Transcript - The Manhattan Project 2.0 - the Secrecy of UFO Crash Retrieval Programs [VOL.1]

First of it, obviously, it's understanding the situation, right? What do we have our hands on? And and like I've said in some other videos and stuff, you know, that we took the Manhattan Project secrecy and overlaid it on this issue because that secrecy worked well for atomic bomb developments and whatnot. And and certainly this whole program in a nutshell, if we're to like summarize the 90-plus years of history, it is a reverse-engineering program to garner some kind of insight. And very few people kind of had that top-down, could look across the silos, and see what was going on. It just became very dysfunctional, and they were afraid of people being too cross-briefed into the different silos for counterespionage, counterintelligence, that, you know, they were We're going to remember a bulk of this program is done during the Cold War. And, you know, we were afraid of Russian spies, Soviet moles, and so we made it ultra lockdown, but to the detriment of national security. We have spent more than $2 billion on the greatest scientific gamble in history, and we have won. But the greatest marvel is not the size of the enterprise, its secrecy, or its cost, but the achievement of scientific brains in making it work. There aren't, in fact, very many secrets. There are secrets about the world of nature. There are secrets about the music thoughts and intentions of men. Sometimes they're secret because a man doesn't like to know what he's up to if he can avoid it. The singular purpose of my channel is to uncover the UFO legacy program architecture, a labyrinthine, yet fractured ecosystem of special access, unacknowledged special access, and controlled access programs that are housed within elements of the United States government, armed forces, and intelligence community that are tasked with the retrieval, collection, storage, music exploitation, and derivation of non-human technical vehicles and technologies of unknown origin. What was once a galvanized and unified effort of the United States' most prestigious scientists, general and flag officers, seasoned politicians, and senior statesmen, established by at least 1947, under what we might call the {quote unquote} Manhattan Project 2.0, clandestine and covert UFO programs now exist music as scattered fiefdoms, a siloed and viciously compartmentalized system in which several administrative elements now own a piece of the former centralized music effort, lacking a formal recognized oversight group presiding over all NHI recovery and exploitation activities. Indeed, after decades of quite observable cracks showing a loosening and weakening grip of a singular centralized program effort, the golden age of the legacy apparatus appears to have conclusively music ended in the early 2000s, when, according to David Grusch, certain contractors, in my informed opinion, Northrop Grumman, harnessed company-funded research and development, music aka IRAD, to establish breakaway UFO retrieval and exploitation projects that became unaccountable to their original government handler, >> music >> and finally, complete oversight was lost by 2009, when Vice President Dick Cheney, the last man to harness centralized leadership of these activities, left office. Whether it be Lieutenant General James Clapper, the closest thing to a Cheney-esque centralized oversight figure while serving as Director of National Intelligence, Vannevar Bush, who operated as a senior scientific figure during the 1940s and 1950s Manhattan Project 2.0, Mr. Terry Phillips, who has allegedly engaged in reprisals against whistleblowers within Air Force SAP channels music and Northrop Grumman, or Edward C. Aldridge, who seemingly aided music in the evolution of UFO programs hiding within special access programs during the early 1980s. My work aims to span music decades to analyze not just the individuals, but also places, offices, directorates, laws, scandals, etc., that have played an imperative role within the ever-changing and morphing legacy program structure over the decades. Thus, I've arrived at a functional ecosystem to represent the modern-day UFO legacy program structure that I call the legacy pyramid. And regular viewers, bear with me, guys, because I promise I will keep this very brief. At the top of this pyramid sits the control group, a now tenuous position once held by presidents, career senior executive officials, Dick Cheney, Clapper, in an incapped music capacity that now sits empty with possibly a handful of individuals understanding the full scope of NHI retrieval and exploitation efforts. Below the control group sits program administration, best thought of by me as several silo music containers housing specific programs and directives under specific elements of the armed forces music and intelligence community. An example here includes the National Security Council >> music >> still maintaining a recovery effort of technical vehicles of exotic origin. And another specific example, music a selection of Air Force programs involving numerous offices listed below for a short, >> music >> narrow, and strict oversight chain that operates out in the western ranges that performs test and evaluation on airframes incorporating one or more elements of non-human technologies. Below the administration level of my pyramid sits federally funded research and development centers, or >> music >> FFRDCs, and GOCOs, or government-owned, contractor-operated institutions. These GOCO structures allow the US government music to attract the brightest of industry and subject-matter experts while still retaining strict control over programs, materials, breakthroughs, etc. Such FFRDC GOCO efforts have been critical to the legacy program effort since the music Truman administration, all the way back to the late 1940s, in which custody of recovered vehicles were given to now Department of Energy and former Atomic music Energy Commission national labs, like Sandia, Los Alamos, and Oak Ridge. More specific examples of FFRDCs and GOCOs music include the MITRE Corporation, RAND Corporation, Aerospace Corporation, CNA Corporation, >> music >> and Air Force Plant 42 within Palmdale, California. At the bottom-most layer of my pyramid sits the most security-vulnerable aspect of the legacy structure, music defense industrial base prime contractors and their subcontractors. Only specific personnel within these companies are read into the legacy music effort at a functional level, including executive-level positions or special program directors, while engineers, scientists, and technicians who actually brush elbows with the programs through carve-out contracts are largely kept in the dark. The mortar that binds this structure together, well, this is the US defense industrial base, whose authoritative channels are often music bypassed to allow UFO legacy programs to harness any US military and intelligence asset needed to accomplish these covert mission directives. And finally, and our topic for this new two-part series, the limestone casing that once encapsulated the Great Pyramids of Giza to protect these structures from the elements, well, our equivalent today is the UFO legacy program security apparatus. One of the most appropriate and music poignant questions one could ask about the existence of UFO legacy programs is how could such technology, biologics, crash retrievals, and programs be kept secret, and kept secret for nearly 90 years at that? After all, according to most conventional and wise thinking, the US government can't keep a secret, right? I have spent so much time in my projects discussing the who, what, when, where, and why of UFO legacy programs that I think it is appropriate to finally step back and analyze the security apparatus behind these activities, how program secrecy has evolved over time, what classification systems and directives provide foundational cover for covert UFO programs, what music individuals and program protection offices have safeguarded these secrets for decades, how disinformation and narrative shaping is weaponized to reinforce a strong stigma around the music UFO topic, and overall, how this seemingly infinitely layered secrecy apparatus music is organized. Because at the end of the day here, covert and highly compartmented waved unacknowledged special access programs music or USAPs facilitating and gatekeeping knowledge and need-to-know access music to the greatest secret in the history of mankind, which is the presence and procurement of non-human technology and their occasional biological operators, existing as a hidden shadow symbiotically attached to the United States government, armed forces, and intelligence community would require an ever-evolving, impenetrable, music and stalwart architecture to stay hidden from even presidents and other elected {quote} "temporary employees", would it not? Thus, for this massive pursuit, we will frame the legacy security architecture as an onion. Layers music upon layers of secrecy, where the center of the onion, the core secrets music and extant presence of the UFO crash retrieval and exploitation portfolio is always hidden and obscured by another layer of protection and secrecy. This onion analogy can be harnessed to understand so much of the program protection at play here, and not just in the modern day, but dating back decades, as well as to the inception of this Manhattan Project 2.0. From stripping the Manhattan Project secrecy architecture to classified presidential executive orders under Truman and Eisenhower to the 1954 Atomic Energy Agreements to Cold War special access program expansions and black project oversight reforms to close shave Pentagon audits to the AATIP program perception management campaign and attempts to talk about the subject outside of this proverbial onion to the antibodies David Grusch awoke music when investigating the topic in a legal and empowered manner to the disgraced Sean Kirkpatrick music and his ineffective All-domain Anomaly Resolution Office. Every one of these specific instances of program protection and secrecy, as well as myriad music others over the decades, can be seen in reference to layers of this outlined onion. So, indeed, over the course of this pursuit, we will attempt to peel back these layers of embedded secrecy. Where layers protect layers that obscure core secrets, analyze security structures behind the early legacy program effort, again, also known as the Manhattan Project 2.0. Observe changing laws and oversight regarding black projects and early special access programs during the height of the Cold War. Unveil various program protection agencies music and specific personnel that have been deputized and weaponized to enforce insider and outsider threat protection for the legacy effort. Recognize the ever-present disinformation and narrative management that shapes the UFO topic and perform a critical analysis on the monumental apparatus that empowers UFO legacy programs with unrivaled secrecy. And in addition to everything I just said above, I speak so often in my projects music about UFO programs being hidden within SAPs or USAPs. AKA music special access and unacknowledged special access programs. I think it's finally about time we take an opportunity to step back and discuss what exactly special access programs are. How SAPs music developed from post-World War II to today. How additional security and reporting controls can music be added to SAPs to restrict read-on access and existence acknowledgment. And ultimately study the crossover between music the SAP and UFO legacy program ecosystem. And just so we're clear, guys, this project aims to music be absolutely massive. Thus, I am tackling this project in two separate parts. So, today we will music devote hours towards analyzing the blanketing of the Manhattan Project secrecy architecture music on early legacy efforts, which we will call the Manhattan Project 2.0. We will follow the Manhattan Project 2.0 throughout the decades during the Cold War and see how this once centralized and stalwart effort began to splinter and scatter music itself into the wind, all to maintain total secrecy in an ever-changing US government structure. So, with all that out of the way, sit back, mark your notes "special access music required", and let us dive into the secrecy and security mechanisms music that embolden UFO legacy programs to operate within the shadows with unrivaled power, reach, and secrecy. Yeah, I think there should be a public acknowledgement strategy. Some of that needs to come from the White House in terms of how much that we acknowledge and reveal to the public, but I would like to see greater integration with this problem set in our architectures. A lot of it was well called hidden in an in an onion fashion and a lot of the space architectures a lot of the people in the audience are familiar with. Both classified and, you know, over white side of space world. As I said throughout our introduction, the greatest analogy in which we can effectively conceptualize the UFO legacy program structure is with an music onion. Where the core program elements, senior leaders, materials, biologics, recovered craft, internal documents, etc. are protected and obfuscated by endless layers of protection. >> music >> Where even seasoned flag officers and intelligence agency directors like Admiral Thomas Wilson can only get so close and so many layers down towards UFO recovery and exploitation activities before program antibodies push back. And thus, this short section outline detailing the onion will serve as today's executive summary. >> music >> Where we will further flesh out the onion analogy and discuss a handful of the layers we will dive into in great detail during our two-part investigation. music The onion UFO legacy program protection model is structured to be impenetrable and impossible to navigate for non-read-on or need-to-know individuals music that exist outside of this security apparatus. But is also structured to be impossible for actual legacy program personnel relegated to specific compartmentalized activities within the legacy programs to peer across or further down the onion. I think often to an individual who claimed to me, that I believe by the way, to have operated for years on legacy program security for the Navy and a specific FFRDC's operations music regarding USO activity. This individual was literally tasked with giving what he referred to as the {quote} "onion briefing" to specific senior statesmen, general and flag officers, and other relevant special programs personnel hundreds of times. I will never forget when this person said to me, {quotes} "I was on the legacy program music when I found out there were others." {end quotes} But I digress. Though intriguing and poignant, this individual's statements are not the focus of today's investigation, nor are these several other claimed first-handers I have spoken music with who comment on the existence of the {quote} "onion" within and across their respective program silo. Before launching full steam ahead into our two-part investigation, let's outline our theoretical onion model and speak on several of the individual layers we are going to spend ample amounts of time investigating. And again, recall the core of this system holds the beating heart of UFO legacy activities, the retrieval, storage, exploitation, and derivation of non-human technical vehicles and their occasional biological occupants. The original body of this onion was made flesh in 1947 under the presidential administration of Harry Truman. Though elements of the United States leadership likely had awareness and familiarity of crashed non-human technical vehicles before. And I am referencing the 1933 Magenta Italy crash, of course. For all intents and purposes, music immediately following 1947's Roswell appears to be when organized and empowered efforts began music to collect and exploit these rare and coveted {quote} "exotic" technologies. As we will discuss ad nauseam today, the early UFO legacy program structure was music directly copied from the United States Atomic Weapons Project, the infamous Manhattan Project. From compartmentalization, organizational architecture, physical security, classification and information control, and political shielding {slash} cover. This system of compartmenting covert operations worked so well for the Manhattan Project. It seemingly was directly translated onto a national effort even more secret than the atomic project. With a keen and trained eye here, we can actually outline several figures who likely served paramount roles in draping the Manhattan Project secrecy music blankets over UFO crash retrieval and exploitation programs. And these include music Dr. Vannevar Bush and George C. Marshall. I even theorize we could observe music a clear inspiration for the architecture of clandestine UFO crash retrieval teams from Bush's and Marshall's work on the Manhattan Project during World War II. The Alsos missions and T-Forces, music an organized Manhattan Project intelligence operation to physically secure Nazi scientists, facilities, laboratories, technology, and materials on the war's front lines to gauge progress in the Nazi atomic program that operated completely separate from traditional military intelligence channels. music Indeed, as we will discuss throughout today, it appears the late 1940s music and early 1950s observed the Truman administration and Eisenhower administration employ several classified presidential executive orders, infamously sometimes referred to as Peds or Presidential Emergency Action Documents that equipped, music emboldened, weaponized, and galvanized early legacy efforts. These include, as we will touch on, an alleged 1948 classified presidential executive order by Truman that gave custody of recovered UFOs to Atomic Energy Commission GoCo or government known contractor operated national laboratories that would evolve into modern-day federally funded research and development centers such as >> music >> Sandia, Los Alamos, Lawrence Livermore, and Oak Ridge. As far as I understand, music it was President Dwight D. Eisenhower who conducted the lion's share of establishing the early framework for UFO legacy activities, what we have called and will call throughout today as the Manhattan Project 2.0. Such as establishing a covert UFO control group hidden within music the National Security Council's 5412 Committee. The United States Atomic Energy Commission is responsible to the President and accounts to the Congress principally through the Joint Committee on Atomic Energy. The Chairman and the Commissioners of the AEC are like a chairman of the board of directors in industry. The general manager and the division directors >> music >> like the president and vice presidents of a private company. To carry out the United States Atomic Energy policy, AEC officials direct a vast nationwide industrial, scientific, and educational complex. The cost, more than $2 billion a year, about half for music national security, the rest for peaceful uses. >> music >> Much of the vast research and development work is done in national laboratories across the country. Brookhaven in New York >> music >> and Oak Ridge in Tennessee, Argonne in Illinois, Los Alamos in New Mexico, music and Lawrence Radiation Laboratory in California. The secrecy surrounding the programs in the 1950s were exponentially music amplified with the 1954 Atomic Energy Agreements, which expanded upon the concept of restricted data and a litany of creative classification standards including transclassified foreign nuclear information, foreign intelligence information, and music special nuclear material we will speak on later. They're basically treating this as nuclear secrets because it gives off uh, you know, nuclear radiation. Cuz if you look at the ultra vague definition of special nuclear material, which is Section 51 Atomic Energy Act of 1954, it says anything that gives off a sizeable amount of atomic energy. Literally, that's what it says. Well, what's sizeable and what legal gymnastics are you saying this stuff, which is obviously not a, well, who knows, maybe it is, nuclear weapon, and you're saying this is a US nuclear secret, you're transclassifying it into a nuclear secret, which I understand maybe at first why they did that. Though the early days of UFO legacy activities were deep-sixed and relegated to the highest levels of need-to-know access within the United States government, this Manhattan Project 2.0 seems to be a stark contrast to the legacy structure of today, in which the legacy glory days once employed some of the United States' most music prolific scientists, general officers, senior statesmen, etc. While today, most individuals involved in the programs are sheep-dipped, data-masked, music or the names the populace has never and will never hear of. Lastly today, we will also study the 1970s, and onward, in which, due to various special access program expansions, oversight reforms, legal molding, and the looming threat of Soviet spycraft, I strongly hypothesize the Manhattan Project 2.0 began to break itself into pieces. Effectively scattering itself into the wind to morph and adapt, hiding within cover programs, leveraging creative funding mechanisms, and amplifying layers of secrecy and security, effectively leading to the siloed program architecture of today, and giving rise to the modern-day onion. Later on down the line, part two of our investigation will begin moving into the modern era of legacy activities, and we will discuss the concept of unrivaled secrecy and discuss numerous systems and onion layers the UFO legacy program portfolio has harnessed to maintain covert operations, including a broad range of cover offices and programs specifically within the Air Force, Navy, and DARPA. The concept of dual-headed positions within the US Armed Forces music and IC that actually functions similar to a CIA NOC or non-official cover. Various funding schemes legacy programs harnessed to capture enormous funds while staying under the radar. Integral elements within USG crucial to maintaining the onion music structure, and so much more. Within part two, I will additionally seek to propose a rough outline structure of the onion as it music exists today, defining and exploring several layers within the legacy framework. Remember, almost everything we discuss in these two parts, from cover offices and programs to music transclassified foreign nuclear information and special nuclear material as detailed in the 1954 Atomic Energy Agreement, to shaving off small amounts of money from a wide swath of music programs to fund program activities. Well, these are all layers of the legacy structure onion. Though there are a handful of {quote} major layers I would like to define that I believe are imperative to understanding this security music structure. These will include the outermost layer or skin of the onion, disinformation and narrative management. This effort will see us music discuss multiple initiatives from the 1950s onward to the modern-day All Domain Anomaly Resolution Office that have attempted to swell public perception of the UFO topic as well as perpetuate the decades-long stigma surrounding the topic. Whilst on the subject, we will also speak on narrative managements, methods the legacy program structure have taken for partial transparency or derived methods to talk about the topic outside of the onion. These include the AATIP cover program effort with To the Stars Academy or TTSA, and attempts to establish a democratic political candidate, Hillary Clinton of course, as the disclosure president. What is intriguing about this partial transparency effort is it seems to originate from within the onion itself, specifically from the National Security Council and senior UFO control group individual Lieutenant General James Clapper. Within part two as well, as we spoke of in the intro, we will discuss music a full overview of the US classification system and special access programs or SAPs. This section will explore how exactly legacy activities hide within SAPs, the history of SAPs, and how SAPs can become waived and unacknowledged to hide from even the US Congress and temporary employees like presidential music administrations. Layers below the special access program model, we will explore program protection agencies in which individuals, directorates, music or units within agencies that actually protect the most critical US SAPs imperative to national security seem to have been deputized as assets enforcing the inner layers of the legacy onion. In a sense, these program protection agencies music seem to act like antibodies that swarm to mitigate and neutralize music both insider and outsider threats that threaten the complete secrecy of the legacy structure. For all intents and purposes, this seems to be what David Grusch encountered during his investigation into UFO crash retrieval and exploitation activities. Some offices here that we will talk about include DOD and component level SAP codes or special access program central offices. The AFOSI PJ or Office of Special Investigations Office of Special Projects. DARPA SID or Security and Intelligence Directorate, Department of Energy OICI or Office of Intelligence and Counterintelligence. And AFLCMC or Air Force Life Cycle Management Center Information Protection Directorate. And finally, we will end our monolithic two-part investigation with the subject of {quote} "unrivaled secrecy". Numerous layers between the SAP layer and core legacy secrecy structure within the onion model that are imperative to the functioning of these covert activities but may not exactly warrant their own section. So, no. When individuals music associated with the narrative management campaign of the UFO issue like Hal Puthoff, claim the entire UFO legacy program portfolio is held within contractors to avoid FOIA or Freedom of Information Act music requests. As we can see and as we will find out, the legacy security apparatus is nowhere near that simple. As we look at the actual structure of the interaction between the government and private industry in in this UAP area, over the years it has morphed, transitioned into it being largely under the aegis of the contractors. If you do something within the government, eventually it can be accessed by Freedom of Information Act. But if you do something through contractors, they're not available through Freedom of Information Act. So, now that we've described the onion and several critical topics paramount to our investigation over the course of this series, let's rewind the clock and investigate the origin of the secrecy behind the Manhattan Project 2.0. First of it, obviously, it's understanding the situation, right? What do we have our hands on? And and like I've said in some other videos and stuff, you know, they would took the Manhattan Project secrecy and overlaid it on this issue because that secrecy worked well for atomic bomb developments and whatnot. And and certainly this whole program in a nutshell, if I were to like summarize the 90-plus years of history, it is a reverse engineering program to garner some kind of insight uh and of course, not a lot of the things that we've learned from it are like directly you know, ripped off the technology we found, but it has inspired other innovations that made its way into other US classified programs over the year for national defense reasons. You know, and it's a myriad of different things. With global war, the government stepped into the picture. General Groves, head of the project, teamed up with Vannevar Bush, government director of science and research, and with Dr. Richard Tolman, technological expert. According to David Grusch, the inception of the original UFO legacy program portfolio saw an adapted and abridged security apparatus music plucked from the Manhattan Project itself, effectively leading to what I like to call the Manhattan Project 2.0, a highly compartmentalized and music top secret national effort restricted to {quote} "need-to-know personnel" featuring extensive counterintelligence and security shields to retrieve, store, and exploit music recovered UFOs. Of course, with early crash retrieval cases such as 1933's Magenta, Italy, there is certainly a case to be made that certain USG officials music were indeed aware of crash retrievals prior to the atomic bomb program. >> music >> However, the Manhattan Project 2.0 seemingly kicked into gear music and galvanized a covert national effort immediately following the July 1947 music Roswell, New Mexico crashes and several subsequent crashes in the American Southwest music in the late 1940s and early 1950s. And I have talked music about several such cases that I believe were instrumental to early retrieval and music exploitation efforts including 1948's Aztec, New Mexico and 1953's music Kingman, Arizona. Indeed, I have also discussed Sandia music National Laboratory in great detail. A modern-day DOE NNSA music National Lab FFRDC that was once established as Los Alamos National Labs >> music >> Z Division during the midst of the Manhattan Project in 1945 becoming the Sandia of today in 1949. Of course, I believe Sandia, like other similar national labs, have been and still are instrumental music to the legacy efforts. But let's really slow down here and distill what Grusch is saying. And like I've said in some other videos and stuff, you know, they would took the Manhattan Project secrecy and overlaid it on this issue because that secrecy worked well for atomic bomb developments and whatnot. If on several occasions, David Grusch has directly stated the Manhattan Project secrecy apparatus music was outright overlaid onto the UFO issue because of the efficacy of the Manhattan Project secrecy architecture, perhaps then music it would behoove us to really step back and see what sort of secrecy systems and program protection strategies from the Manhattan Project would translate on to early UFO legacy activity efforts. And I say this because I personally believe we can observe the formation and maturing of the early UFO legacy program music apparatus in a time epoch covering roughly seven years, 1947 to 1954, music that ultimately resulted in the Manhattan Project 2.0 that stood stalwart for several decades until the 1980s. So, let us review cornerstone concepts, dates, individuals, ideas, and more that help solidify the total security and deep-sixed nature of the Manhattan Project 2.0. It goes without saying that the Manhattan Project, the R&D program to produce the world's music first atomic bombs, operated with a legendary and then unprecedented security apparatus costing near $24 billion in today's currency and employed nearly 130,000 people. The Manhattan Project operated as a deeply compartmentalized, multi-layered project that made famous the term "need-to-know" where Manhattan Project individuals, bar a handful of scientists, program managers, and program security personnel, were read into only what was absolutely necessary to complete their specific task. That's exactly how Manhattan was, right? People working on the fuses for the bomb didn't necessarily know it was going to a nuclear weapon. And so, and I've seen this kind of compartmentation as a two secrecy in other programs and it is debilitating for progress. And honestly, music as a fiduci- former fiduciary of the taxpayer dollars, it's not the best modus operandus to do it that way. And very few people kind of had that top-down, could look across the silos and see what was going on. It just became very dysfunctional and they were afraid of people being too cross-briefed into the different silos for counterespionage, counterintelligence. To boil down a fascinating topic that would require hundreds of hours of study into very, very, very simple terms here, the Manhattan Project security apparatus consisted of several foundational pieces that I would like to speak on today. Compartmentalization, >> music >> organizational architecture, physical security, classification and information control, >> music >> and finally, political shield {slash} cover. I would like to cover each of these foundational security pillars on the Manhattan Project music and explain how I believe such practices were abridged into the Manhattan Project 2.0. To begin here, compartmentalization really goes without saying. The practice of compartmentalization simply limits exposure. {quotes} Within a classified program, personnel are granted access only to the specific information they need to perform their duties, even if they hold the necessary clearance level. {end quotes} Compartmentalization operates as a defensive security mechanism reducing attack vectors for espionage, leaks, and intrusions. Compartmentalization is the basis for modern-day special access programs as we will discuss later with a singular SAP umbrella containing music numerous compartmented subcomponents. Granting Oppenheimer's request for a single isolated lab where the bomb could be designed and built. General Groves appropriated the remote school and officially named Oppenheimer scientific director. Oppenheimer's first job was to convince scientists and their families to join him for the duration of the war in a place he was not allowed to identify, to work on a project he was not always allowed to describe. There aren't in fact very many secrets. >> music >> There aren't secrets about the world of nature. There were secrets about the thoughts music and intention of the man. Sometimes they're secrets because a man doesn't like to know what he's up to if he can avoid it. Obviously, aspects of the Manhattan Project were compartmented music to strengthen program security. In the realm of the Manhattan Project 2.0, aka early UFO legacy programs, everyone from David Grusch to music more controversial figures like Bob Lazar have spoken on compartmentalization within UFO activities. With Bob Lazar infamously music discussing how teams studying the propulsion of recovered NHI craft were not able to interface with other scientific teams to share and collaborate on discoveries, often times only being able to share information with their immediate lab partner. >> music >> And to be clear, I have stated plenty of times that I am biased towards Lazar, so I do not factor his testimony into my critical analyses. This is just an interesting point by him >> music >> that many others have spoken on as well. That individual I spoke of in our onion outline who served on a naval and specific FFRDC legacy program security structure stated to me the various programs he oversaw were so siloed music and compartmentalized some personnel were given several roles within the programs to keep read in personnel as sparse as possible. This included scientists also doing accounting work to not read in financial personnel or read in industrial security personnel performing janitorial work to not expose a custodian to program SAPs or SAP facilities. I sincerely believe that compartmentalization is a pretty simple concept to grasp and we are going to cover it so much more in our second part to our investigation where we talk about special access programs. So, I wanted to keep exposure to that topic brief for now, so let's go ahead and move on. We have spent more than two billion dollars on the greatest scientific gamble in history and we have won. But the greatest marvel is not the size of the enterprise, its secrecy music or its cost but the achievement of scientific brains in making it work. Organizational architecture being weaponized and leveraged for secrecy is a fascinating topic I am so keen to speak on. The Manhattan Project got its name from the Manhattan Engineer District or MED. The Manhattan Engineer District was the US Army Corps of Engineers organization that served as the administrative and organizational entity for the atomic program. During the onset of the Manhattan Project, the US Army Corps of Engineers worked in geographic {quote} districts. The Omaha District, music Pittsburgh District, etc. This district apparatus was used to create the Manhattan Engineer District under which the Manhattan Project was conducted. A name that was deliberately mundane and completely separate from the topic of nuclear weapons. The MED served as the legal and administrative entity through which the Manhattan Project operated. The MED handled acquisitions, contracting, music construction, personnel security, and the enormous infrastructure required to complete program objectives. Regardless of the program being sequestered to a simple Army Corps of Engineers cover district Commander Leslie Groves enjoyed unobstructed autonomy to run the Manhattan Project reporting to an extremely short chain of command such as directly music to the Secretary of War and Army Chief of Staff one General George Marshall. And remember him as he is critical to our entire discussion today. This short chain of command allowed Groves to aggressively skirt standard acquisition channels and bureaucratic red tape. I wonder if all of this is starting to sound familiar to anyone else. Two projects ago at this point, I published on the {quote} hidden wing. The Air Force's UFO material exploitation program whose administrative command seems to peak music with elements of the National Security Council and whose roots can be traced back to the early days of UFO legacy program operations. Specifically to our time epoch of interest, the late 1940s, specifically starting with '47. I ask you to shift your lens ever so briefly to the modern day really fast. One of the expressed objectives of that project on the Air Force was to outline the complete organizational and operational structure for the hidden wing. A centralized effort to perform test and evaluation on recovered UFOs, derivative airframes, >> music >> and alien reproduction vehicles on the US western ranges. In short, and excuse the technical speak, I do recommend watching that project as in my opinion it is still my most important work to date. Day-to-day operations of the hidden wing are conducted on several Air Force Major Range and Test Facility Bases or MRTFBs. Specifically the Edwards 412th Test Wing, Utah Test and Training Range, and Nevada Test and Training Range. And feature supports and material housing from nearby GOCO installations such as Air Force Plant 42. Primary T&E or Test and Evaluation work is conducted on the 412th Test Wing out of Edwards Air Force Base and is primarily run by Air Force Test and Evaluation or AFTE with day-to-day operations run by AFTC or Air Force Test Center featuring ace pilots from AFTC's TPS or Test Pilot School. AFTC is an operational element of Air Force Major Command or MAJCOM, Air Force Material Command AFMC. AFMC is the RDT&E or Research, Development, Test and Evaluation brainpower of the entire US Air Force >> music >> and is headquartered out of where else but Wright-Patterson Air Force Base. Administration and acquisition of these programs are held within Air Force Acquisition or SAF/AQ. Specifically SAF/AQL, Special Programs, AQX, Acquisition Integration, and AQR, Science, Technology, and Engineering. Within the same administrational capacity is the music SAF/AAA or Administrative Assistant to the Secretary of the Air Force which we will discuss later as imperative to legacy cover offices. Specifically under SAF/AAH or Sensitive Activities and AAZ, Security, Special Programs Oversight Info Protection. A mouthful I know, but the key aspect to this entire structure is the DAF/RCO or Air Force Rapid Capabilities Office. RCO is an office that operates with the ability to function within the gray area of standard acquisition without bureaucratic oversight or hurdles. With access to near limitless budgets bypassing long chains of command and oversights. An office uniquely positioned to oversee administrative and acquisition functions of a covert, music deeply compartmented UFO RDT&E program that likely also features retrieval and storage tendrils. Does this sound at all akin to Groves leveraging the Manhattan Engineer District music to bypass narrow chains of command to aggressively pursue program objectives for the Manhattan Project? Indeed, I believe this is particularly poignant as I believe from the onset of legacy activities, again 1947 the fledgling US Air Force was designated as the primary RDT&E element >> music >> for analysis of recovered non-human vehicles. Just bear with me in the modern day for just another seconds. Again, I stated Air Force Material Command AFMC is the modern day major command behind the hidden wing effort. Within AFMC's six major operational areas, I am aware of three of these being directly involved with the UFO efforts. AFTC or again the Air Force Test Center, AFLCMC or the Air Force Life Cycle Management Center and the AFRL or Air Force Research Laboratory. Which oddly enough was General Neil McCaslin's former command. AFMC rose in 1992 from the joining of former major commands AFLC, music Air Force Logistics Command and AFSC, Air Force Systems Command. >> music >> And remember Air Force Systems Command here soon. AFLC and AFSC were 1961 evolutions music of two former major commands that transitioned into these iterations. Air Material Command AMC and Air Research and Development Command ARDC respectively. Established originally in 1950, Air Research and Development Command overtook R&D functions from Air Material Command in around 1951. Indeed, this ARDC, or again, Air Research and Development Command, also contained another former major command, the AFSWC, or Air Force Special Weapons Center, whose Office of Primary Responsibility, or OPR, ultimately transferred to Air Force Research Lab in 1992. All of the elements I listed above have been historically implicated in legacy program efforts. Specifically here, in 1947, Air Material Command attempted to recruit Nazi engineers through Operation Paperclip music for a {quote} {unquote} underground plant program. Air Force Systems Command, the evolution of Air Research and Development Command, was labeled in the early 1990s by New Mexico State Representative J. Andrew Kisner, sort of a mini David Grusch prototype, as imperative to the original legacy efforts >> music >> and so much more. Specifically here, I think there is a strong likelihood >> music >> that UFO crash retrieval activities were partially housed under the Air Research and Development Command all the way back in 1953, when the Kingman, Arizona, UFO crash retrieval was conducted under the Operation Upshot Knothole nuclear tests. Indeed, one of these several critical personnel named by eyewitness Arthur Stansel Jr. as leading the UFO crash retrieval effort was one Dr. music Eric Henry Wang. Wang served as Chief of the Special Studies Office out of the ARDC out of Wright-Patterson Air Force Base, and moved on as a critical engineer from the Research Directorate of the Air Force Special Weapons Center, again, AFSWC, music out of Kirtland Air Force Base, which of course co-inhabits land with Sandia National Labs, which will be critical to our investigation today. Indeed, Wang, a figure literally named as leading the reverse engineering effort on Kingman, was also implicated in even music earlier cases, such as 1948's Aztec, New Mexico, crash retrieval, a complex and convoluted case that I do believe is a real instance of a UFO crash retrieval. So, you see that entire fast forward to the modern day within the Air Force, >> music >> and quick time summarizing an enormous part of my work within Air Force major commands in the 1940s, 1950s, and 1960s. And yeah, cut me some slack. I know that was a ton of acronyms. But I discussed that to illustrate how Leslie Groves' work within the MED, or the Manhattan Engineer District within the Manhattan Project, can directly translate to both modern-day Air Force legacy programs and the Air Force's involvement in the inception of legacy activities. I believe we can observe a very clear instance of the fledgling UFO legacy operations copying the Manhattan Project all to hide program elements within Air Force major commands and offices in the late 1940s and early 1950s. Specifically, as I discussed again, Air Material Command, AMC, Air Research and Development Command, ARDC, and the Air Force Special Weapons Center, AFSWC. And if none of this is making sense, I strongly recommend watching my Air Force Project to learn significantly more there. Outside of the Air Force here, I am thinking specifically of one more former US agency that, in my opinion, operated dual-hatted roles between the Manhattan Project and its successor, the UFO legacy program portfolio, weaponizing security architecture to hide UFO retrieval and exploitation activities. And of course, I am talking here of the Armed Forces Special Weapons Project, AFSWP, not to be confused with the Air Force Special Weapons Center, AFSWC. Back within January of 1947, 29 January 1947 to be exact, Secretary of War Robert P. Patterson and Secretary of the Navy, original accused MJ-12 music member and likely murder victim James V. Forrestal, established the Armed Forces Special music Weapons Project, or AFSWP, a joint Army and Navy venture to manage nuclear weapons following the Atomic Energy Commission's succession music of the Manhattan Project. AFSWP and Los Alamos C Division established operations at Sandia Base, and I highly recommend watching my Sandia Project for a much more robust music overview here, including how AFSWP's modern iteration, DTRA, the Defense Threat Reduction Agency, may in fact be holding on to old Atomic Energy Commission files that conclude some UFOs are of extraterrestrial origin. The AFSWP has surfaced in quite a bit of my work, such as discussing the aforementioned Representative J. Andrew Kisner's assertions that early UFO legacy programs featured military support from Air Material Command and music the AFSWP on the then legacy site linchpin, Sandia Base, as well as being mentioned in the contentious Interplanetary Phenomenon Unit documents, which we will actually discuss again soon. Recently in my project on Northrop Grumman and TRW, I discussed Dr. Edward Bushnell Doll, a senior executive vice president of TRW Systems Group and veteran physicist on music the Manhattan Project, specifically the Manhattan Project's Project Alberta. In 1953, as chairman of the Stanford Research Institute, or SRI International, Doll was sent to operate music on Operation Upshot Knothole's nuclear tests under a joint DOD and Atomic Energy Commission task music force overseen by the Armed Forces Special Weapons Project. It was here Doll would be accused by Arthur Stansel Jr. as coordinating personnel and logistics surrounding the Kingman, Arizona, UFO crash retrieval case. Short mention here, but I wonder if AFSWP also featured compartmented aspects and personnel, music like Doll, of course, on the crash retrieval issue. Okay, I could really talk about Doll all day, but let's go ahead and return to the various security foundations that were copied from the Manhattan Project onto the Manhattan Project 2.0. This organizational architecture is so crucial to touch on because I disagree from many talking music heads in the UFO community. I do not believe UFO legacy programs are run with a complete lack of oversight, but instead, as I say oh so often, a short, stripped, yet extremely concise chain of command with only need-to-know personnel and offices read in, an organizational structure borrowed from Leslie Groves and the Manhattan Project. $2 billion went into research and plants, such as this one at Richland, Washington. One of the world's most closely guarded secrets, the atomic bomb process was developed in widely separated areas. Even the thousands of men and women working on the project had no idea of the staggering energy they were to release. Physical security here should really come as a no-brainer. Whether it be retrieving and safeguarding recovered UFOs or building and safeguarding nuclear weapons, comprehensive and strict physical security is an absolute necessity. During the Manhattan Project, physical security maintained a permanent music presence at three, maybe four sites, Los Alamos and Albuquerque, New Mexico, Oak Ridge, and Hanford. As we know from my work, Sandia music and Los Alamos, two DOE and NNSA national laboratories, are imperative to the modern-day legacy program structure. I have also discussed firsthand testimony delivered to me about claims of underground covert activities, studying the skin of recovered UFOs beneath Oak Ridge amongst the larger Y-12 complex. I have a 3-hour project explaining music why national labs, Sandia in specific, are critical to legacy efforts. But earlier I made mention of classified presidential executive orders under Truman and Eisenhower that gave the Manhattan Project 2.0 music some teeth. Well, let's return here to J. Andrew Kisner. In the early 1990s, New Mexico State Rep. Kisner embarked on a proto-David Grusch-esque journey, interviewing and interfacing with as many UFO legacy program firsthanders as humanly possible. His findings music ultimately led to other Congressman Steven Schiff launching a General Accounting Office investigation into Roswell. Kisner's disclosures are intriguing, most of which I am in firm agreement with, including the inclusion of Air Force major commands and the AFSWP within early legacy efforts, and the presence of high-powered triangulated radar arrays, such as the lash-up network, possibly being incidentally responsible for early UFO crash retrievals, such as 1948's Aztec. music Kisner stated he learned 1940s and 1950s efforts saw recovered UFOs processed and analyzed by teams under the illustrious Dr. music Vannevar Bush in cooperation with the Atomic Energy Commission's Los Alamos Scientific Laboratory and its Z division at Sandia base. Another point I am in firm solidarity with. Furthermore here, Kistner stated that in July of 1948, a classified presidential executive order signed by Truman vested custody of recovered technical vehicles within the Atomic Energy Commission and its national laboratories. Of course featuring support from the Air Force Systems Command, Naval Research Lab, and more. This divesting of custody music into GOCO or again government-owned contractor-operated institutions is exactly what I speak about when referencing in my UFO legacy program pyramid where music FFRDCs and GOCO institutions separate program administration and defense industrial base prime contractors. The federally funded research and development center {slash} government-owned contractor-operated layer of my pyramid is a music massive security enforcement layer where government program administrator sponsors {slash} handlers can attract subject music matter experts, R&D aces, and industry's brightest while still retaining strict handling of program materials, data, files, scope, etc. And most importantly in my opinion, harness the FFRDC {slash} GOCO layer to arbitrate knowledge and access to information to the lowest level of the pyramid. DIB prime music contractors and their subcontractors. The FFRDC GOCO layer to me is as important as program compartmentalization itself where read-in program administrative personnel can offload most importantly recovered vehicles and biologics music to FFRDC handling to maintain plausible program deniability but also maintain an iron grip over program materials and deliverables. I simply cannot stress enough how incorrect it is when individuals music knowingly falsely state crash retrieval programs are relegated to private contractors. music This system is unbelievably vulnerable to security leaks, espionage, unauthorized access, etc. Thus why I believe with fervor that legacy programs like the Manhattan Project before them entrusted some of the most secretive aspects of their respected programs to what would become Atomic Energy Commission, then DOE {slash} NNSA FFRDC GOCO national laboratories. Now, don't even get me started on FFRDCs or their precursors in this time, FCRCs, Federal Contract Research Corporations. As many here could probably guess, I could spend music hours discussing how specific FFRDCs, whose roots can be traced back to the Manhattan Project, became imperative to the Manhattan Project 2.0 such as MIT Lincoln Laboratories as the reestablishment of Vannevar Bush's MIT Radiation Lab or Lawrence Livermore National Laboratory, a joint venture by Dr. Edward Teller and Dr. Ernest Lawrence in 1952 I speak of often in my work. Maybe look for that in our future, but this project is on the Manhattan Project 2.0's secrecy apparatus, so I'm afraid we'll have to move on here. As in the days of the Manhattan Project, modern-day DOE NNSA national labs hiding UFO legacy activities within their bones features music stringent security forces. I mean, just look on screen now at these Los Alamos Protective Forces from the 1980s. And of course, coming up shortly, we will speak on DOE NNSA special response teams, SRTs, entrusted with safeguarding US nuclear secrets. I speak on personnel security relatively often, whether it be industrial security personnel guarding UFO legacy SAPFs or special access program facilities within defense industrial base sites like the West Desert Test Center out on Dugway Proving Ground. And I recommend re-listening to the case of MS music out there or guards on the Nevada Test Site and Area 51, Tonopah Test Range, etc. hailing from the enigmatic Wackenhut music Services Inc. But I theorize here that the Manhattan Project employed a shrewd technique regarding music physical security and the Manhattan Project 2.0 took this idea and really ran with it. And this is the lack of physical security and hiding within plain music sight. I speak often on the UFO legacy program structure being hidden as a shadow underneath but alongside the US government and defense industrial base operating hidden within plain sight. Indeed, music I am familiar with corporate parks out on the western seaboard of the US that once allegedly held recovered non-human bodies alongside the standard office work and pencil pushers. Scientific parks on the East Coast of the continental United States music housing UFO material exploitation efforts alongside standard research and covert SAPFs literally built into everyday infrastructure we take for granted like doors in a shopping mall that lead to an underground sprawling covert music facility. And I mean that literally. I talked about several similar instances music in my video on DUMBs, deep underground military bases, where nondescript buildings or offices sometimes music house entrances to clandestine UFO and non-UFO related covert facilities. And I talked about this more in my second music Northrop Project where I believe the Tejon Radar Cross Section Facility is made to appear abandoned and derelict while still housing active underground components focused on UFO recovery and RDT&E. These sites often feature zero overt security but extensive hidden security all to stay hidden in plain sight. And this was of course a feature learned from the Manhattan Project. Sure, Los Alamos, Hanford, and Oak Ridge were heavily guarded as are several UFO legacy activity sites. But the Manhattan Project also operated literally music under our feet in some instances. Take Enrico Fermi and the Chicago Pile 1 for example, the world's first artificial nuclear reactor built in 1942. This work by Fermi was imperative to the Manhattan Project, a secret experiments that produced the first self-sustaining chain reaction. Chicago Pile 1 was not out in the open like Los Alamos, Oak Ridge, or Hanford. Indeed, Pile 1 was hidden under a squash court under music the stands of Stagg Field at the University of Chicago. This project by Enrico Fermi was so secret, it was not relayed to the Chicago mayor at the time. Again, I recommend watching my DUMB video to learn more, but one thing the Manhattan Project 2.0 took from the Manhattan Project music was hiding within plain sight, restricting physical security music to the background to operate right in front of everyone's eyes. Classification and information control. >> music >> I wish to primarily speak on this subject in relation to the 1954 Atomic Energy Agreement. As in part two of this project, music we will dive in great detail into classification control and special access programs. However, music there is still some poignant discussion to be had in relation to the Manhattan Project. Early nuclear secrets during the Manhattan Project were overseen by an internal system of self-censorship and publication control with the Office of Scientific Research and Development spearheaded by the illustrious Vannevar Bush music and later the Manhattan Engineering District establishing voluntary, then mandatory censorship of nuclear physics discussions and publications. Indeed, it was none other than General Leslie Groves who additionally implemented early iterations of modern secure compartmented information and special access program compartmentalization within the Manhattan Project implementing music a tiered system where access to information and core program secrets were granted on a compartmented and need-to-know music basis. During the course of the Manhattan Project, both the Manhattan Project and its immediate successor, music the Atomic Energy Commission founded in 1946, developed their own personal security clearance systems separate from DOD and executive branch frameworks. These being Q clearance, equivalent to top secret restricted data, and L clearance, equivalent to confidential restricted data. music And this is where we must really dig in. The establishment of the Atomic Energy Commission in 1946 as the successor to music the Manhattan Project saw the advent of {quote} {unquote} restricted data. If you are curious music for more, I do suggest reading the Atomic Energy Act of 1946. An informal practice during the Manhattan Project under Groves was music the idea of information {quote} {unquote} born secrets. If a scientist wrote down core fission nuclear secrets. That information was inherently classified by nature, not by a review and classification designation. Thus, this once informal idea was made law in the 1946 Atomic Energy Agreement, which introduced restricted data. Today, restricted data is the only music classification that applies automatically to information by subject matter, rather than by a formal classification decision. And thus, music we arrive to one of the core concepts of the Manhattan Project 2.0 that I believe music continues to this day. The existence of the Manhattan Project split US classification music into two parallel tracks. Track one being the executive order-based system covering confidential, secret, music and top secret classification, as well as the SCI/SAP compartment layers under Obama's 2009 executive order 13526, which is an iteration of Reagan's 1982 music executive order 12356. And track two, the statutory music Atomic Energy Act system of restricted data, now overseen by the Department of Energy. These two systems have completely different legal bases, declassification music procedures, and oversight mechanisms. So, no, an executive order by Trump to reveal the UFO files would not touch any DOE restricted data covered by a statutory order. Perhaps this is why, according to my understanding, the DOE is quite literally baked into every single layer of the legacy program structure. For example, the Air Force program structure I just outlined, the DOE is involved in everything from day-to-day involvement performing T&E on derivative technologies on the Edwards 412th Test Wing, to working alongside the DAF RCO on legacy administrative properties. So, now let's music fast forward to the Atomic Energy Act of 1954, where I believe we can observe when the Manhattan Project 2.0's classification music teeth grew into fangs. And you know, and music and you notice the Schumer amendment, if anybody reads it, awkwardly calls out the Atomic Energy Act of 1954, right? And they're basically treating this as nuclear secrets, because it gives off you know, nuclear radiation. Cuz if you look at the ultra vague definition of special nuclear material, which is section 51 of the Atomic Energy Act of 1954, it says, "Anything that gives off a sizable amount of atomic energy." Literally, that's what it says. Well, what's sizable? And what legal gymnastics are you saying this stuff, which is obviously not a Well, who knows? Maybe it is. A nuclear weapon. And you're saying this is a US nuclear secret. You're transclassifying it into a nuclear secret, which I understand maybe at first why they did that. And I'm not admonishing the hard decisions that presidents and other folks did many years ago when this was more of an enigma, and we wanted to like lock it down, figure it out, and then see what we're going to do. This is far from a novel discussion point on my channel, but I speak often of creative classification loopholes within the DOE that legacy programs enjoy to safeguard UFO activities. One such misclassification is the concept of special nuclear material, whose information is inherently covered by restricted data. And as David Grusch just stated, such a system can be abused to improperly classify UFO materials under extremely strict DOE classification controls, essentially safeguarding UFO materials and information with the same severity as nuclear secrets. Indeed, the 1954 Atomic Energy Agreement, section 142 to be specific, also gave statutory authority for transclassified foreign nuclear information, or TFNI, which was given the unique name of TFNI in 2010 music under 32 CFR part 2001. Transclassified foreign nuclear information exists as a type of classified information, not inherently a classification level like restricted data and formally restricted data within the DOE. For example here, restricted data may get transclassified music out of the restricted data section under section 142 of the 1954 Atomic Energy Agreement, then handled like national security information, but still subject to atomic music energy protections like exemption from declassification. Essentially, TFNI enjoys both the Atomic Energy Commission and executive order classification framework. TFNI is the language used specifically in the Schumer music legislation, aka the UAPDA, where it is explicitly stated UFO legacy programs have misclassified UFO materials, data, files, programs, discoveries, etc. As transclassified foreign nuclear information to utilize the most deep-sixed channels of US classification. This is where our section on classification and information control ties into our physical security section. I have spoken numerous times on how DOE classification controls are abused for legacy operations, and thus, special teams operating under DOE controls are mobilized for legacy activities. These include DOE SRTs, or special response teams, which are tasked with safeguarding premier DOE NNSA music sites like Sandia, Oak Ridge, and Los Alamos. I have theorized that SRTs may be involved as ground element direct action forces within UFO crash retrieval teams. I have theorized with low confidence that SRTs were a ground element to securing the UFO crash retrieval that USMC Lance Corporal Jonathan Weygandt observed in Peru music during 1997's Operation Laser Strike. I have theorized with medium to high confidence that SRTs operated as a ground element for test operations of any enormous music derivative triangular airframe observed by USMC Sergeant Roderick Castle during 1997's Hunter Warrior Advanced War Fighting Experiment in Southern California. Outside of DOE SRTs, I have spoken frequently about DOE NNSA NEST, or the Nuclear Emergency Support Teams. NEST was created under executive order 12656 to operate under the primary authority of the 1954 Atomic Energy Act. NEST was founded as a DOE specialized nuclear emergency organization that assisted the FBI music and numerous government agencies by {quotes} "providing technical expertise music and advice in response to a variety of potential incident threats involving nuclear materials." {end quotes} NEST operates as an umbrella organization to handle all nuclear and radiological emergencies for music the DOE. NEST's mission is to {quotes} "be prepared to respond immediately to any type of radiological accident or incident music anywhere in the world." {end quotes} While on the subject of NEST, I hypothesize with near total certainty that NEST was the ground element team dressed in MOP, or mission-oriented protective posture gear, that Lance Corporal Jonathan Weygandt observed music securing a UFO crash site. Just as I hypothesize with near total certainty, one of NEST's core element, the NF-MAP, or Nuclear Forensics Material Analysis Program, music is a paramount component to crash retrieval programs I highly suggest you commit to memory. Within NEST, NF-MAP is tasked to deliver music {quotes} "timely, specific, state-of-the-art forensic results for nuclear materials found outside regulatory control, music whether intercepted, discovered, or taken from an undetonated nuclear device." {end quotes} Essentially, NF-MAP music operates to answer this question. If nuclear material or a nuclear device were intercepted music in the United States, where did it come from, and who was responsible? Perhaps then it should really music be no surprise that non-regulatory, and remember that, non-regulatory nuclear materials that are collected by NEST and NF-MAP are then transported to locations I have accused on numerous occasions, as recently as the Sandia Project, as existing as core music legacy program elements, including {quotes} "key NNSA facilities, Los Alamos National Laboratory music and Lawrence Livermore National Laboratory. Other DOE NNSA facilities that music participate in the National Nuclear Material Archive Program within NF-MAP, Oak Ridge National music Laboratory, Pacific Northwest National Laboratory, and Y-12 National Security Complex." {end quotes} Does this seem familiar? Lastly, let's music briefly touch on the OST, or Office of Secure Transportation, I spoke of in my Sandia project, music which works closely alongside the DOE NNSA NEST. Since 1947, the US Department of Energy DOE and its predecessor agencies have moved nuclear weapons and nuclear weapons components and special nuclear material by a variety of commercial and government transportation modes. In the late 1960s, the Albuquerque Operations Office was directed to expand its transportation system to provide protection to all shipments involving special nuclear material. An increase in political acts of violence prompted a review of procedures for the safeguarding of the materials. In 1975, the Office of Secure Transportation was established and responsibility for nuclear weapons transportation was transferred to the Albuquerque Operations Office of the Atomic Energy Commission, predecessor to the Department of Energy. In 2000, DOE created the National Nuclear Security Administration. This office administers the total United States nuclear weapons program, including the design, production, and delivery of nuclear weapons and components. Under DOE order 153.1A, the Office of Secure Transportation, quote, may provide transportation for the music NEST nuclear weapons, nuclear weapon components, and special music nuclear material within the continental United States, end quotes. OST operates within Amarillo, Texas, Oak Ridge, Tennessee, >> music >> and Albuquerque, New Mexico, home to three DOE FFRDCs. Indeed, Sandia music themselves have supplied the OST with MGTs, or Mobile Guardian Transport Units, for transportation of, quotes, nuclear materials, special components, and nuclear weapons across the country, end quotes. I have theorized with extreme confidence music the OST under the DOE and NNSA directly transports UFO materials and secrets across the CONUS, or Continental United States. OST convoys are composed of unmarked escort and transport vehicles. The only easily recognized feature is a US government license plate. Escort vehicles always accompany transport vehicles. Transports are conventional three-axle truck tractors with two-axle semi-trailers, while the escort vehicles vary in design. The personnel who operate these vehicles are NNSA federal agents. They are highly trained, well-armed, and authorized to use deadly force to protect their cargo. Each federal agent completes more than 1,000 hours of agent candidate training and receives continuous training throughout his or her career >> music >> in the form of operational readiness training. They receive detailed instruction on the techniques of operating all necessary equipment as well as conducting paramilitary operations. They also receive expert instruction in tactics, >> music >> including the use of a variety of firearms. Instruction on the complex operating procedures and safe handling of the tractor trailers are given enormous emphasis because the Office of Secure Transportation logs over 4 and 1/2 million miles >> music >> each year. And now, a complete theory of mine. Under the DOE's semi-autonomous agency, music the National Nuclear Security Administration, or NNSA, using FFRDCs such as Sandia, Los Alamos, Oak Ridge, and Lawrence Livermore, the NNSA leverages NEST, OST, and SRT music for the on-site recovery, procurement, and transportation of recovered UFOs under the guise of the 1954 Atomic Energy Act. And shout out here to my one specific good friend that I am talking about OST again. I know you're jumping for joy watching this. So, you see, the concept of restricted data and creative classification systems arose from the Manhattan Project onto 1946's Atomic Energy Commission. And we can find nearly identical practices taken with even greater security mechanisms and lockdown classifications by the Manhattan Project 2.0. We can also find modern-day DOE NNSA special teams emboldened by the 1954 Atomic Energy Commission agreements, the linchpin for the Manhattan Project 2.0's classification structure, that in my opinion plays imperative roles in scientific analysis of UFO crash retrievals, transportation of recovered UFOs and their biological occupants, actually retrieving UFOs, and safeguarding UFO national laboratory sites. Lastly here, we arrive to another security infrastructure concept copied from the Manhattan Project onto the Manhattan Project 2.0, the political shield {slash} cover. The Manhattan Project saw civilian and political oversight spearheaded by an incredibly small and tight-knit group called the Top Policy Group. The Top Policy Group served as the mechanism through which the president was able to retain control over the Manhattan Project while circumventing normal government channels to maintain the secrecy of the project. Sound familiar? Initial membership for this group consisted of President FDR, who would be replaced by President Truman, Vice President Henry Wallace, Secretary of War Henry Stimson, Army Chief of Staff George Marshall, and again, remember that name, Vannevar Bush of the OSRD, Office of Scientific Research and Development, and James music Conant, Bush's deputy. Funny enough, when Truman became FDR's Vice President for the 1944 election, he was not briefed into the Manhattan Project and only received a briefing from the Top Policy Group when he took office in 1945. Almost even more comically here, Truman did in fact brush elbows with the Manhattan Project during World War >> music >> II in his prior capacity as a senator when Truman spearheaded the Truman Committee, a committee reviewing defense programs. music Here, Truman witnessed the funneling of millions of dollars into a project labeled, quote, expediting production, end quotes, that featured no further descriptions or explanations on that hastily labeled project. At this time, Truman even approached Stimson for answers, yet Stimson just told Truman, quotes, that the information was classified in order to protect national security, end quotes. You, Dwight D. Eisenhower, do solemnly swear I, Dwight D. Eisenhower, do solemnly swear that you will faithfully execute the office of President of the United States. That I will faithfully execute the office of the President of the United States. And will, to the best of your ability, And will, to the best of my ability, preserve, protect, and defend the Constitution of the United States. Preserve, protect, and defend the Constitution of the United States. So help you God. So help me God. As I stated, I believe Truman and Eisenhower laid the foundations for the Manhattan Project 2.0. I am again in full agreement here with former New Mexico State Representative J. Andrew Kistner, that the program coordinator for the fledgling Manhattan Project 2.0 was relegated to the music newly formed in August of 1947 National Security Council. The National Security Council, of course, is harnessed by the President of the United States music for national security, military, and foreign policy matters. The NSC, as we will call it for short, originates music from within the White House as part of the Executive Office and is composed of senior national security advisors and presidential cabinet officials. Of course, we cannot speak of 1947 UFO programs and Truman without mention of the enigmatic Majestic music 12. I have a full video on the Majestic 12 with the world's best music Majestic 12 researcher, Ryan S. Wood, so I highly recommend checking that out. I of course believe that Truman establishing the National Security Council as the UFO legacy program coordinating music body stands on its own, but let's briefly discuss that MJ-12 connection here. I will not waste time explaining what the MJ-12 is or its history music and evolution. What I can tell you is I believe with confidence that regardless music of the documents, a group called Mad 12, and Mad 12 music specifically, did indeed exist under at least Eisenhower, and we will address that shortly. The Eisenhower briefing document, stamped 18 November 1952, sought to allegedly brief presidential incumbent General music Dwight D. Eisenhower on the Majestic 12 operations, as well as origins and modus operandi of this shadowy group. The EBD, music as I will call it here, is the first Majestic 12 document to quote-unquote leak and is one music I find somewhat convincing due to the authentication work done by the late legend Stanton Friedman. The EBD contains some rather interesting parallels to actually known events such as the Eisenhower briefing document music containing a memorandum for SecDef, Secretary of Defense James Forrestal from President Harry Truman himself dated 24 September 1947 discussing the authorization for Forrestal music and Bush to proceed with Operation Majestic 12. Of course, in real life, Truman, Forrestal, and Bush did in fact meet on 24 September 1947. And of course, James Forrestal was a key member of the National music Security Council from its very inception until 1949 when he died. And Vannevar Bush was a key scientific music consultant to the NSC especially as chairman of the Research and Development Board or RDB. We music can find other interesting parallels around the real-life death of Secretary Forrestal who music allegedly threw himself out of the window of Bethesda Naval Hospital on 22 May 1949. The EBD here discussed General Walter Bedell Smith being appointed as Forrestal's replacement after his passing in the Majestic 12 on 1 August 1950. And of course, in Truman's very real daily appointments on 1 August 1950, we can find an off-record meeting with General Walter Smith. The EBD details the entirety of the original Majestic 12 team music including Forrestal/Smith, Admiral Roscoe H. Hillenkoetter, the illustrious Dr. Vannevar Bush, General Nathan Twining, General Hoyt Vandenberg, Dr. Detlev Bronk, Dr. Jerome Hunsaker, Mr. Sidney Souers, Mr. Gordon Gray, Dr. Donald Menzel, General Robert music H. Montague, as well as Dr. Lloyd Berkner. Now, I do not know if Truman established the Maj 12, but again, I am quite music confident the Maj 12 existed under the Eisenhower administration. Indeed, I understand through a series of classified presidential executive music orders or presidential emergency action documents, again the acronym PEADS. Like the top music policy group under administrations before him, Eisenhower took a similar route music and hid this UFO control group, the Maj 12, under the National Security Council's >> music >> 5412 Committee. But threats, new in kind or degree, constantly arise. Of these, I mention two only. A vital element in keeping the peace is our military establishment. Our arms must be mighty, ready for instant action, so that no potential aggressor may be tempted to risk his own destruction. Our military organization today bears little relation to that known of any of my predecessors in peacetime or indeed by the fighting men of World War II or Korea. The 5412 Committee took a similar model in outline to the Manhattan Project's music top policy group. Keep red and personnel and control group small, minimize the paper trail, and maintain presidential control through a trusted intermediary. Shortly after taking office on 15 March 1954, Eisenhower established and approved the NSC 5412 establishing the 5412 Committee for the purpose of serving as an interdepartmental US executive body to review and approve covert US operations. NSC 5412 music formally defined covert operations for US policy purposes as well as established CIA as the executor for covert operations. The 5412 Committee originally consisted of the Deputy Under Secretary of State, Deputy Secretary of Defense, the President's Special Assistant for National Security Affairs, and the Director of the CIA serving as the group's action officer. Now, circle back to that Eisenhower briefing document EBD and see one accused original MJ-12 member being Mr. Gordon Gray. At that time, President Truman's Assistant Secretary of the Army. Well, from 1958 to 1961, Gray would also serve as Eisenhower's National Security Advisor, aka a member of the 5412 Committee. I firmly believe the Maj 12 or whatever naming convention it evolved music into continued covertly as the control group for the Manhattan Project 2.0 throughout iterations of the 5412 Committee music such as Nixon's 303 Committee before the group ultimately went into a black box or broke apart into siloed containers during music the 1980s. However, I do still firmly believe an element of the National Security music Council retains oversight of one singular UFO crash retrieval portfolio to this day involving the Department of Energy, Air Force, CIA's Directorate of Science and Technology, and select primes and FFRDCs. This of course is the legacy program structure that Age of Disclosure was attempting to outline. However, this is not the singular legacy program portfolio. So, no, there is no one monolithic program. And the Age of Disclosure conveniently left out the National Security Council as the program coordinator here. This of course was to protect Lieutenant General James Clapper. This is because whilst Director of National Intelligence from 2010 to 2017 within the Obama administration, Clapper alongside his principals and deputies including Stephanie O'Sullivan and Michael Dempsey spearheaded the NSC UFO crash retrieval portfolio. And don't just take my word for it here. Listen to David Grusch say the same. Uh in fact, uh without being inappropriate, I will say that General Clapper was well aware of the crash retrieval issue, managed the crash retrieval issue, and when he was the DNI, USDIA, DIA director, he placed people in critical roles uh to manage this issue uh both publicly and I'll just say not uh non-publicly as well. And I'll allow the audience uh distill what I'm saying uh at the at the risk of being inappropriate or going too far with my uh discussion. So, uh General Clapper, Stephanie O'Sullivan, other folks in the IC that are well aware of this issue, that were in rooms discussing this issue, um I asked you to be uh greater leaders on this. I should not be the only former uh military officer and intelligence official uh that is uh being completely candid with the information that they were exposed to. So, Indeed, this NSC program portfolio with Clapper gets rather nefarious with Clapper likely blessing the Director of the National Special Program Management Staff or NPMS, Luis Elizondo, with top cover for the A2 program as a way to talk about the onion outside of the onion. So, you see, I say all of this because I theorize with near certainty that Truman carried on the legacy of the Manhattan Project's top policy group onto the Manhattan Project 2.0 relegated in 1947 to the music newly formed National Security Council. Eisenhower, shortly upon taking office, effectively quote-unquote deep-sixed the UFO top policy group within the National Security Council by creating the 5412 Committee, aka the quote-unquote special group. The 5412 Committee or special group allowed the President and red in program individuals to hide the UFO control group even deeper than the former top policy group. As we will continue to discuss thoroughly, I believe the architecture of the 5412 special group directly leading UFO programs in an operational capacity evolved into a system free from traditional oversight of presidents and quote-unquote temporary employees. You see, while official National Security Council meetings require full council presence, informal meetings music with NSC members with relevant expertise are held off books and often go unrecorded. And thus, with the stroke of his pen, Eisenhower created the impenetrable UFO control group that would ultimately usurp our system of checks and balances. music Though there have been several presidents read into the UFO legacy portfolio following Eisenhower, I believe the empowering of and deep-sixed nature of the 5412 special groups and its evolutions such as the 303 Committee began to show traditional presidential power and oversight over UFO crash retrieval and reverse engineering operations slip towards the tail end of the Eisenhower administration. Perhaps this is what Eisenhower was referring to in his infamous military-industrial speech when leaving office. In the councils of government, we must car guard against the acquisition of unwarranted influence, whether sought or unsought, by the military-industrial complex. The potential for the disastrous rise of misplaced power exists and will persist. We must never let the weight of this combination in danger our liberties or democratic processes. We should take nothing for granted. Only an alert and knowledgeable citizenry can compel the proper meshing of the huge industrial and military machinery of defense with our peaceful methods and goals so that security and liberty may prosper together. Akin to and largely responsible for the sweeping changes in our industrial military posture has been the technological revolution during recent decades. In this revolution, research has become central. It also becomes more formalized, complex, and costly. A steadily increasing share is conducted for, by, or at the direction of the federal government. Today, the solitary inventor tinkering in his shop has been overshadowed by task forces of science in laboratories and testing fields. In the same fashion the free university historically the fountainhead of free ideas and scientific discovery has experienced in the conduct of research. Partly because of the huge cost involved, a government contract becomes virtually a substitute for intellectual curiosity. For every old blackboard, there are now in hundreds of new electronic computers. The prospect of domination of the nation's scholars by federal employment, project allocations, and the power of money is ever present and is gravely to be regarded. So, to make a hyper long section short, we covered security mechanisms the Manhattan Project 2.0 plucked from the Manhattan Project. music And these include compartmentalization, organizational architecture, physical security, classification, and information control. And finally, political shield {slash} cover. To summarize this insanely long section >> music >> these include legacy operations borrowing directly or conceptually from the Manhattan Project to operate on a highly compartmentalized need-to-know music basis establishing unique chains of command hidden in plain sight, we music can observe in the modern-day Air Force Legacy Program structure. Physical security delegating custody of recovered NHI vehicles to modern-day DOE and NNSA national music labs like Sandia, Los Alamos, and Oak Ridge. Classification and information control through broad interpretations of the 1946 and 1954 Atomic Energy Acts as well as the implementation of inherited self-imposed classification practices from General Leslie Groves while also using such classifications to empower DOE {slash} NNSA music special teams such as SRT, OST, and NEST to operate on the forefront of CONUS-based UFO crash retrieval missions. And finally, the Manhattan Project 2.0 replicating the Manhattan Project Control Group, the top policy group this time within the US National Security Council, specifically the 5412 Committee to conduct such covert UFO activities with an extremely small and music tight-knit control group. But, after all that, let's go ahead and move on because I now want to talk about some possible personnel who moved from the Manhattan Project security apparatus on to the Manhattan Project 2.0. If you got to ask one question to ask someone who is not alive anymore that you feel could answer a lot music for you, who would you pick and what would the question be? I would probably ask Starbaker Oppenheimer and be like, what was your thought process in the '40s and '50s you know, squalling this away? I mean, besides overlaying the Manhattan Project secrecy >> Cuz Oppenheimer was the one who created the classification that included the UFO stuff? Oh, all those guys. The guys that were involved in Manhattan were overlaying the same ecosystem of secrecy in some of the same ways to uh protect stuff that they were protecting our nuclear secrets. I want to spend some time here strengthening my argument that the UFO Legacy Program security control structure, aka the Manhattan Project 2.0 was quite literally ripped from the Manhattan Project. >> music >> And I want to do this by exploring personnel who likely served pivotal roles shaping covert policy within both of these programs. And I can really think of nowhere better to start than with one of the greatest scientific minds in American history. A man who pioneered the concept of FFRDCs and UARCs through revolutionizing the partnership between government funding and university research. A man who literally spearheaded the American scientific structure through World War II, the Manhattan Project, and the early days of the Cold War. And a man who was entrusted with the greatest scientific secrets of the 20th century. This is a man who, if I could sit down and have dinner with anyone from history, would be near the top of my list. I am talking about the illustrious Dr. Vannevar Bush. Hello, I'm John Fitch, MIT science reporter. We're at the home of Dr. Vannevar Bush in Belmont, Massachusetts. During World War II, Dr. Bush was the organizer, guiding spirit and driving force of our nation's scientific efforts in a global conflict. As director of the Office of Scientific Research and Development he was responsible for mobilizing the forces which produced many of the technological advances that played an important part in the winning of the war. Dr. Bush worked closely with Presidents Roosevelt and Truman and in effect was the first of our scientific advisers. He shared the enormous responsibility for the development and use of our most fearful weapon, the atomic bomb. Let's meet Dr. Bush. John, good to have you here. Well, Dr. Bush, this is certainly a beautiful home that you have here. >> I think it's a very nice one. We built it soon after the war. Some eight years ago some after soon after I came up from Washington eight years ago and I it's worked out very well. Vannevar Bush is one of the United States' most celebrated men of science, an engineer, inventor, and scientist who helmed the US's scientific effort during World War II and beyond. Indeed, during the Great War, Bush headed the OSRD or Office of Scientific Research and Development and following the war helped establish the Research and Development Board RDB on which he would serve as chairman from 1947 to 1948. Of course, two years imperative to the Manhattan Project 2.0 which saw the creation of the 1947 National Security Act establishing the National Security Council, Air Force, CIA, and other agencies and alleged classified presidential executive orders in 1948 delegating music custody of recovered discs to the Atomic Energy Commission's national labs. Because you see, while at heart Bush existed as an engineer and scientist who wished music nothing more than to tinker and invent through establishing the OSRD, J RDB, RDB, compartmentalization, and secrecy of the Manhattan Project >> music >> and conceptualizing the blueprints for modern-day FFRDCs and UARCs Bush grew to know, {quote} more about our defense and military administration than music anyone else who can be named, end quote. Bush served the US military establishment as a stalwart scientific leader and policy maker. More akin to a director of an agency and quite literally established the modern-day structure and relationship between scientists and engineers in the US government. Today, compartmented military GOCO, government-owned contractor-operated contracts for music science and technology and research, development, test, and evaluation exist because of the foundational work and ingenuity by Dr. Bush. Well, in this country, World War II was certainly an important turning point for science. What about in the role of the science adviser? How was How has that changed over the years since then? Well, you spoke of me as being first presidential adviser. Actually my post was somewhat different from that. I was adviser to the president. Uh but my principal job was running a government agency as an executive. On the other hand, Dr. Killian and Wiesner the ones that have followed in since the war have been our advisers. Now, in both cases, in their case and in mine we've never taken this as a matter of giving personal advice. My job, their job, was to get to the President of the United States the best possible scientific advice available anywhere in the country. Indeed, I think it highly likely Bush's National Military Establishment Research and Development Board RDB created under the 1947 National Security Act which saw drastically brought into duties and responsibilities from the former 1946 to 1947 Joint Research and Development held the top secret scientific apparatus behind UFO crash retrievals and reverse engineering helmed by Bush himself. I believe RDB was the tip of the spear for such scientific covert operations from specifically 1947 to 1953, when the RDB was transitioned into the newly created Assistant Secretary of Defense for Research and Development, where it now exists today as the Under Secretary of Defense for Research and Engineering. An OSD, or Office of Secretary of Defense position, along with others, specifically the USDANS, Acquisition and Sustainment, music and USDINS, Intelligence and Security, that are very often associated with the UFO legacy activities. The Research and Development Board, under the 1947 National Security Act, was directed to accomplish several specific tasks, including to prepare a complete and integrated program of research and development for military purposes. To advise with regards to trends in scientific research relating to national security and the measures necessary to assure continued and increasing progress. To recommend measures of coordination of research and development among the military departments and allocation among them of responsibilities for specific programs of joint interest. To formulate policy for the National Military Establishment in connection with research and development matters involving agencies outside the National Military Establishment. And finally, to perform such other duties as the Secretary of Defense may direct. Without Vannevar Bush, there would be no Atomic Energy Commission and likely no successful Manhattan Project or Manhattan Project 2.0. Bush was truly one of the greatest pioneers in establishing American scientific infrastructure. music Though not running day-to-day operations on the Manhattan Project like Groves or Oppenheimer, Bush is one of the most pivotal figures who established the institutional architecture for the Manhattan Project. And most imperative to our discussion, the Manhattan Project's secrecy apparatus. Recall that Bush was instrumental music in the self-classification and self-censorship apparatus within the Manhattan Project, pioneering control of civilian research within the most highly classified channels of military R&D. Bush was one of these senior leaders who had to navigate need-to-know compartmentalization within the Manhattan Project, often handling Oppenheimer's complaints that Groves' need-to-know apparatus hindered overall scientific progress. Indeed, also recall Bush being a critical member of the top policy group, whereas Bush aided in gatekeeping who in the US government learned about the Manhattan Project's existence. Seen as Bush was one of the greatest pioneers in establishing modern US military and scientific infrastructure, >> music >> and one of the first men to navigate need-to-know and compartmented prototypes to waved unacknowledged special access programs, Bush would be the perfect man to install to music aid in the construction of the Manhattan Project 2.0, would he not? Especially if this project dealt with recovered non-human technical vehicles. Well, perhaps it should come as no surprise that Bush is one of the most infamous men associated with 1940s and 1950s crash retrieval programs. Wonder if you'd care to comment on the increasing role and importance of that role of the scientist in our society and in government. Well, of course, we see it everywhere. Science has been remaking our lives in every way. It's going to do so in the future. And it's inevitable, therefore, that scientists and engineers have far more to do with government. Then, too, we have an enormous increase in the support by government of scientific work, which means a great many scientists in this country are working indirectly for government. I understand it's something like two out of three. Something of the sort. And uh that inevitably brings scientists in contact with government on all sorts of fronts. As appointed men, usually, in the administrative branch, the executive branch of government. Uh scientists and engineers don't run for Congress very much. I will keep things brief here, as I could spend an entire video on Bush. But from Robert Kisner's disclosures to the disputed Majestic documents to William Steinman's fantastic music investigations into the 1948 Aztec, New Mexico crash retrieval, Vannevar Bush is almost ubiquitously labeled as the first man to spearhead UFO crash retrieval and reverse engineering operations. With Mr. J. Andrew Kisner outright stating music that collected non-human technical vehicles were processed and analyzed directly under Bush's supervision. Indeed, in regards to Bush and early legacy program secrecy, I am most intrigued here by the statements of Einstein's protege, Dr. Robert music Sarbacher. I have spoken about Sarbacher ad nauseam in works prior. So, to get a more well-rounded understanding of Sarbacher and Bush in regards to music the Aztec case, go watch my Aztec investigation. In 1950, Canadian government senior radio engineer Wilbert B. Smith wrote to the Controller of Telecommunications within Canada's Department of Transport, music requesting for Canada to begin its first official investigation into UFOs, specifically studying complex magnetism as a form of propulsion. This document was classified top secret within Canada's classification music structure until 15 September 1969. And fast forward to 1978, music where UFO researchers Arthur Bray and Stanton Friedman obtained copies. In this letter, Smith made three astounding claims told to him by a source within Washington regarding UFOs. One, the matter music is the most highly classified subject in the United States government, rating even higher than the H-bomb. music Two, flying saucers exist. Three, their modus operandi is unknown, but concentrated effort is being made by a small group headed by Dr. Vannevar Bush. And finally, four, the entire matter is considered by the United States authorities music to be of tremendous significance. This source of Wilbert Smith, well, of course, Dr. Robert Sarbacher, a respected physicist and consultant to the DR&D's Research and Development Board in the music 1950s under the Truman administration. Indeed, Sarbacher's disclosures from subsequent 1980s interviews between William Steinman and Sarbacher are intriguing to say the least. These interviews invoked the name of a man who self-admitted to attending the 1965 Kecksburg, Pennsylvania UFO crash, Dr. Eric music A. Walker. And again, go watch that Aztec project for a more comprehensive overview there. Conceptualizing the words of Sarbacher here, and as I state again, it should really be no surprise to recall that Dr. Vannevar Bush was accused of leading the scientific crash recovery team out of the 1948 Aztec, music New Mexico UFO crash retrieval case. I really won't spend much time here, but 1986's excellent UFO Crash at Aztec, A Well-Kept music Secret by William Steinman, proposed a lengthy argument regarding Bush spearheading this late 1940s crash music that I consider to be very real. I think often on David Grusch stating there is a sub rosa Cold War that has been waging for decades between the US and our adversaries music intent on mastering And according to Grusch, this obscene security infrastructure was present even in the fledgling years of the Manhattan Project 2.0. And right, you got to remember a bulk of this program is done during the Cold War, and you know, we were afraid of Russian spies, Soviet walls, and so we made it ultra locked down, but to the detriment of national security. And there's more. Grusch says the United States is not the only country that's encountered NHI and their technology. He says our geopolitical rivals have their own crash retrieval programs, which they are also secretly exploiting for military purposes. We're in a competition with our adversaries to understand this, and it's a it's a multi-decade Cold War that uh has been under our nose for so long. The Soviet Union, of course, penetrated the Manhattan Project through spycraft under Klaus Fuchs. Perhaps part of the reason the Manhattan Project 2.0 never saw any semblance of disclosure was Vannevar Bush's fear and respect of the newfound Soviet scientific prowess. Well, again, nothing new in the way of weapons came out of Russia. They uh did enormous things in producing great masses of artillery and so forth, but no innovations that I know of that amounted to anything. That's changed somewhat, hasn't Oh, yes, changed very much, and uh I can tell you the reason that it's changed, and it's an interesting one. Right after the war, I said that I didn't believe that Russia would produce much in the way of science or technology. And the reason was that their laboratories were all commissar-ridden. They were politically controlled and their programs were made up by communists who knew nothing about science. But, they changed all of that a few years ago. They took their commissars out of the laboratory. They gave them their freedom. They gave them their entire opportunity to make their own programs. And the result was a great burst of scientific achievement and technological engineering achievement. It's the exuberance of newfound freedom, perhaps. I could really talk about Bush all day and how his ingenuity led to the modern-day GOCO, government-owned contractor-operated structure, such as Bush establishing MIT Radiation Lab, which reopened as the modern-day FFRDC MIT Lincoln Labs. An institution I understand was a major player in the early legacy efforts. But alas, perhaps one day we will engage in a full pursuit music of understanding Vannevar Bush. Outside of Vannevar Bush, several integral figures music to the Manhattan Project also feature claims and links to the Manhattan Project 2.0. And let's continue with the obvious here. One of the most prolific men in American history, the father of the atomic bomb himself, Dr. J. Robert music Oppenheimer. We had the pride of thinking we knew what was good for man. And I do think it has left a mark on many of those who were responsibly engaged. This is not music the natural business of a scientist. I need to waste no time here introducing Oppenheimer and I won't since our investigation music is already so robust. And if you aren't super familiar with Oppenheimer, I recommend pausing and going to watch the 2023 masterpiece that is Christopher Nolan's Oppenheimer. And even if you have watched that movie, I recommend watching it again with our project today in mind. It is an incredible watch, trust me. Following the atomic bomb project, Oppenheimer was mentioned frequently throughout the 1980s as a critical scientific member to 1940s music and 1950s UFO crash retrieval operations. And it seems music that David Grusch himself shares this sentiment. I would probably ask Sarbacker, Oppenheimer, and be like, "What was your thought process in the '40s and '50s, you know, squirreling this away? I mean, besides overlaying the Manhattan Project secrecy, Indeed, in communications with William Steinman in 1983, the man who we just discussed as categorically stating Vannevar Bush's involvement in the Manhattan Project 2.0, Dr. Robert Sarbacher, music would state he was aware Dr. John von Neumann was definitely involved in 1940s and 1950s crash retrieval programs and that music he strongly theorized Dr. Robert Oppenheimer was also. Just 3 years after Sarbacher's comments, Steinman would publish his magnum opus, UFO Crash at Aztec, a well-kept secret. >> music >> This coveted book is the definitive exploration into the 1948 Aztec case alongside the work of Scott and Suzanne Ramsey. Steinman here did some truly incredible work, including chasing down the storied Mr. G's, an amalgamation of scientists who disclosed music knowledge of crash retrievals to key figures to the Aztec case, Mr. Silas Newton and Leo Gebauer. And that's not even half of it. The Aztec music case is so intriguing and convoluted, I do recommend going to watch that video now. Within the book, Steinman detailed the Aztec saucer recovery scientific team members. This team was of course helmed by Dr. Vannevar Bush, featured three original accused Majestic 12 members, including Dr. Detlev Wulf Bronk, Dr. Lloyd Berkner, and Dr. Jerome Hunsaker. Also on the team was one Dr. Carl A. Hyland, in my opinion, a possible linchpin music to this case, Dr. John von Neumann and Dr. J. Robert Oppenheimer. But just hold on a second here. Before we can take this and run with it, I have openly stated my frustration. Steinman did not meticulously detail his work and sources to reveal under what grounds he arrived at this scientific team roster. His most concrete name here is Dr. Carl Hyland, who did resurface with the Silas Newton and Leo Gebauer drama on the Aztec case, specifically within Colorado court records where Hyland appeared to be forced music as a hostile witness to improperly label Gebauer and Newton as con men. Indeed, perhaps Steinman reached this Oppenheimer conclusion from his communications with Sarbacher. Perhaps, as one of the leading figures to reveal this office through FOIA, Steinman learned of Oppenheimer's involvement from the {quote} leaked Interplanetary Phenomenon Unit reports. But before we move on to the IPU real fast, as we discussed earlier, Oppenheimer also voiced concerns regarding Grove's Manhattan Project secrecy apparatus actually hindering overall scientific progress. One must wonder if Oppenheimer really did engage with the Manhattan Project 2.0 in the '40s and '50s, if he shared similar concerns that the compartmentalization and secrecy surrounding the hiding of non-human intelligence hindered both scientific progress music and rightful human understanding. This is total speculation here. I do not have any strong theory with supporting evidence. But remember back to the video's introduction where Oppenheimer commented on secrets not existing in nature but within the hearts of men. If Oppenheimer operated on the Manhattan Project 2.0, perhaps like the atomic project before, he became disenfranchised with the total secrecy, compartmentalization, and need-to-know access of the legacy programs. Maybe, just maybe, there are parallels here to the Atomic Energy Commission stripping Oppenheimer's clearance in 1954 >> music >> in a kangaroo court masterminded by Lewis Strauss. Maybe, just maybe, there was a need to remove Oppenheimer from the UFO legacy program portfolio. But back to that Interplanetary Phenomenon Unit I just mentioned. music I've discussed this group several times before and covered in great detail the two allegedly leaked reports from this group. The IPU was revealed through several FOIA pursuits by UFO researchers including Steinman. And though shadowed in secrecy, there are several facts we know for certain about the IPU. The Army confirmed with the Army Department of Counterintelligence there was in fact an Interplanetary Phenomenon Unit or IPU. The IPU was disestablished in the late 1950s. The IPU records were surrendered music to the Air Force AFOSI in conjunction with Project Blue Book, confirming that the IPU dealt with the UFO phenomenon. The unit was a {quote} in-house project as music an interest item for an unnamed Assistant Chief of Staff for Intelligence. The unit lacked formal function, mission, or authority. It is only through {quote} institutional memory that the Army even knows of the IPU's existence. Debates wager on to this day about the existence of the IPU with some individuals claiming this unit was simply the Input Processing music Unit of the Army's mail room. While of course others claim there was a purposeful attempt to destroy records and hide the very real Interplanetary Phenomenon Unit. Now, according to FOIA, the IPU was an in-house project music for an unnamed Army Assistant Chief of Staff for Intelligence, aka a G-2. However, according to several researchers such as Ryan and the late Dr. Robert Woods, the G-2 position in reference to the IPU was actually a compartmented office from which the IPU was conducted. With real IPU leadership being General George C. Marshall, Chief of Staff of the Army from 1939 to 1945, Secretary of State from 1947 to 1949, and Secretary of Defense from 1950 to 1951. And before we go any further, just conceptually this makes sense. Think back to the top policy group. If, as we talk about, George C. Marshall did indeed lead the IPU or a similar UFO crash retrieval group, it would make sense to put compartmented leadership of the office within a subordinate office, effectively removing himself from chain of command. Perhaps this should come as no surprise seeing as Marshall is all over the alleged Majestic 12 documents, including a 5 March 1942 memo allegedly from Marshall to Franklin D. Roosevelt music discussing the recovery of an unidentified airplane following the infamous 1942 Battle of Los Angeles. Marshall says in this disputed document the music craft was likely of {quote} and suggested a special intelligence unit be music created to further investigate the phenomenon. Marshall is also featured in the alleged IPU report leaked alongside music some of the Majestic documents. Take the IPU report dated music 22 July 1947 for example. This alleged IPU report states George C. Marshall, then Secretary of State, was the only cabinet member to know of the crashed UFOs, but that SecDef James Forrestal would be briefed on certain aspects. Of course, in MJ-12 lore, like we talked about, more appropriately MAJ-12 lore, Truman and Forrestal engaged music in September of 1947 meetings to establish the MAJ-12. The IPU report also states select scientists from the Atomic Energy Commission were amongst this UFO crash retrieval team, including Dr. Robert Oppenheimer. Intriguing here to me is mention of one Colonel Hausbrook of the Armed Forces Special Weapons Project, AFSWP, who, according to the report, ordered music a special radiobiological team, accompanied by a SED, S-E-D, and a security detail music from Sandia National Labs to secure the immediate area surrounding the Roswell crash site. As it turns out, Colonel Sherman V. Hausbrook was indeed a very real Army colonel who even served as a high-ranking member in post-World War II nuclear programs, and even worked closely with Leslie Groves, again the U.S. Army Corps of Engineer officer who oversaw the construction of the Pentagon and directed the Manhattan Project. And Colonel Hausbrook did indeed aid in fleshing out the AFSWP music we talked about earlier in relation to the Manhattan Project 2.0, plucking administrative architecture from the Manhattan Project. Indeed, in that same frame of reference, the accused SED under Colonel Hausbrook for UFO retrievals. Well, this is what's known as a Special Engineer Detachment, a Manhattan Project artifact. In 1943, the Manhattan Engineer District established SEDs, an Army unit designation for military personnel with scientific and technical backgrounds who were assigned to work on the Manhattan Project alongside civilian scientists. SEDs worked at critical Manhattan Project sites, including Los Alamos, Z Division at Sandia Base, Oak Ridge, etc. Following the Manhattan Project as it transitioned music onto the Atomic Energy Commission, most SED personnel served prominent careers in physics, engineering, and academia. Rather intriguing, this IPU doc would discuss SEDs music being an imperative on-site units alongside scientific personnel at UFO crash sites. When President Truman presented Marshall with a Distinguished Service Medal in 1945, he said that although millions gave America extraordinary service, Marshall gave it victory. But I digress here. There is more to discuss regarding George C. Marshall. George Marshall served in the Manhattan Project's top policy group alongside Bush, FDR/Truman, Stimson, and others. The extremely small and tight-knit project control group, and as Army Chief of Staff was the apex of the short and narrow chain of command through which Leslie Groves reported. In essence here, Marshall was paramount to the Manhattan Project, especially as a senior leader within covert, unacknowledged control groups. And I believe, of course, there is an argument to be made that Marshall, alongside Vannevar Bush, established the early framework for covert UFO crash retrieval teams. Marshall received the oath of office as Secretary of State from Chief Justice Vinson early in 1947. The President enthusiastically endorsed the former Chief of Staff at a critical time in history. It was fairly said that Mr. Truman selected him not because of his experience, but because he was Marshall. There's nothing that I can say at music this time regarding matters that pertain to my position in the State Department. But I assume these duties with a great with a feeling of great responsibility and a very earnest desire to carry out the >> music >> foreign policy of this government. Marshall is one of the most pivotal figures in the entirety of the Second World War. According to the Marshall Foundation, {quotes} George C. Marshall's contributions to our nation and the world cannot be overstated. He was the organizer of victory and the architect of peace during and following World War II. He won the war and won the peace. {end quotes} Whether this was building the U.S. Army for World War II, spearheading senior leadership in the Manhattan Project, or leading the wildly successful Marshall Plan to rebuild Western Europe with the modern-day equivalent of 100 billion dollars following World War II, Marshall's legacy is undeniable. And as we will talk about, I additionally believe during the Manhattan Project 2.0, as Secretary of State and Secretary of Defense, Marshall was instrumental in building the architecture of legacy programs. The Alsos Mission was a little-known intelligence operation conducted in Europe by the Manhattan Engineer District to learn firsthand how close Germany was to developing its own atomic weapons. To quote the Atomic Heritage Foundation, {quotes} under the command of General Leslie Groves, these operations succeeded in capturing most of the key German scientists, stores music of uranium ore, and other nuclear raw materials, and thousands of research documents regarding the development of atomic energy. {end quotes} The U.S. considered it critical to gather intelligence on progress made, if any, within the Germans' atomic weapons program. However, a unique problem presented itself. The secrecy surrounding the Manhattan Project was so robust, military intelligence could not be briefed into anything regarding atomic energy. Thus, military intelligence was fully unequipped to analyze German atomic progress. General Marshall, of course, found a solution in 1943, suggesting a separate intelligence operation under the umbrella of the Manhattan Engineer District to be established, the Alsos Missions. These missions were overseen by who else but General Leslie Groves, General George Marshall and his music G-2 at the time, Colonel Boris Pash, and Dr. Vannevar Bush. So, as we go forward, just remember at this time, General Marshall was fully prepared to utilize his G-2 for covert and unacknowledged missions. Alsos was conducted in three phases with an original detachment consisting of 13 military personnel, including interpreters and five scientists. Phase one of Alsos saw operations in Italy, whose objective was to {quote} obtain advanced information regarding scientific development in enemy research and development, and to secure all important persons, laboratories, music and scientific information immediately upon their becoming available. {end quotes} Phase two of Alsos in France operated to {quotes} begin the awesome music task of searching for the German scientists, capturing any nuclear-related materials such as uranium and heavy water, and locating and deciphering any related scientific documents. {end quotes} Finally, phase three of Alsos in Germany was executed near the tail end of World War II when it was widely known the Nazis did not have a successful atomic program. Phase three continued to secure Nazi personnel, facilities, research, etc. with the expressed mission to allow none of Germany's nuclear materials and absolutely none of the German scientists to be allowed to fall into Soviet hands. Alsos, Manhattan's intelligence operation to identify and secure facilities, personnel, research materials, etc. regarding the world's then greatest secret, was music a resounding success. This sounds an awful lot like the intelligence apparatus behind UFO crash retrieval teams, does it not? Being able to secure UFOs under total secrecy with zero interference from traditional military and intelligence channels in competition with adversarial teams. Intriguing how Marshall seemed to establish this {quote unquote} rapid recovery apparatus. What is even more intriguing here is this. If Alsos contained small teams, mostly specializing in intelligence and science, how did they forcefully secure atomic infrastructure? Well, let's go ahead and meet the T-Forces, an operational arm of the World War II Supreme Headquarters Allied Expeditionary Force, tasked with operating on the front lines, securing German scientists, scientific and industrial technology, laboratories, facilities, etc. before they could be destroyed in a scorched-earth effort by music retreating Nazis or seized by Soviets. T-Force was ordered to {quote} identify, secure, guard, and exploit valuable and special information, including documents, equipment, music and persons of value to Allied Armies. {end quotes} T-Forces were lightly armed, extremely mobile, deployed rapidly, and secured a site for special investigators to move in and exploit what had been captured of Nazi infrastructure. And these special teams, that's right, of course, the music Alsos Missions teams. For the Alsos Missions, T-Forces captured a subcritical experimental nuclear reactor, uranium ingots, heavy water, and several dozen atomic scientists and their staffs, including the infamous Werner Heisenberg. This seizing of scientists was often done in a heavy-handed method. Quote, "Their methods had echoes of the Gestapo, >> music >> kidnapping at night by state officials who offered no evidence of identity." End quote. Indeed, for the Alsos missions, T forces even captured Nazi atomic materials processing plants within Soviet-controlled territory. So, you see, the Manhattan Project not only laid out the secrecy apparatus for the entire security and secrecy structure behind the Manhattan Project 2.0, which one could strongly argue was infinitely more secret than the atomic project. But, the Manhattan Project also saw the direct blueprints laid by General Marshall for rapid reaction UFO recovery teams. Often compartmented or hid within offices like Marshall's G-2. The Alsos and T force directly mirror the UFO recovery teams of today. A highly mobile, light direct music action team, oftentimes parallel tier one elements, who can secure a UFO crash site until a highly specialized scientific team, oftentimes DOE and NNSA NEST, music nuclear emergency support team, can roll in to decide how to proceed with removal, transport, and exploitation of recovered materials. All supported by an intelligence apparatus answering directly to legacy program elements completely removed from standard DOD/IC intelligence channels. Now, moving on here, we have translated the shifting of the Manhattan Project secrecy structure onto the Manhattan Project 2.0 and explored critical personnel and concepts paramount to copying the atomic project security blanket onto the early UFO legacy program efforts. The two most critical figures to this discussion that I strongly believe constructed the very skeleton for the compartmented and need-to-know secrecy architecture behind UFO legacy programs are Dr. Vannevar Bush and General George C. Marshall. And, of course, I must give a huge shout-out to General music Leslie Groves for outlining the conceptual blueprint for this security architecture. There are myriad more Manhattan Project scientists, military officials, and more that likely moved onto the Manhattan Project 2.0 from the atomic project, but really fall outside of our scope of work today, specifically analyzing the security architecture. Such as possibly Dr. Edward Teller, father of the hydrogen bomb, who allegedly got Bob Lazar hired at S-4 under music EG&G. Perhaps, we will revisit these names and numerous more in the future. As I state oh so often, the UFO legacy program structure of today and the onion of secrecy exists in a fragmented shell of itself, far removed from the golden age we just spent 2 hours speaking music about. In my understanding in the modern day, the head of the legacy pyramid, which is the UFO control group, has sat empty since the departure of Vice President Dick Cheney in 2009. With the closest {quote} mob boss being DNI James Clapper from 2010 to 2017. Although Clapper served a role with remarkably less power than Cheney. Where now today, a group of slightly over two dozen alive at any given time have any idea of the total breadth of siloed UFO programs. Indeed, in my legacy program structure, the administrators, often elements of DOD and IC agencies, operate legacy activities in siloed containers, often with little to no music cross-collaboration across branches of the armed forces or intelligence agencies. I have published extensively on how likely in the early 2000s, music 2005 and 2006 to be hyper-specific, select prime contractors like Northrop Grumman harnessed IR&D, or independent research and development, music to seize an opportunity to fund and operate their own breakaway UFO retrieval and exploitation activities. So, in the modern day of 2026, we are left with a legacy program portfolio with no element of central leadership. A system in which everyone owns a proverbial piece of the pie with no centralized effort, objective, or roadmap that operates under exponentially more heightened security and secrecy protocols than the Manhattan Project 2.0 that came before. These grains of rice within a rice bowl are indeed a far cry, to say the least, from the Manhattan Project 2.0 we spent 2-plus hours breaking down, which existed as a centralized effort with strong leadership by presidents, music cabinet-level officials, select statesmen, and some of the most accomplished military and scientific minds the United States had to offer. While the Manhattan Project 2.0 was also subject to compartmentation and restricted need-to-know access, like music its precursor the atomic project, the Manhattan Project 2.0 seemingly operated with a very clear directive: to retrieve and exploit crashed, landed, or downed non-human technical vehicles, attempt to understand the modus operandi behind this non-human presence, store and study the occasional craft occupant or pilot, and employ music extensive defensive countermeasures, such as counterintelligence, passage material, disinformation campaigns, and general spycraft, to protect against both insider and outsider threats. And, of course, the question must be asked, why was such a secrecy blackout undertaken in the Manhattan Project 2.0? Besides the obvious budding sub rosa Cold War with our adversaries, with Soviet espionage and spycraft in particular, where the need to hide asymmetric warfare capabilities and enforce music feudalistic dominance was paramount. Well, who knows? This is certainly up to interpretation. Perhaps, the presence of non-human bodies was deemed too music psychologically damaging and existentially damaging immediately following World War II. One thing, though, is for certain here, the application of the Manhattan Project security blanket onto the Manhattan Project 2.0 certainly introduced an immediate ultra-compartmented portfolio of programs that could be run alongside, but undetected from the larger US government, whose existence could not be revealed by the Congress, executive order, music or anyone core program members deemed {quote} temporary employees, like future Democratic music presidents. So, with the iron grip of the Manhattan Project 2.0 secrecy apparatus, how do we today have an even more strict security apparatus that exists as a fragmented and scattered legacy program portfolio? What exactly is the nexus music or chain of dominoes that led to this incredible schism? Well, I believe we can find answers in studying the creation, expansion, music reforms, and changing of special access programs during the height of the Cold War, specifically the 1980s. >> music >> I've always been into computers. And this computer I'm working with now, this computer is hot. We've got some of the fastest computers in the world. Aim high, Air Force. Now, in part two of this project, or perhaps right now you're watching a supercut, and this is all one ginormous project, we are going to dive into the ultra-strict music definition of special access programs or SAPs, their history, and applications to investigate why and how UFO programs are protected by such systems music beyond standard classification. But, here today, we will do a little review of history. Recall that the Manhattan music Project, and thus the Manhattan Project 2.0, operated off of what would become the groundwork music for special access programs. A system of total secrecy and compartmentalization beyond standard classification music levels to ensure total program secrecy, need-to-know access, and a single centralized control group with minimal chains of command. music The Manhattan Project 2.0, of course, enjoyed expanded secrecy with the introduction of the 1954 Atomic music Energy Agreement. As I discussed, I believe Truman and Eisenhower largely laid the groundwork for UFO legacy program secrecy through legislation and classified presidential executive orders. Eisenhower, in particular, introduced the modern-day US classification framework through the 1954 Atomic Energy Agreement, as well as Executive Order 10501, which got rid of restricted classification, music not to be confused with the DOE's restricted data, and introduced the modern-day three levels of classification: music confidential, secret, and top secret. This time epoch largely saw DOD and IC agencies adapt ad hoc special access program protocols to layer onto top secret classification music for unique threats and programs. And these include top secret code word read-on access, which you can observe music extensively in the early days of the NRO. Thus here, we see the rise in {quote} black programs, such as 1958's Greenbrier Congressional Bunker. And indeed, of course, I believe Eisenhower himself implemented an ad hoc special access protocol music system learned from the Manhattan Project to hide senior leadership of the Manhattan Project 2.0 within the National Security Council's 5412 Committee Special music Group. I firmly theorize the 1950s, 1960s, 1970s into the early 1980s observed music the glory days of the Manhattan Project 2.0 successfully retrieving crashed UFOs worldwide and performing music exploitative RDT&E practices at AEC and DOE National Labs and defense industrial music base military infrastructure. Indeed, I believe this epoch saw the addition of numerous FFRDCs and contractors to aid within the music effort, such as the Mitre Corporation, Aerospace Corporation, TRW, Lockheed Corporation, Sperry Rand, LTV, and so on. Bear with me and fast forward music just a little bit in this golden age, where I imagine UFO legacy senior leadership, then hidden within Nixon's music 303 Committee, an evolution of the 5412 Committee, jumped with joy when in March 1972 music Nixon's Executive Order 11652 took place, which saw the formal framework for special access programs officially established. This executive order legitimized enhanced access controls for programs involving music severe national security concerns, shifting from informal ad hoc practices seen in the Eisenhower days to structured policy frameworks, while maintaining strict bottlenecks on congressional and interagency music awareness. In short, this Nixon effort greatly authorized heightened security protocols for information and programs beyond top secret handling. And let me be clear here, because I say that, there is music a strong argument that Nixon, like select other presidents we will speak on, was well versed and informed music with UFO legacy activities. I strongly theorize this aggressive expansion music of implementation of deeply covert, unacknowledged special access program precursors within the 1970s music and 1980s, leveraged to protect DOD acquisition programs, stealth aircraft, and most music importantly in my opinion, UFO retrieval and exploitation programs, directly led to the exposing of the program ecosystem music to unwanted eyes, the US Congress. After all, a 1973 music House Committee on Government Operations report documented widespread and uncontrolled music growth of unauthorized applications of special access labels across DOD components. This report directly addressed tremendous music concerns from Nixon's Executive Order 11652, including {quote} widespread music use of dozens of special access, distribution, or control labels, stamps, or music markings on both classified and unclassified documents {end quote}. These access controls were harnessed by {quotes} many executive agencies having classification authority music and dozens of other agencies who do not possess such authority {end quote}. Intriguing statements, especially in reference to what I just spoke of, that ad hoc security protocols, specifically top secret codeword access, music were rampant since the days of Truman and Eisenhower. Indeed, with glimpses of the secrecy architecture beginning to show themselves in the 1970s, we now arrive to the great schism, music which can be observed within the presidential administration of Reagan, who like Truman, Eisenhower, Johnson, music and Nixon before him, was highly likely read into and served a senior leadership position for UFO legacy activities. I call upon the scientific community in our country, those who gave us nuclear weapons, to turn their great talents now to the cause of mankind and world peace, to give us the means of rendering these nuclear weapons impotent and obsolete. The 1980s was a period of massive overhaul, controversy, and shifting tides regarding the structure, secrecy, and top cover of the US's most top secret programs. Up until the 1980s, clandestine unacknowledged programs established to protect DOD acquisition programs and often used to hide sensitive music operations existed as SAPs in all but named, being referred to in the 1980s and decades prior as {quote} black programs. Such black programs music included stealth aircraft development under the Lockheed Skunk Works and Northrop Grumman, including the F-117A Nighthawk and B-2 bomber, respectively. Of course, within the same subset of stealth aircraft black programs, there is an extremely strong argument music to be made that major undertakings were underway to adapt derivative technologies onto human-made airframes, such as those enormous black triangles music with three lights on each vertex and one light in the center that are observed oh so often. Black programs as the precursor to SAPs saw significant shifting in security structure, similar in concept to Nixon's 1972 music Executive Order 11652, with Ronald Reagan's 1982 Executive Order 12356. EO 12356, titled National Security Information, served as the latest iteration of special access program and black program frameworks following Nixon's Executive Order 11652 and Eisenhower's Executive Order 10501. This Reagan Executive Order expanded the categories of classifiable information and lowered the threshold for classification, essentially tightening the grip of government secrecy from Carter's previous administrations attempts, specifically in 1977, music of government secrecy shifting towards declassification and transparency. And let me be clear here as we move on, EO 12356 did not trend towards government transparency. No, indeed, this order greatly standardized and expanded music the SAP framework, but crucially here, saw expanded oversight and music governance over covert programs, which was a sharp course correct from the less consistent governance that existed since the Manhattan Project. This point I am making here is very, very, very important. I am even pausing to explicitly speak on this topic. music Reagan's Executive Order 12356 effectively ended the days of the legacy program wild, wild west, where the program could do whatever in the world it wanted with top secret codeword access. Prior to this music time epoch, US black programs heavily featured top secret codeword read-on access for covert music programs, such as World War SIGINT or signals intelligence compartments, the Manhattan Project, early NRO programs, black programs of the 1970s, and so on. Reagan's Executive Order largely formalized and tightened this compartmented security read-on structure. So, with the days of the wild, wild west ending, where legacy operations could no longer stuff programs wherever and however they wanted with complete and impenetrable music security, plus some massive SAP exposure we will speak on momentarily, legacy programs were forced to turn to alternative music and new methods to stay secret. We will, of course, speak on this more later and in part two. Indeed, as we will discuss in music part two, our SAP overviews, modern-day DOD and sometimes Department of Energy cite their establishing authority for SAPs as Ronald Reagan's Executive Order 12356 and further superseding orders like Obama's The Defense Counterintelligence and Security Agency's Special Access Program training course directly states SAPs were publicly acknowledged for the first time in the early music 1980s. Why was this? Well, enter yellow fruit and the Iran-Contra. A few months ago, I told the American people I did not trade arms for hostages. My heart and my best intentions still tell me that's true, but the facts and the evidence tell me it is not. As the Tower board reported, what began as a strategic opening to Iran deteriorated in its implementation into trading arms for hostages. This runs counter to my own beliefs, to what administration policy, and to the original strategy we had in mind. The Iran-Contra scandal is one of the United States' largest political scandals in history. From 1981 to 1986, elements of the Reagan administration, specifically individuals within the National Security Council, trafficked arms to Iran, then under an arms embargo, and used the proceeds from the sales to fund the Contras, a Nicaraguan military rebel group. The Iran-Contra triggered congressional hearings, an independent counsel investigation, and brought forth a serious constitutional crisis over executive power, covert action, and the ability for elements of the executive branch to circumnavigate the Congress. Sound familiar? Proceeding the breaking of the Iran-Contra in 1986 was another massive scandal focused on the prior decade's expansion of covert operations that helped expose some of broader connective tissue to the Iran-Contra enterprise. In 1983, music an unremarkable DoD internal audit turned up a covert, unacknowledged special access program by the name Yellow Fruit out of the Army's Special Operations Division, SOD. The purpose of Yellow Fruit, to provide additional operational security and counterintelligence for the Central American Contra mission, as well as other classified music operations. Now, quickly, take a step back. Yellow Fruit, why this name? No, not a reference to banana in South America. SAP naming convention is actually quite interesting, music and we will cover this more in part two. SAP's are often given an operational unclassified nickname consisting of two unrelated words plus possible SAP co-additional classified code words. Okay, but what is interesting about the conceptual basis for Yellow Fruit here was the program being run out of SOD, or the Army Special Operations Division. According to the US Army War College, "Several indications state that covert military intelligence organizations had been, {quote} utilized to circumnavigate congressional restrictions and reporting requirements levied onto the CIA, {end quote}. An example here, of course, is the Army SOD, who, {quote} provided the CIA with various types of covert military support in Latin America that the agency itself was restricted from doing by congressional mandate, {end quote}. An intelligence apparatus working within covert special access programs that circumnavigates standard chains music of command and traditional reporting. Hmm, does this ring a bell to anyone? Whether the ALSOs missions or the Common Legacy Framework, I think so. Anyways, Yellow Fruit's cover was blown due to significant cost discrepancies being discovered through internal audits under Lieutenant Colonel James E. Duncan, who was tasked with providing top cover and support for Yellow Fruit from his staff position within the Assistant Chief of Staff for Intelligence, of course, the G-2. To not blow his cover during Yellow Fruit and be connected back to the Pentagon, Lieutenant Colonel Duncan would retire from the Army and set up his own private consulting firm, BSI. This is quite literally data masking, a staged retirement to continue covert operations within the same capacity. music I have actually seen this exact sort of behavior before with major generals within the Air Force Hidden Wing program circa the late 2000s. >> music >> And cutout companies for covert operations should not come as a shock here. In fact, the CIA has done this plenty of times for both clandestine activities and, in my opinion, self-fund for UFO legacy programs. One tangible example here is E-Systems, a CIA shell company that was once LTV, a defense contractor that I am quite confident worked within the Manhattan Project 2.0 in the '60s and '70s. Shockingly, top Army leadership were never briefed about Yellow Fruit operating as a commercial cutout outside the Pentagon. Indeed, Army Chief of Staff John Wickham stated they had never been fully briefed at all about the {quote} unquote black programs run by the Special Operations Division, SOD. Essentially, Army brass had zero clue what was going on in their own Army. The revelation of Yellow Fruit led to not only court-martials and prison music time, but also to significantly increased oversight for special access programs. Fast forward here to the Wilson-Davis notes of the early 2000s. I will not waste more than a minute recounting these notes I speak on terribly often, which recount a meeting with senior IC official and Rear Admiral Thomas Wilson and music Dr. Eric Davis in the parking lot of EG&G in 2002. These alleged notes recall Wilson attempting and being stonewalled in accessing the UFO legacy program portfolio partially hidden within the USDANS, or Under Secretary of Defense for Acquisition and Sustainment, then known as the AUSTAT. music Gatekept by the Special Access Program Oversight Committee Senior Review Group, SRG. As always, I do have my issues with Eric Davis >> music >> and do question his trustworthiness, specifically regarding derivative technologies. Most of his second-hand information on legacy seems to come from a retired four-star general officer who brute-forced his way into touching a recovered craft and a senior TRW vice president who engaged with retrieval operations for decades, both of whom I strongly believe are credible and legitimate sources. I do not know why the Wilson-Davis notes leaked. In fact, Eric Davis on American Alchemy recently obtusely confirmed the validity of these notes and remarked how the notes were supposed to be for internal use. How did Admiral Thomas Wilson react, uh, when you when you met him in 1997? And and why, I guess why did people direct him to you? And then, uh, what transpired in the in the meeting? >> get into music that because I can't confirm or deny that we met for the security reasons. Okay. >> There are legal issues still involved that are active. So, um, uh, because I can't reveal that in public. That wasn't meant for public uh, consumption. And that was released from Mitchell's estate. >> Mhm. And, um, that was supposed to be destroyed when year after Mitchell got a copy of it as a courtesy from from who generated it. Regardless of the credibility question surrounding Davis, I believe the fundamental facts of these notes are indeed true. That Wilson attempted to use his need-to-know authority as Deputy DIA Director to access the legacy portfolio and was denied. Within the notes, Wilson allegedly states >> music >> the gatekeeping structure for UFO programs was a necessary redundancy. {quote} They said they were formed out of necessity to protect themselves after a near disaster in the past almost blew their cover. Something to do with an agreement that was reached with a couple of Pentagon SES's, Senior Executive Service, overseen music SAPs in those days. Were vague about what that was, {end quote}. Furthermore, to nail in on specifics here, Wilson allegedly stated, {quote} They said it years ago in past music an audit investigation led to them and it wasn't supposed to. Nearly outed, {end quote}. I have theorized on myriad occasions the origin of this audit investigation. Indeed, I've investigated NRO music carryover and forward funding scandals when the NRO was declassified in the early 1990s. Mid-1980s instances of the US Air Force and Navy not following special access program protocols. And mid-1980s instances in music which the Lockheed Corporation mishandled classified documents for carve-out contracts. All of these likely have seen GAO or Pentagon investigators brush elbows with the legacy portfolio. And here today in 2026, I am quite confident the audit surrounding Yellow Fruit and internal music DoD audits in the mid-1980s leading to major SAP oversight changes, in conjunction with Ronald Reagan's 1982 Executive music Order 12356, which effectively ended the wild wild west days of top secret code word legacy activities, was a major piece in the impetus for legacy programs taking drastic music and severe measures to burrow even deeper into secrecy channels to hide themselves from US government and temporary employees. These snowballing protective countermeasures eventually culminated in 1994 under the Clinton administration, where legacy took even further precautions to hide from unauthorized US government access, breaking itself apart and scattering itself music into the wind even further. When William Perry, as Deputy Secretary of Defense, reorganized SAP structure, music greatly expanding the SAPCO, Special Access Program Central Office, and SAPOC, Special Access Program Oversight Committee, and established the SRG, music Senior Review Group. This effectively transitioned legacy-led activity oversight into music a quasi government and industry control panel of just over two dozen individuals. I highly recommend listening back to that last sentence. But with Yellow Fruit in the early 1980s, music just as Wilson's watch committee stated, this audit led to immediate measures to protect music the portfolio with enhanced secrecy and gatekeeping structures. I theorize with the utmost confidence this series of events, plus Reagan ending the legacy days of wild wild west top secret code word access, directly led to the fracturing of the centralized Manhattan Project 2.0 and led music to the scattering and siloed nature of the programs that culminated in 1994 as I just spoke of to today. And let me explain here with some very specific examples. Okay, hold your horses. Before we do that, let me briefly explain why I believe this music Yellow Fruit and wider DoD SAP protocol series of audits and investigations actually almost revealed the UFO legacy program portfolio. Remember Yellow Fruit as a USAP served to conduct operations around the Latin American Contras >> music >> and, {quote} other army classified operations. The way SAPs again special access music programs operate, as we will discuss at great length in part two, is you have a wide arcing singular tier one SAP umbrella. Underneath the umbrella sits several tier two SAP compartments. Beneath the compartments sit even farther tier three SAP sub compartments with several operational projects. This framework is organized to group similar capabilities or information into a single compartment or sub compartment. Similar critical program information, CPI, will be grouped music together into a singular SAP. Yellow Fruit handled a multifaceted mission including the contras and other covert activities. Thus, Yellow Fruit >> music >> was a USAP umbrella or unacknowledged special access program. Indeed, I think it highly probable within the Yellow Fruit umbrella's side music individual SAPs dealing with the SODs, Special Operations Division, involvement in UFO activities. Thus here, the audit into Yellow Fruit nearly exposed whatever this covert involvement was. Be it counterintelligence music for programs, retrieval operations in Latin American countries, etc. And this really isn't a shock here. We have a similar example I have covered within the Navy several times. Recall back to my Naval Legacy Programs project, one of my favorite pieces I have ever done that likely warrants a second part in the future. Within the investigation, I spent quite a bit of time discussing maritime UFO and USO retrieval operations. Including a fascinating 1991 story off the coast of Aberdeen, Scotland. In which a crewman of a DSRV, Deep Submergence Rescue Vehicle, or possibly a DSSV, Deep Submergence Search Vehicle, claimed to have retrieved an exotic triangular craft with glyphic writing from the seafloor. After observing this craft wedged into the ocean floor and sat about a naval vessel after recovery, it was the expressed opinion of this diver, Mark, the vehicle was not of human origin. One of the major objectives of this project was exploring 1964's DSSP, or the Deep Submergence Systems Project. The DSSP, helped by Chief Scientist of the Navy Special Projects Office, Dr. John P. Craven, sought to develop technologies to drastically increase the depths which which the Navy could perform deep ocean engineering. Specifically for search, rescue, salvage, and recovery operations. Products of the DSSP music include the aforementioned DSSVs, and two of such vessels were built. The Lockheed Martin Mystic and Avalon, meant music to rescue stranded submarines. As well as the never built on an acknowledged basis DSSV, music which enjoyed drastically deeper operational depths and salvage {slash} recovery capabilities over its sister DSRV. Regardless, Peña and others stated these vessels music were sent on numerous clandestine missions. In his fantastic music book, The Silent War, The Cold War Beneath the Sea, Craven wrote that the DSSP was established to satisfy the whims of one Project music Sanddollar. An extremely compartmented and top secret program meant to identify and retrieve items of national security interest on the seafloor. In Craven's own words, quote, "I was shown an inventory itemizing the items known to be on the seabed and a map of their distribution throughout the world. Could I organize and manage a program to carry out this mission using music the assets of the DSSP? Furthermore, could I carry it out in such a manner that my family and friends and closest professional colleagues would have no idea that I was involved in such a project?" End quotes. Craven was briefed into Sanddollar in 1965 after establishing the DSSP from a naval intelligence officer. The briefing was kept so secretive, not even Craven's staff was to know where he was going and with whom he was meeting. Craven was taken into a skiff by a well-known submarine officer from the Polaris submarine launched ballistic missile program. When briefed into Sanddollar, Craven learned this well-known officer's involvement with Polaris was indeed a cover for Sanddollar. In fact, Craven would learn Sanddollar was nestled within a complex web of programs itself hidden under the Polaris program. Essentially, Polaris led to several layers of cover programs which led to Sanddollar. This is the exact same matrix with SAP umbrellas, compartments, music and sub compartments as outlined in DoD Directive 5205.07. The same architecture Yellow Fruit enjoyed where Polaris is the SAP umbrella. And nestled within that compartmented architecture music sat Sanddollar. A program deeply embedded in the SAP umbrella I highly wager was imperative to maritime UFO crash retrieval operations. I wager that similar to Sanddollar within Polaris, similar UFO activities existed under the Yellow Fruit SAP umbrella that were almost exposed in the 1983 audit that we talked about. Oh, what I wouldn't have given to have met Craven. Chapter 10 of his book titled Spooked details Craven learning of Sanddollar. music It is a truly poignant section to our investigation today. This section details Craven discussing all special intelligence projects out of the Navy requiring a real cover project to operate. Where most people working on the cover project did not know it was a cover. Where one or more individuals cleared for both levels served as the link between the projects. Craven even demonstrated an early outline of the onion with his quote seventh veil end quote. An apparatus of secrecy surrounding music top secret unacknowledged programs in which one could never truly be sure they'd music reach the innermost layer of compartmentation. Okay, but now let's circle back because we can finally cover a hyper specific music example where I theorize we can observe UFO legacy programs burrowing deeper into the onion or seventh veil to disguise themselves following Reagan's executive orders and the mid-1980s audits that led to enormous SAP reforms and expanded oversight over covert projects. So, let's return to a concept I introduced in music my recent Northrop Grumman project and visit with the US Air Force. Within the Department of the Air Force, the DAF, music the overarching structure of the Air Force sits the Headquarters of the Air Force, or HAF. The HAF consists of the Air Staff, the music top military leadership supporting the Secretary of the Air Force. There are numerous compartments within the HAF that I've accused of operating within Air Force legacy activities in the Hidden Wing program. But let's focus in on the SAF/AA, music or the Administrative Assistant to the Secretary of the Air Force. SAF/AA is a senior executive official run organization within the Department of the Air Force responsible for providing administration, music management, and support services to the Secretariat, SAF/OS, and Headquarters of the Air Force, HAF. And I would like to visit a document titled quote A History of the Office of the Administrative Assistant to the Secretary of the Air Force end quote out music of the Air Force History and Museums project where I am shocked we can find a specific discussion in an unclassified setting. Within the document, we can find a section titled quote SAF/AA and Outside music Activities end quote. This section referenced a 2018 interview with retired administrative assistant, aka music SAF/AA, William A. Davidson. In this interview, Davidson discussed music several quote outside activities end quote in which the SAF/AA had been and continued to be involved. Davidson stated music there were quote several activities that were in other agencies over which the music Air Force had administrative control end quote. And let me just say that again plainly. Several activities that existed outside of the Air Force that SAF/AA specifically wielded administrative and operational control. In any definition, music this is what's known as a cover program. Davidson stated two such programs were started quote Impede music Altruges Day end quote. The quote unquote outside activities did not show up in mission directives modern day and operated music exclusively under the SAF/AA. For inarguable proof these outside activities were stashed under SAF/AA as a cover program, please note these outside activities did not fall under the oversight of SAF/AAZ. music The Directorate of Security, Special Program Oversight, and Information Protection within the SAF/AA. SAF/AAZ is the Air Force component level SAPCO, or Special Access Program Central Office. So, these outside music activities established under Edward C. Aldridge were covert enough to be hidden away from the standard Air Force Special Access Program Oversight channels. And even the Air Force's own SAPCO, let alone the Air Force at large, and were stuffed exclusively under the management and operational control of the Administrative Assistant to the Secretary of the Air Force. And let me be plain here. I do not think these activities were started under Aldridge's day. Moreover, these activities outside the Air Force were rerolled and hidden within SAF/AA to operate as a cover office after a series of audits and SAP reforms led to overall SAP reform in the mid-1980s. Edward C. Aldridge has one of the most impressive CVs I have ever discovered. Aldridge served as CEO of the Aerospace Corporation, president of McDonnell Douglas, >> music >> senior manager within LTV Aerospace, Under Secretary of Defense for Acquisition, Technology, and Logistics from 2001 to 2003. Of course, a position I believe is paramount to gatekeeping UFO programs, Director of the NRO from 1981 to 1988, and Secretary of the Air Force from 1986 to 1988, as well as Under Secretary of the Air Force from 1981 to 1986. >> music >> Since Air Force activities were spun up in Pete Aldridge's day, this is when Aldridge was Under Secretary of the Air Force from 1981 to 1986. Funny enough, this is exactly the same period Aldridge also served a dual role as Director of the NRO. Indeed, whilst serving these dual Air Force and NRO roles, Aldridge had additional responsibilities for providing overall direction, guidance, music and supervision for Air Force space programs, including launch and on-orbit operations, and planning for future space capabilities. So, I wager with the utmost confidence these roles were dual-hatted, with Aldridge also serving a senior executive official role within UFO legacy programs. Specifically, within joint NRO music and Air Force program, which believe it or not have been quite common throughout the decades. Indeed, I am familiar that as of 2017, specific funds have been misappropriated and earmarked for joint NRO and Air Force UFO legacy activity efforts. So, the idea of joint NRO Air Force operations is not indeed a stretch. After all, the NRO was established to coordinate intelligence activities between the Air Force and CIA in the early 1960s. I wonder if the NRO and Air Force have worked together specifically, not just on ISR, intelligence, surveillance, and reconnaissance for music UFO crash retrieval operations, but also joint RDT&E, research, development, test, and evaluation on derivative technologies or alien reproduction vehicles that can operate in both atmosphere and microgravity. So, if my thesis here is correct, these outside activities were originally stashed music and operated out of the NRO, with the Air Force maintaining administrative and operational control. And due to audits nearly ousting elements of the legacy architecture, in the mid-1980s, while Director of the NRO and Under Secretary of the Air Force, >> music >> Edward C. Aldridge stuffed these activities under the SAF/AA to operate as a cover office to completely bypass the standard Air Force SAP oversight channels. I believe such operations were largely ubiquitous across the US Armed Forces and intelligence music agencies involved in the UFO legacy program efforts. Shifting SAP controls and the death of the wild wild west days of the legacy effort, as well as the 1980s nearly exposing the program to Congress and non-read-in personnel, saw the once unified legacy structure that in the '40s through the early '80s housed a tiny oversight body had already stretched itself thin over the decades in the wild wild west by music hiding within SAP umbrellas, introducing ad hoc security access protocols, and wildly loose top secret code word read-on access, and included several contractors and FFRDCs, which resulted in numerous a la carte security and read-on protocols, finally started to show its cracks, and thus the Manhattan Project 2.0 was forced to dismember itself. This is my entire thesis for the music schism from the Manhattan Project 2.0 to the shattered and scattered siloed programs of today, existing as grains of rice in a rice bowl. Reagan ending top secret code word wild wild west legacy activities, >> music >> in addition to close shave audits and various risks of spotlight, forced the legacy architecture to sever off many of its limbs to hide under different rocks to ensure the program infrastructure was as compartmented, deep-sixed, and hidden as theoretically possible. Thus, the process began of legacy programs folding like origami and scattering itself beneath too many layers of cover offices and programs. And over time, central leadership lost its grasp over these now siloed activities. This shattering and siloing of the programs was cemented in 1994 when oversight of the legacy structure was permanently transitioned into a quasi-government and industry group of slightly over two dozen individuals. And the last man who possessed the tradecraft and Machiavellian politics to hold together this fractured shell was Darth Vader himself, Dick music Cheney. Perhaps, as an example here, once upon a time, scientists from the Navy special program and Air Force test and evaluation operated together on recovered vehicles of unknown origin. But after this schism, this collaboration was siloed apart. Thus, the Air Force and Navy continued on with these programs separately without any sort of collaboration or communication across compartments. music And after decades of scientists, security managers, and senior executive officials come and go, the program graybeards aren't even aware of a similar redundant program across the armed forces. This is why I speak of the golden era of legacy being long gone, where significant brain drain, redundancy, and lack of centralized leadership is dooming this once great effort. What's up, guys? It's Gerb, and I just wanted to thank you so much for joining me today for this part one of two >> laughter >> I'm sorry, guys. If you see my Chihuahua here, she isn't thrilled with me recording audio, so she just wanted to sit with me. So, I'm sorry about that. And let's get serious. I want to thank you so much for joining me today into part one of two of analyzing the overall UFO legacy program uh security architecture onion, however you want to call it. Now, in the making of this project, I'm sure as you can guess I was thrilled to hear Dave Grusch speak at that space symposium and actually talk about the onion and sort of the rice bowl infrastructure of the programs when he was speaking to Jeremy Corbell and Mike Gold. So, of course, that made a fantastic clip. Um if you're new to the channel, thank you so much for joining me this whole adventure. I think this was about 3 hours, 5 minutes, 7 minutes. So, from the bottom of my heart, thank you. And if you're new, this is about the time where I launch into my post-video rant, kind of recapping everything we talked about. So, what seems to be the case with every single project I do these days, I set out to make a project, I think to myself, uh this is going to be great, this is going to be an hour and a half, this is going to be 2 hours, 2 and 1/2 hours tops after my end-of-video rant. Um and quickly, before I know it, things start spiraling into 3-hour videos, 4-hour videos, uh where I have to cut a lot out. So, because I wanted to talk so much about the UFO legacy program security apparatus, that's not a hour and a half, 2-hour, 3-hour video to make, and I learned that very quickly. So, again, this is a part one of two. Part one today focused on the inception of the UFO legacy program security apparatus, um mainly this be the Manhattan Project 2.0, uh key individuals with the Manhattan Project 2.0, specifically George C. Marshall, uh as well as Dr. Vannevar Bush, and how these gentlemen probably configured the sort of the architecture and the framework for the secrecy apparatus. And I I do want to dive in and talk about that a bit more. Um we also, of course, talked today about changing tides in the Cold War. Uh I cannot wait to expand on that more, specifically with something I think I said twice throughout the video, which is even though the great schism of the Manhattan Project 2.0, this largely centralized effort that was spearheaded by presidents, by key national security officials, by the National Security Council, specifically its 5412 Committee Special Group, and the 303 Committee under Nixon, uh this great schism occurred due to special access program reform. And again, let's talk about through that, um which kind of climaxed in 1983 to 1985. And then specifically, what I want to speak about again is 1994 under the Clinton administration when William J. Perry reorganized the Special Access Program Oversight Committee to include the SAPCO, the Special Access Program Central Office, and the SRG. Uh you know, I talk about this a lot in reference to the Wilson-Davis notes. I I do now possess knowledge that this was a real instance of sequestering and hiding away the legacy program portfolio completely removed from Eric Davis in the Wilson-Davis notes. So, with supremely high confidence, again, with extremely high confidence, outside of Eric Davis, outside of the whole circular reporting crew, I am quite confident that in 1994, this was the last year that legacy programs had any semblance of centralized leadership. After '94, with William J. Perry's actions, the UFO legacy program portfolio was fully scattered into the wind into a quasi government and industry group of just over two dozen people. And if you hear me say just over two dozen people, I'm sure you can infer the exact number. So, let's start back today. What was really great about this program? I I mean, this was a very difficult project to make just because I covered so many decades. I mean, uh realistically, we covered 1943 about up to 1994. So, um quite a bit to cover, but what was fantastic about this video, which I loved so much, is I got to watch Christopher Nolan's Oppenheimer several times just to kind of get inspired, uh understand the individuals in the film that I was going to speak about and so forth. Um I wish I could have included more footage from Oppenheimer, but of course I don't want to get copyright striked. Uh I really wanted to show figures that I was talking about and their character in Oppenheimer. For example, Gordon Gray on uh Dwight D. Eisenhower's National Security Council, as his key national security adviser. If you remember the trial of Oppenheimer, the gentleman and the prosecutor who were asking him questions, I can't remember the actor's name, but the man at the head of the table directly across from Oppenheimer, that was Gordon Gray. Um you can see Stimson in the meeting where Oppenheimer is is speaking um with other individuals like George C. Marshall, of course, in the corner talking about where to drop the first atomic bombs. Of course, there's Leslie Groves, uh there's Klaus Fuchs, there's Dr. Lawrence, there's so many individuals. And of course, there is uh Vannevar Bush, famously played by the actor who also plays, I think, Papa in Stranger Things. So, um that's quite refreshing to see. Of course, Oppenheimer's about Oppenheimer, so Vannevar Bush plays a pretty minor role. He's only in a couple scenes, including the Trinity test, um including being at Princeton or was it Berkeley where he's speaking to Dr. Lawrence about the atomic project. And I think he is also at an AEC meeting with Lewis Strauss. Uh so, that was just so great. If if if you didn't watch Oppenheimer before this project, I highly recommend watching it now and um try to view it in a different lens. It's it's very hauntingly beautiful. Of course, I wanted to include music from Oppenheimer, um mainly the the primary song, I guess you could call it, Can You Hear the Music, but you can't do that with music laws on YouTube. That would have been excellent. Uh so, we talked about several concepts uh stripped from the Manhattan Project onto the Manhattan Project 2.0. Um these include uh political shield/cover, physical security, uh compartmentalization, and so on. I think the the most obvious sort of of transition from Manhattan to Manhattan 2.0 is, of course, compartmentalization. As we discussed today, Leslie Groves subjected the Manhattan Project to extreme compartmentalization. Uh if you watch Oppenheimer, you'll see that as well, where various departments weren't able to speak to each other. Um as Leslie Groves famously said, scientists, engineers, technicians knew just what they needed to do to accomplish their mission mission. Of course, this led to rising tensions between Oppenheimer and uh Leslie Groves. But of course, we also had Vannevar Bush, who I believe is one of the most central figures in the entire United States to establish not only the legacy program security structure, but also legacy programs outright. And let me explain that a little bit. For the compartmentalization and secrecy apparatus, Vannevar Bush was famous for the initial systems of self-censorship, um kind of the precursor to restricted data where uh a scientist or a technician would write down data or ideas about atomic energy, and that would be inherently classified. Um and at first, there was a system of self-censorship where the scientist, um the technician, the physicist was expected not to talk about that breakthrough, that understanding, that document. And of course, that was written into law and even slapped with restricted data where something is born classified. So, Vannevar Bush is not only one of the most important scientific figures in all of United States history, but he is also the foundational individual behind our scientific and government partnership of industry. And let me explain that. Um if if you watched my Aztec video, you will know conceptually a little bit of what I'm talking about. Uh but in 1942, I believe it was, when Vannevar Bush was with the OSRD, the Office of Scientific Research and Development. This, of course, uh was a precursor to the JRDB, Joint Research and Development Board, and Research and Development Board, which arose out of the 1947 uh National Security Act. Uh Vannevar Bush kind of spearheaded scientific progress and and and weapons progress and um the scientific and military relationship during World War II. Famously, Bush uh is set up the MIT Radiation Lab, which was a precursor FFRDC. Um shortly after the war, MIT Rad Lab closed and reopened as MIT Lincoln Laboratory. Uh in some of the Bush clips we talked about, Bush was famous for establishing the relationship uh with the scientist and the government. So, Vannevar Bush, uh he he was huge into university-sponsored research. I mean, his right-hand man, who was also on the top policy group within the Manhattan Project, was, I believe, Harvard's either dean or dean of scientific uh the the sciences, uh what have you. But Vannevar Bush really set the precursor for both FFRDCs, federally funded research and development centers, their precursors FCRCs, federal contract research centers, and UARCs, university-affiliated research centers. I don't talk about UARCs as much lately than I used to, mainly because um FFRDCs are a little bit more prominent in actually um controlling and PMing, program managing, uh various aspects of legacy programs. UARCs are more of a specialized think tank to also um conduct tasks or ideas or or scientific pursuits that their government customer couldn't otherwise accomplish in-house. Um so, I talk about UARCs quite a bit and um I'd return to some of my discussion about them, but Vannevar Bush established so much of our current military and scientific infrastructure. And of course, that's not even to mention the various crash retrieval cases he's been connected to, uh most famously Aztec by William Steinman. I expressed my frustration then, and I'll express my frustration again, that William Steinman, although his work is legendary and excellent, was not more fastidious about documenting his sources. Uh I can't fully rule out that Steinman was able to pluck ideas of Vannevar Bush and his inclusion from you know, maybe IPU documents that circulated before they leaked in the early '90s. I I can't rule that out. However, I still maintain I do believe Vannevar Bush was a key member of the Manhattan Project 2.0. Leslie Groves, I don't believe so. I think he was forced to retire shortly after the Manhattan Project. Uh George C. Marshall, of course, integral to the Manhattan Project 2.0 and founding the skeleton of the security structure. Uh he left pretty early. He never served on Eisenhower's administration. I believe he left in '50 or '51 after his stint as Secretary of State. Uh but as we can see, which actually parallels really interesting to the IPU documents, is George Marshall was the the brain behind the Alsos missions. Uh and George C. Marshall tasked his G-2 to perform covert intelligence missions for the Manhattan Project uh under under the auspices of the Alsos missions, which Alsos means Groves in Greek. Uh when I was reading from the Nuclear History Museum on Alsos, Leslie Groves was not pleased about the Alsos missions being called such. Uh but so, a stripped intelligence center and a line of intelligence or intelligence operation that operates alongside but outside traditional military intelligence channels, where have we seen that before? As well as the T-Force, which is almost equatable to modern-day UFO rapid reaction teams. Uh T-Forces were lightly armored, ordered to secure sites for the Alsos personnel to kind of come in and and exploit or take whatever they needed about the Germans' atomic progress, and so on. I I was fascinated that the T-Force was able to secure German atomic infrastructure in Soviet-controlled territory. So, if that doesn't say how specialized and well-trained these units were, I I don't know what will. Uh the G-2 as well, even outside the IPU, as we saw with with Yellowfruit with the Army Special Operations Division SAAD a couple decades later, there were personnel plucked from the Assistant Chief of Staff for Intelligence who did cover work for Yellowfruit and Lieutenant Colonel Duncan, of course, working under the G-2. So, I do find it fascinating that even outside of the subject of UFOs, we can see how the US Army and key individuals within the Army used the G-2 for some extremely covert operations. Extremely covert. Um again, even outside of the testimony of Representative J. Andrew Kisner, who again I have spoken to, I do firmly believe that 1947, the National Security Act, saw the foundational pieces laid out for the legacy program infrastructure, whether that be the Air Force, the National Security Council, or the Research and Development Board, which is now, of course, the Under Secretary of Defense for Research and Engineering, who alongside the USDI and USDA&S, I I believe are integral to the legacy program effort. Uh USDA&S, I don't even need to say any more. Just go watch anything I've ever talked on the Wilson Davis notes in the former name of the USDA and S Under Secretary of Defense for Acquisition and Sustainment, which was the Under Secretary of Defense for Acquisition and Technology, Austat, or Under Secretary for Defense for Acquisition Technology and Logistics, ATL at the end. Uh, just kind of go read about that. But, then of course, the Under Secretary of Defense for Research and Engineering was a direct lineage from Vannevar Bush's RDB, especially the chairman position. And and USDI, of course, that's our old friend Ronald Moultrie who had set up AARO. And of course, James Clapper who may or may not have provided some cover for the AATIP programs and Luis Elizondo in his tenure from 2010 to 2017 as USDI. Anyways, I was talking about Truman. 1947 saw the 1947 National Security Act, but I do believe 1948 in particular is when several classified presidential executive orders, infamously referred to by Eric Davis as PEADs, Presidential Emergency Action Documents, established the National Security Council as the program manager or oversight body of the centralized Manhattan Project 2.0. And most, if not more more importantly, I'm going to say, is that custody of recovered discs were to be analyzed by Vannevar Bush. And custody was to be given to Atomic Energy Commission National Laboratories. Places at this time like Sandia. Well, Sandia would come next year in 1949 when Truman asked AT&T and Western Electric to take over Sandia base. Los Alamos, Oak Ridge, and yeah, does that ring a bell? I I firmly believe that is the case. And of course, that corresponds so well with my UFO legacy program outline where FFRDCs and GOCO institutions most prominently DOE and NNSA national labs hold much of the material and gatekeep knowledge to the lowest rung of the ladder, which is defense industrial base prime contractors and their subcontractors. And that seemed to be the case until Northrop Grumman, Lockheed Martin, and a couple others in 2005 and 2006, the early days of the war on terror, decided to do their own thing with their own self-funds through misappropriation of IRAD funds. Uh, anyways, that kind of reviews the political shield cover as well with the top policy group. And we talked about Truman setting up the National Security Council as the UFO crash retrieval um and legacy program centralized body. And of course, Eisenhower continued that trend with the National Security Council 5412 Committee signed in 1954 and 1955. Uh, literally under the 5412 Committee was the {quote} {unquote} special group. And following on to that was of course Nixon's 303 Committee. Uh, so let's start to talk about these Cold War transitions because that's what I find so interesting. Of course, Eisenhower was so imperative not only to UFO legacy programs, but also the modern-day classification system. With his Executive Order 10501, uh, Eisenhower got rid of the restricted classification, not to be confused with restricted data in the DOE. Restricted was a fourth classification level outside of confidential, secret, and top secret. And during this time epoch, program leaders were quite peeved about this removal of the restricted classification. So, they started introducing ad hoc security protocols, specifically top secret codeword read on access. And that sort of thing continued for decades on. And and that's the wild wild west days of the programs where the programs could exploit top secret codeword read on access controls like the NRO used with like the Byman classification system, for example. And so, this was standard practice as as well as US classification and the legacy program infrastructure got an enormous bolster with the 1954 Atomic Energy Agreement. As we talked about, 1954 Atomic Energy Agreement special nuclear materials restricted data, formerly restricted data, is subject to statutory authority. So, DOE classification essentially branched off from standard US and executive order-based classification, which isn't subject to secret, top secret, I'm sorry, confidential, secret, and top secret clearance. You have L and Q Q clearance in the DOE, which is equivalent to secret and top secret respectively. But, then you can also have Q Q clearance in the DOE with with kind of more added on like restricted data, Q plus restricted data. And so, that sort of classification system is statutory. It is empowered by the 1954 Atomic Energy Agreement. And classified material born classified and not subject to automatic declassification review. It is extremely different from the executive order-based classification system and is not subject to a simple presidential executive order. I've talked to many people about this, and many people who are in positions of consequence are well aware of this. But, an executive order by Trump to release the UFO files will not touch things covered by statutory authority. I've talked about this several times by now, but I think back to Dylan Borland saying whilst working at DITRA, uh, nearby there were old Atomic Energy Commission files that concluded that some UFOs were of extraterrestrial origin. Files like this are what I'm talking about. I personally don't know how to pry those loose so easily, but um I'm sure that the executive branch I I'm sure Rubio, since he knows this and Steve Crash handed everything off to Rubio. But, Rubio was pretty shrewd. He was able to um kind of use separation of individuals to gather information for plausible deniability or just to keep himself at arm's length. Uh, Rubio will know about this stuff. So, hopefully he can use that to his advantage if he's trying to keep the cards close to his chest or he wants to be the one to spearhead a disclosure movement so he can run for office in a future term. Probably politicking with this disclosure movement currently. It's annoying, but it is what it is. And we just have kind of have to suffer it. So, Executive Order 10501, uh, Nixon's 1972 Executive Order 11652, which was subject to criticism shortly after that um you know, we we talked about that Congressional Research Service report that talked about people essentially being incredibly peeved and and concerned that so many authorities really not connected with US classification were able to slap on their own classification controls. Now, we start to see the decline of the legacy program security structure with Jimmy Carter in 1977, who of course moved the the US classification towards more government transparency. This is probably why the legacy programs haven't trusted as many Democratic politicians with with UFO legacy program read ons or partial read ons. I firmly believe this because we could see that Clinton, Obama, and so forth, Biden, after the fact, were not read into the program. They were just temporary employees and and so forth. So, 1982, Reagan kind of he's he strips away the ability to use these ad hoc security protocols as well as National Security Decision Memorandum 519, I believe it was, which came in 19 1985 shortly after Yellow Fruit. So, 1982 Executive Order 12356 and NSDD 519 were sort of what really tightened the grasp on special access programs. More oversight, not government transparency, but more oversight. And of course, Yellow Fruit was a disaster. Yellow Fruit was part of the impetus for the Iran-Contra findings. And Yellow Fruit was out of the US Army Special Operations Division in 1981. I firmly believe the investigations and and audits into Lieutenant Colonel Duncan not only found other covert activities in Yellow Fruit, but also the Army SOD. Um, and I think this was a major domino in the Wilson-Davis notes, the Senior Review Group saying, the programs. And of course, I believe the Senior Review Group also talked about one of the issues being money. Uh, of course, in the Lieutenant Colonel Duncan audits that revealed Yellow Fruit, a lot of those were initially financial audits. So, there's some pieces to put together there. And of course, at that time, as we see with Edward C. Aldridge, legacy programs were forced to start using cover offices within the United States government with Edward Aldridge and the Air Force outside activities. Previously, programs have been hiding in SAP umbrellas, precursors to SAPs at this point like Polaris and Sand Dollar. But, literally we see programs that were once funded from the probably the US Treasury and had an actual presidentially mandated funding mechanism start to hide and cover programs because um there's no wild wild west these programs, these joint Air Force and NRO activities aren't able to use their top secret codeword. So, these activities outside the Air Force that the Air Force has administrative and operational control over, we hide those in the Air Force under the SAP AA and bypass the AAZ, which is the component level SAP code for the Air Force. So, that in itself is just a cover office. It's it's really intriguing. And then of course, in 1994 again, we see the programs fully separate. And it took a man with a Machiavellian Machiavellian political uh malleability and and maneuvering like Dick Cheney to hold the programs together until he left office in 2009. And then the closest individual to be a mob boss, if you will, was Lieutenant General James Clapper. Who even holds the crumbs of what Clapper once held? I don't know. But, I would imagine it's a small group. But yes, we talked about the onion. We will talk so much more about the onion in part two. We are going to talk about specifically what special access programs are, how they become unacknowledged and waved, what a bigot list is, more on SAP history, how you access SAPs, different SAPs, security checkpoints, and so on. We're going to talk about the concept of unrivaled secrecy, funding mechanisms, insider and outsider threat protection mechanisms, and so forth the legacy programs used today. And we're going to talk about several modern-day program protection agencies. These are going to include the DARPA SID, Security and Intelligence Directorate, DOE OCIO, Office of Intelligence and Counterintelligence, AFLCMC IPD, the Air Force Life Cycle Management Center Information Protect Information Protection Directorate. I'm sorry. And then maybe we'll talk a little bit more about AFOSI PJ, but I've already talked about that 20 never plenty never forget the name Terry Phillips. Never forget his successor Lee M. Russ. So with that out of the way, guys, we'll start to wrap it up today. I I want to thank everybody for being here. Please remember to like and subscribe. The channel's almost to 120,000 subscribers. Never in my wildest dreams did I ever think that was possible. So from the bottom of my heart for everybody, thank you. I do have a Patreon and I do have YouTube memberships. I I don't gatekeep content, so only support what you think the channel's worth. You know, maybe sometime in the future we can do like just lot Q&A lives for the patrons and members, but as far as my overall content, I I don't gatekeep content, so just support what you think the channel's worth. On YouTube, if you become a member, you do get some like emblems by your name. I can't remember what I have, but I think I have the OSIPP J special agent emblem, so that's pretty cool. Outside of that, uh yeah, just support the channel by that like and subscribing and watching the videos or do joining Patreon or YouTube members. It's It's not needed, but it's great It's not mandatory, but it's It's greatly encouraged and great I should say greatly appreciated. Outside of that, you guys know directly what I have coming next. So everybody will know what part two is. After that, I got a video in mind that it might be a fireside conversation type thing with myself and another individual that I'm trying to put together that I'm super excited for. I may do a couple lives with my good buddies Rob Jones and Kermit. I do plan on seeing them next week. I'm actually going to be in DC and and see both of those lads. So that's the case, we'll try and do a live in person. Always love hanging out with those guys. They always got something crazy going on. And of course, Rob Jones is now working for News Nation, so that's great. I I hope we can talk to him and hear a little bit more about that, but like and subscribe. Um I can't wait to see you guys on the next time. And let me know what you think down in the comments. I don't even know what to say. We're about 3 and 1/2 hours in now. There's so much we covered. So thank you all so much for being here. Bye.