(5/8/2025) | AUDIO CHAT 172 | SG Sits Down w/ Patriot Artist and USAF Veteran Richard Murray: For Love of God Country and Art

➡ In this audio chat, the host, QNews patriot, interviews Richard Murray, an artist, patriot, and Air Force veteran who has witnessed UFOs. They discuss various topics including life, patriotism, culture, art, and UFOs. Richard shares his life story, from his childhood in Florida, his time in the Air Force, his UFO sightings, to his career as an artist. He also talks about his experiences in the Air Force, including his assignments and the unique experiences he had during his service.
➡ The speaker shares his journey of discovering a unique art form using acrylic rods and dental drills, which he initially used to make jewelry. After an accidental fall, he noticed the beauty of the carved acrylic when lit from within, which resembled a rock mesa. This discovery led to a successful art career, with his work gaining recognition and selling well at art shows. He also recalls an encounter with Ronald Reagan during an art festival, where he helped interpret Reagan’s speech about capital gains for fellow artists.
➡ An artist’s journey is described, starting with his work being featured in a popular art magazine. He then ventured into Hollywood, creating artwork for Star Trek and Star Wars, even winning awards for his work. He also created a masterpiece sculpture that toured the world and won international acclaim. His artwork had a profound impact on viewers, leading to interest in studying its effects on the human brain.
➡ A group of top American science fiction writers went to Russia due to concerns about their work being plagiarized. Upon arrival, their written material was confiscated by the KGB, causing an international incident. However, a sculpture gifted by the Americans was allowed through. This incident was resolved by President Reagan, and the writers were able to retrieve their work and enjoy a friendly dinner with the Russians.
➡ The speaker recounts his encounter with Al Bilik, the last survivor of the Philadelphia experiment, who shared his experience of time travel. The speaker also discusses his belief in non-terrestrials living among us, citing an encounter with a woman he believes was not from Earth. He emphasizes the importance of recognizing the wonders and miracles in the world, and the need to continually learn and explore. He also shares his experiences with children and their reactions to his artwork, suggesting that they have a unique perspective on the world.
➡ The speaker is a dyslexic artist who creates intricate sculptures from acrylic, using dental drills. Despite his reading difficulties, he has found success and recognition in his craft, even selling his works to high-profile individuals like Vidal Sassoon and Sammy Davis Jr. He enjoys teaching others about his process and plans to create a monumental piece through the truth or movement. His work has led him to meet influential people and he compares his experiences to famous artists like Picasso and Monet, who also had their art bought by the wealthy.
➡ Johnny Powell, a relative of Lyndon B. Johnson and friend of John F. Kennedy, was tasked with finding gold certificates, which were used by the Federal Reserve to print money. These certificates were stored in boxes, each containing $3 trillion worth of gold. However, the Federal Reserve duplicated these bonds, leading to financial instability. The speaker also discusses a sculpture he made for President Trump and emphasizes the importance of unity, gratitude, and cooperation with law enforcement for societal progress.
➡ Richard Murray invites everyone to visit his website, richardmurraysgalaxy.com, where you can explore his products and upcoming projects. He’s planning to add videos about his final masterpiece, Q. If you enjoyed today’s 172nd audio chat and want to learn more, you can visit his website or check the links below the video. Stay safe and God bless.

Good afternoon, patriots, and welcome to the 172nd audio chat on the Q News Patriot Rumble Channel series. I am the QNews patriot, joined today by artist, patriot and air Force veteran Mr. Richard Murray. My name is SG and on. How you doing, my buddy? Doing fantastic, sir. Welcome to the show. For patriots out there, today’s audio chat is going to be a little bit of a departure from our standard geopolitics. We’re going to talk about life, love of country, culture, art and UFOs. Today I’m excited to welcome Mr. Murray to the show, a personal witness to UFOs and a mightily talented artist.

Richard, thank you very much for joining me on Q News Patriot. Oh, I am just so honored to be with you and all your listeners. You’ve got such a wonderful crowd of people and such a wonderful group and you’re such an important part of this whole movement. SG and it’s, I’m so grateful. And Mr. Murray, you honor me a great deal and I’m glad to have you on the show. You know, you’re meeting my audience for the first time and I think that your life story is really remarkable. You’ve, you go all the way back to your early days with the United States Air Force, witnessing events that really, even today you can’t give full extraneous details on.

And you’re an incredible artist on the side of that. So before we get into some of our other discussion, do you mind to just give us an overview? Who is Patrick Patriot and Air Force veteran and artist, Mr. Richard Murray? Well, I was born in Florida and my, my, I was born in Miami and we moved to Jacksonville when I was 6 years old and then we moved to, to Tampa when I was seven and been there since. I went into the Air force until my 18th birthday. On my 18th birthday I enlisted because it was at the end of Vietnam.

I didn’t really want to do any fighting and I knew I wasn’t going to do any fighting. But I wanted to go into the Air Force because of some of the experiences I had with my younger brother when I was a kid. And my younger brother and I together witnessed a UFO. This is like when I was like 9, 10 years old and he was like 7, you know, and we weren’t scared. It just kind of like we, I got, I got excited. I knew we weren’t alone. And this is before they had anything sci fi on television.

And so I went in the Air Force. I went into, I got a vocational training. I’m dyslexic. So it’s very difficult for me to learn. I was a C grade student in school because it’s very difficult for me to read, being dyslexic. And of course that caused me a lot of problems with bullies and stuff, but got to forgive them and just let them go. And when I went in the Air Force, it was a whole nother world. They didn’t make you read things. They actually sat you down and made you do things and explained to you what you were doing and why you were doing.

And it was so much fun. And the bottom line is that I was a C grade student. But when I graduated from my tech school and in the Air Force, I aced my physics exam. I aced all the exams and was given basic choice. So I married my high school sweetheart, Sherry, and I went to her and I said, hey, I got good news. I got basic choice. I can go anywhere I want to go. I can go to Japan, I can go to Germany, I can go to Australia, I can go anywhere. Where would you like to go? And she wanted to go home.

So I said, okay. So I came back to Tampa and ended up at McDeal Air Force Base. And they assigned me to civil engineering to take care of. I went into air conditioning, air conditioning, refrigeration. But it was a special type of air conditioning. It’s the really giant Systems, you know, 250,000 ton, 340,000 ton absorption units. These are all special type of units. And so they put me in there first in strike Command to take care of that. And I was there for about six months. And then they transferred me out from there to the 729th Tactical Control Squadron.

And I went to their. What they call the flight, which is the 71st tac control flight. We were mobile forward air controllers, mobile radar team, to go anywhere in the world in an hour. And it was kind of fun. I enjoyed it. And when we were in that situation, our first TDY that we went on with, TDY means temporary duty. Our first TDY we went on, we thought was a training mission. And yeah, it kind of was, but it ended up being quite interesting because it became very eventful. And we went up to Boniface, Florida. And this is in the early, early 70s, 71, late 71.

And we were stationed on a cornfield, top of a cornfield, which is the highest point in the state of Florida. And we had microwave. Microwave dishes shooting down both sides of the coast all the way down to Miami. And we had other dishes that were going north. And our Radar was running, which controlled everything up to basically the whole east coast of the, of the United States. So we’re running radar there for four, for six months. And it was four months. It was really, really cool. And my, my commander was a really nice man. It was a major older gentleman and he was retiring that they gave, they give us the guys that were retiring and that was who our commanders were.

And we went through a lot of them and. But Mr. Milks, Major Milks was really a nice guy. He was a jeweler. And so when I would make sure I took all my special torches and stuff when we’d go on tdy because he’d like to work on his jewelry in his tent at night. So I set him up and it became something that was really, really interesting because I learned how to use dental drills to make jewelry and stuff. And that’s how my whole career started when I got out of the Air Force. Now I’ll get to that in a minute, but let me explain what we saw on that mission.

I believe that it was our group that was, that was monitoring the east coast during the time that President Carter saw the UFOs flying over the White House. And I understand later there’s a real reason. Yeah, oh yeah. Well, we’re the ones that documented it. According to what I understand, our groups, the one that documented that it was real. And that’s why we got assigned to the next mission, okay. Which was no more than just a few months later we were gone and on our way to Hawaii. And the reason we were on our way to Hawaii was because two aircraft left the United States west coast to go to Hawaiian Islands.

And they left from San Francisco and San Diego. And while they were in flight, they were both surrounded by UFOs and there was over 400 witnesses. And it was all kept hush, hush. But next thing you know, we’re loaded up and we’re on our way to Hawaii in a C130 and from Florida. And that was a long flight, but it was fun. I, I’ve never been in one of those big planes. Just had a blast. And when we got to Hawaii and we got set up, we were set up at the outer marker on the Big Eye, a little town.

I fell in love with Earth when I was in Hawaii. This is back in the 70s. Now we’re in Hawaii and it’s the most beautiful, beautiful place in the world to live. I mean, it’s just beautiful there. And like I said, I kind of fell in love with the planet when I was there. And just fell in love with nature. And shortly after we were there, things started rocking and rolling and we were. They. We had a digitizer and that digitizer had a. What they call a 72 hour cassette. You know, like you have an eight track tape that you put in for your music.

Okay. We had one of those in our digitizer that was 72 hours and it had to be rotated every 72 hours and go to Oni because evidently the radar was tracking stuff. And. Oh, and I was picking it up from, from our. From our tapes. And that was kind of my experience there. And it was for the Patriots out there. Really quick, Mr. Murray, I just want to clarify. For the Patriots out there. Oh, and I. You’re referring to the Office of Naval Intelligence. That’s correct. Office of Naval Intelligence is control of all UFO activity. Fair enough.

Thank you. Please continue. That’s where Bill Cooper worked. Okay. He was with O. And I. And I didn’t know that until later until I ran into him. And it was kind of funny how I ran into him. But anyway, I’ll get into all. What I want to get into is the, the, the amount of UFOs that are out there are amazing. And I wonder why nobody can see them. Well, you know what, how many people are actually looking up? You know, that was one of the things that fascinated me. If you start looking up, you’ll start seeing them.

They’ll reflect, you’ll see things, you know, and. But we’re getting ready to have disclosure and they’re going to be all over the place here soon. And not all of them are bad. That’s the key thing. And I’d love to be able to bridge a gap between their world and our world. And, and that was something I said I would love to do. And then I discovered this art form. And I’ll show you if you can see me, please. This is the piece that started my whole career. This is a. Just a. Just a 1 inch rod of acrylic.

Okay. And I used to make jewelry. I was making jewelry while we were part time out there in the middle of nowhere. It was fun. I was taking copper pennies and welding them on the end of a very small, well, brass rod and making flower arrangements and cutting pieces of copper. And I would sell that for 20 bucks and I’ve only got like 15 cents involved in it. You and that, that helped boost my salary because we didn’t get paid much back then. And, and I got this piece of acrylic and I started carving in it from the end Here with my dental drills.

And I started carving and carving, carving to make a ring stand to where I could put one of my rings in it and then light it up from underneath with color lights. And my. My studio where I was set up, I had all my. My crates around. More like his old wooden orange crates. That’s what I. I just set them up and put all my equipment in it. And when I gotta move, I just turn it over and go. And I was carving away on the first piece. And I had an agreement with the people that were at the very end of the complex that we were at, because their phone systems came through my place.

And I just needed to. If I was needed in an emergency, I needed to be able to answer the phone. And they gave me permission on their phone system that if somebody called and let it ring twice, if they called the third time, I could answer it, but I couldn’t call out unless I had an emergency. But they were very good about that. And that was Jeremiah Industries, you know, the hair people, and what a wonderful group. And when I came out with this, the phone rang, and I reached to answer the phone and fell out of my chair, because it slid out from underneath me with all the acrylic dust underneath me.

I had an old theater chair, which had the feet real close together, and it was easy to operate and maneuver while I was using the dental drills. And I fell, and when I fell, I grabbed. You know, I don’t like to fall. It’s not the fall that bothers me. It’s that sudden stop, you know, because I don’t bounce. I just. You know what I mean? I just hit. I just hit the concrete. And then I went to move to stop anything else from falling on me. And a pallet fell over and hit the piece that was holding my light.

My light fell on the back of my hand, like here, and it was burning me, you know? So I pull away from it. Now the light is shining down the rod, and I’m seeing what I got here. And I held it this way for the first time. And it looks like a rock mesa off the Arizona highway, about 500 yards and a perfect detail. And I went, whoa. So I had a bunch of acrylic that was given to me, and I started working on the acrylic. And I’ll tell you what happened. I had to go outside the studio.

There was so much dust and stuff, everything falling down. And I went outside the studio, where I have a street light, which is a mercury vapor street light. It’s a real White light. And I went out there and I’m holding the piece like this now, up to the light, and I’m going, It’s just amazing how it lit it up. And I’m going, this is incredible. And all of a sudden, I noticed that my shadow was solid orange. My shadow was orange and flashing on the ground while my shadow was long, you know. And I’m going, wait a minute.

I’m right below the light. Why is my shadow so long? And I turned around to look, and in Florida, in Orlando, Florida, you’re only 40 miles away from the Cape. And when they launched the Pioneer probe, they use the twin Atlas Centaur package to get it into space. And there’s not a cloud in the sky. It’s like 2am in the morning, just crisp and clear. And, man, it was just the brightest orange flicker you ever saw, just bright. And, you know, you can see the traffic stopping to watch it. And we get a lot of that here in Florida because we’re only 40 miles away from the Cape.

And I stand there looking at that, and I went back into my shop, and all of a sudden I felt this warmth come over my body. And. And it just. It. I’ve never felt anything like that. I was. I was totally grateful to have that kind of an emotional feeling from just discovering something. Well, that feeling grew and grew and grew. And over three days, I didn’t stop working. I mean, I’d stopped to eat and drink and come back to work, but I couldn’t sleep. And when those three days were over with, I had 12 small pieces from all the acrylic that I had that I played with.

And just. I learned on. I learned what to do. And when I got done with it, I took it over to the. The Jaramax people and showed it to them. And they looked at it and they went, oh, my. And they said, well, you know, I said, well, guys, I got to go. I’m starting to wear out. And they said, well, how much? I go, what do you mean, how much for this piece? Well, make a long story short, I needed to pay rent. I ended up walking out of that hair salon with eleven hundred dollars.

And I went and paid my rent, went, bought some food, made something to eat, slept for 24 hours. I knew I was onto something then, and I had a prayer of thanks over that. And, you know, when. When you do things like I do, you, you don’t have a lot of people to talk to. You know what I’m saying? You spend a lot of time talking to your Creator, because this is the one who gave it to me. And I just kept saying, what do you want me to do with this now? This is fantastic. So I went over to Jerem, they gave me a blank check for 500 to go buy all the acrylic I could get.

And I did, you know, and I still got a lot of that today. And I. I just started working on it and working on it. And I went to my first art show and had really great sales. And it. This artwork is going to start supporting me, but I still didn’t know the value of it. It was just something really cool. And I started having experiences after that with people. When I do big shows, I started having experiences. And when I say experiences, I mean experiences with people reacting to the sculpture, all of them. And I didn’t know why they were having such a reaction until many times later.

You know, when I do a major show, for instance, I did. I did a. A major show in, in la, and that was the Beverly Hills Art Festival. And that was the first time I did the show. And that’s when Ronald Reagan was running for president. He was the governor, he was running for president. And he came to the art show and he just. Absolutely. He stood at my booth to give his speech and I’m going, this is great. But then I said, Mr. President, I said, pardon me, sir, may I be your interpreter for a second? Because they are.

The artists weren’t understand what he was talking about with capital gains and all this. They didn’t understand any of that. So I said, excuse me, sir, may I interpret this for you? And he said, sure, go. Sure, go ahead. You know, he was just a real calm guy. And when I did, he started laughing. I said, look, you’re going to start making money off of your artwork now, because money’s going to be freed up. So start planning your careers as artists because it’s going to happen. I can see it happening, but we got to put this man in office first.

And that’s what happened. And sure enough, Art Business News magazine was only 14 pages while he was running for president. When he became president, the first quarter, Art Business News Magazine, which was the biggest news magazine out there for the arts, it jumped from like 14 pages to 100 pages. And then by the end of the third quarter, it was almost 250 pages. It was a thick catalog and it’s a big magazine, beautiful, beautiful magazine. And for all the artists out there, it was the greatest thing because that’s how they could promote their work. You know, it was Tough to find a real niche in the market.

So I had to look at, you know, while I was there in la. I mean, I went to all the science fiction houses, all the special effects houses, I went to all the big production houses and showed them my artwork and they loved it, they all loved it. And then all of a sudden I was at Paramount lot and I met with Leonard Nimoy and I gave him a poster that I just printed back then. And they invited me over to Paramount. 208, which is story 208 is the of Star Trek building. So we went in there and negotiated a screen test for Star Trek 4.

And they wanted me to do a screen test and you know, a screen test in that industry that’s going to cost me a hundred grand and I didn’t have the money to do it. So I like went around and negotiated but man, I was going to lose my butt even if I got the series, you know what I mean? But I’m credible. I went for it anyway. And funny story is that I won a Saturn Award, which is the Science Fiction Academy for technical achievement in art for that particular thing there. What they all recognized from that and.

But they never used my artwork in Star Trek 4. And I went, well, that’s kind of weird. So I sold it to Star Wars. I sold it to Star wars for the Coleco Toys commercial that was shot by Colin Chilvers and who won the Oscar for the Superman, the motion picture. And. But he and I became friends and. And he was just blown away. He let me sit in the camera and look at it and man, this was a giant studio, man, this is a massive size studio. And they lined the whole inside of the building with.

With, you know, black visqueen so his dark. And they had phosphorus charges that they ran out on a little stool out in the middle and then they were real dark and all of a sudden they blew all those charges and they were filming it and what they did was, was they overlapped my city blowing up. That was the city blowing up and that was the commercial. I only had a couple seconds in there, but they paid me $15,000 and I said, wow, this is. I love Hollywood. You know, it was working. And the word got out that that had happened and I ended up sharing a Clio award for the commercial and I ended up getting an Academy Award and receiving it at the Brown Derby in Hollywood.

And that was. That was like a launch to a career. And then in the the I started doing bigger shows and what was fun is when they were Indoors. And I would watch the. I’d watch the kids. I love watching the kids come up to the artwork, because if you want to see a face light up, I like watching the people’s faces when they look at the artwork. And it just. It just blows me away. It. It was something that every time I saw it, I just went deep into gratitude because, you know, man, I can’t believe I’m doing this.

These people are loving it, and, you know, I’m making a living off my artwork. I mean, what’s better than the American dream than that, you know? So it went on. I met with a gentleman named. By the way. I met every single major acrylic manufacturer in the world. I met them all, and they all loved the artwork. So it was a lot of fun there. And Roger Reynolds was the guy who was the most impressive. Roger Reynolds of Reynolds and Taylor Plastics. He was the. The one manufacturer of acrylic that actually patented pouring massive sizes of acrylic without any flaws whatsoever.

Crystal clear glass quality. Just an amazing man. And he was an artist. This guy was a fabulous artist. And a lot of people didn’t know that. They saw him as a defense contractor, but he did that so that he could pay to do his art. And he just really loved my artwork. And I gave him a piece to say thanks. And he gave me two big pieces of acrylic for me to start playing with. And I made. I took one of those pieces and turned it into my first masterpiece. It’s called RR20. That’s in. In honor of Roger Reynolds.

And it’s a big space colony. And I’ve shown pictures of it all over the place. And later, the Smithsonian actually asked me to take. Asked if I. They could take it on tour. And I negotiated with them, and they paid the insurance on it. Took care. Took really good care of it, and they took it on a world tour in 1988, which was a Russian American space art competition and festival. And it appears that the artwork won 37 countries that won best of show in each one. Wow. Yeah. And no one’s ever seen it before. And I’ve been trying to find specialists like Dr.

Joe Dispenza or some of these brain technology research labs to hook people up. Okay. To see what happens to them when they’re looking at the artwork. And I got that idea when. When Midge Gold, who was the curator of art for Cedarsana Hospital, Videl Sassoon, introduced me to her, and she wanted me to bring a sculpture into the wounded children’s wing. And. And. And see if we could get any response. So I took that same piece into the. The. That wing of the hospital. But on the way there, we had to pass through certain areas of the hospital because I didn’t have a.

I had to. I had a gurney on wheels to get it through there, and that was the shortcut. But they were going through a mind testing lab. And what I found out later was the CIA was doing special testing, brain testing, so that. For advertising, so that they could hook you into advertising, what would work best? You know what I’m saying? And as I’m walking through there, the towel fell off the sculpture. And all of a sudden, everybody that was looking at the sculpture, their charts just went off the wall. And the guy’s banging on the glass saying, stop, stop right there.

And he came out from that room, and they’re all watching, and all these people are looking at the artwork, and he’s. And he looks back at the glass, and they’re all thumbs up, and they’re going, you know. He said, do you mind if we test people on this? And I said, well, what are you testing it for? I just wanted to know. He said, well, we’re testing it for advertising. I says, will you share your data with me? And he. They said, no, we really can’t. And I said, okay, well, I’ll see you when you can.

And I just pushed the cart right on out of here. And Because I knew they were. Mitch told me, she said that she thought they were CIA and which they were. And they were doing some pretty wicked stuff with advertising. And it. Back in those days when it was legal, it’s no longer legal to do what they were doing. So that was. That was some of my first experiences. But then I started going to conferences and watching the people there, and I’m, oh, my God, this was, like, awesome. So many people were just flipping out over the sculptures, and I’m going, this is so great.

So whenever I’m in an international competition, I’m there for America. I’m not there for myself. I’m there for America. This is something God gave me, and I have to share it. It’s just that something. I’m only going to share it for the good of mankind. I don’t want anything evil to come from it. And that’s always been my. That’s been my forte, and that’s where I stay. I don’t ever want to see it go negative. So all of a sudden, in some of the conferences I went to, the conferences, I would go to were Star Trek, Star wars, anything spiritual or anything space oriented.

Okay, Sci fi, space oriented. And I went to a, a show In Denver in 1982, the Denver World Science Fiction Convention. And this was like everybody was, anybody was there. And before that happened, about two months before that happened, Ronald Reagan called Forrest Ackerman, who was a friend of mine. And Forrest Ackerman owned the Sci Fi Museum in Los Angeles. And he was a wonderful man. And he called me up and says, hey, President Reagan wants to know if you would have a piece of artwork that we could give to the Russians because we’re going over there in a joint mission.

I said, sure. I just finished a piece for, for Johnson, I mean, Kennedy Space Center. And they kind of snuffed me. So I said, well, that’s snooze, you lose, you know. So I wrapped that piece. It was big. It was an 8 inch in diameter by 7 or 8 inches tall. It was a beautiful, beautiful mountain setup. And I packed it up and took it over to him and they, they were, they got it all packed up and ready to go. And this is all the top science fiction writers of America were going over to Russia to meet with them because these guys were, were plagiarizing their work because the KGB would not allow their work written material in the country.

So these guys would come over and buy magazines and books and all that stuff and smuggle them back into their country so that they could write. And there’s so many of them was like, you got Isaac Osmanoff over here and you got Shurinsko Karinka and whatever his name is over here, and it’s the same thing, you know, but they were getting the credit for it and that kind of upset everybody. But when they got to Moscow, all of their written material was confiscated by the KGB and put into a free zone. And that caused an international incident.

And the only thing they allowed through was my sculpture because it wasn’t written. There was nothing written remarkable. And I’m going, wow, that’s cool. So I didn’t know about this until I got to the Worldwide Science Fiction Convention. And that’s when Forrest Ackerman came and gave his whole speech on what happened when, when they went to Moscow. And to make a long story short, they had to go through several checkpoints and at every checkpoint they had to change the guard because they wanted the guards to see the artwork. And it took almost two hours, almost every stop.

And they got really upset because they’re all worried about their written material in the hands of the Russians. You know, and it wasn’t like that at all. Everything was just very, very common, very well controlled. But it did cause an international incident that Roger. I mean, that President Reagan cleared, got it all cleared and straightened out. It was great. And so finally, Forrest Ackerman, he’s. They bring him into a room where they’re all sitting in the bottom of the room, and all the Russians are sitting up above like a. Almost like a coliseum kind of look, you know, where they’re looking down on them.

And, man, the Americans did not like that. And Forrest got up and he said, look, we’re real tired. We’ve had nothing but trouble getting here, and you got all of our written material, and we just want to go home. But before we go home, we want to bring you this gift, you know, from America to you. And they. They handed him the gift. And Mrs. Ackerman was a seamstress, and she took my speech and sewed it inside her husband’s lapel of his jacket. She was intuitive. I guess she knew something was going to happen. But she went and ironed it and ironed it and ironed it and sewed it into his lapel.

And when they got there and he said. And he hands the piece up to him, then she reaches over and tears open his lapel and pulls out the letter and hands it to the interpreter, and the interpreter reads the speech. And all of the Russians stood up, not making a sound, and they filed out of there in single file, just real quickly. They just. Everybody was gone in just a matter of just minutes. And they. Where’d they go? All of a sudden, all the doors along the bottom opened up, and they all went into one room all together as friends and had dinner and had a great time together.

And they got all of their paperwork back. They got everything that was. That was kept there, and they just had a great time, and it was wonderful. And I was just so happy to be a part of that. That was so cool. What a powerful testimony. Oh, it’s just. It was. It was wonderful, you know, but when I was at the Worldwide Science Fiction Convention, and I had. I had. They gave me 40 square feet. Now, that’s big for a space in a convention. That’s big. So I spread everything out nice where people could walk around it and see it.

And I had several major pieces there. I had my table there. And during the day, I could wonder why they got me here. I didn’t know why they had me here, but I wasn’t going to get upset about it, because you never know what’s going to happen until it happens? And I was there meeting with a contactee. I was there with Jim Delatoso and a couple other people and Orpha Shamoon. And Orpha Shamoon was a contactee that was being interviewed, and I spent some time with her. And she was just a cool, just a beautiful redhead lady, just nice person.

And we talked all about her experiences and stuff, and I talked about mine. And all of a sudden, these four little old ladies in sundresses, you know, like you see in the movies, guys, little sundresses. And they come out with their little gloves and their little dresses, you know, and they all, they look so cute. Look right out, like out of a movie. Well, they’re looking into the side of my table. It’s a table that’s about 24 inches wide and 50 inches long and two and a half inches thick. And I had glass over the top of it and everything.

And they came up there and they started looking at. And one of them started crying. And I went, oh, my God, what happened? I was sitting there talking to Orphan. She says, look, one of them’s crying. And I said, oh, my God, what happened? And sure enough, she starts crying, and they’re all going over there and they’re, they’re like hugging on her stuff. I said, did she get hurt? What happened? I, I didn’t understand what happened. Well, as I went to go for her, to talk to her, all of the doors opened up all around me, and I was flooded.

I was just flooded with people because all those were the breakout rooms where the writers were putting on their seminars to teach people how to be writers in science fiction and stuff. And I was flooded with people, and I, I couldn’t even get to them. That’s how many people were in there. So I just looked over and I’m going to remember who she was, because after that speech that night, and I was a speaker that night, and I invited everybody to come down. Well, the little old ladies came down with their husbands. And I went over to that one woman, I said, ma’ am, I, I, did you get hurt when you saw this? She says, young man, I’ve been married to this guy for 50 years, and I never understood what he did until I looked into your sculpture.

And when I looked in your sculpture, I saw what it was that he sees all the time. And I just, it just not, it floored me. It just floored me. I, I, I, I was speechless. Amazing. And yeah, especially when the husband was somebody like Isaac Osmanoff, Arthur C. Clark, Siddharth Singh. These are the top sci fi writers of the world. And you know, science fiction is, is another form of reality that’s just off reality on the installment plan. Exactly. Here’s your future, you know, if you can choose it. And that wasn’t the only time. That wasn’t the only time I had a.

When I was showing at jpl, that’s where I met Bill Cooper. And I was showing at JPL and this, my best friend Ed McCabe comes in. He was an oxygen researcher, and he brought in this, this older gentleman. And this gentleman standing in front of one of my big pieces I had there, and he starts weeping. I’m going, what the, what is it with these? What’s going on? I should bring Kleenex to my shows, you know? And he starts weeping. And I, I said, ed, what’s going on here? He says, I don’t know. This is not good.

He’s the next speaker. And I said, speaker? He said, yeah. So I looked over to the concierge because we had concierge, if you had to go to the bathroom, you’d have one of them standing and watch your quite. Your stuff. I asked her for a bottle of water. She gave me a bottle of water and I gave it to him. And he started drinking it. And I said, what, what happened? You know, what’s going. And he grabs me by the arm and we go down the hallway and go in on stage left and, and he says, now you go down there to that back door because that’s where your artwork is.

And he walks up on stage and there was 2, 000 people in this auditorium. He was the next speaker. You know who he was? You there. I apologize. I thought the question was rhetorical. Oh, no, no. I said, I said, did you know that this man. I said, you know who he was? He was Al Bilik, the last remaining survivor off of the Philadelphia experiment. Wow. And. And he’s, he’s. He’s standing on stage and he’s sipping his water and he’s telling everybody, look, I’m sorry, I’m going to take me a couple minutes to get, get, get back to normal here.

He says, I’m so. I was emotionally taken. Just emotionally, completely taken. And he says, I’ll explain to you. He says, that man out that back door, that back door, is that that artwork out there with the cities carved in acrylic? Those are the same cities I saw when I was lost in the vortex of time. And I went, oh, this just gets better. Wow. Incredible. Unbelievable. I, I was, I, I was speechless. I mean, for me to have an ego in this mess would destroy me. But for me to be grateful, I get one after the other after the other after the other.

And it’s just wonderful. It’s like a gift from God. And because that’s who I go to for my creations anyway, I don’t have anybody to talk to. I’m alive alone. And I spend most of my time talking to creator because, I mean, where are you going to get your answers anyway? You know, just comes natural to me. And that, that was one of the biggest mind blowers of my life. And My doctor today, Dr. D, she took Al Bilik in and she took care of him. She’s a naturopath and she took care of him for about six, eight years.

And she built property, she built him a cabin on her property for him to live in while she took care of his health. And at the time that I met him, people don’t understand the, the time frame he’s dealing with because the Eldridge was, was tried to be cloaked. Now, Nikole Tesla didn’t want anything to do with the experiment of the Eldritch because he said it’s not going to work. It’s going to be a catastrophe. And he didn’t want any part of it. But they used his technology and they wanted him to supervise over and he wouldn’t do it.

And anyway, when it went south, everybody realized why, because all the men, all the crew melded. Their, their material mass had such weight. It just melted down through the steel. Okay. And then the generator broke and killed them all. They were all stuck in the walls. They were all stuck in the floor. And when Al and his brother started feeling their feet sink down through the floor, they jumped off the bow of the ship. The next thing you know, the ship disappears for a minute, then comes back that little time frame. Al was gone for about four, maybe 14 hours.

But in the our timeline, he was gone 44 and a half years. That is absolutely phenomenal. That’s time travel beyond your wildest dreams. But it took, it took all that time for the, the defense complex to learn how to pull him out of the vortex. And they did it at Area 51. They got him out of the vortex. And here I meet the guy later, when I met him, he was like 148 years old, living on two, two military retirements. My gosh. Mr. Murray, as, as I’m listening to you recount these stories and some of the things that you’ve been Associated with or in the orbit of.

I just find myself increasingly more convinced that it really is a world of miracles and wonders out there. And we’ve just not, you know, had the eyes to see, for lack of a better expression, to wrap our heads, our hearts and our spirits around that. I mean, is that a fair assessment of how you would look at things? It’s very fair. What I realize is that if you don’t recognize something, you won’t see it. It’ll do. Because if you look at how many bits of information we’re into every day, and we can only see 4,000 megabytes and we’re like billions of megabytes of reality around us at all times, and yet we can only see so much.

And it’s, it’s our DNA. It’s what. It’s how we’re made. It’s the way we’re made. And it. I’m learning more and more every day. I can’t stop learning. It’s just too much fun. It’s just too much fun. So, Mr. Murray, I just have to ask, with respect to your background, you know, you’ve got this long standing history in the art world. You’ve hobnobbed with a lot of movers and shakers at very high levels of society. Society. You’ve got a background in, you know, Air Force radar analysis, if I’m to understand correctly. And you’ve witnessed all these types of events which you’ve described for us here today.

So I think you sort of offer a unique perspective to ask this particular question to. And it’s with respect to non terrestrials actually being here, living on Earth with us, you know, perhaps even living amongst us to observe, evaluate, sort of keep our public temperature at that. At that what you would almost call like an interstellar political level, for lack of a better expression of it. So bearing all that in mind, you know, we hear stories like that all the time. What do you believe is the factually accurate case of what the truth is behind that particular postulation? Well, I believe I’ve met some when I did a show in Anaheim, California.

I think it was Anaheim, California. This lady, beautiful, just, just an absolutely stunning elderly woman, walks up to my booth or up to my main sculpture. And this was at a spiritual event. And she was wearing gargoyle sunglasses. And this is just after Terminator came out. You know, the big gargoyle glasses that wrap around your head. Indeed, she was wearing those. And. But you could feel her and she had such an essence. Like when she came close to You. You could feel from her, and it was just beautiful. It was. It was just like love. And she was just so kind and so peaceful.

And when she looked into the artwork, she just lit up. And. And she looked over at me, and I could see behind the glasses, and her eyes stretched all the way around. They were huge. They’re huge. So I knew she wasn’t from here. And I said, what does this remind you of? And she looked at me and said, almost like home. And I went, cool. And she says, I have to go. And she goes out the maintenance store. I’m going, whoa, whoa, wait a minute. I just. So I told my friend Ed. He was standing there with me.

I said, let me in the door. When I’m going to follow her out, I want to talk to her. I followed her out into the hallway at a convention center. And when I got into the hallway, you could look that way, as far as you could see. Is that way as far as you could see, and down this hallway as far as you could see. And she was not there. So I just nodded my head and I said, thank you, God. At least I know some of them are wonderful. And I went back into the show.

I mean, I just left this stuff because this is just. How do you. How do you. How do you tell people this and them not think you’re a wacko? Well, people think I’m a wacko anyway. But anyway, you know what I mean? I lived with wacko. I should wear a shirt says wacko. I think we’re all learning that with many patriots out there, we have to show first and then tell. Yeah, I tell you. I tell you the funny part. I did a show for kids. I love doing the shows when I’m signed up with the sheriff’s department, where I can take my artwork into the schools.

And I did a show for kids, and all these kids come out, and I mean, and they’re. They’re young, but we put it on lower tables so they could all stand there and look at it. And they were. Some of the things they say is so cool. But when I’m at a big show and a mother’s holding a baby, and the baby looks at the artwork, and you see this face just light up with a great big smile, and mom goes to take the baby away, and the baby starts crying, no, no, I want to go back.

I want to go back. And so that’s telling me that. That they just came from where we’re going to in time, you know, because evidently we come through these birth Channels. When you come into this matrix, you’re coming through the birth channel. This is God’s matrix. This is how it all works. And it’s all a mystery. That’s the beautiful part about it. It’s a complete mystery. And you get to make up your own life. And somebody asked me, says, how would you describe Earth today? And I said, well, it’s described very well in the movie Field of Dreams.

You come here, you can dream about it, you can build it, you can do it. And it’s, you know, I didn’t get that thing in my ear that said if you build it, it will come. No, I just, I just built it anyway because it was, it was something that I could do and do very well being dyslexic. Okay, I can’t read worth a damn, but I can carve a piece of acrylic like you wouldn’t believe. The biggest part I had was trying to explain to people how I got it in there. They go, well, how’d you get that in there? And I told him, well, I drilled it with dental drills.

No, no, no. How’d you stuff it in there? No, no, no, I drilled it with dental drills. So I figured some of them you just can’t tell. They gotta figure it out. You gotta figure it out. So next. You know. But you know, you can’t be rude to people. You gotta. I enjoy showing them and teaching them what I do. And that’s why this next piece I’m going to do, which is the most monumental piece, I think, in the history of the world. And that’s going to be Q. I got a 20 inch in diameter submarine window out there right now.

It’s five inches thick. And I’m going to polish it all up. And I’m going to walk you, everybody through how I do it. Everybody wants to see how I do it. I’m going to show them how I do it, but I’m going to show them how I do it through the truth or movement. It. I want them to see it from you. I want him to see it from the people that. Because you need to support. Everybody needs to support. And then I’ll start showing at conventions and start bringing out. I’ll start bringing out full shows.

I want to do full shows where I’ve got 10 or eight pieces out there. A lot of people don’t realize how, how this acrylic is made. It’s incredible. It’s. It’s quite a history. It’s. It’s quite a thing to see. And I Just want to share that with everybody. Everybody loves it. I make my living off selling the posters off these things. I mean, I do sell sculptures, but they’re pretty expensive. They, they get up there in the, in, in the high dollar range. But because of that, I got introduced to certain people, like Videl Sassoon, for instance, who had five of my pieces.

He even bought one for Sammy Davis Jr. For a charity that did. He didn’t raise money for one of his charities. He bought a piece for me to give to Sammy Davis Jr. And he was a trip. Sammy Davis was. And Phyllis Diller was a trip. I loved Phyllis Diller. You know, I, I, I went to when she was at one of my shows at the Beverly Hills Hotel, and, and she’s standing there, and I went, oh, my God, Phyllis Stewart. I thought, I went and told her, I said, you know, I think you’re the funniest woman in the world, right? So she sticks her hand in my left back pocket and pinches me on the button, says, where are we going? Your place of mine? She just hilarious.

But I told her, I said, you know, I saw you on Johnny Carson and you did something that he cut you off, and I don’t know why. And she said, well, what was it? I said, you were talking about having so many facelifts that you got to wear turtlenecks now. And she started laughing. She says, yeah, you saw that? And I said, yes, ma’ am, I did. And she said, would you finish that sentence for me? She said, I gotta wear turtlenecks now because my nipples are showing. And you, and you couldn’t use the term nipples on television.

Oh, my word. So I got censored, you know, and it’s a lot of, I, I had a lot of fun. A lot of Hollywood celebrities that just really liked my artwork, but Fidel really liked it. And I would give, I would give talks at Videlsa Soon’s Home about my experiences in the Air Force and what I felt. And I had a bunch of videotapes and stuff that I, I had from actual encounters that people had. And they took the videotape, we copied them before we let them turn them over to the military. And it, it was, it was, it was so much fun.

And when I went to the US Festival, I did a big show at the US Festival, and I was a quarter of a million people at a concert. Woodstock west, put on by Steve Wozniak. Never knew who the guy was. But anyway, we had our own big tent, but there was no floor in it. And I had my furniture there, and I had all my artwork, but I had to cover it with sheets. And I’m laying on my couch out underneath this hot tent, and this guy walks up, little guy with a beard, and he goes, well, what is that you’re laying on? So I pulled it off there.

He goes, holy crap. He saw my. My couch. He said, this is beautiful. I said, thank you, sir. He said, well, what are these for? And they’re my stick men, which whole artwork, you know, and I’ll show you those a little bit. And I said, well, those are to hold my sculptures. So he says, well, show me one of your sculptures. So I had 50. I had 50 caliber ammo cans where I would take my sculptures and I had a foam line and I would wrap my sculptures in towels and stick them down in this ammo can, because you can’t.

You can’t beat up an ammo can. And it kept them safe. And I pulled one of them out and he looked at that and I showed him the bottom and how it’s done and explained it all to him. He says, in about 20 minutes, there’s going to be a flatbed truck pull up out here, and there’s going to be about 20 guys and they’re going to take and lift everything up on that flatbed and we’re going to move you over to the air conditioned buildings. And I went, oh, thank you. You know, and come to find out when he.

I was right between Scientology and MTV, right there at the exit 20 foot booth. And I went, oh, my God, this is even better. And I’m. It’s nice and cool inside, and it just. It was great. And come to find out that was Steve Wozniak that did that. So I went and met with him later and gave him a sculpture. Say thank you. But as I’m unloading the artwork out of the ammo cans and putting it on my. My pedestals, you know, this one guy standing there, and his name was Cliff, Cliff Clifton. Buck Kaufman. I’ll never forget that, man.

He was the greatest guy in the world to me. He owned Prairie Sun Recording Studio, which published the Grateful Dead. And he was such a wonderful guy, really smart, and he. I pull out a piece of artwork. He goes, well, how much is that? And I’d say 700. And he pulled a lot of money out, and he counted off seven 100 bills. And every time I pull one out, he’d start counting them off. And finally he just bought my whole show. But there’s one guy, one Guy came and says, no, that. That’s not fair. That’s not fair.

He says, I want one. So I said, it’s up to you now. Can pick. Let him pick one if you want. He said. So he told him. He says, pick one. And the guy goes over and picks one. And he goes, no, not that one. Take the one next to it. He goes, okay. So the guy took the one next to it, and here we are at the US Festival, where cash is going to be kind of, like, hard to get a hold of. Well, I’m sitting there with $10,000 in my pocket. Now, I don’t care about cash.

I want him to have a piece of artwork. So he says to me, do you mind if I give you a check for $400 and keep the rest of my money here so I can eat while we’re here at the conference? And I said, absolutely, go right ahead. And I looked over at Cliff. This is canning. And Cliff nodded his head yes, and I said, thank you. And I shook his hand and I wrapped it up for him and put it aside for him. So when he came back that evening, he’d get it and take it back to his trailer and.

Just incredible. And then I ended up meeting with some very, very powerful people that came to me and come to find out these people had the largest trusts in the world, and they were just fascinated with my artwork. And see, it’s the history of artists like Picasso, Renoir, Monet, all of them. All of them met with the Rothschilds. Rothschilds would buy their artwork. Okay, then, now I’m meeting with the rich and they’re buying my artwork now. And I went, wow, this is great. And come to find out this. This one gentleman, his name was Johnny I.

Powell. Okay, Remember that name because that was Lyndon Bain Johnson’s nephew and John F. Kennedy’s best friend. And everybody, Johnson’s family hated him. They all hated the guy. And. And JFK gave Johnny Powell a directive to go out and find all of the tovs. And we talked about this a little bit. Treaty of Versailles boxes, which were what the Federal Reserve used to print the fiat money. These were the gold certificates of all the gold that America owned. And they. They tried. They just. They hijacked everything that was from 1913. Each one of these boxes had $3 trillion of 1913 gold certificates in them at $42 an ounce.

$42 an ounce. Think about that. And they had $3 trillion in each one. And there’s 475 of these boxes. Do the math. That’s a lot of money. That’s America’s money, and it was stolen from us. And I’m going to be meeting here soon with a couple guys in the, in the financial world who try to explain that the, that the, the Federal Reserve duplicated the bonds and they did, and they use China to duplicate them. Now you got two sets of 475 boxes. And that just, that just tipped the scales of everything. That just put us into ruin.

That put us in a downward spiral from Right then, from 1913 on 1971, when we went off the gold standard. It’s when it all started happening and took us to ruin almost. And thank God for President Trump. And I made that. I made this sculpture for President Trump. You want to show everybody what the sculpture looks like? Absolutely, please. Yeah, I can see. I pull up a video of it. Yeah. If you go to the gallery and you hit gift for the president right underneath the gallery and you print that, it’s a three minute presentation and explain how I build it explains everything.

And I built it for the American people, for their president. Let’s go ahead and take a moment and we’ll go through that before we move into our closing segment here. Okay. Mr. President, my name is Richard Murray. I’m a sculptor. I carve space cities in acrylic with dental surgical tools that if you’re 18 of an inch tall, you’re 6ft tall in the art circles. And in some circles at NASA, they call me the Spaceman. I built this sculpture for you for your birthday. On behalf of all the patriots in the United States that love you, vote for you, and care about you and what you’re doing for our wonderful country, I’m going to show you.

This is an acrylic submarine window made by Reynolds Polymer in America, the best acrylic company in the world. Everything you see has been removed. So now I’ll show you the top. Now let’s take a look at it. Happy birthday, Mr. President. Boom. There you go. That is an incredibly complex piece of art, Mr. Murray. I have to say, just call me Richard. That talked me. It took me two and a half years to do. But you see, I came home to take care of my parents because they were getting old and they were coming apart. And I decided to come home and help them and work with them until the day they died.

And I did. I took care of them. That was my job. And I worked on this in the garage. I turned the garage into my studio so that while they were in bed sleeping, I could go out there and work. And it took me two and a half years. And the trick to it is I go out there, I start on it, and I stop, and then I go back out there and I sit down for a few minutes and I say it’s time to go for a walk. And I start walking around in the piece until I find where something needs to be fixed or finished.

And I just work on it, just a little piece at a time. I’d put two, three hours in a night for two and a half years. And I like this excerpt from your website. When Fox News Channel called the election for Biden, I went into the studio and took the sculpture over to the routing table and carved 45 into the bottom and turned Fox News into a farm. That’s right. Have not watched them since. Yeah. So, Richard, I, I just have to ask then. You know, we’ve gone through all of your history, we’ve seen this artwork, your experience with, you know, very sensitive information, high levels of power, you know, learning all sorts of things along the way that I think add to the broader picture of what’s really going on in the world and how the world really, truly operates.

So as we go forward here in the United States, we know the disclosure is continuing. We know the D class is continuing. This Trump presidency that we’re under right now. For example, President Trump has talked about establishing a truth and reconciliation commission at different points along the way. What are, in your opinion, what are the most important things for patriots out there to remember as we go through really understanding who we are, where we’ve come from, and where we’re eventually going? I think what we need to do is to understand who and what we are because we as human beings are made in the likeness and the image of the creator God.

We came through his birth channel. And as far as we know, every alien source that comes in that tries to, to alter that, they got to grab us to do it. Because our DNA is the royalty of the galaxy. There’s human states of existence throughout the entire galaxy, period, everywhere. And when that, when they try to alter that, that’s. That’s where it’s a, no, no. Okay. You can’t do that. That becomes evil as we, as we call it. I think the American people are some of the greatest people in the world. I think the people on this planet, once given the opportunity to get away from the, the chaos and, and just, just the stuff that’s put upon us, to put us in survival mode, we need to come out of survival mode, get rid of the ptsd, we’re all brothers and sisters.

And if there’s anything that I can do. When I asked God, what do you want me to do with this? Because I kept asking him questions about the galaxy and how it works. And what he came back to me with, in an intuitive statement, says, then you build me a galaxy. You build it. So I did. And what I’m doing is that my whole galaxy has to be built on the basis of gratitude in order for it to mean something. Every single sculpture I made, I made out of gratitude. The big ones, all of them. And I think that’s probably one of the most important things we can all do, is to be grateful for who we are, be grateful for what we are, and be grateful that we have a chance all grow together.

Especially with the president we have now, he’s tearing it up and he’s going to give us back our lives. And we have to. We have to stay focused on his agenda because we gave him an agenda and now he’s giving us one. And we have to rebuild our communities, we have to rebuild our societies, and we have to rebuild our cultures. And we need to do it together, all of us, together. But we can’t do it unless we have a good, almost family type relationship with law enforcement. And they got to be on board with us.

We got to be on board with them. There’s got to be a pact and a friendship between those and a trust so that we can move forward collectively and move forward graciously. Now, there’s a lot of idiots out there. There’s a lot of people that are at different levels, you know, of understanding and different levels of. Of of life. And we need to give them credit where credit is due, and we need to stop their nonsense where the nonsense is there. And I think we can do it. I think we can do it. I got. I got big plans for helping a lot of the groups and a lot of things, and it’s only through the sale of graphics am I going to be able to do that.

But I’m giving biggest part of the profits to them. I don’t need all that money. It’s. It’s for them. It’s for us. I built this for us. Let’s have fun with it. Let’s enjoy it. Powerful. Oh, please. I’m sorry. Sorry, I didn’t mean to cut you off. And let’s grow into a new future together. Powerful and incredible indeed. I have to say, Richard and I also want to thank you very much for joining the show today. We’ve had a couple of connectivity issues. So for the audience out there, I hope you bear with us as we work our way through that process.

Richard, remind us again where Patriots can co can go to reach out and contact you, potentially support your work and certainly see what you’re doing. Well, they can go on my website which is www.richard murray’s and that’s with an S M U R R a y s galaxy.com richardmurraysgalaxy.com Fantastic. Go in there and play all around. I got some of my shirts in there, my posters are up. I’m getting ready to put on another poster in there, but I’m getting ready to start putting some video in there of Q. When I start building Q, that’ll be the final masterpiece of mine.

Of Q, a more fitting topic I don’t think could be divined. And for the audience out there, I hope you very much enjoyed the conversation today on this 172nd audio chat. If you’d like to reach out and learn a little bit more, you can navigate to Richard murraysgalaxy.com or look at the links in the description box below the video. This is SG and on. I’ll be back with each and every one of you again soon on the Q News. Patriot. God bless everybody. Stay safe today. Thanks. Bye bye.
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