If people dying as a consequence of the implementation of measures cannot count as evidence that the legislation has detrimental effects, what would?

Under neoliberal governance, workers have seen their wages stagnate and their working conditions and job security become more precarious.

The neoliberal policies implemented first by the Thatcher governments in the 1980s and continued by New Labour and the current coalition have resulted in a privatisation of stress.

It goes without saying that all mental illnesses are neurologically instantiated. But this says nothing about their causation.

There is no right to not be offended, nor should there be.

Play a jungle record from 1993 to someone in 1989 and it would have sounded like something so new that it would have challenged them to rethink what music was, or could be.

When pop can no longer muster a nihilation of the World, a nihilation of the Possible, then it will only be the ghosts that are worthy of our time.

We once turned to popular culture because it produced fantasy objects; now, we are asked to 'identify with' the fantasising subject itself.

The point is always made that capitalism is efficient, people say 'You might not like it, but it works.' But Britain is not efficient.

Some of the Junior Boys' textures may be borrowed from synthpop but, formally, their songs would be impossible without twenty years of the rave discontinuum. And where synthpop was self-consciously European, the Junior Boys have pioneered an electronic Pop that speaks in a Canadian accent.

Structurally, as is evident, the role of the 'Islamic Terror' is to fill the gap left by the disintegration of Stalinism. That is why Saddam's quasi-Stalinist Baathist regime was the perfect transitional object for the U.S. in the immediate years after the Cold War ended. Saddam was no more a Muslim than Stalin was a Christian.

Crucially, Marxist atheism is only achieved once the theological critique of capitalism is completed. This is what separates Marxist atheism from the gliberal platitudes of the likes of Nick Cohen, who proclaim secularism while remaining attached to the theology of capital (liberal commonsense).

You can be debased without relinquishing your identity, just as you can relinquish your identity without being debased.

Basic Instinct 2' is camp, not because it takes itself too seriously, nor because it sends itself up, but because we are not sure quite how seriously it wants us to take it.

What many students most want from college, although they would never admit it, is an authority structure. There is a demand for an authority which they can then reject; they want to be told what to do, so they can disobey. It is a textbook case of bad faith, a flight from freedom.

Pele featured in the Brazilophile imaginary as the a figure of non-utile excess, a carefree artist in the Nietzschean sense, indifferent to the narrow teleology of winning matches... check the way that most of the endlessly replayed footage we see of Pele is not of him scoring goals, but audaciously missing chances contrived by force of wit.

The World Cup is like the Overlook Hotel: the identities of individual meat puppets might change, but the structure continues endlessly.

The most powerful love songs always turn on the discrepancy between the act of declaring love and the knowledge that the ostensible addressee is no longer there, was never there, and could never be there.

Columbo's deliberately irritating questioning technique - 'just one more thing' - is designed to produce discomfort rather than to elicit information.

Picnic at Hanging Rock' is the exemplary study of disapparition in cinema - I know of no other major film which deals with unexplained disappearance.

I loathe my name because it is mine and also because it is not mine; it is at once too intimate and seems to have no connection with me. Perhaps because the name is quite common, it never seems to fit me, or fit me alone. Nevertheless, when I see the name, I always feel a peculiar sense of shame.

I make no special effort to conceal my surname online; the reason I do not use it is more because I dislike, even loathe it, than because I want to keep it a secret.

I think my inner child wants to take over the world.

When you're underwater with goggles on, a couple of your senses are taken away, and it becomes this purely visual thing. It's just you and yourself.

Music is the great equalizer.

I experienced bullying a lot. I was an only child, and I was kind of a small kid with a big mouth, and so I always got myself in trouble.

There's just really interesting facets of culture just swirling in Morocco. They all have slightly different colours, so it's just an inspiring place to be.

'Pumped Up Kicks' is written from the perspective like Truman Capote wrote 'In Cold Blood' or Dostoevsky wrote 'Crime & Punishment.' It's psychologically breaking down someone's state of mind and diving in and walking in their shoes.

I feel like my calling is to show people joy: to make them feel like there's something to look forward to.

I wrote 'Pumped Up Kicks' when I began to read about the growing trend in teenage mental illness. I wanted to understand the psychology behind it because it was foreign to me.

One of the things with the second record, a word I held close to my chest was 'brave.' To take chances to go outside the box and explore. To continue to toss off any expectation that our fans or anyone else might have of us, to just tap into who I am as a writer and artist and really just operate within that freedom of creation.

When I put Foster The People together, I just wanted to play music with friends.

It's the meanest thing to abuse your power as a songwriter. To write pointedly about someone... it's kind of unfair to use them. They can't answer you or have a rebuttal.

Pressure has always been more of a friend than a foe for me with songwriting.

I'm not in this to make money. I would not have sold my soul to be on 'American Idol.'

If I was 13 years old and Kurt Cobain tweeted me some advice or even just said hi, my whole world would be affected by that.

There were times when I was terrified to go to school because it felt like a jail sentence.

'I Get Around' came on one day. I'd never heard the Beach Boys before. The sound was so fresh to me. That was the first time when I truly was gripped by the power of music. It opened my eyes to the heights that music can achieve.

If I'm with people who are really positive and go with the flow, that's when the best ideas come out for me.

Through technology and social media, we're able to create an identity online that shows people the face that we want them to see and rather than who they really are.

There's a lot of bands that blow up quickly, but then they die quickly. Longevity is the healthy thing; that's the pursuit.

When I was 21, I was in a pretty serious band, and we almost got signed - went to New York, showcased, all that - but didn't end up getting signed, and we broke up. I went back to the drawing board; I really took a hit from that whole experience.

'Supermodel' was a hard record for me; it was an emotional record to write. I was purging a lot of stuff with that album, and I think the one thing I didn't really consider, that I'd be supporting it for two years and living in that state of mind every night.

I was rambunctious - a boy's boy, full of energy. I wasn't a bad kid. I just liked to talk.

My aunts and uncles were like, 'You've got such a great voice - why don't you try out for 'American Idol?'' I'd say, 'Because I'm a songwriter, not a puppet.' Even if I won and became really successful off a show like that, I'd be miserable.

I could have pigeonholed us and wrote a whole record like 'Pumped Up Kicks,' and we would have been this breezy, nostalgic West Coast Beach Boys recreation band. That's not the type of writer I am. Once I try one style, I move on.

'Torches' flowed together with interesting intros and outros. It was all very natural.

The jingles saved my life. When I got hired to do that, I was on top. I finally was making a living doing what I loved. Before that, it was so bleak; it got so dark in L.A. I was 25, been living there for seven years trying to make it, and getting really close to getting signed with different bands and as a solo artist only to have my hopes dashed.

I've played so many gigs in front of around seven people. It's difficult to keep motivated, but it's all about growth. The love of music kept me going.

I realized probably when I was, like, 20 years old that the hardest thing to do is to write a pop song - not, like, a candy-pop, throwaway pop song.