Latest news with #Barnes
USA Today
an hour ago
- Sport
- USA Today
Tennessee basketball to host Duke at Food City Center
The 2025-26 men's basketball season will be the 11th for Tennessee under head coach Rick Barnes. He has compiled a 232–109 (111–66 SEC) record with the Vols. Barnes guided Tennessee to a 2022 SEC Tournament title, two SEC regular-season championships (2018, 2024) and two NCAA Tournament Elite Eight appearances (2024-25). On Friday, he announced a preseason basketball exhibition game against Duke at Food City Center. "We have so much respect for Jon Scheyer and for the Duke basketball program," Barnes said. "It is an exciting opportunity for our players and our fans to host the Blue Devils here in Knoxville for a high-level exhibition game. We are confident this matchup will benefit both teams and really help prepare us for the upcoming season." Tennessee will host Duke on Oct. 26 at 7 p.m. EDT. A TV network designation will be announced at a later date. More: 2025-26 Tennessee men's basketball nonconference schedule PHOTOS: Tennessee basketball defeats Duke in NCAA Tournament Follow Vols Wire on Facebook and X (formerly Twitter).
Technical.ly
8 hours ago
- Business
- Technical.ly
This Philly art museum built its own edtech platform — now it's licensing it to fund the future
The Barnes Foundation is increasing its reach and revenue — not with the art it's known for, but for the tech it developed to better understand its collection. The museum's proprietary Virtual Experience Platform (VXP) brings its vast collection into the digital age. Students in its educational programming can see Claude Monet's brushstrokes up close and examine a Pierre-Auguste Renoir sculpture from every angle, with deep zoom and panoramas in tandem with class discussions. Now, the Penn Museum will gain access to the tech to help it make online classes more engaging, and the Barnes earns $37,000 in annual fees. 'The long-term health of museums does depend on how well you're able to get your unique platform and message out there,' said Steven Brady, deputy director for digital initiatives and chief technology officer at the Barnes Foundation. 'We always saw it as something that was able to sustain us, and we thought [it] could be a really big positive for other institutions.' The Penn Museum is the first institution to partner with the Barnes to license this technology. The agreement allows the museum to use the platform for an undisclosed number of live classes and on-demand content. The museum will also receive audio and visual tech support, plus data about their programs through the Barnes' impact and evaluation team, to track results. The Penn Museum will implement VXP for two virtual programs this fall, Deep Dig and Archaeology in Action, according to Jennifer Brehm, director of learning and public engagement at the Penn Museum. It's an upgrade from the current slide decks offering limited perspectives of the art to hopefully increase engagement, she told 'The fact that we can really zoom in on some of the excavations, or maybe on some X-rays, if we're doing conservation work,' Brehm said, 'can really help to illuminate these details in a whole new way.' The search for a sustainable funding model The Barnes holds a range of classes, some focused on specific pieces of art and others focused on wider collections, as a part of its community education efforts. Many of those sessions shifted online during and after the pandemic. Going virtual, however, meant students couldn't get as up close and personal with the art, according to Brady. The museum already had an online version of its collection, using scanned high-resolution photos of the art taken for insurance when the museum moved to its current location on the Benjamin Franklin Parkway in 2012. Teachers, however, were looking for ways to make it more interactive, instead of just staring at static images. Launched in 2023, VXP displays 2D works like paintings as high-resolution images that students can zoom into, while 3D pieces such as sculptures — and even entire gallery spaces — are rendered as interactive models with 360-degree navigation. Industrywide, museums are constantly talking about how to design a more sustainable business model, Brady said. Many museums haven't recovered pre-pandemic numbers in terms of visitors and they aim to be less reliant on donor revenue and federal funding. The licensing model increases revenue and helps other museums expand their reach, he said. Licensing VXP out to others is the Barnes' way of doing that, while also increasing engagement, according to Brady. 'We were able to sustain ourselves with online educational revenue,' Brady said. 'There may be museums who don't care about revenue as much as outreach. And again, this serves that model as well.'
Daily Mail
9 hours ago
- Lifestyle
- Daily Mail
You've been doing your make-up all wrong! Celebrity cosmetics guru reveals the 11 mistakes most women are making without realising - and how to fix them
Daily Mail journalists select and curate the products that feature on our site. If you make a purchase via links on this page we will earn commission - learn more If there's one make-up artist whose advice we'd trust blindly, it's Caroline Barnes (@carolinebarnesmakeup). The pro is known for painting the faces of some of the biggest names in Britain, including Erin Doherty, Mia Mckenna-Bruce and Charlotte Ritchie. Below, we asked her to reveal the most common makeup mistakes women make – and how to avoid them to achieve a flawless-looking face… 1. Not analysing the colour of your foundation in daylight If you're splurging on a foundation, getting the wrong shade match can be an expensive mistake. But it's a mistake more than a few women make because they're not testing the product in natural light. 'Most people buy a foundation in a store with overhead lighting, which can distort the undertone and make it appear warmer, cooler, lighter or darker than it actually is,' Barnes explains. 'This can sometimes lead to the wrong colour choice.' Your best bet is to apply the product in daylight. But if that's not an option, ask for a mirror to check the shade match outside. Alternatively, a lot of brands also offer little testers or samples online. 2. Not matching your neck and chest to your face While we're on the topic of foundation, your face can be a lighter colour than your neck and chest because of the use of SPF. When you're choosing your foundation shade, Barnes says you need to make it the same as your body, no matter the coverage. She recommends applying foundation in a vest top or a bra so you can see if your face matches your neck and chest. 3. Not knowing your skin type Per Barnes, choosing the right foundation starts with understanding your skin type. For those with oily or combination skin, she recommends a water-based foundation such as the IT Cosmetics Your Skin But Better CC+ Natural Matte (£39, John Lewis); those with dry skin would benefit from a formula with hyaluronic acid, like the Milk Makeup Hydro Grip Gel Tint (£34, Cult Beauty). 4. Applying too much highlighter Everyone wants glowing skin, but if you apply highlighter all over your face, your complexion will end up looking very oily rather than glowy. For flattering results, follow Barnses's advice and only apply highlighter to the outer edges of your complexion and the high points of your face (bridge of your nose, top of your cheekbones, underneath your eyebrows and cupid's bows) to enhance your bone structure. 5. Using eyeliner to frame your eyes Many people mistakenly think that eyeliner is the quickest way to flatter the eyes, but Barnes points out that heavily lining the eyes can actually make them look smaller. Instead, she recommends using mascara as the best and quickest way to frame the eyes. 6. Making your eyebrows too dark Eyebrows act like a frame for the eyes, so it's important to make sure they're shaped just right as they can transform your whole face. Rather than colouring in your brows with a pomade, Barnes recommends using a pen like the NYX Lift & Snatch! Brow Tint Pen (£11.99, Boots) to paint fine, hair-like strokes that look more real and more flattering. 7. Only using one concealer If you've only got one concealer in your makeup bag, you're missing a trick. Per Barnes, everyone benefits from using two different concealers: one to cover up imperfections and one to dot around your eyes. 'The skin around your eyes is delicate and fine, so you need something to reflect the light, like the Maybelline Instant Eraser Eye Concealer (£9.99, Boots). It has a sponge applicator, is really light and lasts a long time,' recommends Barnes. 'If you're trying to conceal veins, scars and pigmentation, you need something full coverage that matches your foundation like the Hourglass Vanish Airbrush Concealer (£36, Cult Beauty).' 8. Not using a tubing mascara If your bog-standard mascara tends to smudge throughout the day, a tubing mascara could be the solution. 'A tubing mascara contains polymers that wrap around each individual lash,' explains Barnes. 'It is not dissolved by the natural oils in your skin; only by warm water so you don't need makeup remover. I use it on my clients on the red carpet because I can't afford for the mascara to transfer.' Her favourite? The Rum Wrap Party Tubing Mascara (£22, We Are Rum). 'It's the best one on the market.' 9. Applying your blusher wrong You probably don't really think about it when we're doing your makeup, but where you place your blusher can make a big difference. For a healthy and youthful look, Barnes suggests swiping blusher on the fullness of your cheeks and in the direction of your temple. For a more sophisticated, sculptural effect, take the colour underneath your cheekbones and sweep up and over temples, rather than in that straight line. 10. Sharply overlining your lips Not all of us have been blessed with naturally full lips, but luckily there are a few tricks that can make them look bigger. Overlining your cupid's bow is a well-known technique, but Barnes advises against creating sharp lines. 'A sharp lip can come across as a mean lip,' she explains. Instead, use the side of your lip pencil to softly add a little bit of volume and shape from the corners of your lips. 11. Less is not always more 'Modern makeup is all about simplicity, but that doesn't mean the no-makeup makeup trend is about wearing less products,' says Barnes. 'It's about choosing tonal eyeshadows, neutral blushes and your-lips-but-better lipstick shades, and pairing it with fluttery lashes and structured eyebrows to create a very modern and polished look.'
The Advertiser
18 hours ago
- Climate
- The Advertiser
How new ambulance trucks will help Hunter paramedics save more lives
Powering along the sand at Redhead beach, paramedics got behind the wheel of their world-first rescue trucks. Fire and flood-ready, the Hazardous Area Rescue Ambulance (HARA) Unimog vehicles were put to the test in a four-day training stint in the Hunter. Singleton special operations rescue paramedic Joshua Barnes joined others from the Hunter, Tamworth and the Central Coast on Wednesday, July 23, to learn how to use the trucks. "I did some challenging driving yesterday, some four-wheel driving out in the bush, and some sand and water crossing driving today," Mr Barnes said. The HARAs are equipped with fire-protection materials and can drive through 1.2 metres of water to reach patients in difficult terrain and natural disaster situations. "In the Hunter, there are situations with low-lying areas, and flood-affected areas, and we've been at a limit where we are able to get through," Mr Barnes said. Mr Barnes said the new trucks also allowed 360-degree access to the patient on a stretcher and a bigger working room in the back. The eight Mercedes-Benz trucks were commissioned in 2024, with one stationed at the Rutherford rescue stations. NSW Ambulance special operations coordinator Andy Mayer said the group was ready for their third day of training on the sand after their off-road sessions in the Watagans National Park. "They are learning about dropping tyre pressures, allowing the vehicle to maintain its momentum on the beach and how to treat patients on the sand," Mr Mayer said. The trucks had fireproof curtains that could drop down over the windows, and a crew protection system that prompted water to be drenched over the vehicle in a bushfire. The vehicles were recently used during rescues in Cyclone Alfred and the May floods in Taree, he said. "A lot of communities along the coast were isolated due to the main roads being flooded, so we found we could insert our specialised paramedics by the beach to get to them," he said. The deployed HARAs completed about 44 rescues during that time. Central Coast special operations paramedic Luke Kelly was helping to run the July training session. A paramedic since 2008, he noticed an increase in calls out to natural disasters and major incidents. "We were finding every agency was getting busier," he said. They could no longer solely rely on the State Emergency Service (SES) to get paramedics to patients or to get patients to them, he said. Rutherford special operations paramedic Isaac George said teams had sometimes waited one to two hours for the SES because they were busy on another job. "It allows us to be a little bit independent and access our own patients and get them out safely," Mr Kelly said. The HARA training program began 12 months ago and would probably continue for about 18 months to two years until every special operations paramedic was trained, Mr Kelly said. Powering along the sand at Redhead beach, paramedics got behind the wheel of their world-first rescue trucks. Fire and flood-ready, the Hazardous Area Rescue Ambulance (HARA) Unimog vehicles were put to the test in a four-day training stint in the Hunter. Singleton special operations rescue paramedic Joshua Barnes joined others from the Hunter, Tamworth and the Central Coast on Wednesday, July 23, to learn how to use the trucks. "I did some challenging driving yesterday, some four-wheel driving out in the bush, and some sand and water crossing driving today," Mr Barnes said. The HARAs are equipped with fire-protection materials and can drive through 1.2 metres of water to reach patients in difficult terrain and natural disaster situations. "In the Hunter, there are situations with low-lying areas, and flood-affected areas, and we've been at a limit where we are able to get through," Mr Barnes said. Mr Barnes said the new trucks also allowed 360-degree access to the patient on a stretcher and a bigger working room in the back. The eight Mercedes-Benz trucks were commissioned in 2024, with one stationed at the Rutherford rescue stations. NSW Ambulance special operations coordinator Andy Mayer said the group was ready for their third day of training on the sand after their off-road sessions in the Watagans National Park. "They are learning about dropping tyre pressures, allowing the vehicle to maintain its momentum on the beach and how to treat patients on the sand," Mr Mayer said. The trucks had fireproof curtains that could drop down over the windows, and a crew protection system that prompted water to be drenched over the vehicle in a bushfire. The vehicles were recently used during rescues in Cyclone Alfred and the May floods in Taree, he said. "A lot of communities along the coast were isolated due to the main roads being flooded, so we found we could insert our specialised paramedics by the beach to get to them," he said. The deployed HARAs completed about 44 rescues during that time. Central Coast special operations paramedic Luke Kelly was helping to run the July training session. A paramedic since 2008, he noticed an increase in calls out to natural disasters and major incidents. "We were finding every agency was getting busier," he said. They could no longer solely rely on the State Emergency Service (SES) to get paramedics to patients or to get patients to them, he said. Rutherford special operations paramedic Isaac George said teams had sometimes waited one to two hours for the SES because they were busy on another job. "It allows us to be a little bit independent and access our own patients and get them out safely," Mr Kelly said. The HARA training program began 12 months ago and would probably continue for about 18 months to two years until every special operations paramedic was trained, Mr Kelly said. Powering along the sand at Redhead beach, paramedics got behind the wheel of their world-first rescue trucks. Fire and flood-ready, the Hazardous Area Rescue Ambulance (HARA) Unimog vehicles were put to the test in a four-day training stint in the Hunter. Singleton special operations rescue paramedic Joshua Barnes joined others from the Hunter, Tamworth and the Central Coast on Wednesday, July 23, to learn how to use the trucks. "I did some challenging driving yesterday, some four-wheel driving out in the bush, and some sand and water crossing driving today," Mr Barnes said. The HARAs are equipped with fire-protection materials and can drive through 1.2 metres of water to reach patients in difficult terrain and natural disaster situations. "In the Hunter, there are situations with low-lying areas, and flood-affected areas, and we've been at a limit where we are able to get through," Mr Barnes said. Mr Barnes said the new trucks also allowed 360-degree access to the patient on a stretcher and a bigger working room in the back. The eight Mercedes-Benz trucks were commissioned in 2024, with one stationed at the Rutherford rescue stations. NSW Ambulance special operations coordinator Andy Mayer said the group was ready for their third day of training on the sand after their off-road sessions in the Watagans National Park. "They are learning about dropping tyre pressures, allowing the vehicle to maintain its momentum on the beach and how to treat patients on the sand," Mr Mayer said. The trucks had fireproof curtains that could drop down over the windows, and a crew protection system that prompted water to be drenched over the vehicle in a bushfire. The vehicles were recently used during rescues in Cyclone Alfred and the May floods in Taree, he said. "A lot of communities along the coast were isolated due to the main roads being flooded, so we found we could insert our specialised paramedics by the beach to get to them," he said. The deployed HARAs completed about 44 rescues during that time. Central Coast special operations paramedic Luke Kelly was helping to run the July training session. A paramedic since 2008, he noticed an increase in calls out to natural disasters and major incidents. "We were finding every agency was getting busier," he said. They could no longer solely rely on the State Emergency Service (SES) to get paramedics to patients or to get patients to them, he said. Rutherford special operations paramedic Isaac George said teams had sometimes waited one to two hours for the SES because they were busy on another job. "It allows us to be a little bit independent and access our own patients and get them out safely," Mr Kelly said. The HARA training program began 12 months ago and would probably continue for about 18 months to two years until every special operations paramedic was trained, Mr Kelly said. Powering along the sand at Redhead beach, paramedics got behind the wheel of their world-first rescue trucks. Fire and flood-ready, the Hazardous Area Rescue Ambulance (HARA) Unimog vehicles were put to the test in a four-day training stint in the Hunter. Singleton special operations rescue paramedic Joshua Barnes joined others from the Hunter, Tamworth and the Central Coast on Wednesday, July 23, to learn how to use the trucks. "I did some challenging driving yesterday, some four-wheel driving out in the bush, and some sand and water crossing driving today," Mr Barnes said. The HARAs are equipped with fire-protection materials and can drive through 1.2 metres of water to reach patients in difficult terrain and natural disaster situations. "In the Hunter, there are situations with low-lying areas, and flood-affected areas, and we've been at a limit where we are able to get through," Mr Barnes said. Mr Barnes said the new trucks also allowed 360-degree access to the patient on a stretcher and a bigger working room in the back. The eight Mercedes-Benz trucks were commissioned in 2024, with one stationed at the Rutherford rescue stations. NSW Ambulance special operations coordinator Andy Mayer said the group was ready for their third day of training on the sand after their off-road sessions in the Watagans National Park. "They are learning about dropping tyre pressures, allowing the vehicle to maintain its momentum on the beach and how to treat patients on the sand," Mr Mayer said. The trucks had fireproof curtains that could drop down over the windows, and a crew protection system that prompted water to be drenched over the vehicle in a bushfire. The vehicles were recently used during rescues in Cyclone Alfred and the May floods in Taree, he said. "A lot of communities along the coast were isolated due to the main roads being flooded, so we found we could insert our specialised paramedics by the beach to get to them," he said. The deployed HARAs completed about 44 rescues during that time. Central Coast special operations paramedic Luke Kelly was helping to run the July training session. A paramedic since 2008, he noticed an increase in calls out to natural disasters and major incidents. "We were finding every agency was getting busier," he said. They could no longer solely rely on the State Emergency Service (SES) to get paramedics to patients or to get patients to them, he said. Rutherford special operations paramedic Isaac George said teams had sometimes waited one to two hours for the SES because they were busy on another job. "It allows us to be a little bit independent and access our own patients and get them out safely," Mr Kelly said. The HARA training program began 12 months ago and would probably continue for about 18 months to two years until every special operations paramedic was trained, Mr Kelly said.
Boston Globe
a day ago
- Entertainment
- Boston Globe
Gilda Cruz-Romo, soprano celebrated for her power, dies at 85
Critics focused on the natural way she used her voice to inject character into her roles. From a 1962 debut in her native Mexico, opposite Jon Vickers in Richard Wagner's 'Die Walkure,' to her final performances, 30 years later, in Manuel de Falla's 'El Amor Brujo' in Guadalajara, where she was born, she was celebrated for a big voice -- she could hit high Cs with perfect accuracy -- that was also capable of singing quite softly. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up At the Met, she sang alongside stars Sherrill Milnes in 'I Pagliacci,' Robert Merrill in 'La Forza del Destino,' and Plácido Domingo in 'Tosca,' under James Levine. Advertisement A 1974 performance in Turin in the title role of Giuseppe Verdi's 'Luisa Miller' was 'the aural equivalent of a Caravaggio painting,' critic Scott Barnes wrote in a 2008 profile in Opera magazine. He praised her 'masterful use of light and shadow to etch an indelibly unique human being,' wroting that she had a sound 'perfect for Verdi and Puccini.' Advertisement The daughter of a train conductor, Ms. Cruz-Romo came from 'humble beginnings,' her niece Guerra said in an interview. Quoted in the 2008 Opera profile, Ms. Cruz-Romo appeared slightly amazed in looking back at a career that had led her from the Mexican provinces to the operatic stage in New York, Milan, London, and Vienna. 'I mean, my God! Who has such luck? There was really no struggle in my career,' she told Barnes. 'I worked hard and prepared well, but the engagements came easily.' Ms. Cruz-Romo was Cio-Cio San in "Madama Butterfly" at the Metropolitan Opera in New York in 1981. METROPOLITAN OPERA/NYT Gilda Cruz was born Feb. 12, 1940, one of four children of Feliciano Cruz and Maria del Rosario Diaz. As a child, she 'loved to dress up and make believe all the time,' she told Barnes in 2008, recalling that she infuriated her mother by taking her antique bedspread so she could 'swirl that around me and pretend to be a queen.' She studied at the Mexico City Conservatory, sang with the choir of the Ballet Folklorico de Mexico, and made her debut under the composer-conductor Carlos Chavez with the Mexican National Symphony Orchestra in Heitor Villa-Lobos' 'Bachianas Brasileiras No. 5.' She immediately impressed critics in her native land. 'A young debutante with a very beautiful voice, and to whom we wish a brilliant future,' critic Rafael Solana wrote in Siempre! magazine in September 1962, after her debut in 'Die Walkure.' In 1968, after some six years with the National Opera of Mexico, she was hired to sing in Gaetano Donizetti's 'Anna Bolena' at the Dallas Opera (her husband, Roberto, was singing in the opera's choir). Advertisement From the beginning, the texture of Cruz-Romo's voice and its exceptional richness aroused critical enthusiasm. She made her New York debut at City Opera in October 1969, in the dual role of Margherita and Elena in Arrigo Boito's 'Mefistofele,' under Julius Rudel. For critic Peter G. Davis of The New York Times, she was 'a major discovery.' 'In soft passages, she produces a pianissimo of delicate, whispery beauty, and when the voice blooms up on top the effect is thrillingly brilliant,' Davis wrote -- although he did note a few 'technical flaws' in her voice production. In 1970, she won the top prize in the Metropolitan Opera National Council's regional audition and was immediately offered a contract by the company's general manager, Rudolf Bing. Later that year, Davis found her Butterfly to be 'a fascinating creation and potentially a great one,' adding that 'her voice is a thrilling instrument in itself, with a powerful thrust in the top register and an individual, bronzen timbre that communicates drama as well as the notes.' After retiring from the stage in 1990, Ms. Cruz-Romo became a voice professor at the University of Texas Austin. She held that position for about a decade, earning the gratitude of dozens of students. 'She was an encyclopedia of musical knowledge and lived experience,' her student Benjamin Watts wrote in a post on LinkedIn after her death, 'fundamentally devoted to the libretto of every masterpiece she performed.' Ms. Cruz-Romo leaves a sister, Sylvia Winter. Her husband, who had been her manager, died in 2018. Advertisement This article originally appeared in
