Paul Laffoley (August 14, 1935 – November 16, 2015) was an American visionary artist and architect from Boston, Massachusetts, represented by Kent Fine Art in New York.
I met a guy who had the same theory and wrote a book about it. His name is Walter C. Wright Jr. His book is called Gravity Is a Push. I wrote to him and told him about my father, and he said he wished he'd met him. My father died quite a while ago.
It was on Long John's show that I heard Orfeo Angelucci being interviewed. In other words, the whole thing about the green globes on the top of a car bumper and the voice coming out, you know, and then this beautiful lady. . . . So he went through the whole number, what you read in his book, that kind of stuff. A whole raft of things.
From the time of Dante [Alighieri], when you have the Ptolemaic universe, you had God on the outside like a hypersphere, and then in the center you have the Earth, all the seven heavens and layers, and then you have the Mount of Purgatory and Hell right in the center, and here's Satan flapping his wings and he keeps making the lake of Cocytus ice so you can't get out. So, again, where Heaven and Hell are, who the hell knows that now?
[My father] had this quirky thing of not believing in gravity. And giving me a constant headache about that one. He would say if I showed any interest in gravity, I was becoming a dupe of the system. He could see indications I was beginning to believe in it.
When I was at Brown. In other words, I'd heard about [H. P. Lovecraft], but I didn't pay that much attention till I happened to go to a meeting about it. And then I got just totally turned on.
I thought George Adamski was actually a fraud. Looking at him, I found him repulsive. In other words, he didn't have the wide-eyed, innocent look that Orfeo Angelucci did.
I would say that it's probably impossible for a lot of people to even think what H. P. Lovecraft's theological state was.
I started modeling myself on [ Buckminster Fuller], like with the hair. I reached an age where I sort of, kind of, looked like him a little bit, you know? I thought it was great.
Carl Jung put [Orfeo Angelucci] in his last book [Flying Saucers: A Modern Myth of Things Seen in the Sky, Harcourt, Brace & World, 1959]. He said Orfeo had made up a new bible.
I think [Nikola Tesla] was always like that. And so it was inevitable that he would be an inventor. Because it was so easy for him to think fourth-dimensionally, dynamically. It wasn't just a static thing with him. In other words, it isn't the way an architect thinks, which is essentially static.
Around the corner [ of the Carnegie Delicatessen] is the Russian Tea Room, which is now out of business. Which is awful. I remember going in there and seeing the ballerinas trotting in there like they were prize horses, with their hair, their sunglasses. Really amazing. They were all White Russians. This is where [Leon] Theremin met a lot of people, and where the KGB eventually picked him up.
I would be constantly brought up on the carpet by these teachers who were brought up with Abstract Expressionism, saying, "You're too uptight, you're not expressing yourself, why don't you feel freer?" I said, "Well, I don't like that stuff. It means nothing to me. "
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.
In other words, [ H. P. Lovecraft] was areligious, asexual, neurasthenic, he just didn't want to react to the world. Like Virginia Woolf, who considered religion the ultimate obscenity.
I think [Theosophical and Masonic books] wasn't that I was inspired so much. I was corroborated by them.
[Buckminster Fuller ] never got past his freshman year [in Harvard], because the guy was an insane womanizer and he did parties every night, never studied anything, never took a note, didn't care about anything and just had a blast. So they said, "We gotta let you go. You get zeros all the time. " Today it wouldn't even matter, because they don't care if you can read.
Boston is not an avant garde place. It stays literally 15 to 20 years behind New York at all times.
My father knew all about this stuff [C. W. Leadbeater]. I owe a lot of what I'm doing, I think, to him. I'm sort of continuing my father's work.
To have that radical a mind in that bourgeois-looking body was really hard for a lot of people to take, because, when my mother would want to have people over she'd tell [my father], "Don't start with the gravity stuff. " And then he would invariably do this and the guests would look at each other and say, "Well, I think it's time to go now. "
[Nikola Tesla and Leon Theremin] were European gentlemen, very well-mannered, all of the stuff you associate with living in Europe.