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Trump-aligned group sues Chief Justice John Roberts in effort to restrict power of the courts
A pro-Trump legal group founded by White House aide Stephen Miller is suing Supreme Court Chief Justice John Roberts — a long-shot move as Trump allies fight court rulings blocking key actions from the Oval Office.
The lawsuit was filed by the America First Legal Foundation against Roberts in his capacity as the official head of the U.S. Judicial Conference and Robert J. Conrad, who serves as the director of the Administrative Office of the U.S. Courts.
The complaint accuses both the U.S. Judicial Conference and the Administrative Office of the U.S. Courts of performing certain regulatory actions that go beyond the scope of resolving cases or controversies, or administratively supporting those actions, which they argue are the «core functions» of the judiciary.
It also argues that records held by the Roberts-led U.S. Judicial Conference should therefore be subject to the Freedom of Information Act requests, or FOIA requests, as a result.
TRUMP’S EXECUTIVE ORDER ON VOTING BLOCKED BY FEDERAL JUDGES AMID FLURRY OF LEGAL SETBACKS
Supreme Court Justices Samuel Alito, Clarence Thomas, Brett M. Kavanaugh, Amy Coney Barrett, Supreme Court Chief Justice John Roberts, and Justices Elena Kagan and Sonia Sotomayor are seen at the 60th inaugural ceremony on Jan. 20, 2025 in Washington, D.C. (Ricky Carioti /The Washington Post via Getty Images)
AFL cited in its lawsuit recent actions taken by both the Judicial Conference and Administrative Office in 2023 to «accommodate» requests from Congress to investigate allegations of ethical improprieties by Justices Thomas and Alito, and subsequently to create or adopt an «ethics code» for justices on the high court.
«Under our constitutional tradition, accommodations with Congress are the province of the executive branch,» AFL said, adding: «The Judicial Conference and the Administrative Office are therefore executive agencies,» and must therefore be overseen by the president, not the courts.
GORSUCH, ROBERTS SIDE WITH LEFT-LEANING SUPREME COURT JUSTICES IN IMMIGRATION RULING
White House Deputy Chief of Staff Stephen Miller speaks to reporters outside the West Wing of the White House on April 18, 2025 in Washington, DC. (Andrew Harnik/Getty Images)
The U.S. Judicial Conference is the national policymaking body for the courts. It is overseen by the Supreme Court’s chief justice, and tasked with making twice-yearly recommendations to Congress as needed.
The Administrative Office for the U.S. Courts, meanwhile, operates under the guidance and supervision of the Judicial Conference. Its role is to provide administrative support to the federal courts on certain administrative issues and for day-to-day logistics, including setting budgets and organizing data, among other things.
Plaintiffs for AFL, led by attorney Will Scolinos, argued in their lawsuit that the Judicial Conference’s duties are «executive functions,» and functions they allege must be supervised by executive officers «who are appointed and accountable to other executive officers.»
Further, AFL argued, «Courts definitively do not create agencies to exercise functions beyond resolving cases or controversies or administratively supporting those functions.»
In their view, this is also sufficient to put the Administrative Office of the U.S. Courts — as it is overseen by the Judicial Conference — under the executive branch as well.
US President Donald Trump and US Attorney General Pam Bondi (L) arrive to speak at the Department of Justice in Washington, D.C. (Roberto Schmidt/AFP via Getty) (Getty Images)
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Scolinos argued that AFL’s proposed framework «preserves the separation of powers but also keeps the courts out of politics.»
U.S. District Judge Trevor N. McFadden, a Trump appointee, has been assigned to preside over the case.
Supreme Court,Federal Courts,White House,Judiciary,Politics
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Portland mayor demands ICE leave city after federal agents use tear gas on protesters ‘Sickening decisions’
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The mayor of Portland, Oregon, is calling on U.S. Immigration and Customs Enforcement (ICE) to leave his city after federal agents deployed tear gas at a crowd of demonstrators, including young children, outside an ICE facility over the weekend.
Mayor Keith Wilson characterized the protests on Saturday as peaceful, as federal agents reportedly used tear gas, pepper balls, flash-bang grenades and rubber bullets against the anti-ICE demonstrators.
Wilson urged ICE agents to resign and for the agency to leave Portland, denouncing their «use of violence» and the «trampling of the Constitution.»
«Today, federal forces deployed heavy waves of chemical munitions, impacting a peaceful daytime protest where the vast majority of those present violated no laws, made no threat, and posed no danger to federal forces,» he said in a statement on Saturday.
CHICAGO MAYOR BRANDON JOHNSON PUTS ICE ‘ON NOTICE’ WITH EXECUTIVE ORDER SEEKING PROSECUTION OF AGENTS
Mayor Keith Wilson characterized the protests in his city as peaceful, as he called for ICE to leave. (Ali Gradischer/Getty Images)
«To those who continue to work for ICE: Resign. To those who control this facility: Leave. Through your use of violence and the trampling of the Constitution, you have lost all legitimacy and replaced it with shame. To those who continue to make these sickening decisions, go home, look in a mirror, and ask yourselves why you have gassed children. Ask yourselves why you continue to work for an agency responsible for murders on American streets. No one is forcing you to lie to yourself, even as your bosses continue to lie to the American people,» the mayor continued.
The mayor added that this nation «will never accept a federal presence where agents wield deadly force against the very people they are sworn to serve.»
«I share the impatience with those who demand we use every legal tool at our disposal to push back against this inexcusable, unconscionable, and unacceptable violence against our community,» Wilson said. «I share the need to act. Actions that can withstand the scrutiny of the justice system take time – and we cannot afford to lose this fight.»
CBP/BORDER PATROL AGENTS PLACED ON ADMINISTRATIVE LEAVE AFTER DEADLY CONFRONTATION WITH ALEX PRETTI
Federal agents deployed tear gas at a crowd of demonstrators, including young children, outside an ICE facility in Portland. (Victor J. Blue/Bloomberg via Getty Images)
Portland officials are working to operationalize an ordinance, which went into effect last month, that imposes a fee on detention facilities that use chemical agents, the mayor said.
«As we prepare to put that law into action, we are also documenting today’s events and preserving evidence. The federal government must, and will, be held accountable,» he wrote.
«Portland will continue to stand firmly with our immigrant neighbors, who deserve safety, dignity, and the full protection of the communities they help build,» he continued. «We are also proud of the Portlanders who showed up today in peaceful solidarity, demonstrating the strength and clarity of those shared values in the face of federal overreach.»
This comes amid national unrest and bipartisan scrutiny of immigration enforcement tactics following two killings of U.S. citizens by federal immigration agents last month in Minneapolis.
The Trump administration has faced bipartisan scrutiny over its immigration enforcement tactics following two killings of U.S. citizens by federal immigration agents in Minneapolis. (Demetrius Freeman/The Washington Post via Getty Images)
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Renee Nicole Good was shot and killed by ICE agent Jonathan Ross on Jan. 7 in Minneapolis, and Alex Pretti was fatally shot on Jan. 24 by Border Patrol agent Jesus Ochoa and Customs and Border Protection officer Raymundo Gutierrez while he was recording immigration enforcement operations in the same city.
Pretti, an ICU nurse, appeared to be attempting to assist a woman agents had knocked down when he was sprayed with an irritant, pushed to the ground and beaten, according to video and witness accounts. An agent was later seen pulling Pretti’s lawfully owned firearm from his waistband before other agents fired several shots, killing him.
portland,oregon,us,donald trump,homeland security,kristi noem,us protests
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“As Nasty As They Wanna Be”: qué hay detrás del álbum más censurado en la historia del rap
En 1990, la industria musical de Estados Unidos vivió un hecho inédito: por primera vez, un álbum fue declarado “legalmente obsceno”. El protagonista de este episodio fue 2 Live Crew, un grupo de rap originario de Miami, cuyo tercer disco, As Nasty As They Wanna Be, no solo desató controversia por su contenido, sino que también reconfiguró los límites entre arte, moral y legalidad.
Formado en la década de los 80, 2 Live Crew se caracterizaba por sus letras explícitas, ritmos acelerados y una actitud desafiante que rompía con los códigos de la época. El grupo, liderado por Luther Campbell (conocido como Luke Skyywalker), ya era un referente del subgénero Miami bass, pero no fue hasta el lanzamiento de As Nasty As They Wanna Be, el 7 de febrero de 1989, que se convirtieron en un fenómeno nacional.
El disco, repleto de referencias sexuales y lenguaje explícito, fue el mayor éxito comercial de la banda y obtuvo la certificación de platino de la Recording Industry Association of America (RIAA).
La polémica que rodeó el álbum terminó de definir su lugar en la historia. “Con letras explícitas, ritmos provocadores y una actitud desfachatada, 2 Live Crew se metió directo en el ojo de la tormenta cultural”, señaló Indie Hoy.
La llegada al mercado de As Nasty As They Wanna Be coincidió con una creciente preocupación social e institucional por el contenido de la música popular, en especial el rap, que para muchos sectores conservadores representaba una amenaza para los valores tradicionales.
La controversia alcanzó su punto máximo en 1990, cuando un tribunal del distrito de Florida declaró a As Nasty As They Wanna Be como “legalmente obsceno”, un fallo sin precedentes en la historia de la música estadounidense. El disco, que ya incluía el clásico sello de advertencia parental, pasó a ser el primer álbum en recibir tal calificación jurídica.
Según el fallo, el contenido de las canciones era tan explícito que excedía los límites de la libertad artística y podía ser considerado un delito.
Dos días después de la sentencia, un vendedor de discos de Florida fue arrestado por vender una copia del álbum a un policía encubierto. “La detención convirtió a 2 Live Crew en leyenda. No por romper récords de ventas, sino por entrar a los libros de historia como los primeros músicos en ser procesados por el contenido lírico de su obra”, destacó Indie Hoy.
El impacto del proceso judicial fue inmediato. Figuras públicas, como David Bowie, manifestaron su apoyo a la libertad de expresión artística. Incluso académicos de renombre, como Henry Louis Gates Jr., testificaron a favor del grupo durante el juicio.
Este episodio no solo consolidó la fama de 2 Live Crew, sino que también abrió un debate sobre el papel del Estado frente a las expresiones culturales consideradas ofensivas o disruptivas.
El juicio contra 2 Live Crew no solo marcó un antes y un después en la industria del rap, sino que también sentó un precedente legal de alcance duradero. El disco, que representó el final de la relación del grupo con el sello Skyywalker Records —renombrado luego como Luke Records tras una demanda de George Lucas por el uso del nombre—, pasó a ser un símbolo de la lucha por la libertad artística en Estados Unidos.
La controversia en torno a As Nasty As They Wanna Be se inscribió en una larga tradición de enfrentamientos entre músicos y el sistema judicial. Casos como el arresto de Jim Morrison en 1969 en Miami por “exposición indecente”, el hostigamiento sufrido por Billie Holiday por interpretar “Strange Fruit” o la persecución política contra Fela Kuti en Nigeria por sus letras contestatarias muestran que el arte musical ha sido históricamente terreno de disputa y resistencia.
A pesar de la censura inicial y los problemas legales, el álbum de 2 Live Crew resistió el paso del tiempo como un recordatorio de los riesgos y desafíos que implica empujar los límites del discurso público. “Más allá del debate sobre el tono de sus letras, lo cierto es que su caso marcó un antes y un después en la relación entre música y legalidad”, concluyó Indie Hoy.
As Nasty As They Wanna Be no solo fue un éxito comercial, sino que se transformó en un punto de inflexión en la discusión sobre los límites de la libertad artística y la intervención estatal.
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