The Supreme Court has released a draft majority opinion from Chief Justice John Roberts, which includes a notation that it was circulated among the justices on Feb. 10. If adopted, it would rule in favor of Mississippi in the closely watched case over Mississippi’s attempt to ban most abortions after 15 weeks of pregnancy. Roberts confirmed the authenticity of the draft opinion and ordered an investigation into the disclosure. The draft opinion runs 98 pages and includes citations to previous court decisions, books and other authorities. The Supreme Court is considering a decision to overturn the 1973 Roe decision in Dobbs v. Jackson Women’s Health Organization, which would overturn a decision by the 5th Circuit Court of Appeals that found the Mississippi law ran afoul of Supreme Court precedent by seeking to ban abortions before viability. A George W. Bush appointee, Alito, argues that the 1973 abortion rights ruling was an ill-conceived and deeply flawed decision that invented a right mentioned nowhere in the Constitution and unwisely sought to wrench the contentious issue away from the political branches of government. Alito’s draft ruling would overturn a decision by the New Orleans-based 5th Circuit Court of Appeals that found the Mississippi law ran afoul of Supreme Court precedent by seeking to effectively ban abortions before viability. Alito’s draft opinion overrules Roe and Casey’s decisions to regulate or prohibit abortion, using caustic rhetorical flourishes and mocking the majority opinion in Roe. He skewers the “viability” distinction between fetuses not capable of living outside the womb and those which can, and describes doctors and nurses as “abortionists”. Justice Clarence Thomas used the word “abortionist” 25 times in a solo dissent.

Artistic Activism is a practice that combines the creative power of the arts with the strategic planning of activism necessary to bring about social change. Activism is the activity of challenging and changing power relations, while art is an expression that generates Affect, which is an emotional resonant experience that leads to measurable shifts in power. Affective experiences are powerful stimuli that lead to physical actions that result in concrete effects, and Artistic Activism is a practice aimed at generating Affect, which is emotionally resonant experiences that lead to measurable shifts in power. The Art of Activism is an all-purpose guide that shows how to bring about effective social change by combining the emotional power of the arts with the strategic planning of activism. It is based on recent developments in cognitive science, which suggest that humans make sense of their world through stories and symbols that frame the information they receive and then act accordingly. It is also well-suited for an age of cell phone cameras and social networks, as people don’t share policy papers, but they share things that move them. Artistic Activism has been used throughout history to provide a critical perspective on the world and imagine the world as it could be. Martin Luther King Jr.’s “genius for strategic dramaturgy” likely explains the success of his campaigns, as well as Jesus’ use of parables to engage his audience. Working artfully makes activism effective. Artistic activism is a form of activism that doesn’t look like activism and art that doesn’t look like art. It creates opportunities to disrupt people’s preconceived notions of art and protest, bypass political ideas and moral ideals, and remap cognitive patterns. It also provides something uncommon, or out of place, that can attract attention and become memorable.

Cross-disciplinary collaboration is an effort to illuminate the burdens of racism during birth. LeConté, Cheyenne Varner, and I have collaborated to share a birth story of obstetric racism, accompanied by illustrations and poetry, in order to recover the pieces of Black women’s lives lost as a result of obstetric racism. LeConté, Cheyenne, and I have collectively moved one Black woman’s experience of her medical encounter from the margin to the center. This collaboration is an effort in disobedience against the “typical” academic form. Cheyenne VannerLeConté is a 40-year-old Black professional who had IVF and developed a birth support team that included two doulas, one of whom was me. The nurse midwives at the hospital where LeConté planned to give birth were Black and possessed the most politically informed analysis of Black women’s birthing experiences. LeConté and her husband engaged in radical caring projects, such as creating a vision board, writing letters to their baby, and gifting each other aromatherapy scents. When LeConté went for a prenatal check-up, her blood pressure reading was 147/81, leading to a diagnosis of severe preeclampsia. The next day, her OB-GYN team instructed her to go to the hospital for admission and induce labor. LeConté arrived at the hospital with her support team, including her husband, mother, and two doulas. Her doctors were committed to her having a vaginal birth and monitored her blood pressure and liver enzymes. Over two days, LeConté’s labor was induced with a fetal monitor and a supportive team of nurse midwives. However, there were some issues along the way, such as a nurse who was unable to find a vein, a nurse who lost one of the vials of blood, and an anesthesiologist who administered too much epidural. LeConté felt invisible and disrespected, and the quality improvement person on duty wanted her to have a C-section.

their first ‘race crisis’ when they moved to North Carolina from New York. North Carolina had a lot of differences from New York, such as no Russians, Puerto Rican professors, or mixing between kids of one race with another. On their first day of school, the narrator walked into their second class and decided to sit next to a group of friendly looking Hispanic girls. As soon as they sat down, one girl snickered to another in Spanish, and her friend blushed and replied in English. This was the narrator’s first ‘race crisis’. Growing up in an environment where it was normal to be colored and speak to in Spanish did not prepare the narrator for how people in other places perceived their skin. The narrator’s crisis continued for years, when the violence broke out in middle school between the African-american gangs and the Hispanic gangs and the students spoke among themselves on who was best. Even now as an adult, people are constantly trying to restrict the narrator into a specific mold and identity, such as eating tacos and banging to Meek Mill. However, the narrator has learned that just because they don’t fit into one specific mold does not mean they are any less of who they are.

Women often complain of their own husbands or of their friends’ husbands. John Stuart Mill argued that this is the same in all cases of servitude. Liberated women have sex without marriage and a career, while Women’s Liberation has sex without marriage and a career. Women have been brainwashed to think that housework is trivial. This suggests that women have been brainwashed more than they can imagine. The most important details in this text are that the protagonist’s husband has become a crafty Mr. Hyde who would stop at nothing to avoid the horrors of housework. This dialogue has been going on for several years, and the protagonist’s husband has become a crafty Mr. Hyde who would stop at nothing to avoid the horrors of housework. The protagonist’s husband has become a crafty Mr. Hyde who would stop at nothing to avoid the horrors of housework. The protagonist’s husband has become a crafty Mr. Hyde who would stop at nothing to avoid the horrors of housework. The protagonist’s husband has become a crafty Mr. Hyde who would stop at nothing to avoid the horrors of housework. The protagonist’s husband has become a crafty Mr. Hyde who would stop at nothing to avoid the horrors of housework.