When [my father] reached his majority, he was the head of the family. Everybody depended upon him. He went into a very uptight appearance; he would wear Chesterfield coats to work, Homburg hats, really getting into the whole thing. He knew people like Oscar Levant. He loved New York. He wanted to live there.

[My father] was always saying I'd end up like my grandfather. Okay. My grandfather was an architect, I'm an architect. It's true, certain characteristics are similar.

Walter C. Wright has a more cogent presentation than my father did about [gravity] being a push. But he had the same basic belief, that the idea of magnetism attracting something was not the reason why the effects of what we call gravity occur.

Forms of energy from nature gave my father trouble. He refused to believe he was going to die. He had these weird delusions. It's amazing. Along with all the great thoughts, he had all this funny stuff.

Boston is not an avant garde place. It stays literally 15 to 20 years behind New York at all times.

Long John I think went off the air in about '79 or something, so there was a hiatus. That's why I think Art Bell thought there was a spot to be filled. He was doing exactly the same thing.

Look at all the stuff the Existentialists did. You can start with [Pablo] Picasso, you know, and then Francis Bacon and other guys like that. What they were doing is depicting suffering. And that's exactly what a demon is, he's pretending that he isn't. So he can get more people down there. You know, misery loves company, that's the whole thing. So that's basically the pitch that I'm working on.