Mesquite Municipal Court Building Entry Procedures and Court Dress Code

Total Page：16

File Type：pdf, Size：1020Kb

MESQUITE MUNICIPAL COURT BUILDING ENTRY PROCEDURES AND COURT DRESS CODE Please note that you will pass through building security, including walk through and/or hand held metal detectors upon entry to the Mesquite Municipal Court building. Weapons and/or contraband of any kind are strictly prohibited. Face mask and social distancing is encouraged. Cell phones, pagers, computers and electronic devices must be turned off while inside the court. No food or drinks are allowed in court. DRESS CODE Clothing should be consistent with the respect and dignity of the judicial process. It should be constructed and worn in such a manner that it is not unduly revealing or offensive. THE FOLLOWING WILL NOT BE PERMITTED IN THE COURTROOM: Hats, caps, headbands, bandanas, scarves, buffs, sweatbands, do-rags or hairnets. Those with head coverings that cannot be easily removed shall remain in the lobby to be seen by the Judge at the end of the docket for a determination to proceed to handle or reset the case(s). All head coverings for religious nature or for medical reasons are allowed. Sunglasses; flip-flops or house shoes. Visible body piercings. Facial piercings will need to be removed as much as practical. Ear piercings are acceptable. Visible halter tops, tank tops, see-through tops, bare-midriff tops, tops with open backs, bare shoulders, or spaghetti straps. Shorts (other than shorts worn as uniform for work or school purposes- no short shorts) ; skirts shorter than 3 inches above the knee. Pajamas, Pants with holes or tears, baggy pants or pants that drag on the ground. Anything containing words, pictures or symbols that are obscene, profane, sexually suggestive, or related to drugs or gangs. No underclothing shall be visible at any time. Counsel shall wear professional attire while conducting business in the Mesquite Municipal Court per Rules of the Court. THIS DRESS CODE IS STRICTLY ENFORCED. YOU WILL BE NOT BE ALLOWED IN THE COURT ROOM IF YOU ARE NOT IN COMPLIANCE WITH THE DRESS CODE. *Si necesita la traduccion de este documento, favor de comunicarse con la Corte Municipal al numero 972-216-6206. City of Mesquite Municipal Court 972-216-6206 211 Municipal Way, Mesquite, TX 75149 Mail: P.O. Box 850137, Mesquite, TX 75185-0137 .

Copy Link

Recommended publications

Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern
[Show full text]
Request Copy of Army Dress Regulation Part 12
Army Secretariat Army Headquarters IDL 24 Blenheim Building Marlborough Lines Andover Hampshire, SP11 8HJ United Kingdom Ref: FOI2017/04841/18/02/78806 E-mail: [email protected] Website: www.army.mod.uk XXXXXXXXXXX 8 May 2017 XXXXXXXXXXXXXXX Dear XXXXXXXXXX, Thank you for your email of 20 April in which you requested the following information: ‘I have through recent Google research acquired a pdf of Army Dress Regulations (All Ranks). I attach a summary of the contents that I have compiled through scrutiny of the acquired pdf. You will note that: The Regulations are sponsored by PS12 (A). The pdf that I have acquired is incomplete (some Parts are missing) and may not include the most recent updates (the Parts in the acquired pdf were originated 2011-13). I accordingly request a copy of Army Dress Regulations (All Ranks) that incorporates the most recent versions of all Parts that have been promulgated by PS12(A). A pdf scan of the most recent version of the Regulations sent as an attachment to a covering e-mail would be entirely acceptable. I am treating your correspondence as a request for information under the Freedom of Information Act 2000. A search for the information has now been completed within the Ministry of Defence, and I can confirm that information in scope of your request is held. Parts 1, 2, 4, 5, 7, 8, 9, 10, 11, 13, 14 of the Army Dress Regulations are exempt under Section 21 (information accessible to applicant by other means) of the Freedom of Information Act (FOIA), because the most up to date versions are already in the public domain and can be found at the following address: https://www.whatdotheyknow.com/request/army_dress_regulations_2017#incoming-959300 Parts 12 and 14 of the Army Dress Regulations have recently been updated and are attached.
[Show full text]
History of Legal Regalia for Barristers
History of legal regalia for barristers When we visualise a lawyer we probably picture a man or woman wearing a wig, black gown and bib. While this stereotype persists, legal wigs in New Zealand are generally reserved for ceremonial purposes only. Nonetheless they continue to be the defining image of a barrister at work. New Zealand’s legal system was derived from the English system, including its traditional attire. Gowns Barrister’s gowns date back as far as the reign of King Edward III in the 14th century. In this period fur and silk lined robes were established as a mark of high judicial office. This was based on the correct dress for attending the royal court of the day. These gowns changed with the seasons, generally green in the summer and violet in the winter, with red for special occasions. The plain black gown, most commonly seen on barristers in New Zealand today, was adopted in 1685 as a result of the bar going into mourning over the death of King Charles II. Today legal gowns are compulsory for New Zealand barristers when appearing in the High Court, Court of Appeal and Supreme Court. However, a more individual style of dress is acceptable in District Courts and Tribunals. Gowns are also worn by junior barristers in bar admission ceremonies, along with the traditional wig and bib. “Money bags” Perhaps the strangest aspect of legal attire is the triangular piece of robe which can be seen attached to the back left shoulder of a barrister’s gown. While you could be forgiven for thinking this is some sort of manufacturer’s folly, this piece of material (which awkwardly hangs of the back) is said to represent a pocket or “money bag”.
[Show full text]
Costume Design and Execution of King Lear by William Shakespeare
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research and Creative Activity in Theatre and Film Theatre and Film, Johnny Carson School of 5-2010 Costume Design and Execution of King Lear by William Shakespeare Cecelia Rae Sickler University of Nebraska at Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/theaterstudent Part of the Other Theatre and Performance Studies Commons Sickler, Cecelia Rae, "Costume Design and Execution of King Lear by William Shakespeare" (2010). Student Research and Creative Activity in Theatre and Film. 12. https://digitalcommons.unl.edu/theaterstudent/12 This Article is brought to you for free and open access by the Theatre and Film, Johnny Carson School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research and Creative Activity in Theatre and Film by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. COSTUME DESIGN AND EXECUTION OF KING LEAR BY WILLIAM SHAKESPEARE by Cecelia Rae Sickler A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Fine Arts Major: Theatre Arts Under the Supervision of Professor Janice Stauffer Lincoln, Nebraska May, 2010 COSTUME DESIGN AND EXECUTION OF KING LEAR BY WILLIAM SHAKESPEARE Cecelia Rae Sickler, M.F.A. University of Nebraska, 2010 Adviser: Janice Stauffer This thesis documents the costume design and execution for the fall production of William Shakespeare’s King Lear performed on the Howell Stage at the Johnny Carson School of Theatre and Film of the University of Nebraska-Lincoln.
[Show full text]
Suiting up When Showing up for the Practice of Law in the COVID-19
The Legal MARISSA J. MORAN, ESQ. - New York City College of Technology, CUNY American Association for Paralegal Education pristine white lab coat of the medical professional is similar in concept to the items of clothing associated with members of the professorial rank, such as glasses, loafers, and corduroy jacket complete with padding on the elbows. “Suiting Up” for the legal professional is donning a legal cloak of armor; the expected, respected, and arguably required clothing items worn when protecting and defending All the rights of clients who entrust attorneys with their lives and/or livelihoods, personal, financial, and other matters so the attorneys may engage in legal battle on the clients’ behalf. Brenda Swauger, who has worked with fashion icons The Psychology of Clothing: the Experts such as COACH, Paul Stuart, and Louis Vuitton, is often Weigh In consulted to “advise both attorneys and their clients on Rise: how to dress for any situation.”4 While we may dismiss The courtroom environment is one that commands these fashionistas as biased or non-neutral experts respect, and so it follows that certain attire is expected with perhaps an exaggerated belief in the effects of of those who temporarily occupy its space. To better clothing, non-fashion experts also concur. For example, appreciate the impact clothing has not only on the Noble Prize-winning author Isaac Bashevis Singer wearer of the clothing, but also on those who observe acknowledged the transformative nature of clothing them, we need only turn to our “fashion experts.” when he noted, “What a strange power there is in While there is no one common universal language clothing.”5 In the play Hamlet, William Shakespeare that all people speak, clothing seems to be a language wrote “apparel oft proclaims the man.”6 Philosopher capable of communicating to everyone.
[Show full text]
Sixth Amendment Challenge to Courthouse Dress Codes
SIXTH AMENDMENT CHALLENGE TO COURTHOUSE DRESS CODES Courthouses with dress codes require the public to conform to par- ticular standards of attire in order to enter. They may be specific — for example, refusing entry to people wearing shorts, tank tops, hats, or clothing with writing or logos — or general — requiring that all clothing meet a standard like “appropriate”1 or not “dirty, slovenly, bizarre, re- vealing, or immodest.”2 Where, as in the vast majority of courthouses,3 the public must pass through a security checkpoint, the dress code is enforced by security officers at the point of entry.4 Dress codes therefore delegate to security officers the authority to decide who may enter to observe court proceedings, based on their own determinations of who is dressed “appropriately” and who is not. Largely unconstrained discretion to exclude members of the public from courthouses, and from criminal proceedings in particular, threatens three distinct harms. First, it weakens the key constitutional principle of popular access to, and control over, the courts. Public access to the courts is protected by the First Amendment, Sixth Amendment, Due Process Clauses, and Privileges and Immunities Clause.5 These guar- antees recognize the importance of public access as both a safeguard of individual liberty and an assertion of popular sovereignty: as the Supreme Court said in In re Oliver,6 “[t]he knowledge that every crimi- nal trial is subject to contemporaneous review in the forum of public opinion is an effective restraint on possible abuse of judicial power.”7 But if members of the public can be arbitrarily excluded by the govern- ment they are supposed to check, such “contemporaneous review” prom- ises little bite.
[Show full text]
The 'Royal Court'
Kensington Palace: The Mantua For centuries there had been an understanding that clothes worn at court should be special and expensive. The high costs for dressing according to the strict codes served as an entry ticket to court in the 18th century. The ‘royal court’ Only the wealthy elite could afford the elaborate silk garments decorated with exquisite embroidery, delicate lace and precious jewellery. refers to the extended Courtiers also needed to have a number of these garments as not to household of a monarch offend the monarch, and to keep up with the rest of the glittering circle. Other courtiers, equally intent on attracting royal attention, could be and can include viciously critical of their competition at court. thousands of individuals. The court dress worn by women originated in the 1670s, at the court It was made up of lower of Louis XIV in Versailles. Known as grand habit or ‘stiff-bodied gown’, it comprised a heavily boned, pointed bodice with off-the-shoulder status royal servants and neckline and short sleeves, a hooped skirt and a train (Image 1). high ranking ‘courtiers’, In England, this heavy and uncomfortable costume was only worn at the most special occasions such as royal weddings. By the early 18th century, ladies- and gentlemen-in- the grand habit evolved into the mantua and petticoat, which continued waiting who served the to be worn at court right up until Queen Charlotte’s death in 1818 - long after it became unfashionable in wider society. king and queen. The formal mantua started as a loose gown opened at the front with a decorated stomacher that covered the centre front of the bodice.
[Show full text]
Appropriate Attire and Conduct for an Attorney in the Court Room
APPROPRIATE ATTIRE AND CONDUCT FOR AN ATTORNEY IN THE COURT ROOM Rules of etiquette and decorum facilitate the smooth and orderly functioning of a complex society. Most rules of etiquette are designed to insure respect for authority and to maintain dignity within a profes- sion. Some rules, however, serve only to reinforce tradition and to pro- mote the majority's taste and preferences. When rules of etiquette serve only to reinforce the majority's taste, an individual's freedom of expression is curtailed. That individual cannot express his own unique life style which may differ from traditional views or the majority's pref- erences. A balance, therefore, must be met between allowing a busi- ness to maintain its professional dignity and allowing an individual to express his or her own lifestyle.' The struggle between maintaining dignity in a profession and per- mitting freedom in an individual's lifestyle is most pronounced in the rules of decorum related to an attorney's dress and conduct in a court- room. The rules date back to the regulation of a barrister's dress in English courts. The English court's authority to regulate a barrister's dress was traditionally based on the court's power and control over the att~rney.~Although today, in the United States, a court's authority to regulate an attorney's dress is partially based on statutory rules of conduct and ethics, the court's authority is still largely based on this traditional English view. 11. ETHICAL RULES RELATED TO COURTROOMATTIRE Most courtroom dress requirements today are unwritten.
[Show full text]
Forms of Dress and Address in the Higher Courts and Some Practical Tips
Forms of dress and address in the Higher Courts and some practical tips Court dress Court dress in the criminal courts is easily identifiable as there is specific guidance from the Lord Chief Justice in the form of the Criminal Procedure Directions General Application A: COURT DRESS. However that guidance is limited, to appearing without robes or wigs in the magistrates, and in the crown court wearing gowns and wigs. Wigs are wigs, and for junior advocates only come in one type, no matter which side of the advocate divide you fall on. The gown is always a Solicitors' gown. These basics should also be accompanied by a collar and bands (or collarette for female advocates) which are the same for both sexes and both professions. In the civil courts, there is even less guidance, the last formal guidance having been withdrawn. Discussions abound and as always guidance is said to be due to be released shortly. What dress is expected often varies dependent upon the judge, and you will learn from experience and advice from court clerks. In the Senior Courts (Higher Courts), the dress for civil cases is normally robed, however, there are many variations to this. For instance, urgent Queen's Bench Division (QBD) cases are normally argued un-robed, unless they are committal cases in which instance they are often robed. Many of the specialist courts also see advocates normally appearing unrobed. Unisex dress advice Suits must be black, navy blue or dark charcoal grey and same for shoes. Bands and collarettes should be starched. Hair should not poke out below the sides of your wig.
[Show full text]
Crowned Sisters: Object Analysis of Court Dress During Queen Alexandra and Empress Marie
CROWNED SISTERS: OBJECT ANALYSIS OF COURT DRESS DURING QUEEN ALEXANDRA AND EMPRESS MARIE FEODOROVNA'S INFLUENTIAL REIGNS by Elizabeth Emily Mackey Honours, Bachelor of Arts, 2016, University of Toronto A Major Research Paper presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts, Fashion Studies in the program of Faculty of Communication and Design Toronto, Ontario, Canada, 2019 © Elizabeth Emily Mackey, 2019 Mackey AUTHOR'S DECLARATION FOR ELECTRONIC SUBMISSION OF A MRP I hereby declare that I am the sole author of this MRP. This is a true copy of the MRP, including any required final revisions. I authorize Ryerson University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. ii Mackey Crowned Sisters: Object Analysis of Court Dress During Queen Alexandra And Empress Marie Feodorovna's Influential Reigns, Master of Arts, 2019, Elizabeth Emily Mackey, Fashion Studies, Ryerson University Abstract This Major Research Paper examines female court dress regulations during Queen Alexandra of England and her younger sister, Empress Marie Feodorovna of Russia’s tenures as societal heads during the late nineteenth and early twentieth century. Through object analysis of a court gown of Queen Alexandra’s from the Royal Ontario Museum, and a Russian Maid of Honour’s court gown from The Metropolitan Museum of Art, this research compares how each nation utilized court dress to express wealth, and if the court dress of each nation could communicate the wearer’s court rank within a foreign court.
[Show full text]
To Recommend Appropriate Court Dress to Barristers
Court Dress Purpose: To recommend appropriate court dress to barristers. Scope of application: All practising barristers Issued by: The Legal Services Committee First issued: June 2009 Last reviewed: July 2020 Status and effect: Please see the notice at end of this document. This is not “guidance” for the purposes of the BSB Handbook I6.4. 1. This note provides general guidance to members of the Bar on appropriate Court dress when appearing as Counsel. The guidance is not intended to effect any change in Court clothing norms. It is, however, intended to provide a ready guide as to what clothing will generally be expected and acceptable, reflecting the seriousness of the function Counsel perform in Court, the role of Court dress as the uniform of the profession, and the need for such uniform to be inclusive of different religious practice. 2. The table below sets out those Courts where court dress is required, namely, wigs, gowns, wing-collars and bands or collarettes. In all other cases, “business attire” is worn. What that means, and how that applies to specific religions and beliefs that have particular clothing requirements or customs is considered further below. 3. In general, business attire means smart dark office wear. This will usually mean a black, dark grey or dark blue suit with tie for men, and, for women, a similarly coloured jacket and either skirt or trousers but this is not prescriptive. Counsel may wear clothing as appropriate to their chosen gender or any gender. 4. The definition of “Trial” includes any final hearing in Court of a Claim brought under CPR Part 7 or CPR Part 8 (including preliminary issues), any final hearing in Court of a contested Petition for Divorce, or Nullity, and any hearing in Court of a winding up or bankruptcy petition, but not including an application for Default or Summary Judgment.
[Show full text]
The Reconstruction and Presentation of a French Court Dress
The Reconstruction and Presentation of a French Court Dress Dr. Johannes Pietsch Curator of Dress and Textiles, Bayerisches Nationalmuseum, Munich, Germany Abstract: In 1996 the Bayerisches Nationalmuseum acquired twenty single pieces of embroidered satin that seemed to be the parts of a complete dress. Careful examination and documentation showed that the dress had originally been made as a robe à la française around 1780 and altered a few years later to a robe à l’anglaise. The last modification had been carried out in the late nineteenth century. The second stage, the shape of the robe à l’anglaise, could be reconstructed completely. Today it is quite a sensational costume because it seems to be the only French court gown in this particular shape that has survived. A small exhibition was created around this extraordinary dress. One part consisted of the history and the reconstruction of the court dress. The second section was about professional embroidery on garments in the late eighteenth century and how these were produced. Content: Reconstruction of the Court Dress / Mounting the Dress / The Studio Exhibition / Conclusion Reconstruction of the Court Dress In 1996 the Bayerisches Nationalmuseum acquired the Lillian Williams costume collection of over 800 garments and accessories. This included twenty single pieces of embroidered satin that seemed to be the parts of a complete dress. As the delicate embroidery is of extraordinary quality, there was a strong wish to present a complete dress to the public, if possible. In the end it was actually feasible to reconstruct the gown. The practical work was carried out by textile conservator Charlotte Holzer who worked on this project for one year.
[Show full text]