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May 10, 2025 - Project Camelot
57:57
RICHARD MURRAY, ARTIST, AIR FORCE RADAR SPECIALIST
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Time Text
Music playing
Music playing Hi, everyone.
I'm Carrie Cassidy from Project Camelot and very happy to be here today.
So I have a very interesting artist, very unusual artist, Richard Murray, here with me today.
And Richard, I'm going to let you introduce yourself.
I saw from your bio you had a very sort of unusual introduction into the kind of art you do, if I understand it correctly.
And so I want you to describe that.
That event and how it changed your life, but I also want to say that you do have a background in the military, so maybe you can start from there.
Well, actually, everything started in the military.
I was in the Air Force.
I went in the Air Force when I turned 18, and I ended up getting into a vocational trade, which was air conditioning and refrigeration.
Okay, this is a backup recording.
Okay.
And I got into a trade and a vocation, which was air conditioning refrigeration.
But I specialized in some very special type of air conditioning, the 400 cycle for radar vans, and also for the big, big, big giant air conditioning systems they have for major buildings.
And when I graduated from tech school, I graduated the top 10% in the school.
So I was given base of choice.
And of course, I was married at the time.
I married my high school sweetheart.
And I asked her, I said, where do you want to go?
We can go to Japan.
We can go to Germany.
We can go anywhere we want to go.
Where do you want to go?
And she says, I want to go home.
So I ended up going back to Tampa, which was a good thing.
I went back to Tampa and ended up working and taking care of Strike Command at MacDill Air Force Base until they transferred me out to a mobile radar unit.
Which was the 71st TAC Control Flight, which is a spin-off of the 729th Tactical Control Squadron, Total Mobile Radar Group.
And we ended up being a forward air controller with the mobile radar.
And we ended up...
Going to remote locations and setting up radar and running radar operations for 45 days at a time, six months at a time.
I never knew what we were doing until I found out what we were doing.
Because our first TDY, temporary duty, was in Bonifay, Florida in 1971, the very end of 1971.
And we set up radar on the top of a cornfield.
It's the highest point in the state of Florida.
And from that highest point in the state of Florida, we were running our azimuth on our radar all up the East Coast and all the way out to beyond Texas.
You know, that whole sweep, our sweep was pretty wide.
And later I found out that we were the ones that actually authenticated, or what's the word I want to use, verified that Jimmy Carter had UFOs over the White House because we ended up tracking them, okay?
Why?
I didn't know why.
I didn't even know that that had happened.
You know, they don't tell us anything.
But, you know, being the air conditioning guy and hanging around for a while, you hear things and you see things.
Because I'm in there with the scope dopes.
And then the crypto is at the other end of the van.
And it's behind a curtain.
And you start to learn things.
And come to find out later that we had the capability of tracking and monitoring UFO activity.
So they ended up using us for that.
Our first mission was Bonifay, Florida.
Our second mission was Hilo, Hawaii, the big island where we were stationed in Pahoa for six months.
That was the most beautiful part of the world I've ever been in.
I fell in love with Earth when I was in Hawaii.
And then we'd go back and forth to England Air Force Base every two weeks for the rest of my career in the Air Force monitoring the Gulf Breeze incident.
So that's kind of like how I got started.
But my commander My major milks at the time.
He was such a cool guy.
He was a nice little old man.
You followed the rules, you did what you needed to do, and he'd give you the kudos and the okays, and the rest of it, you just take care of yourself.
And he was just a great guy, and he was a jeweler.
And that was his hobby.
And he was getting ready to retire from the Air Force.
So I got a set of torches for him.
I'd take with me anyway, part of my kit.
And I'd set up torches and stuff like that for him to work on his jewelry while we were in the tents, you know.
Because that's what he liked to do at night.
And that's how I learned.
And I started using dental drills to work on jewelry with him.
Because it had nothing to do when you're out in the middle of the field for 45 days.
I learned how to use the dental drills, and later I had an accident that caused my artwork.
And here it is right here.
This piece of acrylic was the actual piece of acrylic that I started my whole career with.
It's like a one-inch diameter piece of acrylic, but I took the dental drills and I was carving this way, downward, to make a ring stand for my jewelry.
Because I started making jewelry, which was fun.
But I made a ring stand where I could have it in a display case and have colored lights underneath it.
But as I was carving it, the phone rang in the studio, and I reached to grab the phone, and I fell out of my chair and pulled this down with me, and I just hit the dirt, and I hit the ground, and a pallet fell over.
Light fell on the back of my hand and was burning me.
And when I pulled away from it, the light shined directly down on what I was carving.
And I could see what I was carving underneath there.
And it looked like a rock mesa off the Arizona freeway, about 500 to 1,000 yards.
All perfect detail.
And I went, whoa.
I really, really saw that.
And I got up and brushed myself off and took the piece of artwork outside my studio where I could get out of the dust.
And I'm standing underneath a streetlight, and I'm holding the piece.
I'm holding it like this now, looking at the mercury vapor light from the streetlight, which is pure white.
And I'm looking at the piece, and I was just blown away.
And all of a sudden, I see my shadow is constant on the ground, but it's flashing orange on both sides.
And I didn't know what the hell was going on.
This is when I lived in Orlando, and we're only 40 miles from the Cape.
And NASA sent off the Pioneer probe at like 2 o 'clock in the morning, on a Saturday morning, and they used an Atlas Centaur package to get it into space, and that's a big orange ball.
That's a big orange flame, not a cloud in the sky, and it just lit everything up, and that was like a turning point in my life.
Once I saw that and looked at the piece of artwork, it's like I got hit with just a force of energy that just felt like gratitude just pouring over me.
And I was like charged up for several days.
And I had all this acrylic and I started working on all of it.
And after that three days, I mean, I couldn't sleep.
I just had so much fun just working and creating.
I never had an experience like that before.
All of a sudden, I'm done and I got like a half a dozen real small pieces of artwork.
And I took them over and showed them to the people that were next to me, which was the Jeremac hair industry.
And she's such an art collector.
She flipped out.
She gave me a blank check for $500 to go buy more acrylic, start my career.
And it was such a wonderful thing.
I was so grateful for her.
And her husband was a doctor.
Took those 12 pieces over to the hair salon where I used to sell my jewelry.
And I showed them to everybody there and they all flipped out and they all took them.
And so I said, well, I got to go.
I'm starting to wear down now after three days, you know.
I'm starting to wear down.
So I said, let me get them back so I can go home and go to bed.
And they said, well, how much?
And what do you mean how much?
How much you want for it?
Well, to make a long story short, I walked out of there that day with $1,125, which paid my rent, got me some food, and I could make something to eat and go to sleep and start all over again the next day.
So that's how it all started.
Now, I don't understand when you say it shined inside the acrylic.
What was happening there?
The light.
The light shined inside the acrylic.
Right.
From the streetlight, it shined down.
I don't have a flashlight here.
Yes, I do.
Are you talking like refracting?
No, I'm just talking about light.
See how the light shines on it?
Yes.
You can see the instrument in the bottom.
That's what I saw from the light above.
So when I got really inspired off of that, I went in and I put a set of stairs in there and I already had all the drills to do everything.
So you weren't hurt though by that?
No, I wasn't hurt.
Hell, I didn't even feel a thing.
I was more inspired than anything else.
Okay, now I want to back up a little bit here.
You talked about actually being involved with radar and tracking UFOs.
Right.
What years was that in?
1971-72.
Okay.
That was during the fuel crisis.
I see.
And that was above top secret, I assume.
They didn't publish this with the...
I don't know if it was above top secret.
I actually found out what we were doing there because Bill Cooper exposed it openly.
OK, so he did he went to the press or what happened?
No, he openly when he started talking, he was actually giving a conference at JPL where I was doing a show and he starts talking about what we did.
And I'm going, who is this guy?
You know what I mean?
I'm walking up.
I just walked right up to him when he was on stage says, you know, who gave you permission to talk about us?
I was keeping the secret, you know, and I didn't want to keep it anymore, but I kept it.
Okay, but you were told it was secret what you were doing.
Yeah, absolutely.
And you were tracking UFOs.
You were told you were doing that.
The group was, yeah.
I got in a lot of trouble when I asked the commander, how come we know where they're going to be every time we go out?
And what was he asking?
Shut up.
Don't ever speak that again.
Oh, well, okay.
How come you didn't know where they were going to be?
I don't know.
They knew.
We didn't.
I was the air conditioning guy with the radar group, but, you know, I had to go along with them because I was assigned to them.
So, in essence, you were tracking UFOs.
It became known.
Did it become known in that year?
I don't know who this person is, Del, that you're talking about.
Bill?
Bill Cooper?
Yeah, the person who was speaking about it.
Yeah, Bill Cooper.
That was Bill Cooper.
Oh, Bill Cooper.
I didn't understand the name.
See, I didn't know this, but we had...
The Bill Cooper.
The Bill Cooper, yeah.
All right.
Now, did you have the understanding at the time that these were alien craft?
Nope.
I didn't.
I figured as much because we don't have anything like that.
Okay.
So the technology was clearly...
Was it flying saucers or was it any other kind of craft?
No, they were flying saucers.
They were perfect, too.
How long did you do this for?
Six months.
And that's it?
No.
After that, we came back to MacDill Air Force Base, unpacked, repacked, and went right straight to Egland Air Force Base up in the panhandle of Florida because of the Gulf Breeze incident.
Okay.
I remember the Gulf Breeze incident, but what did you have to do with it?
I took care of the air conditioning that kept the radar cold.
Okay, but I didn't mean that like literally your job, but what I meant was, what did your group, like why were you sent down there again?
I don't know.
Well, I don't know why we were sent there.
Every time we went somewhere, we saw something.
They kept sending us on TDY, but we kept going TDY back and forth every two weeks for a solid year from Tampa to MacDill to Eglin Air Force Base, from MacDill to Eglin.
And we'd spend two weeks there and then come back home for two weeks and then go back up for two weeks.
Okay, but I guess I'm trying to understand, did anybody explain anything to you, or you just did a job without knowing what the purpose was?
Exactly, I did a job not knowing why we were supposed to, I don't know why we were there, but when we were there, you know, the radar guys start talking, and everybody starts talking, and the command doesn't, we don't talk to them about it, because they yell at us when we ask them.
That is incredible.
So you're tracking UFOs on a regular basis with radar, right?
So what does that exactly mean?
I mean, you track them.
Does anything happen as a result of you tracking them?
Well, they don't interfere with us, but we actually monitor them.
We see them and we track them and we digitize it on tape and send that off to ONI.
So in other words, it's being recorded.
Right.
We had a state-of-the-art cassette deck that had 72-hour tapes in it.
And those tapes would go over to ONI over on Oahu.
And that's where Bill Cooper worked.
So was he somehow in charge?
I don't know.
I don't know.
He was with ONI.
I was with the 71st.
So I just, I had to stay with my little group.
But, you know, you see things and you start asking questions, but you got to be careful when you're asking questions around these guys because they want to protect their retirement, you know?
I see.
But what, in other words, so you're tracking these UFOs.
They're going, they're appearing in these particular areas and you know ahead of time they're going to show up.
Is that right?
Evidently they do because that's why we were there.
Well, let me tell you why we were there.
I found out later we were sent to Hilo, Hawaii.
We were on the outer marker of all the airports in Pahoa, which is between Mauna Kea and Manaulu, you know, on that pass through there to Kona.
And two flights left the United States heading for Oahu.
And one left from San Francisco and the other one left from LA or San Diego.
And in mid-flight, they were all surrounded by UFOs and they were tracked and they were being watched by UFOs while they were flying.
And when it came down to it, they ended up being 600 miles off course and were running out of fuel and they had to land in an emergency situation in Hawaii.
And after that happened, there were so many witnesses to that that they called us out.
We were the most...
Available mobile radar that was rebuilt.
We were totally brand new after the 729th got annihilated in Vietnam.
Okay, so you're following...
UFOs are showing up around flights, going to Oahu and the Big Island?
From the United States, from the mainland.
Sorry?
From the mainland, from the mainland, they were being observed by UFOs.
The craft were flying next to the plane.
Because you know that there's a, well, there's a huge gray base under, I think it's the main island, actually.
Well, we noticed that.
When I went up to the observatory on Mauna Kea, you could see them in the water because it's high noon and you can see two, three hundred feet deep in the water so easy.
So why is Congress asking about UFOs?
If you were tracking them on a regular basis in the 1970s.
Well, you know, this has always been an issue, but, you know, I didn't want to stick my head up and get shot at.
Especially, who do I talk to about it, you know?
Until I met Bill Cooper, I didn't have anybody to talk to about it except Wendell Stevens.
And Colonel Stevens was one of the people that ended up viewing our tapes as well.
Oh, really?
Oh, yeah.
I worked.
I liked Wendell.
He was very knowledgeable.
He was a collector as well.
Oh, well, when he was working on the Billy Meyer case, when I left the Air Force, I sought him out.
I didn't meet Bill Cooper until Wendell.
He lived by Bob Dean in Arizona, isn't that right?
Tucson, I think.
Okay.
And what a neat guy.
Yeah, he was a collector.
He had a huge collection that got bought by this guy named John Rau.
Oh, really?
I'd love to get a copy of that collection.
Yeah, obviously very valuable.
Well, I probably, I mean, I think it ended up with CIA, but that's very interesting.
So did you learn a lot about Bill Cooper and his background and what he knew and so on?
Well, yeah, I became friends with Bill.
I mean, first I was upset that he was exposing.
You know, he was breaking my secret, so to speak.
But Bill Cooper did something for me, and him and Videl Sassoon both did something for me that just helped me out so much.
I became an alcoholic, trying to hold a secret.
And, you know, I just couldn't hold it that well.
It made me very angry.
I said, you know, people need to see this.
People need to understand this is happening.
And there was nothing I could do about it as just one guy.
And Bill Cooper was there giving a talk.
And all of a sudden, he starts talking about us.
And I'm going, whoa, how does this guy know this stuff?
How does he know everything?
You know, I didn't understand that.
He knew everything that we did.
He knew things that I didn't know.
He knew he was an intelligence.
Absolutely.
He had acute clearance.
Navy intelligence, right?
Naval intelligence.
He's given this talk.
I don't know what happened to him.
I just stood up and walked right down in front of him while he was on stage.
I'm shaking my finger at him.
Who the hell gave you permission to talk about us?
He goes, who are you?
And I went, uh-oh.
Like, uh-oh, I just stepped in it.
Hope I don't get it on the carpet, you know.
And I said to him, I said...
Okay, so when you were tracking these UFOs, did you actually have any missing time or any contact experiences?
Well, I've always had missing time in my own life.
You know, in my own experience, I've always had missing them.
This is not the first time I've had a UFO experience.
My younger brother and I had UFO experiences when we were little kids.
You know, we lived on an abandoned golf course.
And we'd go out there and lay down in the field and look up at the stars.
And we've had a couple experiences, he and I both, my younger brother.
So when you got, did you, again, I'm not sure, but did you enlist in the military?
Yes.
Okay.
When you did, did they ask you about your background like that?
No.
I just went in on my high school, you know, background and all that kind of stuff.
Things kind of unfolded as I went through tech school.
And when I went through tech school, I had fun in the Air Force because I was a C student at best because I'm dyslexic.
That's why I can do this artwork so well.
I see everything backwards.
I see.
So when I went into the Air Force and ended up, I graduated top 10% of the school.
And I was given basic choice and I came back home and then I ended up in this.
Ended up in this whole thing.
And that was the beginning of a new life for me that was wonderful.
Right.
Okay, so how you say, when I asked you if you had experience, missing time, etc.
So even when you were tracking the radar, Were there experiences, even among you and the other men, where you might have been experiencing, like I'm saying, missing time?
Any incidents that come to mind that happened during that time?
Yeah, I went up to the observatory on Mauna Kea.
And, you know, there's a big observatory at the very top.
Right.
And I had to take winter clothes up there because you're down in the sun.
At the beachfront, and you go up all the way up to Mauna Kea, and there's snow on the ground, so you've got to have cold weather clothes on.
And I went up to the observatory, and I'm standing there on top of the observatory, and I thought it was so cool because from your very feet, you go all the way down to the mountain.
The whole mountain was underneath your feet, and it was fun to see just how big it was.
I mean, I could actually see our radar site from up there, but you really had to squint to see it.
And it was at high noon.
And I'm watching flickering in the water, but when I looked at it again, it wasn't flickering.
Those were craft traveling through the water.
And they were coming out of the abyss between the islands and coming out around the north point of Mauna Kea and heading out about five miles.
And then popping up out of the water and sitting just on top of the water and between the radar, the azimuth of the radar, you know, because back then we were ruining everybody's TV with that radar because everybody had antennas on and they're seeing it, which is the rotation six times a minute of the radar.
They'd come out of the water between that and just go straight up, gone.
And I went, oh my God.
That's when I first realized I just saw a UFO, a big one.
Personally, again, okay?
And I've actually seen a lot of them.
I don't...
They don't bother me anymore.
I don't bother...
I know they're there.
I know they're everywhere.
But did you have, like, in the missing time of any kind, did you have, for example, did you feel that you were abducted or you were dealing with grays or that sort of thing?
I...
Well, it's funny you should ask because...
I had a situation that happened to me when I was showing my artwork all over the world.
The places I could show it is Star Trek conventions, Star Wars conventions, spiritual new life conventions, and technical space industry shows.
Those are four major market shares that I would show my artwork in.
That's how I made my living selling sculptures.
Until I could find a better reason for why I'm doing it.
And when I'm standing there on top of Mauna Kea looking down in the water, I sit here and go, wow, this is awesome.
And when I did a show in 1982, it was called Denvention II.
It was the Worldwide Science Fiction Convention.
And I did a show there.
And they gave me a huge area to set up on.
I was blown away by the size of the area.
But before that happened, Ronald Reagan called Forrest Ackerman, who was the head of the Science Fiction Museum in Los Angeles.
Ronald Reagan became one of my clients.
When I did a show in Beverly Hills, he was there running for president.
And he gave his speech.
He loved my artwork.
And he gave his speech.
From my booth of running for office.
Right in front of all the artists, you know.
But the artists, it just went over their head.
They didn't understand anything about finance and what he was getting ready to do.
And Ronald Reagan single-handedly brought the art world to its best points because he loosened up the money.
And that's what it takes for people to get paid for their creativity.
And where's I tracking on this?
So I was asking you if you were exposed to any grace and so on.
Yeah.
And anyway.
I gave a sculpture that I made for Kennedy Space Center, and they...
Excuse me.
Let me get drink water.
No worries.
Kennedy Space Center kind of gave me a snuff, so when Forrest asked me if Ronald Reagan wanted me to see if I had a sculpture I would give to Russia as a gift, I said, okay.
Excuse me.
His throat's dry.
And I said, yes, sir, I do.
And so I took it over to Forrest Ackerman.
I packed it all up for him and took it over to him.
And I even wrote a speech for the Russians.
I thought that was great.
I'm giving a sculpture to the Russians, you know, as an American.
All the American science fiction writers were going on this special tour to the USSR to meet with all the Russian science fiction writers and stuff.
And it was more about plagiarism than anything else because the KGB, when they landed, and I think where they landed, I don't remember where they first landed, but from that point to where they went to Moscow, they had five checkpoints they had to go through.
All of their written material got confiscated the minute it arrived by the KGB and was put into a safe zone.
Because they don't allow it.
Are you talking about the writers?
The writers.
The writers' works.
Were confiscated by the Russians.
Right.
By the KGB.
And it was held in a free zone.
And it caused an incident, actually.
But Ronald Reagan got it all straightened out.
But meanwhile, my artwork was traveling with them as the only representation they had.
Because there's nothing written.
But every time they went to a checkpoint, it took about an hour and a half to two hours to go through the checkpoint because they would change the guards so that the guards could all see the sculpture.
It was a nice one.
It was about eight inches in diameter and about nine inches tall.
It was a beautiful piece.
What was it of?
It was a city, one of my cities.
Okay.
Okay, it was just one of my cities.
Okay, but what does that have to do with meeting with Grace?
It doesn't really have anything to do with meeting Grace.
What it had to do was meeting with the science fiction minds of our time.
I see.
And how much they appreciated the artwork.
And I was just honored that I could do something, represent America in a way that was monumental for me and monumental for them.
And Forrest Ackerman spoke about it.
I'm going to get on to that.
I know what you're after.
And yes, I know exactly what you're wanting to know.
About my missing time.
Excuse me a second.
Yeah, take your time.
It's, you know, we got, we got time.
And they were telling the whole story about how they had to go through all the checkpoints when they were on stage at the convention, science fiction convention.
I had a huge display there.
And earlier that day, four little old ladies came out, and they were looking at my artwork.
And I wondered why I had such a huge space.
It was spread out everywhere.
And they gave me like a 40 by 40 space.
So I set everything up and set everything out there.
And I had a meeting there with Orpha Shamoon, who was a known contactee that Jim Delatoso brought to us.
I used to work with Jim Delatoso as well.
And all of a sudden, these four little old ladies come out in their little sundresses.
It was like right out of a movie, you know, with little flowered sundresses and the little gloves and the hats and everything.
And they came out and they're walking around and this one lady is looking in the side of my table.
I had a coffee table that was there that was all cut from end to end.
It was beautiful.
She starts crying.
And I went, what?
She starts crying.
What the hell happened?
By the time I couldn't get to her, by that time I was getting up to go move towards her, all of the doors opened up on the hallway and I found out that I'm in the middle where the workout rooms for all of these science fiction writers are dumping out.
So now I'm flooded.
I got 60, 70 people there, and they walked off the distance.
And I didn't get to talk to them until later that night after I gave a talk.
And they came up to me later, and I went over to the lady.
She's so sweet.
And I asked her, I said, what happened?
You know, why did you cry?
And you know what she did?
She looked over at her husband.
She says, I've been married to this man for 50 years, and I never understood a damn thing he did until I looked into your sculpture.
And this is a science fiction writer at the quality of Isaac Osmanov, you know?
Okay.
And it just blew me away.
It triggered something in them.
And I've had that experience a lot of times.
Okay, well, maybe we should show the audience some of your sculptures now.
Then they can understand why that would trigger somebody.
Okay.
Do I have to hit?
I wonder if I have to hit share first.
Yeah, you do.
Okay, okay.
You just click that.
Okay, let me get out of this.
Oh, wrong, wrong, wrong.
Hold on.
Okay.
Damn it.
You're still there, Carrie?
Yeah, I am here.
I've kind of lost you here.
I'm learning how to do this stuff.
Okay, now I have your bio here, so I have a few pictures I can put on the screen if you like.
Okay, what I'm doing is getting done.
I got a podcast page where I was going to pull up my website and show you from my website.
Okay.
Here we go.
Oh, wait a minute.
I still got to get back to the...
Oh, here I am.
Okay, okay, okay.
I got you.
Now I hit the green.
All right, now I go down and find right here.
And here they are.
Oh, it's not doing it.
Why are you pulling it up?
Okay, so did you click the share?
Yes, ma 'am, I did.
That's the reason why I could get back out.
Okay, and then you can select which one of the show.
And I'll actually share right now, and that way you can take your time.
Oh, okay.
Yeah, there, you're on my website.
Perfect.
Well, this is actually what you sent me.
Oh, okay, that's from the resume.
It's on your resume, I guess you'd call it.
Hold on a second.
This is quite a large display here.
It looks like a city, right?
Right.
It's part of my galaxy.
Every single piece of artwork, big sculptures I've made, I made them out of a mode of gratitude.
Something happened to me that caused me a great deal of gratitude.
The Mercedes Benz piece, well, I had a Mercedes Benz.
I had an ML 320.
And got into an accident when I was returning home that just totaled my car.
And the sheriff told me when I'm standing there, he says, hey, if you were in another vehicle, this could have had a different outcome.
So at that moment, I realized, you know, I had a nice car, all that kind of stuff.
All that's just physical stuff.
I'm still alive, and I'm grateful.
Okay?
So I made the Mercedes-Benz sculpture.
And these are graphics that I made.
Off of the main piece that I have that I didn't have to show there.
I had the president's piece at the show.
And I'm trying to get on my website so I can show you the presentation to the president's piece, which would explain everything.
Just a three-minute presentation, but I don't know how to get it.
That's okay.
Well, you know, maybe we can give people your website.
What is your website URL?
It's www.richardmurraysgalaxy.com and that's m-u-r-r-a-y-s dot com richardmurraysgalaxy.com and that's my website.
So my whole galaxy is everything I did this piece that you see right here on the screen right now that was my first major piece that went around the world paid for by the Smithsonian.
And that piece was given to me.
The acrylic was given to me by Roger Reynolds, which owns Reynolds and Taylor Plastics.
And that was the first masterpiece that I made.
It's big.
It's 20 inches in diameter and six inches thick.
It's part of what we call a submarine.
When you're doing these, what you're calling galaxies, I mean, it does look like a space age kind of city, right?
Yes.
Are you envisioning these are, you know, houses, kind of like?
I'm envisioning them as being absolute, completely self-contained space colonies.
Every single one of them is self-contained.
Okay, very good.
And they're space colonies.
And I'm building a galaxy.
And later in life, I plan on having a GPS.
Tracking system to where you can go online and put your serial number to your piece and what you call it, and it'll pop up on a map that's mapped and tracked across the planet of the Earth.
And it shows where all of them are just by a dot.
You know, it's my own little galaxy, but it's a galaxy made of gratitude.
All right.
Fascinating.
Now, I can stop sharing here.
I actually did find your...
Your website, I think we could bring that up here.
I don't know if this is it.
Hold on one second.
I wish I knew how to do it from where I'm at.
Yeah, well, you just open a window, and then it shows up in the choices, so to speak.
So hold on a second, because I'm actually going to have to shut this again.
Close the wrong thing.
Because I've got your website here, so I'm going to put this on the screen.
And you see?
There you go.
That's the president's piece that's on there now.
But if you go up to the gallery, and you hit art gallery, and then you go gift for 45, you click on that.
It's right underneath the gallery.
First one.
Right there.
And that will take you.
Where's the sound?
Oh, you wanted to have sound.
Let me see.
I don't know if I can do that.
Hold on.
Yeah, I don't see.
I'm not sure how to get the sound to broadcast.
Yeah, there it is.
Okay, hold on a second.
My name is Richard Murray.
There you go.
I'm a sculptor.
I carve space cities in acrylic.
with dental surgical tools that if you're one eighth of an inch tall you're six feet tall.
In the art circles and in some circles at NASA they call me the space man.
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.
Incredible.
Now, let's take a look at it.
Happy birthday, Mr. President.
So that's lovely.
And is that what's on the screen here, rotating as well?
That was also in the background.
It was for Trump, right?
Yes, ma 'am.
And was Trump there?
No.
He hasn't even seen it yet.
Oh, really?
He's been a little busy, you know.
He's been busier.
What we say in our world, he's been busier than a two-headed cat in a galaxy creamery.
All right.
Well, that's...
Really wonderful.
And your work is amazing.
So in these experiences, like you're doing these acrylics sort of space cities, do you feel that you are going into perhaps past lives or future lives or what is your kind of...
I don't know.
I don't know how to label it.
But, you know, you're the first person that would understand it.
I get into a creative flow and it's like I don't belong here on Earth anymore.
I've never felt like I belonged here.
I've always felt like I belonged somewhere else.
When I'm doing the artwork is when I get the most relief from just being here.
You're kind of reliving or re-experiencing something.
I kind of think that way.
You recognize that.
Thanks.
I haven't been able to talk to anybody about it.
Who do you talk to this about but God?
I live alone.
I spend a lot of time just talking to God.
Well, it's very marvelous, and it's reminiscent of what one would expect.
It doesn't make space seem so forbidding, as it's usually described.
Good point.
Very good point.
Very well put.
But I tell you one time, I did a show at JPL.
That's where I met Bill Cooper.
And my best friend, Ed McCabe, who's an oxygen researcher, brought in this older man into my booth.
And he's standing there looking at my sculptures and he starts crying.
And I'm going, why is it with the crying?
I don't know what it is with the crying.
And I said, Bill, what's the matter?
He says, oh, this is not good.
He's the next speaker.
And I went, speaker for what?
He says, he's the next speaker.
And that's why everybody's in the big room there.
They had like 2,000 people in there.
So I asked the cocierge.
I said, would you give me some water, please?
So she gave me a little bottle of water, and I gave it to this man.
And he drinks it, and I said, what happened?
You know, tell me, what happened?
And he says, just come with me.
I'll show you what happened.
And I went, okay.
He grabbed me by the arm, and we go walking down the hallway and entered in stage left.
And he told me, you go back down there by the door where the exit is, because that's where your booth is.
He gets up on stage.
And he says, I'm sorry that I'm so distraught.
He says, but I'm just emotionally, totally emotionally taken at this moment.
And he said, out that back door where that artist, he's carving those cities in acrylic.
He said, those are the cities I saw when I was lost in the vortex of time.
And I went, oh my God, I started crying.
Was he a military guy?
It was Al Belick, the last remaining survivor of the Philadelphia Experiment.
Oh, I met him.
Yeah, he was a great guy.
My doctor was his doctor.
And she took care of him for about six years and built a cottage for him.
And he and I became friends.
And he told me, you quote me.
Very interesting.
All right.
Well, that makes sense, actually.
Yeah, everything started to make sense to me, too.
I mean, because then when I found out what the Philadelphia Experiment was, I went, oh.
Exactly.
Maybe I am doing something right.
No, that's fascinating, really.
So have you had, for example, you know, you show your, well, I met you at a conference where I was speaking, right?
So do you go to, you're going to these UFO conferences and you must have people coming up to you and, you know, having similar experiences where they recognize or feel they recognize the same in some form or fashion?
I did a spiritual conference once, and this fascinating woman comes up to my booth, and she's an older woman.
I would say she's in her late 70s, early 80s.
Very eloquent.
And you could feel her when she walked up, and I went, oh my God, this is incredible.
I've never been around a person that gave off that kind of energy.
And she was wearing gargoyle sunglasses.
You remember when those came out after Terminator?
Those gargoyle sunglasses, the ones that wrap around your eyes?
Well, she's looking at the artwork and she's just smiling big time.
And I said, do you like what you see?
So what does it remind you of?
And she looked at me with the glasses on and she says, home.
And when I could see behind her glasses, her eyes were like that big.
She was not from Earth, okay?
And I said, this is great.
But I didn't...
I didn't want to, you know, I didn't want to interfere with anything that was going on there because this was a pure lesson for me.
And she says, I got to go because she had to leave.
But she goes out the doorway that was right there by me, which goes out into the rest of the empty conference, the empty building, you know.
I told my friend Ed, I said, stay right here.
When I knock on the door, let me back in.
I stepped out right behind her.
She could look that way.
100 feet.
That way, 100 feet.
That way, 100 feet.
No woman.
She was gone.
So that's when I got chills from head to toe.
This is so cool.
I've had little incidents like this happen to me all over.
I'll tell you another funny one.
All these people in there, and they got their babies.
And there are babies that are in their arms, and the babies actually lean out of their hands and look at the artwork and want to touch it, you know?
And they just sit there, and the look on their faces is just amazing.
That's where I really fell in love with this art form, was to watch the faces of the people that saw it.
But the babies now, the mother goes to take the kid away, and the kid's going, I don't want to go!
And she says, wait a minute, what do you mean you want to go home?
It's like...
I don't know.
I've come to believe and understand that children are coming from where we are busy going to, like a cycle.
Yeah.
Well, that's actually very possible, I would say.
But you're the only one I know to talk to that would understand that.
Oh, well, I'm sure a lot of my colleagues could relate.
Yeah.
I don't know.
So, you know, I...
Don't want this to go on too long, but I want to, I'm not sure how long actually we started.
Is this an hour?
However long you want.
I'm here for you.
All right, because I think we're kind of going a bit over, but I want to ask you just a couple more questions.
So have you had, like when you were not necessarily doing the radar of the UFOs, have you had any actual Experiences or dreams or sort of in your own...
Dreams, yes, but no encounters.
No, no encounters that you...
Right, no encounters.
I had a scenario when I left the San Francisco, the Denver Fine Art...
Excuse me.
Hold on a second here.
Let me put my thoughts together here.
When I left Denvention II, which was the Worldwide Science Fishing Convention...
I was going over to visit with some galleries in San Francisco, and I borrowed my friend's car.
They took the van and the truck and came back home.
I took his car and was heading to San Francisco.
And there's a stretch of the desert there, and I just pulled off and went back off the road and started a little fire and put out a sleeping bag and went to sleep.
Okay?
I was so tired.
I was just exhausted.
But I needed the rest because I didn't want to try to drive.
The next morning, I woke up in a different place, and I didn't understand that.
And I woke up in kind of like a, not a rock pit, but it was all covered with rock.
And my car was there.
The door was open.
I was laying on the rocks outside.
And I got up, and I'm going, this is not where I parked, you know.
And when I looked, there was no trail where my tires would have run in through the rocks.
Okay, and then a California Highway Patrolman pulls over, and I'm standing there, and he goes, "Are you okay?" And I looked at him, I said, "Can you tell me how I got here, sir?" Because there's no wheel marks.
There was no wheel marks.
I had to drive out of there.
And those were the only wheel marks that were there.
And that just little experience.
Were you still in the vicinity?
You're on your way to San Francisco, you said, right?
I was still on my way to San Francisco, but I was a couple miles down the road.
Somewhere on that road, but a different area.
Yeah, a couple miles down the road.
Incredible.
But you didn't remember anything else?
No.
No, and I wanted to do hypnosis to see if I could come up with anything, but I don't go under that easy.
Oh, really?
Yeah.
Okay, and do you happen to have any marks on your body?
You know, sometimes they do experiments.
Where they put things like trackers on you?
No, I don't have anything like that.
Marks, that sort of thing?
No, not at all.
Okay.
Not at all.
And it just, my conscious level started thinking, I started thinking totally different.
And started realizing, I don't know, it's like a whole open, like a whole section of my brain opened up where I could start realizing certain things, you know, and having answers for questions that I've had forever.
And I'm going, wow, this is like awesome.
And I realized at that point in time that, you know, if I'm asking God a question, I get an answer.
Okay, hopefully it's from him, but I get an answer.
And it's always good.
I've never had anything bad come at me from that.
And I've never had anything bad come for me from any what I would think would be alien or extraterrestrial in nature.
I've never had a contact where I'm face to face with them.
I love it though.
I would really love it.
And I tried to meet with Alex Collier a couple times because he's an Andromeda contactee.
Right.
And a very knowledgeable man.
And we were in the same circuit, but it's like he's going that way in the hallway and I'm going that way in the hallway.
We can never connect.
And I'm hoping to connect with him now.
So I want him to see the artwork.
Who knows?
Maybe he'll see your artwork somewhere or, you know, he'll see this video.
I'm hoping.
Anybody who thinks about this kind of stuff watches you.
I mean, I wouldn't know anything about super soldiers.
I wouldn't have known anything about the secret space program if it wasn't for you.
Well, thank you.
That's good.
It's good to hear.
Oh, my God.
It's the most incredible thing.
What you do is incredible.
And that's why everybody just needs to be patient when you're asking questions because...
They're very specific questions and they're looking for a specific answer, which is going to give you the levels of truth that you want.
Right.
I appreciate that very much.
That's cool.
Okay, now one last question and then we'll let you go.
So, you know, you saw a lot of undersea UFOs and you're aware of like the base in the Hawaii area.
Did you ever experience anything where you had maybe a dream or a vision of being in one of the craft, undersea, in the undersea bases?
Is any of your artwork inspired by what might be actually on Earth, even undersea?
Yes.
Oh, yeah?
Yeah.
And I started buying acrylic that was colored acrylic and thick.
And you saw the pieces that I had on my display table where I had thick colors underneath them.
Yeah.
And I started building underwater bases.
And I go off into a dream state when I'm doing these underwater things.
Oh, really?
That's one of the reasons why I'm ordering a darker blue acrylic where I can build mountain range underneath the water and have a star base underneath it.
Excellent.
In the valley there.
That's great.
I'd love to see that.
Oh, you will.
You will.
Okay.
I'll always copy you with anything you need.
You've got carte blanche with me, my friend.
All right.
Well, that's really good.
I'm honored.
Okay.
Well, I had no idea what we were going to talk about today.
All I knew was your artwork that I saw very briefly.
And so you've got all sorts of information in your head, you know, I have to say.
And some of it's probably even unknown to you at this point.
Good point.
It's true.
I know that.
It's how you tap into the memories when you're doing your art, right?
Well, I'm doing some very good meditation classes with Dr. Joe Dispenza.
Okay.
And trying to get deep into that because I want to test people that look at the artwork.
There was a time where Videl Sassoon got me in touch with Midge Gold, who was the curator of art for Cedars-Sinai Hospital.
And I did a show at Videl's home, and she asked me to bring artwork to the child wing at the hospital at Cedars-Sinai for trauma kids.
And on the way in there, I had to park in the garages below and bring it up on a gurney.
And they had to take us through a room where it looked like she said there was an agency that was doing testing on colors and stuff for advertising.
Well, that was CIA.
And we took a shortcut through the room and they stopped us.
I had a towel over the sculpture.
And just because of curiosity, it lit up their screens.
But when the towel caught on one of the chairs and the towel fell off on the floor and I reached down to grab the towel, shake it, and put it back on the sculpture, the guy's banging on the window.
There's a big window at the end of the room.
And like there's 20 people in the room.
And they're all hooked up.
They're all hooked up to computers or some kind of monitor for their brain scans or whatever.
Oh, really?
Yeah.
And the guy goes, stop.
And he comes out of there and he goes, what is that?
What is that?
I go, that's one of my sculptures.
He says, hold on a second.
And the people are, he got a couple people looking, lean into it.
And the guy behind the window going, you know, they were getting real readings.
This was like amazing.
Okay.
And he said, do you mind if we, if we run some tests on your artwork?
I said, well, are you willing to share your information with me?
They go, no, we can't do that.
I go, okay, I can't do it either.
So I just put the towel back on and walked right back out of the room.
And Midge told me later that they were CIA, that they were in there doing testing for advertising agencies.
Interesting.
They do a lot of subliminal techniques and stuff.
Sure.
So Vidal Sassoon is very interested in your artwork and one assumes aliens and UFOs.
I used to give lectures at his house.
We'd have parties at his house and I'd come over and talk about stuff and show pictures and stuff.
When I was invited to the US Festival, I brought a NASA satellite and I brought videotapes that I got from Wendell and others.
This was a whole UFO exhibit that we had, but I didn't have a floor.
It was all grass and dirt.
I can't take my artwork out and expose it to that because it's acrylic.
The sand will scratch the hell out of it.
I didn't know that.
Oh, yeah, it does.
Paper towels scratch it, too.
Paper towels is rough on acrylic.
And this little bearded guy comes over there.
This was at the Us Festival.
And this little bearded guy comes over there and he goes, well, what is that?
And that was my furniture, my couch that I had.
I had it all covered in sheets.
It looked like a ghost town with real ghosts.
And he said, what is that?
So I took the cover off.
And he loved my furniture, and I put the cover back on it, and he wanted to know what my pedestals were for, and I started showing the artwork.
And he stops there, and he's standing there, and he goes, in 20 minutes, there's going to be a big flatbed truck over here, and about 20 guys, and they're going to take you, and they're going to move your whole exhibit into the main hall.
And I go, okay.
That was great.
And I said, so they did.
Sure enough, as I'm sitting there setting up, they had me set up right near the exit, but I had like a 10 by 20 foot space, which was big.
And I was between Scientology and MTV, which was kind of a weird place to be, but I figured I fit right in, you know?
Absolutely.
And as I'm taking the artwork out of the containers that I had it in for safety, which were nothing more than 50 caliber ammo cans, a lot of foam lined, because you can't beat them up.
And I'm taking the sculptures out and putting them out.
And this one guy standing there next to me goes, well, how much is that one?
I go, that one's $700.
He reaches in his pocket and pulls out a wad of cash and starts counting out.
Every time I bring one out, he bought my whole entire exhibit that day, $10,000.
Wow, that's amazing.
I said, oh my God, this is so cool.
These kind of experiences, you just melt away in gratitude, you know?
Well, I hope you get to meet with Trump and give him the present.
You know what I'd love to do?
I'd love to work for Space Force as part of a PR campaign where I use my artwork to help influence people.
I think that's a great idea.
Yeah, to get into that.
That'd be really wonderful.
And I'd also love to, any country that wants to have a long-term agreement for peace for us, I'll make that country a piece of artwork for their own.
Very nice.
Yeah, that's a very nice idea.
Yeah.
All right, Richard, I'm going to wrap this up now and let you go so we keep it kind of in a compact way that people don't, you know, sort of move on because people, their attention spans are not that long.
Let's let it go here, but it's been wonderful to have you on the show, and you've got some incredible work there, and you've got some incredible stories to tell.
I've got more.
I mean, I met just like Picasso, met with the Rothschilds.
Have you got a book of photographs of all your work?
I'm putting them all together now.
I had a big box.
I moved too.
Then you should add your stories, and then you will publish some wonderful books.
I will.
I will do that.
And you're not the only one that's asked me to do that.
Okay, very good.
But you asking me to do that means a lot to me.
Well, I think the audience would understand.
So, again, thank you for being here today.
Oh, my pleasure.
Let's do this sometime in the future and get back together.
And we'll take some photographs also when next I see you.
Okay.
And I will notify you when I start cutting the cue piece.
So I can show you how I do it.
Okay, you're going to make a cue.
Yeah, you'll get to see the whole thing.
Excellent.
But a little bit will be like little one minutes, you know.
All right.
I'll show you how the whole process.
Excellent.
All right.
Thank you very much.
And everyone, thanks for being here.
I have one question for you.
Yes.
What's your favorite color?
I guess aquamarine.
Ah, okay.
Okay.
I got it.
Good.
All right.
You take care.
Thank you so much.
From the bottom of my heart, I am so grateful to be with you.
I enjoyed meeting you.
I've always wanted to meet you.
And thank you.
I'm so grateful for you bringing me on the air.
Thank you so much.
Well, I'm grateful to hear your stories.
Thank you very much and your beautiful artwork.
Thank you.
You have a wonderful time, and I'm just overwhelmed.
All right.
Take care.
You too.
All right.
Thanks, everyone.
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