fixture in Coney Island, helping manage the kiddie rides at Ward’s Amusement Park. As fate would have it, in 1983, the owners of the Wonder Wheel decided to sell. Though there were higher offers on the table, the Garms family entrusted the historic ride to Denos, recognizing his passion and dedication to preserving its magic.

With his family by his side, Denos, at the age of 63, purchased the Wonder Wheel for $250,000 and restored it to its former glory. It became the centerpiece of what would be known as Deno’s Wonder Wheel Amusement Park, ensuring that his love for Lula would be immortalized in the heart of Coney Island. The Wonder Wheel was designated a New York City Landmark in 1989.

Denos passed away in 1994, but his love story lives on. Today, Deno’s Wonder Wheel Amusement Park is still operated by the Vourderis family, who continue to share the magic of the Wheel with millions of visitors. Over its 105 years of continuous operation, the ride has been enjoyed by more than 40 million people. It also has become known as the “Most Romantic Ride in the World,” a place where countless couples have proposed, sealing their love with a spin high above the boardwalk.

In a world where gestures of love are often fleeting, Denos proved that, sometimes, the biggest promises are worth keeping. So next time you visit Coney Island remember that the towering Wonder Wheel is not just an amusement ride — it’s a symbol of devotion, perseverance and a love story for the ages.

Credit: Photo by DangApricot, CC BY-SA 3.0, via Wikimedia Commons.