Tag Archives: David Yeagley

All Hail Columbus Day, 2013

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All Hail Columbus Day, 2013
by David Yeagley · October 13, 2013
Reposted from David Yeagley’s BAD EAGLE website

David Yeagley is the great-great-grandson of Comanche leader Bad Eagle.

Christopher Columbus (1451-1506), who sailed for Spain in 1492, at the age of 41.
Christopher Columbus (1451-1506), who sailed for Spain in 1492, at the age of 41.

Of course, the liberal tradition capitalizes on condemnation and lamentation, therefore, Columbus is a major target. The entire “plight” of the Western Hemisphere is romantically (and immaturely) blamed on the adventures of Cristóbal Colón (1451-1506).

But let’s examine a few major points of interest regarding the man and his times.

1. Columbus never met an American Indian. The Taino and Carib Indians (of the islands Columbus landed on) were Arawak, from Venezuela. American Indian protest is a bit misguided, therefore. After all, it is not Arawak, Aztec, or Eskimo who are named in the Declaration of Independence or the Constitution of the United States. It is the American Indian. None other.

Yes, Columbus misnamed the people he encountered. Having never traveled east, to the Orient, he had not accurate idea of the what the Hindu people looked like. He initially assumed he has landed on India’s shores.

Of course he wasn’t the first non-American Indian person to land in the American continent. Everyone’s claiming that status these days, like the Chinese, the Africans, the Muslims, etc. (Never mind the Vikings, or even the Irish!) It is a circus of historical theory at this point. What Columbus did was map out a route that could be re-traveled by others, (at least Europeans). For that, he is indeed responsible.

2. As in the case of many great men, men of galactic vision, Columbus was imprisoned by his own government. In October of 1500, nearly eight years to the day since is first Western landing, Columbus, already in chains at the end of this Third Voyage, was jailed in the southwestern Spanish port of Cádiz. He was mocked, and considered, by his own government, a tyrannist in the New World.

His physical sufferings during the Second Voyage, including everything from dysentery to gout and Reiter’s syndrome, to occasional blindness. He lay bed-fast for months, during times which should have been triumphant for him.

The natural discouragement of illness and physical misery, plus the heaven-daring irony which Castile seemed determine to inflict upon it’s greatest hero, must have been nigh unbearable. Only a giant of a man could endure such conflict, personal and physical. – Read more from the Bad Eagle Website:


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Johnny Depp, LaDonna Harris, The Lone Ranger, and the Comanches

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Fantasy Indian
Fantasy Indian

Johnny Depp, LaDonna Harris, The Lone Ranger, and the Comanches
Repost from David Yeagley · June 9, 2013

July 3, 2013, the new movie, The Lone Ranger, will appear in theaters across the country. The special effects film, long in making, stars Johnny Depp as “Tonto.” The constellation of irony and controversy about the film and the star is stunning, and continually growing.

Perhaps the easiest solution is to recognize that the film has nothing to do with history, with Comanches, or with reality. It is a fantasy film, using some historical figures in a creative way, but having nothing to do with historical reality. The film should not be evaluated on authenticity of any kind. There isn’t any such authenticity.

The Lone Ranger, a 1933 radio show, later feature a Patowatami Indian named “Tonto.” The story became a television series, and feature a Canadian Mohawk Indian by the name of Jay Silverheels. So, in this fictionalized entertainment series, Comanches never had any association.

So, how is it that Comanches are now associated?

The one authentic historical element employed in the film is the Texas Rangers and their attack on the Comanche Indians. The Texas Rangers were created as a state agency to protect invading settlers from the Indians of Texas–mainly the Comanche Indians. The Texas Rangers became infamous for adopting ruthless Comanche war tactics and using them against the Comanches. This was unprecedented.

Now, in 2013 Lone Ranger movie, Tonto is a Comanche, but in name only. There is nothing in the character that is derives from Comanche people or Comanche ways. Especially the unique costume worn by Johnny Depp (as the Comanche “Tonto”) is utterly aberrant. But, remember, it is not intended to be authentic. It is the clear indulgence of stereotypical Indian images, all thrown together with Hollywood creativity.

Of course, Disney producers hired William Voelker, an enrolled Comanche, as their Comanche adviser. Voelker, whom media now says is William “Two-Ravens” Voelker, assured Depp that his costume was not far-fetched. Voelker talks about a ‘bird culture,’ but, this was never part of Comanche tradition, least of all was the vulture part of it. If the bird on Depps head is a raven, it bears no semblance of Comanche association, other then William Voelker’s new media name, “Two Ravens.” Voelker is a bird expert, and created a non-profit for the care of eagles, especially, called SIA. But the program is not funded by the Comanche Nation. See more

George Soros and the Sundance Kid

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Butch Cassidy and the Sundance Kid
Butch Cassidy and the Sundance Kid jump into the Animas river in southern Colorado.

This is a reprint from FrontPageMagazine.com
By: David Yeagley
FrontPageMagazine.com | Monday, February 07, 2005

Robert Redford and George Soros surely make one of the oddest couples in American pop culture. For most of us, Redford’s all-American good looks evoke images of the dashing outlaw Harry Longabaugh, better known as the Sundance Kid. By contrast, Soros’ gaunt visage, thousand-yard stare, thick Central European accent, levitating gray hair and megalomaniacal pronouncements weirdly echo those of the “Dr. Strangelove” character in Stanley Kubrick’s 1964 Cold War classic.

The differences between these two men are only skin deep, however. Both owe allegiance to the far left. And both work quietly, in a sinister partnership, to flood U.S. media with anti-American agit-prop in the tradition of Michael Moore.

Most of Redford’s fans know nothing of his radical politics. Redford has successfully appropriated some of America’s most beloved archetypes on the silver screen. Just as an earlier generation identified John Wayne with the manly spirit of the Wild West, baby boomers confuse Robert Redford with the American folk heroes he impersonated on celluloid, from the rugged frontiersman Jeremiah Johnson to the tough but good-hearted pistolero Harry Longabaugh.

But Redford is no John Wayne. The Duke loved America. Redford threatened to leave America for good if George W. Bush won the 2004 election.

Redford has been a major funder of leftwing filmmakers for decades. He provided seed money to help Michael Moore get started. His Sundance Institute, Sundance Film Festival, Sundance Cable Channel and Sundance Documentary Fund all specialize in promoting far-left films and programming.

That’s where the Soros connection comes in. On September 16, 2002, Robert Redford proudly announced at a press conference that he was launching a Sundance International Documentary Fund with $4.6 million in seed money from George Soros’ Open Society Institute (OSI). The new fund would underwrite films aimed at “promoting social justice and social change.” read more…

Plato: Bad Music Destroys Democracy, by David Yeagley

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David Yeagley is the great-great-grandson of Comanche leader Bad Eagle.
David Yeagley is the great-great-grandson
of Comanche leader Bad Eagle.

This post is a re-e-print of a July 12, 2009 article by *David Yeagley of BAD EAGLE.COM.

Although this elegant material may be a bit esoteric for these pages, the concept might penetrate and remain. [BC]

“In The Laws, Plato’s character, the Athenian, claims that bad quality music corrupted the democracy of Athens. If this work was written ca. 350 BC, then the commentary is curious. Alexander the Great, of course, came on the scene in 336 BC. This would mean that, at least in Plato’s view, the city state democracy of Athens was long foiled. But what of that? Why would Plato theorize that it was the quality of music that destroyed the democracy? And what difference did that actually make? It certainly didn’t deter the empire.”

“In Book III of The Laws, Plato’s Athenian said it started with a breach of public manners. Educated people behaved during concerts. Then bad music started being performed, and audiences responded with a lack of decor. It was the erosion of public manners and social graces–caused or inspired by the vulgar quality of music. One think led to another. It seems that the artists, the composers in particular, were to blame. And it seems the poor or bad (immoral) quality of the music was the result of mixing styles.”

“From the Jowett translation:”
And then, as time went on, the poets themselves introduced the reign of vulgar and lawless innovation. They were men of genius, but they had no perception of what is just and lawful in music; raging like Bacchanals and possessed with inordinate delights-mingling lamentations with hymns, and paeans with dithyrambs; imitating the sounds of the flute on the lyre, and making one general confusion; ignorantly affirming that music has no truth, and, whether good or bad, can only be judged of rightly by the pleasure of the hearer. And by composing such licentious works, and adding to them words as licentious, they have inspired the multitude with lawlessness and boldness, and made them fancy that they can judge for themselves about melody and song.

“The Trevor J. Saunders translation says the composers were “gripped by a frenzied and excessive lust for pleasure,” and that was the motivation for the mix.”

For if the democracy which judged had only consisted of educated persons, no fatal harm would have been done; but in music there first arose the universal conceit of omniscience and general lawlessness;-freedom came following afterwards, and men, fancying that they knew what they did not know, had no longer any fear, and the absence of fear begets shamelessness. For what is this shamelessness, which is so evil a thing, but the insolent refusal to regard the opinion of the better by reason of an over-daring sort of liberty?

“Heavy thought here. Very heavy. And then Plato’s Athenian comments on the social effects of such lawlessness in music, where the common people rule:”
Consequent upon this freedom comes the other freedom, of disobedience to rulers; and then the attempt to escape the control and exhortation of father, mother, elders, and when near the end, the control of the laws also; and at the very end there is the contempt of oaths and pledges, and no regard at all for the Gods-herein they exhibit and imitate the old so called Titanic nature, and come to the same point as the Titans when they rebelled against God, leading a life of endless evils.

“These things are of course all subject to interpretation, both historically, as well as philosophically and sociologically. But, it is difficult not to draw immediate parallels in our modern Western society.”

“In the history of Western music, there has always been a distinction between good and bad music, sacred and secular, and classical and popular, shall we say. Lyrics have always been a key indicator of the quality and effect of the music. Secular lyrics have always tended to be about romance, courtship, and the like. Sexual love, to put it plainly. This music, however exciting or pleasurable, was never known to elevate the soul or to encourage spirituality.”

“I must say, this distinction between the sacred and the secular has been the one pursuit of my entire academic life. The issue was consciously focused in me at the age of sixteen. I pursued this topic through my years at Oberlin Conservatory, at Yale Divinity, at Emory University, and it finally became the topic of my doctoral thesis at the University of Arizona in 1994. My thesis was on a piano composition by Franz Liszt, The Dante Sonata”

Hungarian Franz Liszt, 1811-1886
Hungarian Franz Liszt, 1811-1886

“All these many years I attempted to determine what was “religious” about religious music. What was irreligious or secular about non-religious music. Could it be nailed down to a note? Such a pursuit was not programmed in any degree layout. I was on my own in this quest. This is the reason I ended up with such a broad background, including parts of literature, history, biblical studies, psychology, philosophy, and political theory. I looked into the classical Greek social commentary of Plato and Aristotle (et al.) to see how they defined music. It was strictly by its effect they defined it. Its effect on humans. It was a social activity, essentially.”

“At any rate, I came early to the conclusion that music had meaning via association. “Who put the spook into the bass clarinet?” I asked. “Whoever first conceived of the spook,” I answered my own question, in a bit of a Platonic dialogue style.”

“Religious music is chiefly so due to the religious sentiments preexisting in the composer and his listners. I cannot say that irreligious or non-religious music encourages religious sentiment. It is for a different purpose. Yet, I cannot say religious music guarantees a religious experience. At best, it can only suggest it, only encourage it, or provide a venue for it. Religion is religion. Music is music. Music is a mirror, or an expression. Not an alien power that wields its own world. It is first the composer’s or performer’s expression of his emotions or values; then it ignites the same in the listeners.”

“In America, today, we have the market. The free-enterprise approach to everything–even down to the nail polish on the woman’s toes. We have incalculable variety of music. We have an interminable mix in our society. Plato would probably suggest that we have corrupted our democracy, entirely. Absolute freedom is chaos, or anarchy. Not the way society survives.”

*David Yeagley is the great-great-grandson of Comanche leader Bad Eagle. Read more…

– Photographs are from Bad Eagle’s website.
– This post was re-e-printed with express permission from David Yeagley.

Access the original post, from Bad Eagle’s Journal, on Bad Eagle.com

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I was immediately drawn to the above article. Although my limited education in this area is **mostly, self-aquired, I can still reap tangible benifits from it. On a lessor level, I acquired some musical knowledge in garage and garden-party bands in the 50s & 60s, and in Hollywood recording studios in the 70s. On a higher level, the most profound expierience was studying Classical Guitar and becoming fairly proficient playing ***compositions, such as: JS Bach’sLute Prelude in D Minor.” As well as pieces by Mozart, Fenando Sor, Matteo Carcassi, Ferdinando Carulli and others. This dual perspective seems to give me enough fodder to understand the gist of: “Plato: Bad Music Destroys Democracy.” [BC]

I met the great, great grandson of the Apache leader, Geronimo.

**Took master-classes from John Harrison.
***[Music] “known to elevate the soul or to encourage spirituality” (from the above post)