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Museology --- DIVA Museum [Antwerp]

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Bijna elke diamant reist minstens éénmaal door Antwerpen. De Scheldestad is al eeuwenlang een handelscentrum voor ruwe en geslepen steentjes. DIVA, het nieuwe Antwerpse diamantmuseum, ontsluiert graag deze fascinerende wereld vol luxe. Het museum toont verrassend vakmanschap en authentieke objecten. Ontdek intrigerende verhalen, kijk binnen in ateliers van hedendaagse Antwerpse juwelenmakers of leer hoe je volgens de etiquette het best juwelen draagt.

edelsmeedkunst --- diamond [mineral] --- DIVA [Antwerp] --- Antwerp --- jewelry --- decorative arts --- Applied arts. Arts and crafts --- Toegepaste kunst. Kunstambachten --- toegepaste kunst --- sieraden --- diamant --- DIVA [Antwerpen] --- Antwerpen --- decorative arts [discipline] --- DIVA: museum for diamonds, jewellery and silver [Antwerp] --- DIVA Museum [Antwerp]

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Library management --- DIVA Museum [Antwerp] --- University of Antwerp --- Plantin-Moretus Museum [Antwerp] --- Ruusbroec Institute [Antwerp] --- Hendrik Conscience Heritage Library [Antwerp]

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Broadway star Ethel Merman's voice was a mesmerizing force and her vitality was legendary, yet the popular perception of La Merm as the irrepressible wonder falls far short of all that she was and all that she meant to Americans over so many decades. This marvelously detailed biography is the first to tell the full story of how the stenographer from Queens, New York, became the queen of the Broadway musical in its golden age. Mining official and unofficial sources, including interviews with Merman's family and her personal scrapbooks, Caryl Flinn unearths new details of Merman's life and finds that behind the high-octane personality was a remarkably pragmatic woman who never lost sight of her roots.Brass Diva takes us from Merman's working-class beginnings through the extraordinary career that was launched in 1930 when, playing a secondary role in a Gershwin Brothers' show, she became an overnight sensation singing "I Got Rhythm." From there, we follow Merman's hits on Broadway, her uneven successes in Hollywood, and her afterlife as a beloved camp icon. This definitive work on the phenomenon that was Ethel Merman is also the first to thoroughly explore her robust influence on American popular culture.

Motion picture actors and actresses --- Singers --- Merman, Ethel. --- american culture. --- american musicals. --- american theatre. --- annie get your gun. --- biographical. --- biography. --- broadway actress. --- broadway diva. --- broadway musical. --- broadway. --- dancer. --- diva. --- famous actress. --- gershwin brothers. --- golden age. --- hollywood. --- life story. --- musical theatre. --- popular culture. --- scrapbook. --- singer. --- stage actors. --- stage actress. --- theatre history. --- theatre. --- true story. --- untold story.

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"Mariah Carey is immediately known for two things: a stratospheric, five-octave vocal range and massive success on the charts (she has more Billboard no. 1 singles than any other solo artist). As Andrew Chan points out in this book, that fed easily into the narrative around an artist who came of age in the excess-riddled 1990s-and was married to Sony CEO Tommy Mottola. Chan, though, is digging deeper into her catalog and her biography to argue that it is actually Carey's songwriting, studio instincts, artistic evolution, and the nuances--rather than the extremes--of her voice that separate her from other successful artists of her generation. And, stepping beyond the music, Carey's story as a biracial woman, as well as her "large and loyal LGTBQ fanbase," further distinguish her from her peers. The book unfolds in a mostly chronological manner. Chan's second chapter discusses the in-between nature of Carey's work, contrasting the label's early attempts to package her as a "white" artist with less-discussed examples of her hip-hop-inflected remixes and her gospel-tinged Christmas album. By the mid 1990s, she was working with hip-hop producers such as Missy Elliott. Chan also identifies the mid 90s as important for the emergence of her penchant for humor and her contrasting self-pity-"emo Mariah and class-clown Mariah," as he puts it. Carey's personal and professional struggles in the early 2000s lend poignancy to her ballads from this period, when her voice was no longer the singular force it was a decade earlier. The decline in her voice presents a particular problem for the "nostalgia" aspect of her career, something that she has countered, to a degree (she can still sing with the best), through nonmusical ventures as well as more eccentric and experimental choices in her latest work. At the close of the book, Chan reflects on diva worship, especially as a queer listener, and the ways in which Mariah has aligned herself with her queer audience"--

Popular music --- Women lyricists. --- Women singers. --- Women singers --- History and criticism. --- Black music, pop music, 1990s, 2000s, Music Box, The Emancipation of Mimi, ballad, nostalgia, pop music diva, Voice studies, whistle tone, Lambs, Queen of Christmas, fantasy, biracial, voice, tommy mottola.