U.S. self-government is in peril By Phyllis Schlafly

Source: http://www.townhall.com/columnists/PhyllisSchlafly/2007/09/10/us_self-government_is_in_peril?page=full&comments=true

Monday, September 10, 2007

It's now leaking out that there was more going on than met the eye at the Security and Prosperity Partnership Summit in Montebello, Canada, in August. The three amigos - President George W. Bush, Canadian Prime Minister Stephen Harper and Mexican President Felipe Calderon - finalized and released the "North American Plan for Avian & Pandemic Influenza."

The "Plan" - that's what they call it, with a capital P - is to use the excuse of a major flu epidemic to shift powers from U.S. legislatures to unelected, unaccountable "North American" bureaucrats.

This idea was launched on Sept. 14, 2005, when Bush announced the "International Partnership on Avian and Pandemic Influenza." He was then speaking to the United Nations General Assembly.

We might have thought that idea had some merit because the influenza partnership called for "transparency in reporting of influenza cases in humans and in animals" and the "sharing of epidemiological data and samples." That's very different from the Security and Prosperity Summit, where transparency has always been conspicuously avoided like the plague.

This year's Security and Prosperity Summit in Canada morphed the Influenza Partnership into the North American Plan. Now we discover that the Plan is not only about combating a flu epidemic but is far-reaching in seeking control over U.S. citizens and public policy during an epidemic.

The Plan repeatedly features the favorite Bush word "comprehensive" - it calls for a "comprehensive, coordinated North American approach." The Plan would give authority to international bureaucrats "beyond the health sector to include a coordinated approach to critical infrastructure protection," including "border and transportation issues."

The Plan is a wordy 44-page document, much of which sounds innocuous. It is helpful to exchange information about disease and take precautions against letting foreign diseases enter the United States.

However, self-government and sovereignty are at risk when control over these matters is turned over to a newly created North American body headed by the representative of another country. It's an additional problem when the entire Plan is a spin-off of the Security and Prosperity Partnership, an arrangement created in secret solely by White House press releases, without Congressional approval or even oversight.

The 2007 Plan acknowledges that it is based not only on the Influenza Partnership, but also on the guidelines, standards and rules of the World Health Organization, the World Organization for Animal Health, the World Trade Organization, and the North American Free Trade Agreement.

The Plan sets up a "senior level coordinating body to facilitate the effective planning and preparedness within North America for a possible outbreak of avian and/or human pandemic influenza under the Security and Prosperity Partnership." The Plan identifies this Security and Prosperity Partnership coordinating body as "decision-makers."

The Plan then (ungrammatically) states: "The chair of the Security and Prosperity Partnership coordinating body will rotate between each national authority on a yearly basis." Thus, a foreigner will be the "decision maker" for Americans in two out of every three years.

What powers will this foreign-headed coordinating body exercise? The Plan suggests that these include "the use of antivirals and vaccines; ... social distancing measures, including school closures and the prohibition of community gatherings; ... isolation and quarantine."

Will this foreign-headed coordinating body respect the First Amendment "right of the people peaceably to assemble"? Or will the rules of the Plan, Security and Prosperity Partnership, World Health Organization, World Organization for Animal Health, World Trade Organization and NAFTA take precedence?

In evaluating the Plan, it is instructive to recall the Model State Emergency Health Powers Act, an anti-epidemic plan launched by the Centers for Disease Control and Prevention on Oct. 23, 2001. Designed to be passed by all state legislatures, the model bill was primarily written by Lawrence O. Gostin, a former member of U.S. Sen. Hillary Rodham Clinton's discredited Task Force on Health Care Reform, and was promoted by the Bush administration during its first year.

The proposed Emergency Health Powers Act would have given each governor sole discretion to declare a public health emergency and grant himself extraordinary powers. He would have been able to restrict or prohibit firearms, seize private property and destroy it in many circumstances, and impose price controls and rationing.

Governors would have been given the power to order people out of their homes and into dangerous quarantines. Children could have been taken from their parents and put into public quarantines.

Governors could even have demanded that physicians administer certain drugs despite individuals' religious or other objections. The Emergency Health Powers Act was based on the concept that decision-making by authoritarian bosses and unelected bureaucrats is the way to go in a time of crisis.

The proposed Emergency Health Powers Act roused a nationwide storm of protest because it was an unprecedented assault on the constitutional rights of U.S. citizens, as well as on the principle of limited government, and so it never passed anywhere in its original text. Will similar totalitarian notions now bypass legislatures and be forced upon us by Security and Prosperity Partnership press releases?

Phyllis Schlafly is a national leader of the pro-family movement, a nationally syndicated columnist and author of Feminist Fantasies.

Film legend Charlton Heston dead at 84

Film legend Charlton Heston dead at 84

By BOB THOMAS, Associated Press Writer
36 minutes ago



Charlton Heston, who won the 1959 best actor Oscar as the chariot-racing "Ben-Hur" and portrayed Moses, Michelangelo, El Cid and other heroic figures in movie epics of the '50s and '60s, has died. He was 84.

The actor died Saturday night at his home in Beverly Hills with his wife Lydia at his side, family spokesman Bill Powers said.

Powers declined to comment on the cause of death or provide further details.

"Charlton Heston was seen by the world as larger than life. He was known for his chiseled jaw, broad shoulders and resonating voice, and, of course, for the roles he played," Heston's family said in a statement. "No one could ask for a fuller life than his. No man could have given more to his family, to his profession, and to his country."

Heston revealed in 2002 that he had symptoms consistent with Alzheimer's disease, saying, "I must reconcile courage and surrender in equal measure."

With his large, muscular build, well-boned face and sonorous voice, Heston proved the ideal star during the period when Hollywood was filling movie screens with panoramas depicting the religious and historical past. "I have a face that belongs in another century," he often remarked.

Publicist Michael Levine, who represented Heston for about 20 years, said the actor's passing represented the end of an iconic era for cinema.

"If Hollywood had a Mt. Rushmore, Heston's face would be on it," Levine said. "He was a heroic figure that I don't think exists to the same degree in Hollywood today."

The actor assumed the role of leader offscreen as well. He served as president of the Screen Actors Guild and chairman of the American Film Institute and marched in the civil rights movement of the 1950s. With age, he grew more conservative and campaigned for conservative candidates.

In June 1998, Heston was elected president of the National Rifle Association, for which he had posed for ads holding a rifle. He delivered a jab at then-President Clinton, saying, "America doesn't trust you with our 21-year-old daughters, and we sure, Lord, don't trust you with our guns."

Heston stepped down as NRA president in April 2003, telling members his five years in office were "quite a ride. ... I loved every minute of it."

Later that year, Heston was awarded the Presidential Medal of Freedom, the nation's highest civilian honor. "The largeness of character that comes across the screen has also been seen throughout his life," President Bush said at the time.

He engaged in a lengthy feud with liberal Ed Asner during the latter's tenure as president of the Screen Actors Guild. His latter-day activism almost overshadowed his achievements as an actor, which were considerable.

Heston lent his strong presence to some of the most acclaimed and successful films of the midcentury. "Ben-Hur" won 11 Academy Awards, tying it for the record with the more recent "Titanic" (1997) and "The Lord of the Rings: The Return of the King" (2003). Heston's other hits include: "The Ten Commandments," "El Cid," "55 Days at Peking," "Planet of the Apes" and "Earthquake."

He liked to the cite the number of historical figures he had portrayed:

Andrew Jackson ("The President's Lady," "The Buccaneer"), Moses ("The Ten Commandments"), title role of "El Cid," John the Baptist ("The Greatest Story Ever Told"), Michelangelo ("The Agony and the Ecstasy"), General Gordon ("Khartoum"), Marc Antony ("Julius Caesar," "Antony and Cleopatra"), Cardinal Richelieu ("The Three Musketeers"), Henry VIII ("The Prince and the Pauper").

Heston made his movie debut in the 1940s in two independent films by a college classmate, David Bradley, who later became a noted film archivist. He had the title role in "Peer Gynt" in 1942 and was Marc Antony in Bradley's 1949 version of "Julius Caesar," for which Heston was paid $50 a week.

Film producer Hal B. Wallis ("Casablanca") spotted Heston in a 1950 television production of "Wuthering Heights" and offered him a contract. When his wife reminded him that they had decided to pursue theater and television, he replied, "Well, maybe just for one film to see what it's like."

Heston earned star billing from his first Hollywood movie, "Dark City," a 1950 film noir. Cecil B. DeMille next cast him as the circus manager in the all-star "The Greatest Show On Earth," named by the Motion Picture Academy as the best picture of 1952. More movies followed:

"The Savage," "Ruby Gentry," "The President's Lady," "Pony Express" (as Buffalo Bill Cody), "Arrowhead," "Bad for Each Other," "The Naked Jungle," "Secret of the Incas," "The Far Horizons" (as Clark of the Lewis and Clark trek), "The Private War of Major Benson," "Lucy Gallant."

Most were forgettable low-budget films, and Heston seemed destined to remain an undistinguished action star. His old boss DeMille rescued him.

The director had long planned a new version of "The Ten Commandments," which he had made as a silent in 1923 with a radically different approach that combined biblical and modern stories. He was struck by Heston's facial resemblance to Michelangelo's sculpture of Moses, especially the similar broken nose, and put the actor through a long series of tests before giving him the role.

The Hestons' newborn, Fraser Clarke Heston, played the role of the infant Moses in the film.

More films followed: the eccentric thriller "Touch of Evil," directed by Orson Welles; William Wyler's "The Big Country," costarring with Gregory Peck; a sea saga, "The Wreck of the Mary Deare" with Gary Cooper.

Then his greatest role: "Ben-Hur."

Heston wasn't the first to be considered for the remake of 1925 biblical epic. Marlon Brando, Burt Lancaster and Rock Hudson had declined the film. Heston plunged into the role, rehearsing two months for the furious chariot race.

He railed at suggestions the race had been shot with a double: "I couldn't drive it well, but that wasn't necessary. All I had to do was stay on board so they could shoot me there. I didn't have to worry; MGM guaranteed I would win the race."

The huge success of "Ben-Hur" and Heston's Oscar made him one of the highest-paid stars in Hollywood. He combined big-screen epics like "El Cid" and "55 Days at Peking" with lesser ones such as "Diamond Head," "Will Penny" and "Airport 1975." In his later years he played cameos in such films as "Wayne's World 2" and "Tombstone."

He often returned to the theater, appearing in such plays as "A Long Day's Journey into Night" and "A Man for All Seasons." He starred as a tycoon in the prime-time soap opera, "The Colbys," a two-season spinoff of "Dynasty."

At his birth in a Chicago suburb on Oct. 4, 1923, his name was Charles Carter. His parents moved to St. Helen, Mich., where his father, Russell Carter, operated a lumber mill. Growing up in the Michigan woods with almost no playmates, young Charles read books of adventure and devised his own games while wandering the countryside with his rifle.

Charles's parents divorced, and she married Chester Heston, a factory plant superintendent in Wilmette, Ill., an upscale north Chicago suburb. Shy and feeling displaced in the big city, the boy had trouble adjusting to the new high school. He took refuge in the drama department.

"What acting offered me was the chance to be many other people," he said in a 1986 interview. "In those days I wasn't satisfied with being me."

Calling himself Charlton Heston from his mother's maiden name and his stepfather's last name, he won an acting scholarship to Northwestern University in 1941. He excelled in campus plays and appeared on Chicago radio. In 1943, he enlisted in the Army Air Force and served as a radio-gunner in the Aleutians.

In 1944 he married another Northwestern drama student, Lydia Clarke, and after his army discharge in 1947, they moved to New York to seek acting jobs. Finding none, they hired on as codirectors and principal actors at a summer theater in Asheville, N.C.

Back in New York, both Hestons began finding work. With his strong 6-feet-2 build and craggily handsome face, Heston won roles in TV soap operas, plays ("Antony and Cleopatra" with Katherine Cornell) and live TV dramas such as "Julius Caesar," "Macbeth," "The Taming of the Shrew" and "Of Human Bondage."

Heston wrote several books: "The Actor's Life: Journals 1956-1976," published in 1978; "Beijing Diary: 1990," concerning his direction of the play "The Caine Mutiny Court Martial" in Chinese; "In the Arena: An Autobiography," 1995; and "Charlton Heston's Hollywood: 50 Years of American Filmmaking," 1998.

Besides Fraser, who directed his father in an adventure film, "Mother Lode," the Hestons had a daughter, Holly Ann, born Aug. 2, 1961. The couple celebrated their golden wedding anniversary in 1994 at a party with Hollywood and political friends. They had been married 64 years when he died.

In late years, Heston drew as much publicity for his crusades as for his performances. In addition to his NRA work, he campaigned for Republican presidential and congressional candidates and against affirmative action.

He resigned from Actors Equity, claiming the union's refusal to allow a white actor to play a Eurasian role in "Miss Saigon" was "obscenely racist." He attacked CNN's telecasts from Baghdad as "sowing doubts" about the allied effort in the 1990-91 Gulf War.

At a Time Warner stockholders meeting, he castigated the company for releasing an Ice-T album that purportedly encouraged cop killing.

Heston wrote in "In the Arena" that he was proud of what he did "though now I'll surely never be offered another film by Warners, nor get a good review in Time. On the other hand, I doubt I'll get a traffic ticket very soon."

__

Associated Press writer Thomas Watkins contributed to this report.



Copyright © 2008 The Associated Press. All rights reserved.