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It was 1971, and the eighteen-year-old Douglas Adams was hitchhiking his way across Europe with a copy of The Hitchhiker's Guide to Europe that he had stolen (he hadn't bothered "borrowing" a copy of Europe on $5 a Day; he didn't have that kind of money).
He was drunk. He was poverty-stricken. He was too poor to afford a room at a youth hostel (the entire story is told at length in his introduction to The Hitchhiker's Guide to the Galaxy: A Trilogy in Four Parts in England, and The Hitchhiker's Trilogy in the US) and he wound up, at the end of a harrowing day, flat on his back in a field in Innsbruck, staring up at the stars. "Somebody," he thought, "somebody really ought to write a Hitchhiker's Guide to the Galaxy."
He forgot about the idea shortly thereafter.
Five years later, while he was struggling to think of a legitimate reason for an alien to visit Earth, the phrase returned to him. The rest is history…
--
Neil Gaiman, on the origins of The Hitchhiker's Guide to the Galaxy in Don't Panic : The Official Hitchhikers Guide to the Galaxy Companion (1988), p. 1

 

Douglas Adams

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Although I firmly believe that there is no such thing as a stupid question, there can indeed be stupid answers. 42 is an example. Not only is this a poor ripoff of Doug Adams' Hitchhiker's Guide, but it isn't even a prime number. Everyone surely knows that numerical answers to profound questions are always prime. (The correct answer is 37.)

 

Donald Norman

 

Yes, this is Europe. The Europe that did not respond to the Serb shelling of Dubrovnik. Or the three-year siege of Sarajevo. The Europe that let Bosnia die.
A new definition of Europe: the place where tragedies don't take place. Wars, genocides — that happened here once, but no longer. It's something that happens in Africa. (Or places in Europe that are not "really" Europe. That is, the Balkans.) Again, perhaps I exaggerate. But having spent a good part of three years, from 1993 to 1996, in Sarajevo, it does not seem to me like an exaggeration at all.

 

Susan Sontag

 

"Reason" said Locke, "must be our last judge and guide in everything". In The Reasonableness of Christianity he wrote that "the day labourers and tradesmen, the spinsters and dairy maids" must be told what to think. "The greatest part cannot know, and therefore they must believe." But at least Locke did not intend that priests should do the telling; that was for God himself.

 

John Locke

 

Why Baroque? Because it is set in the Baroque, and it IS baroque. Why Cycle? Because I am trying to avoid the T-word ("trilogy"). In my mind this work is something like 7 or 8 connected novels. These have been lumped together into three volumes because it is more convenient from a publishing standpoint, but they could just as well have been put all together in a single immense volume or separated into 7 or 8 separate volumes. So to slap the word "trilogy" on it would be to saddle it with a designation that is essentially bogus. Having said that, I know everyone's going to call it a trilogy anyway.

 

Neal Stephenson

 

Elvis' lowest effective note was a low-G, as heard on "He'll Have To Go" (1976); on "King Creole" (1958), he growls some low-F's; going up, his highest full-voiced notes were the high-B's in "Surrender" (1961) and "Merry Christmas Baby" (1971), the high-G at the end of "My Way" (1976 live version), and the high-A of "An American Trilogy" (1972); using falsetto, Elvis could reach at least a high-E, e.g, as in "Unchained Melody" (1977), so, it was very nearly a three-octave range, although more practically two-and-a-half.

 

Elvis Presley