violent

Fans of System of a Down desperately hoping the Armenian American alt-metal band will one day release a full-length follow-up to their chart-topping 2005 companion albums “Mezmerize” and “Hypnotize” can at least seek some solace in the latest offering from band co-founder Daron Malakian. “Addicted to the Violence,” the third album from his solo project Daron Malakian and Scars on Broadway, may lack System frontman Serj Tankian’s mellifluous singing, iconoclastic rants and feral screams, but its eclectic structure, melodic earworms, fetching vocal harmonies and poignant themes are sonically and structurally similar to System of a Down — and with good reason.

“All of my songs can work for either Scars or System because they come from my style and have my signature,” Malakian says from his home in Glendale. “When I wrote for System, I didn’t bring guitar riffs to the band. Like with [System’s 2002 breakthrough single] ‘Aerials.’ That was a complete song. I wrote it from beginning to end before I showed it to them.”

Malakian — who tackled vocals, guitar and bass — assembled “Addicted to the Violence” (out Friday) during the last five years, using songs he’d written over roughly two decades. The oldest track, “Satan Hussein,” which starts with a rapid-fire guitar line and features a serrated verse and a storming chorus, dates to the early 2000s, when System’s second album, “Toxicity,” was rocketing toward six-times platinum status (which it achieved nine months after release).

With Scars, Malakian isn’t chasing ghosts and he’s not tied to a schedule. He’s more interested in spontaneity than continuity, and artistry takes precedence over cohesion. None of the tracks on the band’s sporadically released three albums — 2008’s self-titled debut, 2018’s “Dictator,” and “Addicted to the Violence”— follow a linear or chronological path. Instead, each includes an eclectic variety of songs chosen almost at random.

“It’s almost like I spin the wheel and wherever the arrow lands, that’s where I start,” he explains. “I end up with a bunch of songs from different periods in my life that come from different moods. It’s totally selfish. Everything starts as something I write for myself and play for myself. I never listen to something I’ve done and say, ‘Oh, everybody’s gonna love this.’ For me, a song is more like my new toy. At some point, I finish playing with it and I go, ‘OK, I’m ready to share this with other kids now.’”

Whether by happenstance or subconscious inspiration, “Addicted to the Violence” is a turbulent, inadvertently prescient album for unstable times — a barbed, off-kilter amalgam of metal, alt-rock, pop, Cali-punk, prog, Mediterranean folk, alt-country and psychedelia — sometimes within the same song. Lyrically, Malakian addresses school shootings, authoritarianism, media manipulation, infidelity, addiction and stream-of-consciousness ramblings as dizzying as an hour of random, rapid-fire channel surfing.

Is writing music your way of making sense out of a nonsensical world?

I like to think of it as bringing worlds together that, in other cases, may not belong together. But when they come out through me, they mutate and turn into this thing that makes sense. In that way, music is like my therapist. Even if I write a song and nobody ever hears it, it’s healthy for me to make and it helps me work stuff out. When I write a song, sometimes it affects me deeply and I’ll cry or I’ll get hyped up and excited. It’s almost like I’m communicating with somebody, but I’m not talking to anyone. It’s just me in this intimate moment.

Is it strange to take these personal, intimate and therapeutic moments and turn them into songs that go out for the masses to interpret and absorb?

I want people to make up their own meanings for the songs, even if they’re completely different than mine. I don’t even like to talk about what inspired the songs because it doesn’t matter. No one needs to know what I was thinking because they don’t know my life. They don’t know me. They know the guy on stage, but they don’t know the personal struggles I’ve been through and they don’t need to.

Was there anything about “Addicted to the Violence” that you wanted to do differently than “Dictator”?

Different songs on the album have synthesizer and that’s a color I’ve never used before in System or Scars. Every painting you make shouldn’t have the same colors. Sometimes I’m like, “Will that work with the rest of the songs? That color is really different.” But I’m not afraid to use it.

[Warning: Video includes profanity.]

“Shame Game” has a psychedelic vibe that’s kinda like a hybrid of Strawberry Alarm Clock and Blue Oyster Cult, while the title track has a prog rock vibe redolent of Styx, Rush and Mars Volta.

I love all that stuff. I spend more time listening to music than playing guitar. It’s how I practice music. I take in these inspirations and it all comes out later when I write without me realizing it.

In 2020, System released the songs “Protect the Land” and “Genocidal Humanoidz,” which you originally planned to use for Scars on Broadway.

At that time, I hadn’t recorded “Genocidal Humanoidz” yet, but I had finished “Protect the Land,” and my vocals on the song are the tracks I was going to use for my album. Serj just came in and sang his parts over it.

Why did you offer those songs to System when every time you tried to work on an album with them after 2010, you hit a creative impasse?

Because [the second Nagorno-Karabakh War] was going on in Artsakh at that time between [the Armenian breakaway state Artsakh and Azerbaijan], and we decided we needed to say something. We all got on the phone and I said, “Hey, I got this song ‘Protect the Land,’ and it’s about this exact topic.” So, I pulled it off the Scars record and shared it with System.

You released the eponymous Scars on Broadway album in 2008, almost exactly two years after System went on a four-year hiatus. Did you form Scars out of a need to stay creative?

At the time, I knew that if I wanted to keep releasing music, I needed a new outlet, so Scars was something that had to happen or I would have just been sitting around all these years and nobody would have heard from me.

You played a few shows with Scars before your first album came out in 2008, but you abruptly canceled the supporting tour and only released one more Scars song before 2018.

That was a really strange time. I wanted to move forward with my music, but we had worked so hard to get to the point we got to in System, and not everyone was in the same boat when it came to how we wanted to move forward. I just wasn’t ready to do a tour with Scars.

Was it like trying to start a new relationship after a bad breakup?

I might have rushed into that second marriage too quick. I had [System drummer] John [Dolmayan] playing with me, and I think that was [a sign that] I was still holding onto System of a Down. That created a lot of anxiety.

A few years later, you announced that you were working on a new Scars album and planned to release it in 2013. Why did it take until 2018 for you to put out “Dictator”?

I was writing songs and thinking they were amazing, but in my head I was conflicted about where the songs were going to go. “Should I take them to Scars? Is that premature? Would System want to do something with them?” I underwent this constant struggle because Serj and I always had this creative disagreement. I finally moved past that and did the second album, but it took a while.

“Everything we’ve experienced has brought us to where we are now. And now is all we’ve got because the past is gone and the future isn’t here yet. So, the most important thing is the present,” Malakian said.

(Travis Shinn)

System of a Down played nine concerts in South America this spring, and you have six stadium gigs scheduled in North America for August and September. Is there any chance a new System album will follow?

I’m not so sure I even want to make another System of a Down record at this point in my life. I’m getting along with the guys really well right now. Serj and I love each other and we enjoy being onstage together. So, maybe it’s best for us to keep playing concerts as System and doing our own things outside of that.

The cover art for “Addicted to the Violence” — a silhouette of a woman against a blood-red background holding an oversize bullet over her head, and standing in front of a row of opium poppies — is the work of your father, Iraqi-born artist Vartan Malakian. Was he a major inspiration for you?

My approach to art and everything I know about it comes from my dad, and the way we approach what we do is very similar. We both do it for ourselves. He has never promoted himself or done an art exhibition. The only things most people have seen from him are the album covers. But ever since I was born, he was doing art in the house, and he’s never cared if anyone was looking at it.

Do you seek his approval?

No, I don’t. He usually is very supportive of what I do, but my dad’s a complicated guy. I admire him a lot and wish I could even be half of the artist that he is. And if he and my mom didn’t move to this country, I would not have been in System of a Down. I would have ended up as a soldier during Desert Storm and the Second Gulf War. That’s my alternative life. It’s crazy.

Have you been to Iraq?

When I was 14 years old, I went there for two months to visit relatives and it was a complete culture shock. I’m a kid that grew up in Hollywood, and I went to Baghdad wearing a Metallica shirt and I was a total smart aleck. Everywhere we went, I saw pictures and statues of Saddam Hussein. I turned to my cousin and said, “What if I walked up to one of the statues and said, ‘Hey Saddam, go f— yourself?’” Just me saying that made him nervous and scared. Talking like that was seriously dangerous and I had no idea. That was a definite learning experience of what I could have been. And it inspired me later to write “Satan Hussein.”

You had a glimpse of life under an authoritarian regime. Do you have strong feelings about the Trump administration and the way the president has, at times, acted like a dictator?

I don’t hate the guy and I don’t love the guy. I’m not on the right, I’m not on the left. There are some things both sides do that I agree with, but I don’t talk about that stuff in interviews because when it comes to politics, I’m not on a team. I don’t like the division in this country, and I think if you’re too far right or you’re too far left, you end up in the same place.

Is “Addicted to the Violence,” and especially the song “Killing Spree,” a commentary on political violence in our country?

Not just political violence, it’s all violence. “Killing Spree” is ridiculous. It’s heavy. It’s dark. But if you listen to the way I sing, there is an absolutely absurd delivery, almost like I’m having fun with it. I’m not celebrating the violence, but the delivery is done the way a crazy person would celebrate it. So, it’s from the viewpoint of a killer, the viewpoint of a victim, and my own viewpoint. I saw a video on social media of these kids standing around in the street, and one of them gets wiped out by the back end of a car and flies into the air. These kids are recording it and some of them are laughing like’s it’s funny. I don’t want to say that’s right or wrong, but from what I’m seeing, a lot of people have become desensitized to violence.

You’re releasing “Addicted to the Violence” about six weeks before the final six System of a Down dates of 2025. Have you figured out how to compartmentalize what you do with System of a Down and Scars on Broadway?

There was a time that I couldn’t juggle the two very well, but now I feel more confident and very comfortable with where System and Scars are. I love playing with System, and I want to do more shows with Scars. I couldn’t tell you how either band will evolve. Only time will tell what happens and I’m fine with that as long as it happens in a natural way. Everything we’ve experienced has brought us to where we are now. And now is all we’ve got because the past is gone and the future isn’t here yet. So, the most important thing is the present.

Tensions boiled over this past Friday as throngs of mostly peaceful protesters, brandishing placards with messages like “Gringo: Stop stealing our home” and demanding immediate housing regulation, took to tourist hotspots throughout the city

A fierce backlash against gentrification and a surge in mass tourism has unfolded on the streets of Mexico City.

Tensions boiled over this past Friday as throngs of mostly peaceful protesters, brandishing placards with messages like “Gringo: Stop stealing our home” and demanding immediate housing regulation, took to tourist hotspots throughout the city.

The protest took a darker turn as the day went on, with a handful violently lashing out, shattering shop windows and plundering several establishments. At one point, one person was seen aggressively jabbing a butter knife at a restaurant window where punters were sheltering, while another emblazoned “kill a gringo” on a wall in the vicinity.

Years of mass tourism and skyrocketing rent prices have left residents of a bustling city frustrated. The tide of foreigners began to swell in 2020, as Americans sought refuge in Mexico City to work remotely, escape coronavirus restrictions, and enjoy lower living costs.

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Desirable areas like Roma and Condesa, known for their lush central locales brimming with cafes and markets, have seen an uptick in foreign tourists and ‘digital nomads’ since then. The number of Airbnbs in the city has rocketed.

Residents are feeling the squeeze, claiming they’ve been ousted from their own communities. This sentiment is partly attributed to a controversial call made by Mexican President Claudia Sheinbaum back in 2022 when she signed a deal with Airbnb and UNESCO to promote tourism and court remote workers, fully aware of the potential repercussions on local housing.

“The xenophobic displays seen at that protest have to be condemned. No one should be able to say ‘any nationality get out of our country’ even over a legitimate problem like gentrification,” the President said following the protests.

The influx of holidaymakers has driven up rents and living costs, making English an increasingly heard language on the streets of these neighbourhoods. Some critics have labelled this trend as a form of “neo-colonialism.”

The Mexico City Anti-Gentrification Front, one of the groups organising protests, has said it is “completely against” any acts of physical violence and refuted claims that their protests are xenophobic. Instead, they argue that the demonstrations stem from the local government’s longstanding failure to tackle the underlying issues.

“Gentrification isn’t just foreigners’ fault, it’s the fault of the government and these companies that prioritize the money foreigners bring,” the group declared. They highlighted the struggle of “young people and the working class can’t afford to live here.”

The organisation has issued a list of demands, calling for increased rent controls, insisting that locals should have a say in larger development projects in their area, stricter laws making it more difficult for landlords to evict tenants and prioritising Mexican renters over foreigners.

Mexico’s protest follows a series of similar demonstrations across Europe against mass tourism.

At the moment over 26,000 properties in Mexico City are listed on Airbnb, as reported by Inside Airbnb, an advocacy group monitoring the company’s impact on residential communities through data. This compares to 36,000 properties in New York City and 19,000 in Barcelona, where protests have also erupted.

Airbnb claimed to have contributed over a billion dollars to Mexico City’s “economic impact” last year, supporting 46,000 jobs in the city. “What’s needed is regulation based not on prohibitions, but on respect for rights and transparency of obligations,” the company said in a statement.

Citing a recent arrest by immigration agents that bloodied a man in the unincorporated area of Valinda, Los Angeles County Supervisor Hilda Solis said she wants the county to explore a legal counterattack against what she described as the federal government’s “unconstitutional immigration enforcement practices.”

In a statement Saturday, Solis said that she plans to co-sponsor a motion at Tuesday’s Board of Supervisors meeting asking the county’s attorney to explore “all legal remedies available to the County to protect the civil rights of our residents and prevent federal law enforcement personnel from engaging in any unconstitutional or unlawful immigration enforcement.”

Such conduct, the motion says, includes the “unlawfully stopping, questioning or detaining individuals without reasonable suspicion, or arresting individuals without probable cause or a valid warrant.”

“As these immigration raids continue to terrorize our communities, I’m deeply disturbed by the forceful detainment of a man in unincorporated Valinda. This incident raises serious concerns about the conduct and legality of these actions, and demonstrates a violation of constitutional rights and due process,” Solis, whose district stretches from Eagle Rock to Pomona, said in a statement.

The Trump administration’s ongoing crackdown on undocumented immigrants, the motion says, has sown widespread fear throughout the region and emptied out normally bustling public spaces, with people “avoiding going to work or visiting grocery stores and restaurants, skipping medical appointments.”

This has had a “tremendous negative impact” on not only the county’s economy, but also its “ability to provide for the health and welfare of our residents,” according to the motion.

The L.A. City Council introduced a similar motion earlier this month seeking to prohibit federal agents from carrying out unconstitutional stops, searches or arrests of city residents.

Federal officials have said their agents are defending themselves against increasingly hostile crowds, which in some cases are interfering with arrests.

Top officials, such as Department of Homeland Security Secretary Kristi Noem, have argued that the government’s raids are targeting “criminals that have been out on our street far too long.” A recent Times analysis suggested that the majority of those who were arrested in early June were not convicted criminals, however.

For weeks, social media has been flooded with videos of federal agents, their faces often shrouded by masks, violently arresting bystanders who are filming their actions, dragging a taco stand vendor by her arm and tossing smoke bombs into a crowd of angry onlookers. One widely circulated clip showed a military-style vehicle accompanying federal law enforcement officers during an apparent raid at a home in Compton earlier this month — part of what critics have called an alarming escalation in tactics.

Footage reviewed by The Times shows a person in the turret of the vehicle pointing what appears to be a less-lethal projectile launcher downward, but it’s unclear whether any shots were fired.

In her statement, Solis cited another federal operation that was at the center of a viral video.

That footage, shot by a bystander and obtained by ABC 7, shows federal agents in tactical vests and masks smashing the windows of a large white pickup truck before apparently pulling out a man from inside.

Several agents are later seen kneeling on top of the man who is bleeding from an apparent head wound, even as a crowd of onlookers demand that the man be released. In one clip, an agent is shown pushing the man’s face into the pavement.

Coronation Street actor Colson Smith bowed out as Craig Tinker after 14 years in a very brutal death scene, however the TV star made sure to leave a mark on the set before he left

Colson Smith proved there are no hard feelings following his brutal Coronation Street exit as he shared a series of unseen photos. The actor, who had played Craig Tinker, saw his time on the soap come to a very dramatic end on Wednesday night.

After 14 years on the cobbles, Craig bowed out in devastating scenes. He was murdered by villain Mick Michaelis in a cold-blooded and violent attack.

Shockingly, Craig was left for dead before being rushed to hospital where the police officer succumbed to his brutal injuries. Colson had worked on Corrie since he was just 11-years-old, but accepted his time had finally come to an end when he was called for a meeting with boss Kate Brooks.

The actor was axed from the soap, yet Colson managed to keep his spirits high as he bid farewell to Craig. Taking to Instagram after his final episode aired, Colson shared a series of cheeky photos from his time on the show.

He said: “My dump from my final block as Craig Tinker on Coronation Street. Thank you for having me.” Colson gave fans a behind-the-scenes look at his final outing as Craig, where he showed off his naughty side.

In one snap, Colson could be seen on top of the Rovers Return as he perched out of the top window. He also tried to keep smiling while filming his death scene as he laid out on a crash mat.

Colson gave fans a sneaky look into the dressing room as he showed how he was covered in cuts and scars thanks to the makeup department.

Despite the harrowing scenes, the TV star managed to take selfies while covered in blood in-between shots, with one backstage and another on his hospital stretcher.

Colson even topped up his tan in his full police uniform while waiting for camera to get rolling on his murder scene.

Speaking to The Mirror and other press, actor Colson shared his true thoughts on his axing and his exit plot. He also shared the shocked reaction of others when they found out his news.

Colson told us: “I think Craig dying, and Craig dying in the line of duty as a copper, that kind of hero’s death was by far the most perfect story for the exit. The last few weeks were mint, they were perfect and it was a really nice way to go out.

“I worked with great people, and I feel very lucky, and I felt very confident in everything that we did. I feel like the story worked.” Colson revealed the moment he figured out he had been dropped from the show, before soap boss Kate had even spoken to him.

He explained: “I knew that Craig had backed himself into a corner that was going to be really hard to get out of, so I fully expected the chat to go that way.”

Colson admitted he wanted Craig to be killed off and wouldn’t accept any other way of leaving. “I would want to die, I would want the door to be shut, so then I can kind of know in my head that Corrie has been this, Corrie has done that, and it is now done, and Craig’s journey is over,” he said. “So in a really weird way, it was the right thing for me to be killed.”

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