Autobiography Surveys Life's Work of Sears,Roebuck's First Black Executive

By Victoria Scott

Designer Charles Harrison holds his book "A Life's Design" describing his accomplishments that made American living easier.

Charles Harrison, designer of the view-master and first plastic garbage can, grew up in circumstances that could hardly be described as comfortable. Born poor and African-American in the segregated South of 1931, he struggled with both reading and learning because of late-diagnosed dyslexia.

But during his exceptional career as the first black executive at Sears, Roebuck & Company headquarters, Mr. Harrison concerned himself with making countless Americans comfortable by designing literally thousands of products for their use and enjoyment.

In his recently published autobiography, "A Life's Design," Mr. Harrison illustrates the story of his life as an industrial designer with family snapshots as well as photographs and catalog illustrations of the portable hair dryers, lawnmowers, sewing machines and furniture he helped design over his 33 years at Sears.

An Evanston resident since 1973, he grew up in the rural Southern communities where his father taught industrial arts at several all-black universities. Born in Louisiana, he moved to Prairie View, Texas, when he was just 5.

The self-sufficient world he encountered in all-black Prairie View helped shape the accomplished gentleman who writes, "I honestly believe that I'm on this earth to help others and this work was my purpose."

He says he flourished in the entirely African-American town, doing odd jobs under the tutelage of adults, herding cattle, playing a lot of tennis - and participating in the cultural life of the college, where he met iconic figures like Marian Anderson and Paul Robeson.

Though poor financially, Mr. Harrison says they "were rich in quality of life - food, clothes, music, friends, relatives and religion." He says he thinks such wealth amidst poverty is still possible today, "if you can get an education. Without it you don't have access to the good life."

Early on, he experienced the satisfaction of working with his hands alongside his father and maternal grandfather, both carpenters. He writes of deriving a sense of accomplishment from "seeing projects completed and hearing the compliments from people whose lives we made easier and better."

That satisfaction propelled him to a career that focused, he says, on "improving the welfare and well-being of thousands of people through mass-produced products."

Mr. Harrison went to high school in Phoenix, Ariz., where his father taught in the state's only all-black high school. The faculty was underpaid and overqualified; the basketball team won the city tournament without enough uniforms to go around; but he says every teacher had a master's degree. Holding the yearbook from this small school, Mr. Harrison notes that most of its 250 students achieved success in their chosen fields.

His own career was not yet on his radar screen when he graduated and headed to San Francisco, near his older brother, who was attending Berkeley. Because of his dyslexia, Mr. Harrison failed the Berkeley entrance exam. Instead, he enrolled in the City College of San Francisco, where a vocational guidance course directed him to art.

He finished his second year with mostly A's before returning to Texas to set his sights on industrial design. He applied to the only five schools in the country with accredited industrial design programs and was accepted at the School of the Art Institute of Chicago (SAIC).

At the SAIC he says he encountered less racial prejudice than in San Francisco, despite being the only black student in his class. He also encountered Henry Glass, a furniture-design instructor who became his mentor, and teacher Joe Palma, whose sense of aesthetics in product design further inclined Mr. Harrison toward the field.

Industrial design, says Mr. Harrison, is three-sided, with art, business and science equally integrated into the process of problem solving. An industrial designer, he says, "gets an assignment and then organizes to arrive at the best solution."

Designers, unlike inventors, rarely "get an assignment for something that does not already exist," he says. Instead, he says, they "take a pre-existing product and make it easier to use or less expensive" or "enhance its desirability to make it more saleable." While the business component distinguishes industrial design from fine art, he says, marketplace competition grants aesthetics a role.

After graduation and two years in the Army, Mr. Harrison persuaded Mr. Glass and Mr. Palma to put together what he says is the only graduate program in industrial design the SAIC has ever offered. But financial constraints forced him to abandon it for a day job and night classes at the Illinois Institute of Technology. He pursued the only art degree offered there - art education.

Meanwhile, he was refused several jobs. "This was 1956, and, of course, it was a racial thing," he says, noting that he still encounters racism nearly every day. He credits his parents with teaching him that "race was imposed by others and wasn't valid," just as "money didn't identify you or represent that you were better" than someone else.

He eventually found work, moving up the ladder at several firms. At one, he re-designed the View-Master, probably his best-known product. Compression-molded of Bakelite plastic, the existing View-Master was expensive to make. Mr. Harrison reduced the cost with new injection molding and matched the product's form and color to the company's product line, exemplifying how designers incorporate up-to-date technology (science), business (cost) and aesthetics into their work.

In 1961 Sears hired Mr. Harrison. Over a period of three decades there he designed everything from kitchen appliances to luggage to toys and exercise equipment.

Among his Sears products is a modest one whose effect was enormous: the first plastic garbage can. Using a new process and material, blow-molded polyethylene, in 1966 he designed a can stronger but far lighter than the metal barrels it replaced. He later gave it handles and wheels, a lid that prevented spillage if the can were overturned, and a shape conducive to nesting for shipping.

Simple and useful, the garbage can exemplified his notion of good design by "[doing] its job as expected," without calling attention to itself.

Before retiring in 1993 Mr. Harrison collaborated with Sears suppliers to help design kitchens and lifts for people with physical disabilities in the Hill Arboretum apartments in Evanston. About the same time he began sharing his experience with young people, as a teacher first at the University of Illinois Chicago and now at Columbia College.

In retrospect he is proud of all his designs. And although he admits he "did a better job of some," he says, "I'm comfortable with that."

Mr. Harrison will be featured in "Black Creativity: Designs for Life" exhibit at the museum of science and industry until Feb. 28. His book is available at the Evanston Historical Society.

Green Building Materials

By Nathan Kipnis, AIA, LEED AP

One of the easiest, most economical things to do "green" is to use eco-friendly materials in your home, such as furniture, cabinets, countertops, paints, caulks and adhesives and other building products.

What makes materials eco-friendly?

· Non-toxic finishes and adhesives that give off few or no voltaic organic components (VOCs) and that are urea formaldehyde-free are eco-friendly, since many people have sensitivities to the out-gassing of these chemicals.Locally produced products avoid the embodied energy associated with transporting goods long distances.

· Items made with biodegradable materials or materials designed to be recycled at the end of their useful life are also examples of eco-friendliness and sustainability. For example, several manufactureres offer carpet squares made from recycled carpet. When the carpet is being disposed of, it is recycled into new carpet, creating a closed loop of reuse, recycle, remanufacture.

· Recycled materials that are made with combinations of consumer and/or industrial separated waste also help the planet. Manufacturers have been doing this for years but have only recently starting to market these products to the earth-conscious consumer. They reuse scrap generated during production and put it right back into the product line. A great example of this is in the gypsum board industry. It makes perfect business sense, and helps create an economic incentive for recycling.

· Items made with rapidly renewable materials or that incorporate natural materials harvested sustainably are eco-friendly. My favorite example of this is bamboo flooring. Bamboo is harvested every three to six years, as compared with an oak tree, which takes 60-80 years to grow and then becomes wood flooring. Bamboo flooring is harder than oak flooring, and is now available in several formats and colors.

· Whenever a material or product can do more than one thing, it is a plus. For example, a polished and/or tinted concrete floor is both the structure and the finished material. It is even better if it has radiant heating tubes set within it, so it can become the heating system, too.

· Use of reclaimed materials. Used items reused is a concept we can all adopt. Nothing is greener than that.

Examples of green products

· Tile can be made from recycled glass or with recycled glass mixed in. The recycled content in the tile can really enhance its visual character.

· Several countertops are made with recycled materials embedded in them. Alkemi (renewedmaterials.com/alkemi.html) makes a countertop material using waste metals suspended in a recycled acrylic binder. One of my favorites is a product called "Counterfeit" that uses actual shredded cash set in a binder (shetkastone.com). Because the "Counterfeit" and "Alkemi" countertop materials are not scratch-resistant, they might be better for backsplashes or other areas where they will not get scratched.

· Furniture can be designed to use sustainably harvested local woods, non-toxic foam padding and natural or biodegradable fabrics.

· Cabinets made with sustainably harvested wood, water-based low-VOC glues, soy-based adhesives, and non-toxic particle board. Neil Kelly Cabinets is known for its environmentally correct cabinetry (neilkelly.com).

· Many painters are making the switch to low- or non-VOC paints. There are several paint companies that have low-VOC paints and primers available. Additionally, there are manufacturers that offer non-VOC paints, including Benjamin Moore and AFM Safecoat.

Decisions, decisions...

Sometimes making these decisions is not so easy. It is a little like deciding between paper or plastic bags at the grocery store. There are pros and cons to some decisions, and one must occasionally prioritize. For instance, selecting a finish for a wood floor is not so straightforward. One can pick from highly toxic but extremely durable finishes, low-VOC finishes that may need to be refinished more often, or even natural waxes that require vigilant maintenance.

So where can one find green home materials? Many stores, including big box stores are starting to stock green alternatives. However, if you want to go to a store specializing in green materials, try places like Greenmaker (Greenmakersupply.com), 2500 N. Pulaski in Chicago. They have many of the materials listed here and more.

For furniture, there are several local companies starting to meet the demand. One is Verde, 2100 W. Armitage in Chicago (Verdedesignstudio.net). While not inexpensive, the furniture design is great and the attention to green detail is superb.

Buyer Beware
Just because something is labeled as "eco-friendly" or "green" unfortunately doesn't mean it is. With the explosion of companies touting their environmental worthiness, some of the products don't live up to the hype. There are some approval labels that can help, including "Green Seal" and "FSC certified woods." Watch out for products claiming that they are LEED-certified, as there is no such thing. Others may just make generic claims that they are green. Thankfully, the market place is adapting to the eco-awareness that consumers are demanding and there are more legitimate options available now than ever before.

'Suite Francais'

A Book Review By Sue Brooke

"Suite Française" is a brilliant novel by Irène Némirovsky about the chaotic mass exodus from Paris as the Maginot Line—a key French defensive fortification--fell during the second world war.

Leading up to June 1940, Parisians had been calling for all-out war and crying out words of bravery and courage. But when the rumors began that the Germans were really coming, many panicked and took to the streets. The arrogant rich delayed fleeing because the good linen had to be packed correctly. Some were preoccupied with art collections or manuscripts. Citizens, they declared, were mortal, but art lives forever. Some had jobs that kept them till the last moment. The poor had no money to buy train tickets. Then on June 7 they found themselves in the same boiling pot. All were refugees dealing with trains that were already packed or were not running, shortages of fuel and food, and bombs landing around them. Rich and poor, upper and lower classes were all bunked out in the fields.

Panic brought out the best and the worst in people. The upper-class Catholic mother who had always taught her children to give freely was giving away their rations until she realized there was no more food. Then she began hoarding and scolding her children for sharing. The poor, who had never had much, shared what little they had. The banker and his mistress began to bicker. Their love could not survive the hard times. The youngsters walked along, as confused as all the adults. France, their beloved county, was falling. They thought that if only they were old enough, they would go fight.

As much as this is a novel about destruction, despair and panic, it is also a novel of hope. The author writes about one character who is not unhappy inside because of a certainty that, deep down, "I'm a free man. It's a constant, precious possession, and whether I keep it or lose it is up to me and no one else."

The author wrote this book in 1942 as she, born a Jew, fled the Germans. However, she does not write in this book about the Jews in this time of chaos, but about all the French and all their shared fears. She and her husband had converted to Catholicism a few years before and had baptized both their daughters. The girls survived by hiding out in a Catholic boarding school; the author and her husband died in concentration camps. The girls took the manuscript of this novel with them into hiding and believed that the small scratches of writing were their mother's diary. At first, they were too filled with sadness to read what their mother had written. Then they put it off because the tiny writing, due to the wartime paper shortage, was very hard to read. Finally Denise got out a magnifying glass and discovered this masterpiece. Irène Némirovsky was already famous and had won many awards for an earlier novel. "Suite Française" spans time, class and religion to stand as a powerful tale of a horrible time.

Memoir Writing Workshop

Carol LaChapelle returns to the Evanston Library for an expanded writing workshop, using creative exercises to retrieve and record the important people, places, and events in our lives.On Feb. 18 Ms. LaChapelle will present "Finding Your Voice, Telling Your Stories," a workshop designed for writers, journal writers and family historians who want to record their life stories--those significant tales of childhood, transition, adventure, loss and triumph.The free workshop runs from 12:30 to 5 p.m, and reservations are required. Submissions of work are invited for on-site critique. The deadline for submissions is Feb.12. Call or visit the Reader's Services desk at the Main Library,1703 Orrington Ave., 847-448-8621, to register or for details about submissions. Visit www.epl.org for more information.

World Day of Prayer

Women and men in more than 170 countries and regions will celebrate World Day of Prayer on March 2. "United Under God's Tent" is the theme used by women of Paraguay for the prayer service. In 2007 the women of Paraguay lead congregations to focus on the issues of displaced families, refugees and homelessness resulting from various kinds of disasters. Registration begins at 9:30 a.m., and the program begins at 10 a.m., followed by brunch. The cost is $5. Reservations are due by Feb. 23; call 847-869-8015.

"The Adding Machine: A Chamber Musical"

A Play Review By Brian Murphy

Bizarre. Witty. Biting. Abstract. Over-the-top. Sad. Hilarious.

The Next Theatre Company's first stab at a musical in it's 26-year history is a rousing success.

"The Adding Machine" tells the tale of Mr. Zero (Joel Hatch), an accountant imprisoned by the ineptitude of his soul. Instead of demanding a promotion or standing up to his boss, Mr. Zero kills him. Instead of pursuing Daisy Devore (Amy Warren), the woman he loves, he remains in a loveless marriage with his unbearable wife (Cyrilla Baer). Even upon entering heaven in the Elysian Fields, he chooses the role of slave, eschewing freedom and love.

Playwright Elmer Rice explores the roots of the human condition, juxtaposing the mundane realities of life with an abstract stream of consciousness, often with hilarious results. With lyrics as random as "I don't give a darn for the movies," "I was a fool for marrying you," "I need a beer," and "Women make me sick," Mr. Rice keeps the audience on their toes.

David Cromer's direction is masterful. He manages his actors with great skill. Mr. Rice's play calls for actors to be serious one moment, silly the next, and all the performances are pitch-perfect, especially the intentionally awkward dance routine performed by Amy Warren.

The angled set pieces, expressive lighting, instantaneous scene changes (including a background wall slid to the front of the stage) all work to create a surreal spectacle at odds with the dullness of a day-to-day routine.

"The Adding Machine" hits all the right notes.

The production runs through February 25 at the Noyes Cultural Arts Center, 927 Noyes Street. For ticket information, call (847) 475-1875 x2.

"Because I Said So'"

A Film Review By Joe Linstroth

Diane Keaton, Mandy Moore, and a dog that can bark on cue star in the brutally awful romantic comedy "Because I Said So."

In what has become her specialty in the last few years, Ms. Keaton plays another skittish mother. This time around, her character, Daphne Wilder, is a single mother whose neurotic obsession is to find a husband for the youngest of her three daughters.

Daphne is concerned, for some reason, that her daughter Millie (Mandy Moore), who is young, beautiful, independent and owns her own catering company, needs her help in finding a perfect man or else she will be doomed to a life alone.

Daphne posts an online personal ad and interviews an array of prospective suitors. After an unfunny montage of interviews with clichéd losers, she settles on a handsome architect named Jason (Tom Everett Scott), who, despite his success and good looks, is still forced to troll the internet for a date.

To make matters more difficult, Millie also meets another man who happens to be the exact opposite of Jason. Johnny (Gabriel Macht) is a down-to-earth musician who lives with his young son and his father; Johnny also happens to be single and swimming in the same dating pool as Daphne. He is pre-screened and excluded by Daphne (he was the musical entertainment in the lounge where she held her interviews), but he pursues Millie despite her mother's stamp of rejection.

Director Michael Lehmann ("Hudson Hawk," "My Giant," "40 Days and 40 Nights") fails to see the illogical forest for the formulaic placement of the trees. The most egregious example is the moment when Millie's two-timing secret is let out of the bag. Johnny discovers that she is dating someone else because he happens to be waiting outside the restaurant with a bouquet of flowers when she emerges with Jason. Did he follow her there and not see her date? Was he waiting for hours until she came out? It makes no difference because Mr. Lehmann makes no attempt to turn this crucial moment in the story into anything more than a lame coincidence used to forward the plot.

Instead of focusing on characters with believable motives, he opts for cute pet tricks and stupid antics featuring Diane Keaton. Diane Keaton wrestles with a disgruntled Asian masseuse. Diane Keaton takes a cake in the face. Diane Keaton wears a polka-dot dress.

The gamble might have paid off with a few laughs if Diane Keaton had not turned in one of her most annoying performances in recent memory. After a string of similar roles, her charm and innocence have worn thin.

It does not help that there is nothing inherently funny about her character. In fact, Daphne's motivations are so thinly veiled, for the sake of the movie's premise, that one wishes she would just see a shrink or meet a man of her own rather than accidentally click on internet porn and send the dog moaning one more time. At least it would have saved a few of us from the agony of watching "Because I Said So."

1 hr 42 min. Rated PG-13 for language and adult situations.

New Pool Brings New Promise for YWCA

By Nick Churchill

Increasing diversity and expanding the reach of their swim programs is a primary goal of the Evanston/North Shore YWCA's swim program, and the new pool has them poised to break new ground in this area.

The YWCA celebrated the official opening of its second pool with a ribbon-cutting ceremony on Jan. 24. Mayor Lorraine Morton, State Representative Julie Hamos, and Alderman Lionel Jean-Baptiste were among the approximately who 100 people attended the event.

The pool, which took about a year-and-a-half to complete, accrued donations of more than $850,000 said Aquatics Director and Flying Fish head coach Peter Caragher. With donations that ranged from $500 to $40,000 with an average gift of $2,000, he added, "a really strong message was sent by the community."

The new is smaller, shallower, and warmer than the first pool, a 5-lane, 25-yard-lap pool. It will be used primarily for learn-to-swim classes for children in the community who might not otherwise be able to afford swimming lessons.

Executive Director Karen Singer said that, with the new pool, "our aquatics program will now be able to "expand and reach out to kids who are underserved in the community.

"We have already doubled the number of kids on scholarship. The YWCA wants to increase the opportunities for everyone to swim, and break down systemic barriers that have prevented kids, especially minority kids, from learning to swim."

Mr. Caragher and Ms. Singer said increasing minority involvement in swimming is a process that starts with the family.

"Swimming is a lifesaving skill. We're trying to educate families, and part of this becomes family support issue," Mr. Caragher said. "You really have to involve the parents; we have to able to reach parents and educate them about the importance of learning to swim," added Ms. Singer.

Each week about 1,500 kids from Evanston and the surrounding communities participate in either learn-to-swim classes or the swim team practices, said Mr. Caragher.

Mr. Caragher started the Flying Fish in 1994 and has built the team to be the largest swim team in Illinois – and its numbers are still growing. He employs seven full-time aquatics staff members and said his staff approaches 25 or 30 people when he factors in part-time swim instructors and coaches. He said the new pool makes for "a way better environment," and it "gives us some room to breathe."

Mr. Caragher said that there was "no way" he foresaw this kind of growth when he started the team. "It was a year-by-year thing. I have a great consistent staff," Mr. Caragher said, noting that a few have been with him for over 10 years.

Two of his former swimmers, Jacob Johnson and Laura Wadden, have gone on to swim at Stanford University, one of the top collegiate programs in the country, he added.

The YWCA raised more than $850,000 to install a new pool which opened on Jan. 24.

‘A Raisin in the Sun'

A Play Review By Brian Murphy

Fleetwood-Jourdain Theatre's first show of the season is a powerful contemporary production of Lorraine Hansberry's "A Raisin in the Sun." The fact that the play, written in 1959, translates pitch-perfectly today is a disheartening testament to its honest view of African-Americans still struggling to create a better life.

Ms. Hansberry got the title of her play from Langston Hughes' "A Dream Deferred," the first lines of which are "What happens to a dream deferred? Does it dry up like a raisin in the sun?"

With a deft sleight of hand, director Ebony Joy transposes Ms. Hansberry's play from New York's Harlem to present-day Chicagoland, with mentions of County Board President Stroger, and a hip-hop soundtrack featuring Southside artist Common's "They Say." Ms. Joy, an Evanston native, directs an impressive cast capable not only of handling the emotional gravitas of the material but also of nailing the play's comedic moments.

"A Raisin in the Sun" shows the hope and sorrow that comes to the Younger family in the form of an insurance check the family is to receive from the death of their father. Matriarch Lena Younger (Kashuna), while mourning the death of her husband, is excited to use the money to buy a home in Clybourne Park, a predominantly white neighborhood. Her son, Walter Lee (Calvin Dutton), hopes to use the money to buy a liquor store and quit his job as a limo driver, which he sees as demeaning. Daughter Beneatha (Shadana Patterson) wants some of the money to pay for her medical school. Walter's wife, Ruth (Karren Brown) watches her husband's unfulfilled dreams nearly tear him apart, while their son, Travis (Jahlil Jihad), tries to understand his father's drunken anger.

While the 1961 film took the audience into each room of the apartment, Ms. Joy wisely and efficiently maximizes her stage space, placing the action in a connected living room and kitchen – thus emphasizing the cramped conditions and expressing the family's bond as a unit. When their differing dreams begin to tear them apart, the characters isolate themselves offstage, either in their rooms or outside of the apartment. Ms. Joy keeps us attentive through the continual motion of the actors: A proud family, the Youngers are always sweeping floors, spraying for roaches, dusting, etc., to keep their home presentable.

The Fleetwood cast would make the cast of the original film proud, most notably Calvin Dutton as Walter. Sidney Poitier, who was brilliant as Walter in the film, could nod approvingly at Mr. Dutton's powerhouse performance. He superbly embodies Walter's sarcasm, cynicism, despair and, eventually, his pride. Walter's drunken explanation that the only hope he can feel is in the form of piano music he hears at a local jazz bar is a devastating monologue reminiscent of the title character (a heroin addict) of James Baldwin's "Sonny's Blues."

He and the rest of the cast and crew have earned the right to smile when the curtain comes down.

"A Raisin in the Sun" runs through Feb. 11 at Haven School Auditorium, 2417 Prairie Ave.

Eye on Evanston

It Is Not Easy

By John Macsai

It is not easy to admit how basically conservative Evanstonians are when it comes to architecture: There are too many new buildings, too many tall ones, too many condos, too many stark ones and too many modern ones. They block views, cast shadows, add to traffic congestion, etc. "When we moved here it was different." They long for the old Evanston.

They are well-meaning, intelligent, educated, politically and socially progressive people, and when they wish old Evanston back they are forgetting a very conservative time when one could not get a drink with a meal in a restaurant and had to cross Howard street for a six-pack.

More importantly, many of the low-rise old buildings Evanstonians look back to as desirable were shabbily constructed and poorly designed, just as recent, modern high-rises can be. The fact that they are modern does not make them automatically good architecture.

I still find it difficult to accept that educated people, well-versed in music, literature and even painting, have such a limited grasp when it comes to buildings. Of all the arts, architecture is the most criticized, the least understood.

The architectural conservatives wish to slow down the pace of development. This is neither easy nor desirable, unless they want increased taxes or reduced municipal services or both. The progress of construction need not be slowed; rather, it should be intelligently guided through a well-designed master plan and updated zoning ordinance.

When it comes to architecture we also pay the price of democracy. Everyone gets into the act, especially in Evanston; everyone has a strong opinion, slows down the permitting process and frustrates architects.

I sit at hearings and listen to comments. When one is appointed, as members of the Plan Commission are, it is easier to be unpopular than when, as a member of the City Council, one is elected. The latter can influence the opinion of the electorate only to a limited extent, unless one does not wish to be re-elected.

The issues are not simple nor are they easily resolved. One hopes to be fair to the petitioning developer, to neighbors who fear being hurt, to the potential users, whether they will own or rent, whether they are rich or poor. At the same time one wishes to support good architecture without really comprehending what it is.

Some have an architect friend whose judgment they trust; some may even taken a college course in architectural history. But by and large, most will weigh architectural quality without really knowing how to judge it.

We could make it easier for City Council members by having a commission of design professionals to advise. Not to dictate, just advise. Down deep I wish such appearance review was binding, but I would be content having it simply advisory, if we just had it. The City Council would be free to disregard the advice, but at least we would deal with design issues.

NU Students Observe Anniversary of Roe v. Wade.

Signs of a heating political issue showed along Sheridan Road where a Northwestern University pro-life organization protested against the 34-year-old Supreme Court decision of Roe vs. Wade. Timed to coincide with national protests and vigils, Northwestern Students for Life erected signs and planted 3,700 U.S. flags to represent the number of abortions done each day. The demonstration was held "with the hope that one flag will change one mind," said outreach chair James D'Angelo. Northwestern Students for Life, as well as the hundreds of protests nationwide, are signs of an increasing national sentiment. Television Network CNN reported that 29 percent of the nation would like to see Roe vs. Wade overturned, and with a conservative Supreme Court many believe this may happen. Story by Chris Cascarano