A federal appellate court has ruled that a national beauty pageant has a First Amendment right to prohibit a transgender woman from competing because incorporating her would interfere with the message the pageant wants to communicate about “what it means to be a woman.”
The ninth U.S. The verdict came in response to a lawsuit filed by Anita Green, who claimed that the Miss USA pageant violated an Oregon state anti-discrimination legislation by barring her from competing in 2019.
Green has competed in several pageants, including Miss Montana USA, Miss Earth, and Ms. World Universal. She was living in Clackamas, Oregon, and was planning to compete in the Miss United States of America’s Miss Oregon pageant when she claimed the organization turned down her application because she was not a “natural born girl.”
Green filed a lawsuit, claiming that the organization was breaking a state statute that makes it illegal to refuse people public accommodations based on their gender or gender identity.
However, attorneys representing the Miss United States of America Pageants stated that the pageant program was created to commemorate and promote “natural born women” by transmitting a message of “female biological empowerment.”
Beauty Pageant Ruling
The nine-judge panel of the Ninth Circuit ruled 2-1 in favour of the Beauty Pageant organization, stating that forcing the contest to include a transgender woman would fundamentally alter the message the Beauty Pageant was attempting to communicate.
“Beauty pageants, like theatre, cinema, or the Super Bowl halftime show, mix speech with live performances such as music and dancing to deliver a message,” wrote Judge Lawrence VanDyke for the majority. “And, while the content of that message differs every pageant, it is widely assumed that beauty pageants are generally aimed to convey the ‘ideal picture of American womanhood.'”
The appellate court agreed with a lower court’s conclusion that anyone seeing the contest’s choice to exclude transgender women would most likely conclude that the pageant organizers did not feel transgender individuals qualified as female.
“The Beauty Pageant has the ability to communicate this message and enforce its “natural born female” rule under the First Amendment,” the appeal court concluded.
Forcing the pageant to admit transgender contestants would amount to “compelled expression,” a violation of the First Amendment, the panel determined, and the fact that the pageant was a corporation engaged in commerce was insufficient to overcome that free speech privilege.
In a dissenting opinion, Judge Susan P. Graber stated that the majority omitted critical stages when determining whether the First Amendment applied.
According to Graber, the court should have considered whether Oregon state law applied to the case, which may have settled the claim before the judges even reviewed the First Amendment question.
Tanice Smith, the pageant organization’s owner, and her attorney, John Kaempf, said the 9th Circuit’s dismissal was a matter of “basic justice.”
“The Ninth Circuit’s reasoning says it all: “Green requests that the state utilize its power to compel the Miss United States of America to express a message opposed to what she wishes to express.” “The First Amendment says no,” said Kaempf.
Green’s attorney, Shenoa Payne, did not immediately respond to an Associated Press request for comment.
Green expressed disappointment after a lower court verdict sided with the pageant last year but said the case raised awareness about transgender discrimination within the pageant circuit.
“I feel the United States of America Miss is on the wrong side of history by deliberately discriminating against transgender people, but the road to significant change has always been long and rocky,” Green said at the time.
“Transgender women are simply women.” My message has always been consistent, and it is this: “Everyone has beauty.”
Heidi Klum Transforms Into a Multi-Person Peacock for Halloween 2023: See Her Show-Stopping Look
The Halloween queen has returned.
Heidi Klum, 50, arrived at her annual Halloween event on Tuesday with a full team for her costume. She dressed up like a peacock for this year’s festival, relying on the support of others for the peacock’s tail feathers.
While arriving at Marquee New York, she (and her colorful entourage) stacked on each other, much like a Cirque du Soleil show, to change into a giant, gorgeous bird.
Heidi Klum, dressed in a cobalt blue bodysuit, was in the center. The America’s Got Talent judge donned an ornate headdress with a finely detailed beak.
On the red carpet, Klum chatted exclusively to PEOPLE about her inspiration for this year’s costume.
“I wanted to do a costume with a large number of people.” I wanted a large group of people who would merge into one entity. “And in my mind, that one thing was the peacock,” she explains.
The entrepreneur went on to say that she flew to Montreal to figure out how to stack everyone.
“My feet are a different pattern, so my feet melt into his legs,” she explains to PEOPLE, revealing how the placement of her feet was vital for the colors of her costume.
Heidi Klum’s husband, Tom Kaulitz, walked the red carpet as an egg.
Rachel Zegler, Ice-T and Coco, Taylor Lautner Tay Dome, and others were among the celebrities in attendance.
According to the model and Project Runway host, this outfit has been in the works for a year. Every year, she throws a star-studded Halloween event and is already planning her next costume the next morning.
Heidi Klum is notorious for going to extraordinary measures for the holiday, such as learning to walk on stilts and putting on hours of prosthetics. Klum used to do her hair and cosmetics, but now she has a staff to assist her.
Heidi Klum has dressed up as a corpse, an old lady, and Princess Fiona from Shrek in the past, among many other famous outfits.
“I always try to find things that people wouldn’t naturally do,” Klum told PEOPLE earlier this year.
Heidi Klum Transforms Into a Multi-Person Peacock for Halloween
Klum’s Halloween costume history includes her Jessica Rabbit look from 2015, which included considerable prosthetics. Klum shared an Instagram video of the procedure, demonstrating how they reproduced the character’s looks.
Klum’s triumphant comeback last year (she had paused the parties due to the COVID outbreak) produced one of her most renowned costumes yet – a worm costume. Klum was rendered unrecognizable by the intense stare, which revealed only her eyes and mouth.
Klum has also made Halloween an interactive event. In 2019, she showcased her getting-ready procedure by transforming herself into a window in New York City. Klum demonstrated her love for Halloween by producing a horror flick to commemorate the eerie season in 2020.
SOURCE – (People)
Piper Laurie, 3-Time Oscar Nominee With Film Credits Such As ‘The Hustler’ And ‘Carrie,’ Dies At 91
Early Saturday morning at her residence in Los Angeles, Piper Laurie, the determined Oscar-nominated actor who once renounced acting entirely in pursuit of a “more meaningful” existence, passed away. Laurie had appeared in several critically acclaimed roles. At the time, she was 91.
Marion Rosenberg, Laurie’s manager, emailed The Associated Press that she passed away of old age. Rosenberg described Laurie as “a marvelous human being and a phenomenal artist.”
Laurie, who was initially identified as Rosetta Jacobs upon her 1949 arrival in Hollywood, was immediately offered a contract with Universal-International, a studio she hated, which earned her a series of starring roles alongside, among others, Ronald Reagan, Rock Hudson and Tony Curtis.
Subsequently, in 1986, she was nominated for an Academy Award for the romantic drama “Children of a Lesser God,” the film adaptation of Stephen King’s horror classic “Carrie,” and the 1961 poolroom drama “The Hustler.” She also appeared in several critically acclaimed roles on television and the stage, including the antagonistic Catherine Martell in David Lynch’s “Twin Peaks” in the 1990s.
At seventeen, Laurie debuted in the film “Louisa” as Reagan’s daughter before appearing in “Francis Goes to the Races” opposite Francis the talking mule. She previously dated Curtis, with whom she collaborated on several films, including “Johnny Dark,” “The Prince Who Was a Thief,” “No Room for the Groom,” and “Son of Ali Baba.”
In 1955, she quit her $ 2,000-per-week job and vowed not to work again unless offered a respectable role.
She relocated to New York, where she secured the theatrical and live television drama roles she desired.
Emmy nominations for her performances in “Days of Wine and Roses,” “The Deaf Heart,” and “The Road That Led After” facilitated her return to the film industry, where she starred in “The Hustler,” an acclaimed production, as Paul Newman’s troubled fiancée.
After that, Laurie turned her back on acting for many years. She wed film critic Joseph Morgenstern, had a daughter named Ann Grace, and relocated to a Woodstock, New York estate. She later explained that the Civil Rights Movement and the Vietnam War influenced her adjustment.
“I was disillusioned and searching for a more meaningful existence,” she recalled, adding that she has never regretted the decision.
She declared, “My life was full,” in 1990. “I have always enjoyed working with my hands, and I have always been an artist.”
Laurie gained recognition for her baking abilities when The New York Times published her recipes.
She participated in a tour of college campuses with a dozen musicians and actors in 1972 to support Sen. George McGovern’s presidential campaign. This was her only performance during that period.
Laurie was finally prepared to resume her acting career when director Brian De Palma contacted her regarding the role of Sissy Spacek’s deranged mother in “Carrie.”
Initially perceiving the script as unsatisfactory, she ultimately resolved to perform the role for amusement purposes. De Palma’s reprimand for imbuing a scene with humor made her realize he intended the film to be a suspense thriller.
“Carrie” was an Academy Award winner that sparked a trend toward films about adolescents in peril, and both Spacek and Laurie received Academy Award nominations.
Reinvigorated by her ambition to perform, Laurie resumed an extensive career spanning decades. She appeared in television series including “Murder, She Wrote,” “Matlock,” and “Frasier,” and on “ER” as the mother of George Clooney.
SOURCE – (AP)
Marc Bohan, Former Dior Creative Director And Friend To The Stars, Dies At Age 97
Marc Bohan, Dior’s longest-serving creative director, has died at the age of 97. Hollywood aristocrats such as Grace Kelly and Elizabeth Taylor wore their thin silhouette designs.
After his predecessor, Yves Saint Laurent, was inducted into the French military in 1960, Bohan was selected to oversee the French label. From 1961 through 1989, he served as artistic director for the brand, delivering exquisite and subtle tailored outfits for the modern woman.
In 1961, he launched the “slim” look, a thin version of Dior’s iconic design with feminine shoulders and sensuously refined skirts, in his first couture collection for the house.
Bohan’s death was confirmed by Dior on Friday, who described him as an “immense visionary and passionate creator” who left his stamp on the fashion company.
“Marc Bohan was a unique creator dear to the heart of our House, infusing Dior elegance with his free spirit,” said Dior CEO Delphine Arnault. “A man of enormous talent who profoundly influenced both our history and fashion history.”
Marc Bohan, Dior’s longest-serving creative director, has died at the age of 97.
The couturier became great friends with Princess Grace of Monaco while working at Dior; thus, her wardrobe paid respect to his work as the two shared the same idea of elegance and flair. Even outside his friendship network, Hollywood influenced Marc’s work: in 1966, he created a collection with fur trim and long coats inspired by “Doctor Zhivago.”
Although Marc tried to remain out of the spotlight — he was often described as modest and discreet – his ideas kept him there. Bohan was commissioned to design the magnificent coronation gown for Iran’s then-empress, Farah Diba Pahlavi, in 1967.
During his time at Dior, Marc expanded the brand’s offerings, from starting Dior’s baby shop to creating Miss Dior and Dior Monsieur lines for young ladies and men. He was also lauded for arranging Dior’s first Indian shows.
In 1989, Gianfranco Ferré took over the fashion house from Bohan. Marc left Dior and relocated to London, where he joined the illustrious house of Norman Hartnell, a couturier for the British royal family. His daughter is the only survivor.
SOURCE – (AP)
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