Fourth Reich Archaeology - #096 - She Harvey Oswald, Part Seven, Side A

Episode Date: May 15, 2026

Without further ado, we are back with the first installment in the second portion of She Harvey Oswald where we zero in on the series-within-a-series’ namesake, Sara Jane Moore, aka Sally Moore, aka Sara Jane Kahn. A woman of many names, of many identities, and of many mysteries. In keeping with the Fourth Reich Archaeology promise to dig deep while also keeping our eyes on the present day, much of this episode (and the bulk of Side A thereof, which is available for free) is spent setting the stage, recapping not only where we left off in our narrative around the political violence of the 1970s, but indeed recapping the whole Fourth Reich trajectory dating all the way back to the Paris Peace Conference at Versailles following World War I where the American hegemony that marked the 20th century was conceived. It’s no accident that we ground the Sara Jane Moore story in Versailles. As you’ll see, Sara Jane’s family origins - just like Squeaky Fromme’s - are rooted in the global military industrial complex. Whereas Squeaky’s old man worked for Northrup aircraft, Sara Jane’s daddy was a DuPont man in West Virginia’s “chemical valley,” dubbed “cancer valley” by the long-suffering locals. And DuPont played an instrumental role in not only the allied victories in the two world wars, but also in the technological advancement of the Nazi regime that popped off old WWII in the first place. It’s a tangled web we weave, and one that takes some time to develop, but when you see the full picture, we are confident you’ll be as awed as we’ve been to uncover all the multifarious connections that make this story one of the most compelling in all of Jerryworld. So strap on in for the first leg of what promises to be a wild ride.Patreon: www.patreon.com/fourthreicharchaeologyEmail: [e-mail]

In some ways, it could be said, prison has been kind to Sarah Jane Moore. She has lost weight, there is color, almost a glow in her face, and she smiles a lot. She works in the prison bakery, but she might be any middle-aged matron preparing a batch of cookies for a suburban church social. A role she knew and lived well before her life took the bizarre turns that led her to try to assassinate the president of the United States. Moore is 46. Although she will not talk about her background or family, it is known she is from a prominent West Virginia clan, with which she broke off relations 20 years ago. It is also known she was once married to a Hollywood executive before she became a suburban housewife. Her nine-year-old son Frederick is the only family member she will discuss. Moore said her life changed in 1974 when she volunteered as an accountant for the People in Need program,

the $2 million food giveaway demanded by the SLA during the Petty Hurst kidnap. It was there she met the hardcore radicals with whom she later came to sympathize, but she first became an informer for the FBI. The PIN program moved me into an area that the FBI became interested in me because of the SLA connection. And it was the FBI, and I know people don't like me to say this, and I'm sorry, but it is the truth. that was the FBI that directed me toward the dedicated revolutionaries asking me to infiltrate

one of the county organizations. It was when I reached those people and began to talk to them and listen to them. And at the same time, they are being described to me by the agents of the FBI. This was the San Francisco FBI. Yes. Who exactly was your contact at the FBI? Oh, the poor man is getting more publicity. No more than time. I keep telling people that, Bert Worthington.

And this was not, somebody said, it was an impulse thing, and I said, oh, sure, I was walking down post street and said, my goodness, a good thing to do with me. But that was not it. It was something. Well, you had plans to shoot the President at Stanford the week before. No, no. Someone credited you was saying you planned against him.

No, I did not. No, I did not. And I never said that. I was going down to Stanford. Two weeks before, then that film had made an attempt in Sacramento. And I was going down to Stanford to see what kind of security was around him, to see whether or not the security was such that before I had to abort my plan. Before we get through Freud, did Lynette Foam's attempt to give you the idea?

No. Back to the government. As a matter of fact, Lynette Foam, you know, I thought that it probably would force me to abort my attempt, that the security would be so tight. You would plan it back for ahead. Yes. The government has to believe that any political, act of that sort, they would like everyone to believe that only cooks do it.

Only cooks do it. That anyone that isn't happy with our system, anyone that would actually attack it in such a violent fashion, they must put it down to cooks. They must say that these are insane people. These are insane people. Or imperialism, as the slave system of the West is called, is not something that's just confined to England or France or the United States. Every nation, in every region, region now has a decision to make. So it's one huge complex or combine.

Either you are with us or you are with the terrorists. And this international power structure is used to suppress the masses of dark-skinned people all over the world and exploit them of their natural resources. We found no evidence of conspiracy. Parasy, foreign or domestic, the Warren Commission of Science. I'll never apologize for the United States of America. Ever. I don't care what the facts are. In 1945, we began to require information, which showed that there were two wars going.

His job, he said, was to protect the Western way of life. The primitive simplicity of their minds renders the more easy victims of a big lie than a small one. For example, we're to CIA. Now he has a model. He's no longer. It usually takes a national crisis. Freedom can never be secure. Pro Harbor.

A lot of killers. We've got a lot of killers. Why you think our country's so innocent? No, he has a model. This is Fourth Reich Archaeology. I'm Dick. And I'm Don. Welcome back, listener.

for another installment. We are back in Jerry World and we are back in our series within a series, She, Harvey Oswald, and it's about to get real. If you thought it was real up till now, you ain't seen nothing yet.

Hold on to your hats. Before we get into it, I want to say thank you as always to everyone for tuning in, to everyone for liking, subscribing to, rating, reviewing, and commenting upon the podcast, as you know by now, that all gets more eyes on our stuff,

and it spreads the word, because we sure do depend on all of you for that. We also depend on all of you for a little bit of that financial support. We are trying to be quicker about these thank you some preliminaries now. So suffice it to say, please do if you can. head over to patreon.com slash forthright archaeology and sign up today because you won't regret it. There will be some goodies in store and there will be a sense of community between you and your fellow enjoyers of this content. And we like to think, of course, that enjoying this content means more than simply hitting play,

listening for however long it takes and then moving on with your life, we like to think of it as something that gets into your head, gets into your consciousness, gets into your soul, and inspires and educates you to interact with the world with that spark of revolutionary fervor, of historical context and knowledge, and love. above all love for the fellow human beings that inhabit this earth who are subject to the whims of perhaps the most vile and craven ruling class the world has ever known i'm so glad to be back in jerry world so glad to be back at our home base and as you said don i am so excited to be covering this next bit of our series within a series

covering Sarah Jane Moore, Sally Moore, before we get into it. I just want to do just a quick, let's do a quick affirmation and shout out to our Contra Iran series. This series, for those of you don't know, the series that we've been doing since January of 26, first covering the protests that were going on in Iran that soon developed into a military aggression from the United States on Iran. And that series has really gotten some great reception, some great feedback. We hope to do more of that.

And, you know, one of the key features of our program, one of the key features of Fourth Reich archaeology is that we don't just cover history. We don't just cover theory. We don't just cover current events. We don't just cover one thing or the other. We tie it all together. We tie all the historical material, all of the theoretical stuff, everything to the present day, and we try and make sense of it all. Because remember, our whole thing here is to figure out how we can dig our way out of this mess.

And I think that makes us unique among the history podcasts. I mean, beyond our communoid perspective, I think a lot of history podcasts today approach a subject. And basically with just some superficial curiosity, right? They spend an hour, maybe a couple of hours, and they just cover something in a discreet manner. And they say, oh, how interesting. No shade to all those history podcasts out there. That's great that you're doing your thing. And I'm very happy for you.

And I'm glad you're out there because I do love a history podcast. And our position is that those little factoid and these tidbits to, they may come. for good surface level conversation, but we are out for more. We are out for blood here. Yeah, I mean, it really is the old Marx quote, right? Which I know not to steal the bit from Daniel Denver of The Dig podcast, but of course it rings true here as well that up until now,

the point of podcast has been to interpret the world. Our point is to change it, right? to paraphrase the famous quote by Carl Marx. To change it and to have a little fun while we do it. And so this is my promise. This is our promise to you is that each one of our episodes, each one of our series, they will include both historical analysis

and there will always be some tie-in to real-world current events. And you can take that to the bank, my friends. Don, why don't you tell us what we got in store for this week? Absolutely. Yeah, I think this week is especially exemplary of that. And indeed, I mean, this whole she Harvey Oswald series really is resonating in talking about the political violence and the prevalence of political assassinations or attempted political assassinations in the 1970s with today where.

we see things like the Butler, Pennsylvania false flag that now those of us who called it a fraud all along are being echoed by so many mainstream voices calling into question the legitimacy of that spectacle and the Charlie Kirk assassination and on and on and on. So like I said before, things are about to get really weird. and really interesting. So we're going to pick up as we shift our focus from the sort of Manson turn against the 60s counterculture that was the subject of the first half or however many, however much the squeaky episodes end up comprising of this entire series. And we're going to shift to a little bit of a different activist milieu of.

a little bit of a different radical milieu, a more overtly political milieu that has a greater legacy in the mainstream than the post-Tate La Bianca Manson escapades. Because Sarah Jane Moore, as we've already said in episode one of Shee Harvey Oswald, which if you've not listened to that, you ought to.

and of course all of the episodes, but that one provides some helpful background as well about all this stuff. We talked about how she was an FBI informant. She was an informant for many other law enforcement agencies as well working undercover, and she styled herself as a legitimate, authentic political radical. And when she fired her shot at Gerald Ford, unlike Squeaky Frome, she did pull the trigger, she did have a bullet loaded in the chamber, that bullet did go out of the gun towards the president, and it missed his head by mere inches.

So there's no doubt, but that she really did want to kill that guy, and that she attempted to assassinate him. And but for the miss by a few inches, you know, there would not just have been the Kennedy assassination in the second half of the 20th century. There would have been also the assassination of Gerald Ford. And indeed Nelson Rockefeller, his selected vice president, would have risen to the highest office in the land. So in this series and in this series,

and in this episode, that will be kind of just the first step into the series, or this part of the series, we're going to cover Sarah Jane's backstory. We're going to take plenty of detours into all of the little Fourth Reich alleys and muse that veer off of the main highway of her backstory. And believe me when I say there are many of those. and once again, you know, as though this character from history, it, as you listen, and certainly as we've been preparing it, it resonates as though she were written by Thomas fucking Pinchon. I mean, it kind of bears the marks of some divine plan, some divine narrative that weaves together. the elements that make up the Fourth Reich, that make up this fascist hellscape that we live in, and all of these elements are surrounding the life of Sarah Jane Moore at every twist and turn that her life story takes.

Now, the big climax, of course, comes when Sarah Jane in the 1970s serves as our cipher into, this extremely infiltrated, extremely manipulated and paranoid world of radical militant groups in the 1970s in the Bay Area, in particular, where she made her home. And, you know, we've already talked a bit about that, and we will do so much more. But once again, just to drive the point home and to make sure that your lenses, listener, are sharpened up to hear the meaning, the substance of what we're putting down. By contrast to the Manson's squeaky milieu, Sarah Jane Moore is in this very racialized milieu,

where the real focus of the deep state siops at play to infiltrate and shitcoat and destroy the plans of the groups that she's adjacent to, which are focused on black liberation. Those are much more in the mold of your co-intel pro, whereas, of course, with Manson and with Squeaky, we were talking Operation Chaos against the largely white countercultural movement. the rock and rollers, the hippies, etc. So, you know, whereas the squeaky story was kind of about the descent and the spectacular

fall of the hippie movement, as much as it was a movement at all, into this suspicious, violent underworld, the Sarah Jane Moore story sees us tracing the black, black, liberation movement, particularly the militant black liberation movement, into that abyss of infiltration, paranoia, and capture by the federal agencies that ultimately destroyed and undid the progress earned by the likes of, and that was represented as the hope of the Black Panthers, for example that came into existence in the self-same Bay Area just less than a decade before Sarah Moore took her shot. That's right. And I think the Sarah Jane Moore story, whereas the squeaky story sort of starts in the environment of the hippie-dippy-dippy free love 1960s, the Sarah

Jane Moore story is very much embedded in the armed revolutionary movements of the early mid-70 era. And so there's that bend to it. Sarajean Moore is very much involved in this idea of armed revolution of actually going out into the street and shooting some fucking guns at cops, at authority figures, making some change. And we are going to do this as we always do this by relying on some secondary sources. We're going to be relying on some books that we're going to get through. Later on in this episode, we'll sort of shot them out as we do. but we also have something we're very excited about, something that I don't think that I've read

anywhere else. I don't know, Don, if you've read it, but some of this original research that we have found through Dawn's internet sleuthing. And it's some real original research here that I don't, you know, rarely if it's ever been published. I don't know if I've ever come across any other copy of this. And it's an interview. It's an interview that Sally Moore gave in prison in West Virginia in the late 1970s, I think, right? Yep, 79. In 79. And it really does shed some crazy new light in her involvement, not just with the FBI, but perhaps

even with the CIA. And so you're going to want to strap in for that. We're going to call out those snippets of that interview as we get along, go along with this series. And before we get into all of that, we're going to start this episode with a little bit of a recap and stage setting based, basically covering where we've been so far in this series within a series, she, Harvey Oswald. Before we get to the Lady of the Hour, Sarah Jane Moore, who's really, I think, the reason we wanted to do this series within the series. I mean, I don't know about you, Don, but for me, she's the much more compelling character. Of the two would-be assassins, I think Sarah Jane Moore is the one who really deserves our attention.

And I think with all of that said and done, you want to do the honors? Sure thing. I will do them. And I will say, get the shovels. This time, really, I mean it. Get the hard hats. Get the PPE. Get the goggles.

because, as previewed. We'll need some charges. We'll need some dynamite for sure. Yes, most definitely. Because, yeah, like you said, I mean, I don't know, I don't want a short shrift squeaky. I think there was a lot to be said there. But certainly it's true that the nickname of she Harvey Oswald really belongs exclusively to Sarah Jane Moore. And you will find out why.

Now, let's get digging. She said where she came from. Good evening. As most of you know, there was an attempt on the life of President Ford in San Francisco today. Yesterday don't matter if it's gone. Second time in 17 days that his life has been directly in danger. This latest attempt, allegedly by 45-year-old Sarah Jean Moore. Who forehead exactly had you, please?

I don't think I want to comment on that. Or in the darkest night, no one knows. Moore said the government agent, who was weather at the gun shop, was there simply to check out the dealer. comes and go. After her arrest, both her lawyer and the courts thought the woman who shot at Gerald Ford was a psycho. And I hadn't taken leave of my senses. I had certainly lost my perspective in the things I was involved in. But yes, I was the person and the intent was exactly as I stated in court.

question why she is so free. And that was what? To wealthily and know any assassinate Gerald Alford, the president of the United States. She'll tell you it's the way to be. In other words, you were really intending to kill the president, not draw attention to yourself or any issue. You were intending to kill Gerald Ford. Yes. Yes.

be changed. It was a conscious act. To a life where nothing's games was. I don't know why that's so difficult for people to believe. But such a call. Okay, so, as you know by now, this series is focused on the month of September 1975, such an eventful month because there were not one but two assassination attempts on the life

of President Gerald R. Ford, both of which took place in the state of California, the northern half of that state, and both of which were carried out by women, something that I believe up until that point never had happened before, excluding, of course, the female co-conspirators that aided and abetted John Wilkes Booth in his attempt successful to kill Abraham Lincoln. So we are as best as we can in this series analyzing the people and events under examination in a historical materialist way, right? We're employing that immortal science developed by our goat, Carl Marx, and we've also repeatedly called upon the extension of Marxism into the late 20th century

as developed by our friend Guy Debord in the Society of the Spectacle and the comments on the Society of the Spectacle. And we're going to continue doing that, of course, with Sarah Moore. So in the first episodes, as a reminder, we covered not just the September 5th event, where Lynette Squeaky Frommi pointed her 45-cali-pistel at Gerald Ford at point-blank range without pulling the trigger. It was our conclusion. But we also used Squeaky Frommi as a lens, as a kind of map, if you will, of the Fourth Reich in a way. Because we started with her parentage, her upbringing, her context, and traced how a person that came up in that context ended up where she ended up, namely on trial for attempted assassination of the president.

And we're going to go about the story of Sarah Jane Moore in the same way. And before we kind of dig into the biography, as you preview Dick, we think it was, will be helpful to just kind of zoom all the way out on this overarching historical forthright narrative because at the end of the day we want our listeners we want our whole audience to be fully able to be fully capable of not only recommending the podcast of their friends and loved ones but also when asked what is this podcast about what is the meaning of the Fourth Reich. Is that like saying that the United States is run by German Nazis or what? Well, we want you all to have a complete and informative and a nuanced

response to that question. And so, even though it's constantly informing the way that we present the information that we present on this podcast, we think that it's good. every once in a while, and this here transitional point, this inflection point in the series within a series of Shee Harvey Oswald from one female assassin to another, we think that it's a perfect opportunity to level set, to get back to basics, and to lay down the Fourth Reich narrative. So let's start with just the building blocks, right? And we are talking about what this program, is all about. So what is this program all about? It is about covering the narrative of the transition between the fascist hellscape of the Third Reich of Nazi Germany to the fascist hellscape of

the Fourth Reich of the United States today. And we are doing this to offer you, to offer everyone out there, you out there listening to us today. We're doing this for you and for all of those around you. As a counter to the mainstream bullshit imperialist historical narrative of the Cold War era that cast the United States as the good guys fighting the godless, totalitarian communist enemy and justifying things like Vietnam, like Korea, like all sorts of bullshit that we did in the post-war era and are doing to this day. And so that's really what it's all about is we're trying to take that mask off this historical narrative.

And we do that by, of course, just facing the cold-heart truths. And in fact, the truth is that the American ruling class and its representatives in government provided essential support to the rise of Nazism, dating back at least as far as the Paris Peace Conference in 1919, which was attended by Enemies of the Pod, John Foster and Alan Dulles, who of course would go on to be Secretary of State and CIA Director, respectively, for most of the 1950s. Now, what did those two brothers do, those boneheads? They sat on the reparations committee.

This was the committee that basically figured out how to dole out money to, to, you know, the nation of Germany, right? This was effectively a money printing machine for German war reparations after World War I. And the sort of basic idea there is that Germany was war-torn

and they had to borrow money from established banks, from the established finance industry, to rebuild. Yeah, not only to rebuild, but to pay those war reparations back to the victorious powers of England, France, of course, etc. And even, I think the United States got a little piece as well, too. Well, they did get a, they did get a little piece, but they were heavily involved in this sort of facilitating this process. And I think they made out pretty good and ultimately had a, you know, through the mid-20th century had a huge stake in

the burgeoning German industrial manufacturing industry. And because of this huge stake, the Americans had a, I don't think it would be saying it too lightly if I said a vested interest in the success of Germany in the by the time the 1930s come around. And they in fact turn to depending on the fledgling Nazi government. For sure. Yeah. I mean, to just draw a little mental diagram for you, it's the Germans owe a bunch of money to the British, to the French.

the way they've got to pay that money is by borrowing it and by developing their domestic industry. And they, in turn, must borrow to develop their domestic industry. So they need to borrow a lot of money. The people who are lending it, American banks to some degree other Western European banks, but American banks get a huge skin in the game. And why do American banks lend? money to these essentially insolvent German entities because in exchange for those loans, those loans are collateralized. They're secured by equity in all of these manufacturers.

So that's how all of these companies, and once again, the Dulles Brothers law firm, Sullivan and Cromwell represents a lot of these banks and a lot of these German companies eventually gets so deeply involved. And it's how this web that interlaces American finance capital with German military industry comes into existence in the wake of the Versailles Treaty. The importance of that event to the subsequent history of the 20th century really cannot be understated. And you add to that mix, this ruling class anxiety, deep-seated, and hysterical anxiety over the spread of communism, which followed the successful Russian

revolution in 1917, which resulted, of course, in Russia exiting the war and focusing on, or attempting to focus on its own industrial development while being beset by Western-backed Civil War against the Bolsheviks. But that anxiety creates a highly motivated Western elite that not only is eager and keen to prop up the Germans as a investment capital, as a financial recipient. of foreign direct investment and a prospect for good returns on investment, but also as a bulwark in Europe against the Bolsheviks and against the spread of Bolshevism and ultimately, hopefully, in the eyes of these Western elites, against Bolshevism itself, because a re-armed

Germany, just maybe, if it's sufficiently anti-communist, could put an end to the dream of a world communist revolution, of the seizure of the means of production throughout the industrialized world by a unified, at least pan-European, if not global, working class. Right. So all of these ingredients come to form the, the nucleus of what we refer to as the Fourth Reich, this combination of interests in both industrial growth and anti-communism that really looks past the political or racist excesses of Nazism to support the money side of things. and as a result of that sort of oversight or submission of ethics to profits,

companies like Standard Oil, the Rockefeller's outfit, DuPont, which is going to come up later on in this very episode, in the life story of Sarah Jane Moore, companies like General Motors, and other big-time U.S. companies, Texaco oil, you know, the list goes on and on. You can find it elsewhere, IBM, that are not only investing in Nazi Germany, not only setting up operations in Nazi Germany, but also facilitating technology transfers that permit Nazi Germany to develop the degree of technological advancement that enables Nazi Germany to reach the level of military prowess that it did and that fueled Nazi Germany to take the massive risk of invading the Soviet Union, the biggest country, certainly in Europe, probably the biggest country in the world at the time.

Yeah, spanning both Europe and Asia. And the crazy thing of the 20th century, what's happening is you have oil, you have motor vehicles, you have things like rubber and lead. And all of this industry is taking off. And it's all being used, I think, for the first time in such an intense way as part of a war machine, as part of armies and navies. it becomes a business of its own. Of course, war has always been a sort of business for the ruling class, but for the first time it really does take off to a point where war itself becomes, I think it was Pinchon that said, a celebration of markets, right? And of course, when the Nazis inevitably do crash out globally, you know, they're going to, they

They lose World War II, and the torch for Western civilization is just so happened to be firmly gripped by the sinewy fingers of Uncle Sam. And so, again, this is another one of our themes. It's like, no, the United States did not defeat the Nazis in the way that you would think at the end of World War II. really what they did is it was a handing off of the baton. And, you know, of course there are things that are now famous like, you know, the project paperclip and all sorts of shit about how the United States sort of took the Nazis' best scientists and best military strategists and all of that stuff, intelligence apparatus. but really it was just a continuation of this business model.

And so World War II is over, and that is just about when we met Lynette Squeaky Frommi in 1948. In California, where her father, who had been discharged from the military before seeing any combat, where he worked as an aviation engineer for Northrop Aircraft, and that's one of those military contractors, right? And to this day, it remains a top military contractor known as Northrop Grumman. So Squeaky's life story really just slices right through the mythological story of the post-war United States.

And she grows up in that sort of suburban, what we've called the suburban dystopia of southern California. And, you know, is raised on television, is raised on. TV and TV dinners and all that shit that was so big in the 1950s and she becomes an outsider because that environment, that environment is a ripe environment for someone to rebel. And thanks to her artistic and intellectual curiosities and all her quirks and clashes with her stern Germanic father, she drops out of the mainstream and leads. leaves home and goes on to a new life with none other than Charlie Manson. Yeah. And here's where the story obviously goes south because it is the story of the corruption of youth, right?

It's the story of how her idealism, her free spirit, representative of the idealism and free spiritedness of her entire generation, right? You see it all over the fucking history channel and all those hack documentaries and cultural products and the packaging of the 60s into this very neat little spectacular package that almost would make Guidebel blush at the degree of manufacture behind it all. But what we learned from studying Squeaky's trajectory is how both the corporate world in the form of advertising and marketing and commodification of these abstract concepts, as well as, and in concert with the deep state that's interested in neutralizing any anti-system effects, any anti-war effects, any racial harmony effects, that might emerge from the formation of a real democratic movement built around these reactions by the youth to the stifling, corporate

sanitized lifestyle of the 1950s. And both of those forces combine to splash onto the scene the person of Charles Manson and everything around him. We've called him a con man. We've called him a mobster. a gangster.

We have really questioned his bona fides as a guru. And another appellation that I could give Charlie Manson here is also a brand and also a screen. Because behind Charlie Manson, behind this sort of dark underbelly of hippiedom that represents the potential to transform the desire for liberation into a desire for pure transgression in its goryest and most violent forms, i.e. the Tate-Law Bianca killings, behind that screen is, of course, what we described as sort of an Epstein-esque human trafficking and sex trafficking and pornography and drug trafficking ring that Charlie Manson was involved in that really straddled between the dirty, uneducated, unwashed,

hippie underworld on the one hand, and the highly polished, highly sexy, attractive, and vivacious Hollywood world, on the other hand, right? We talked about how not only did Charlie's followers go and kill people at the Cello Drive mansion, but they had been partying there when Charlie was talking with the former owner of that house, Terry Melcher, about recording his records, when Charlie was partying with the mamas and the papas and providing them with girls. girls to use as sex objects when Charlie's girls and Charlie himself were shacked up with Beach boy Dennis Wilson right all of these interconnections that really symbolize something that that continues to this day about the two-sidedness of all of the spectacle of all of the

apparatus of the spectacle, that it's both something that sells an image of freedom to the masses while consolidating a certain type of unfreedom behind the closed doors that is very sinister and dark and kind of fuels the pyramid, right? As capitalism on the whole is struck, as a very small, narrow, and excessively wealthy elite on top, that is enabled and made possible by just the worst forms of exploitation imaginable at the bottom of the pyramid. And that was the case then. It is the case now. It is what has been exposed and continues.

to be concealed in the entire Epstein drama. And certainly the, even the Epstein network is just one of many such operations that continuously feeds what our David Lynch fans out there might understand as Garmin Bozia, pain and sorrow. Bob, how are you on? All mine, Darmandaua. And this is like the classic sci-ups part of it, right? It's behind what Claire Boothloose in her New York Times article,

behind the dismissive sort of girl with daddy issues framing that she did, there's this serious possibility that Squeaky herself was caught up on the fringes of this government mind control experimentation that was going on in the 1960s. because we did talk about the presence of like CIA-backed researchers in San Francisco's in close proximity to the Charlie Manson group into Charlie Manson himself, as well as Charlie Manson's highly suss parole officer that let him go all over California for some reason. And also a fella by the name of Jolly Wes, also known as Jack Ruby's Mental Health. professional mental health caretaker.

So all of this shit, it really just sort of adds another layer to this whole story. And Squeaky does become this sort of synecdochie for her generation, for this boomer generation. And the stand-in for, you know, what that through line from the 1950s through the 1960s and into the 1970s. And so we followed Squeaky from the artificial embrace of this post-war military Keynesism through the dissatisfaction and embrace of communalist philosophy to pathological idolatry of this phony con man, Charlie Manson, the heavy use of LSD, of course. and we followed this story of Squeaky,

who sort of became very much the symbol of everything that went wrong in this era. Exactly. Not long ago, I got a letter from a woman who's been a community organized in Chicago. And she said with grief in her heart, she said, I remember the 60s, I remember the tremendous democratic organization

and leadership that was developing in the Latino and African American communities. And I remember those leaders and every single one of them today is either dead, shot by the police or in Marion prison on trumped-up charges. And I remember the demoralization that took place, the shattering of those organizations. And after those organizations were shattered and demoralized, then in came the drug traffickers. And those drug traffickers, the thing I remember the most about them is that they were aided and abetted by the federal agents themselves. And this is what happens.

That is, we are dealing with a state that was engaged in domestic counterinsurgency. And it was more interested in having a population that was unorganized and discergeny. demoralized than a population that was organized, that was effectively fighting for its democratic rights. Because if it's organized and it's effective and it's powerful, it will start making demands and start pursuing its interests and it will start cutting in on the interests that those police and those coppers and those undercover people and those forces of military and law and order are dedicated to protecting, protecting the status quo, protecting those with property against who do not, those that don't have it. It's the same thing I'm expressing all the time, but now I can put it into that sentence that I think we're being run by maniacs for maniac who will mean ends, you know.

If anybody can put on paper what our government and the American government, etc., they are actually trying to do. you know, on how, what they think they're doing. I'd be very pleased to know what they think they're doing. I think they're all insane. You know, but I'm liable to be put away as insane for expressing that. You know, that's what's insane about it. Indeed, the gains made by the 60s, since they were made by an unorganized people

in a state of mobilization, have not been used by the people, but in fact used by the enemy against the people. The FBI, before the 60s, did not have informers on college campus. After the 60s, they put an informer on every college campus in the country. Their job was simple. Stop any activity at all that runs against establishment. We say it's immobilized people who can allow this, because when you mobilize and fight like an animal, after you get tired and you wind down, then the enemy comes back stronger than he did

before. And anyone taking just the cursory plants of the United States of America must know that America is more ripe for revolution today than it was in the 60s. I think that the value add that we have brought to that narrative is to connect at every step along the way all of the concealed elements to the story of Squeaky of Manson of the hippie movement's trajectory. within the spectacle. And that same process is going to continue as we shift our focus to Sarah Jane Moore because where we ended up with Squeaky was really the idea of a major shitcoat, right?

I don't know if it would be accurate to call the hippies in particular of the 1960s a revolutionary movement or a movement with revolutionary potential even, but certainly on the whole, if you sort of sum up and add together the civil rights movement, the hippie movement, the anti-war movement, all of these intersect with one another and create something that is bigger than the sum of its parts, which really did draw the attention of the deep state. And you can just go and read Jay Edgar Hoover's memos about it or listen to the Nixon tapes about it, right? All of the people in power sitting at the center of power were very concerned about the potential democratic power or bottom up power, however you want to call it, of the combination of these social forces that were at work from the 60s into the 70s. and we're concerned with nipping it in the bud.

So that part of the story that often goes untold when you do tune into the likes of the History Channel documentaries or whatever, the true crimeification of history, it leaves all of this stuff on the cutting room floor, and we would posit that that is not accidental, that is not an editorial oversight, that is mission accomplished. It's a signifier of mission accomplished by the Hoovers and the Nixon's

to not only kill the potential leaders, not only destroy these potential movements, but to rewrite history such that these movements lose any legitimacy, any force, any moral authority that they might have carried in their time, and are saddled down with the spectacle. At best today, you do see, and we talked about this, the sort of pantomiming of hippie lifestyle

through your music festivals, through your hippie lifestyles, your stoner lifestyles, and now even Donald Trump legalizing psychedelics at the insistence of Joe Rogan to presumably, I was hoping that would come up in this episode. Well, they don't stop. You know, these types of things tend to continue. They tend to be recycled as tropes trotted back out when they're needed, you know,

pull them off the shelf, dust them off, and pop it out fresh or at least present it as fresh. and that cycle of history, right, this notion of time as a flat circle and the repetitiveness of all this bullshit and counter-revolutionary destruction of the human spirit is exactly what we're trying to interrupt through this podcast through these discussions. So to get back to the narrative, right, and speaking of rewriting history, in real time, that's kind of where we ended up with the squeaky part of this series talking about her trial in particular, because you have Vince Bugliosi's bestseller Helter-Skelter released just a year before Squeaky took her aim and setting the official narrative down for posterity of the Manson murders. And then you have this trial that really subordinates any sort of an activist message

that Squeaky herself may have sought to disseminate through her propaganda of the deed of pointing a gun at the president. That all got completely lost in the shuffle as the spectacle of the trial became just look at this drug-fried hippie freak going crazy on television ha ha ha isn't that funny and now you know don't trust any of these long hairs right the the overall takeaway is these peacnick hippie types they may say that they're all about peace and love but really you know you better not trust them because they'll kill you. They'll cut you up. They'll put a fork in your belly or the belly of your pregnant wife or girlfriend and not think twice about it because they're totally goners and they're brainwashed zombies and we need to be afraid of them and we need to distrust their message of

peace and love, all the while packaging up their aesthetic, reselling it, and turning it into a commodity. It is really Marxism in action. It is the commodification process as applied to intangibles. And it's remarkable once you view it that way, rather than viewing it sort of on the terms of this superimposed artificial narrative that has been so forcefully imposed on top of the history. Right. The revolution will be commodified. And that's where it leads.

And it's like these hippies, they're reckless, they are maniacs, and it's really only their own ineptitude that's going to save you from their wrath, right? Because that's the other part of it is that they are brain dead. they're idiots, they're cooks. And, you know, Squeaky certainly played into all of that, but a lot of it was the pop culture of the time that sort of amplified that, right? And there were, I keep coming back to the S&L skits about Squeaky. There's at least one where she is just made out to be a complete idiot.

And I think that that is intentional, right? That sort of narrative is intentional because it sort of, it's your first, stop. It's like you don't want to be a hippie because hippies are morons. But even if you're a hippie, you don't want to be a hippie because they are these, you know, down and dirty people. And that's where we left off with Squeaky. Yeah, I would just add, you know, to put even a exclamation mark on it, that transformation within Squeaky herself on the micro level, it also is perhaps the strongest evidence to suggest. And of course, we'll never know, because MK Ultra records, as we all know, were destroyed en masse on the directions of Richard Helms in the year 1973.

Remember that. So we'll never know if the Manson family was subjected to mind control experimentation. All we have really is the circumstantial evidence that was gathered up by Tom O'Neill and others. to place Charles Manson in the same place as Jolly West with these connective tissues in the form of his parole officer, of the Haydashbury Free Medical Clinic, of the prevalence of MKLtra experiments in San Francisco at that time. There's plenty of smoke. We'll never know for sure if there was fire, given the destruction of records. which, you know, in a court of law, spoliation of evidence is permitted to give rise to an adverse inference.

Yeah, that's right. In layman's terms, that means if you destroy evidence, the judge can instruct the jury to consider your destruction of the evidence as an indication of guilt. Right. Or an admission of those facts, right? Yeah. If it's like we're looking for the MK Ultra files and they're destroyed, you can infer that those MK Ultra docs had some shady shit in them. Exactly. And that's why, you know, Squeaky was a smart person.

She wasn't stupid like growing up. There's nothing to suggest that she was learning disabled or mentally deficient in any way. The opposite was true. And she was incredibly or. organized, right? In those last couple of years leading up to the day of the deed, she was incredibly organized with her movement to the... Oh, yeah. Not just with the Atwa, but the International People's Court of Retribution, all those letters she was putting together and sort of keeping them organized thousands of letters to thousands of people and companies and sort of staying on top of

that kind of stuff, you can't do that if you're a moron. Right, which evinces in itself a recognition that the true culprits for the environmental destruction that she was outraged by were corporate actors. You know, she wasn't writing letters to her congressman or senator. She evinced a certain understanding of the way the world works by pointing the spotlight on the corporations. But, big butt here. The fact that Charlie Manson became and remained and was absolutely unmovable from the center of her mental universe,

to me at least suggests, as we said in the series, that something happened too squeaky and to some of these other followers through the types of techniques we know were in development, to combine the use of drugs and the use of your standard, what have come to be called enhanced interrogation techniques, aka torture, isolation, sleep deprivation, and on and on and on, which Charlie Manson was adept at, to brainwash or force into her consciousness this central notion. And, you know, that cuts across many cults

and the number of cults that have connections to these deep state forces, to these mind control experiments, is numerous. The list is long, and we're going to see more of that in the Sarah Jane Moore story, which, you know, will deepen

this notion that maybe it's not so crazy to wonder very seriously the degree to which the manipulation of these people, including people that committed acts of political violence at key times in the spectacle, were directed or at least influenced by their handlers. it's not something that again we can give you definitive answers for because you know we're not making a case of proof beyond a reasonable doubt here we're not making a criminal case what we are doing is presenting a counter-narrative that raises questions even if those questions can't be definitively answered based on the extant evidence they should give pause to any student of history, to any student of post-war 20th century history, and to any observer of 21st century fucked up reality. And that's Squeaky's story, and that's where we left off with Squeaky.

And now we're going to pick up with Sarah Jane Moore, Sally Moore sometimes. She's referred to as Sally Moore. and we're back in September for just a moment back in September, 1975, it's now 17 days after the president, President Gerald Ford was in California in Sacramento where an attempt was made on his life, at least by his sort of account in his point of view. Someone pointed a gun at him.

Well, 17 days later, he's back in California. this time in San Francisco. And I'm sure he's thinking, boy, it wouldn't, it couldn't happen again. Not so soon. Not again. Not in California again. Not in northern California again. Not at the hands of a woman again.

Well, we know better here at Fourth Reich Archaeology. We know that the ladies love Jerry Ford. The ladies, if they can't have them, no one can. And so we are going to be picking up with our gal, Sally Moore, Sarah Jane Moore. But before we do, whenever we start a new excavation, one of these new excavations, we always like to do a little note on our sources. And so here we go, a quick note on the sourcing of the biographical information that we're going to give you all in this episode and in the coming episodes.

Sarah Jane Moore. There is a biography of Sarah Moore, which has served as the main secondary source cited in our book, which has served as the main secondary source cited in other secondary sources. And it's a book called The Housewife Assassin by Jerry Speeler. The title of the 2009 first edition was Taking Aim at the President. The latest revised edition was just published in 2023. And this book by Jerry Speeler, this is one that we do rely on and we have read it and we're going to talk about it. And we're going to give our view on it. But maybe first, Don, you want to say a little bit about Jerry Speeler.

Yeah, sure. I mean, first of all, just to reiterate, this book is. in its second edition, right? That's kind of a big deal in the publishing world, as I understand it. I don't know a lot about the publishing world, but I know that if your book gets reprinted, gets a new title, gets a new edition, that means that somebody with some money wants it to be reprinted. And like you said, you know, Jerry Speeler has kind of become the go-to person in the media for information about Sarah Jane Moore. Of course, Sarah Jane Moore passed away last year in 2025. When she did, all the major newspapers had a little obituary.

Many local TV stations had an obituary. It was covered in the media. especially considering that her death coincided roughly with the 50th anniversary of her attempt on Gerald Ford's life. And in all of that shit, Jerry was kind of, sorry, Jerry Speeler, not Jerry Ford, of course, who died several years before. But Jerry Spiller was sought as the authority on Sarah Jane Moore because she had written this book. But I like to preface the comments that I have about Jerry Speeler with a reference to one of my favorite characters from cinema. I'm talking, of course, about Dr. Mabuse der Spiella, the creation of Fritz Lang, the filmmaker who created the self-same Mabuse de Spieler. silent film and it's even more impactful sequel, Das Testament da Doctor Malbooz, a 1937 classic that if you haven't seen it,

run, don't walk to your closest computer or television screen to put that in front of your eyes because it's phenomenal. Anyways, spiela, of course, means gambler or player. I think that it's a fitting last name for Jerry because she be playing with her readers. She'd be playing with the legacy of Sarah Jane Moore. And she is taking the piss, as our British friends might say. What do I mean by that? The mean is that this is your quintessential hack biography. If you pick it up, you'll see in the very beginning, in the interesting, in the

introductory discussion of the latest edition, at least, that Jerry puts her heart on her sleeve. She begins the book with a whole-ass diatribe about how much she hates Sarah Jane Moore, essentially. She makes it very clear how much dislike and distaste she has for Sarah Moore, bordering on hatred, really. She's complaining about how she was manipulated into covering Sarah Moore's story in the first place all those years ago, how she was kept close to Sarah Moore as her confidant and manipulated and taken advantage of, how Sarah Moore convinced her to spend her own money to store and ship Sarah. Moore's art and all kinds of other complaints ranging from, you know,

baseline dishonesty, which probably is correct. I mean, I don't take away that Sarah Jane Moore was an honest person in many important respects, which again, complicates our job as well to try to sift through some of that bullshit. But it goes beyond just complaining about Sarah Moore's dishonesty to complaining about her character, to complaining about really her pathology. And she infuses the entirety of her book even when she's talking about a child, even when she's describing the very young Sarah Jane going to school. Like, there is a negative connotation attached to almost every anecdote. I don't know, Dick, if you picked it up as forcefully as I did, I want to get a little confirmation or pushback from

you so that I'm not going off the rails here. No, totally. And then I think the big, the other big thing is, like, she makes clear from the get-go that, like, of course, like, she had this relationship with Sarah Jane Moore before she was writing the book. But as soon as it becomes clear that she is writing a book and is going to actually do it, she is effectively like iced out by Sarah Jane Moore. So like, you know, for the process of actually writing the book, Sarah Jane Moore didn't have, she didn't see any drafts, she didn't really get to review any of Jerry's work and didn't have an opportunity to say like, okay, well, this is, this is accurate, let's say.

So, yeah, I mean, I think what Jerry Spiller does is your quintessential sort of hack biography in the sense that she had all this material and she put it together without really going to the source. Yeah, and it's partly it seems like it's written to get a chip off of her shoulder and to occupy an unfilled lane, like we said, like nobody else has written about Sarah Moore. So she does have kind of a monopoly on the subject matter until now. And I should say, I mean, just to be clear, like, yeah, okay, Jerry does interview others in her, you know, others in Sarah Jane Moore's orbit and, you know, people that knew her and all of that stuff while she's, you know, getting the book together. but to me the biggest tell is that Sarah Jane Moore did not really have any input on this book. And to me, you know, besides that fact, reading the book, you see very quickly if, as we have,

you've consulted a much broader array of source material and are conversant in the deep history the parapolitical history of the 1970s and before as well, that Jerry Spielers' narrative follows the kind of superficial, mainstream, nationalistic, apologetic, Americana historical arc of the post-war period, right? Where there are some excesses, sure, like segregation was bad, but the reaction by radical militants was almost equally bad because they wanted to use violence to put an end to the system of racial domination and subordination.

And, you know, it's very hackneyed. It's very blind to the many, many red flags that we will, mark along the journey through Sarah Moore's life and her family's history and the whereabouts and the groups and movements that she gets associated with, Jerry just coasts right by those red flags and fails to dig in even to the possibility that Sarah Jane had been sucked in more deeply than kind of a coincidental FBI informant. And she paints her as just that. Not anything more, not anything less,

a kind of narcissistic, toxic personality who wanted to ingratiate herself with both the FBI and with the black radicals, and therefore got herself into this crazy bind that she couldn't get out. out of and desperately took a pot shot at the president in an act of absolute desperation. And that's kind of the story that she lays down. But I think that there's a lot more to it than just Sarah Jane's shitty, maybe borderline

personality. like even assuming that she did have a shitty personality there's so much more to the story and Dick you referenced earlier this 1979 prison interview that I obtained that Jerry Speeler doesn't cite even once and evidently didn't consult in writing her book at all

which if your subject gave only two major interviews in the critical years of the 1970s, you know, in closest proximity to her acts, you know, besides whatever conversations she was having with you, which weren't, again, were not really interviews. That's the thing. They were like conversations. It wasn't for the purpose of writing a book. It wasn't for the purpose of really writing anything. Like they kind of became friends in a way, and then Jerry got jaded and, like, turned off because Sarah went crazy. Like, it wasn't a journalistic pursuit, but these other interviews are key, and Jerry only refers to one of them. And the other one, as we believe and as you will see, listener, is so

much more interesting. Yeah, and to be fair, though, like, I haven't seen that 79. interview anywhere else, right? There was a movie. It recently came out, Suburban Fury. It largely tracks with Jerry's telling of the Sarah Jane Moore life. Of course, in Suburban Fury, they do interview Sarah Jane Moore and there are, you know, firsthand accounts coming from Sarah Jane Moore. But even that movie that came out, I think it's now, it's a documentary, it came out, I think, two years ago now. Even they don't really talk about. the 79 interview in West Virginia. Yeah, and I'll add to that list of other media products where you can find information that

goes less deep than Fourth Reich archaeology, surprise, surprise. But another one of those products is on offer from IHeart Radio. It's a podcast called Rip Current, I believe. and it we've referred to it before on here it's basically we kind of shorthand refer to it as normie she Harvey Oswald and Iheart radio for those of you who don't know or maybe for those of you too young to remember is today maybe the biggest or certainly one of the biggest distributors of podcast content in the world. They've got a stable of probably hundreds of podcasts that they spend millions and millions

of dollars producing and advertising, et cetera. And it used to be called Clear Channel Communications. And Clear Channel in the early 2000s was a household name because it's one of these media conglomerates that's not like a network TV producer, but rather. an owner of local radio, local TV stations, I believe billboards as well, that has more reach probably than even your Comcast NBC Universal or your Paramount Discovery Warner Brothers, whatever the fuck. It's a massive, massive company, and it became infamous during the Bush era because it was engaged in overt censorship in support of the neocon agenda,

taking, for example, the Dixie Chicks off of its radio stations after they came out against the Iraq War. And so the rebrand to IHeart Radio was part of this corporations move away from its dastardly reputation. Anyways, all that to say, again, this show relies on Jerry Spieler, does not consult the 79 prison interview, and does not go deep on either Sarah Jane Moore, nor any of the tangential deep events, personages, and institutions with which and with whom she interacts in the course of her life. So this is all to say, listener, you know, we are now like over an hour into this episode, I think it's time worth spending to not only unpack our source material, not only kind of situate where we're at in the overarching narrative.

This is all key contextual information. And hopefully it gives you a little bit of a sense of what, your boys here are doing both for our own edification. Like, I mean, this has been one of the most fascinating things that I've researched in my short podcasting career by far. I've been looking forward to doing this. I mean, I think this preceded even the idea for the podcast. Like, the material discovered in that prison interview

and in the other sources consulted about all this stuff, about the SLA, about the San Francisco radical scene, about all the infiltration, that was fuel to even launch this podcast in the first place, and we are just juiced, listener. We're juiced to share it with you. That's all I want to say. I feel a little bit, you know, because we do get these comments like you're spending too much time introducing things and recapping things.

But I'm being real here. That shit is important. That's so important because, you know, the who did what, when, that type of shit. You're not going to remember that from a podcast. You are hopefully going to remember the overarching shape of the narrative. and pick up a few of the key, the most key data points. And if we do our jobs well, be inspired to do your own research, to read up, to dig deeper, and talk about this stuff with your friends, your loved ones, your family, your elders, right?

People that live through this shit because even they view the past. I'm talking about experience, talking with my friend, my, friends and family who are over a certain age, their experience is also filtered through all this misleading, manipulative media, manufactured propaganda that distorts ultimately their view of today's reality. And, you know, think about this as a non-toxic, zero-scivilized. effects, vaccination, inoculation to that propaganda.

Open your eyes, people. Open your ears. And you're exactly right down. I think it's so important to lay the scene again and again and again because it is through this repetition that we will get some retention because you all are about to see so many connections. You know, we get called out something we love to do is to connect the dots of how many, how small, all the world is for these people, you know, who, what, where, when, why, of course, but also, you know, these people were there in the scene together at the same time. And for this she, Harvey Oswald series, we're going to do a lot of that, a lot of, you know, this guy knew that guy and this guy was there with that guy and do all of that. So there's going to be a lot of connecting

networks and people and all of that. But it's also really important to lay all this out because of the timeline of all of this and where all of this ends because of course shit goes down in September 1975 but don't forget this is a Jerry Ford podcast first and foremost and we are getting back on that Jerry Ford train after she Harvey Oswald and we are going to end this series within a series not in September 1975 but in October 1975 where your boys Dick and Don really take things to whole other level in the Ford administration. And the... Cheney and Rumsfeld, that is.

That's right. And the only way anyone can make sense of any of that is by doing this deep, deep dive into all the shit that happened in the month's proceeding. And so that's going to be the end. But before we get to the end, let's get to the beginning of this part of the story about Sarah Jane Moore. and the beginning will start as it always does at home. So let's get into that story now.

Almost heaven. West Virginia. Well, folks, that does it for Side A. Head on over to patreon.com slash forthright archaeology to hear how serious. Jane Moore's origin story in Cancer Valley, West Virginia, ties so deeply into that fourth-right narrative that we spent so much time tracing out for you in this portion. For now, on behalf of Dick, I'm Don saying farewell. and keep on digging.