1. bryson tiller - don’t (thrdeye rework)
2. baby bash - suga suga (royal refix)
3. jmk - mcclenney version
4. future x the weeknd - low life (osho remix)
5. aerosmith - dream on (griz remix)
6. dee edwards - why can’t there be love [ż edit]
7. drake - all me (stwo remix) [ż edit]
8. drake - all me (aztek instrumental) [ż edit]
9. karol conka - e o poder [ż edit]
10. bob marley - jamming (luxx remix)
11. mo vibez x creepa - dr777
12. tory lanez - r.i.d.e. (falcons remix)
13. ty dolla $ign - blasé (louis the child remix)
14. goldlink x falcons - vroom vroom
15. show clothes - pool party ft gavriella
16. jamie xx x young thug - i know there’s gonna be good times (katmandu remix) [ż edit]
17. mac milller x miguel - weekend (tadeo flip)
18. stephen - crossfire
19. trance (atlantic) ft. 160046
20. 6 a.m. - juice
21. post malone - mood
22. anderson paak x asher roth - make it work
23. quinn xcii - full circle
24. vanilla ace x adam baum - throwback
25. brandy x monica - the boy is mine (choys remake)
26. rihanna - work (vandalized cover)
27. marc e bassy x ty dolla $ign - that’s love (matt dimona remix)
28. kehlani ft. lexii alijai - jealous (no sleep remix)
29. drake x future - change locations (devault w/ opvs remix)
30. troyboi x diplo - afterhours (empia remix)
31. snoop dogg ft pharrell - drop it like its hot (anka flip)
32. flume - never be like you ft. kai (ktwice remix)
33. lapsley - love is blind (sam gellaitry remix)
34. soysauce x lil aaron - bout time [ż edit]
35. kanye west - real friends [ż edit]
36. gallant - bourbon
37. jmsn - cruel intentions
38. quinn xcii - new wave
39. eden - gravity
What are, in your opinion, some of the best joker story arcs?
The damn tricky thing about Joker is that on the surface, he seems fairly simple in spite of his stature. He smiles and jokes, he does clown stuff, he kills lots of people, he probably wants to fuck Batman but sublimates it into crime-puzzles: ultimately pretty straightforward in the same way as say, the Riddler. But in practice, when you boil him down to that his charm wears thin almost startlingly fast - probably the reason he has such an intense hatedom. Now to be fair, with the exception of a couple moments in each that’s the Joker of the likes of The Joker’s Five-Way Revenge, Slayride and The Dark Knight Returns, and those are some pretty damn good showings for him. But more often we get the likes of Scott Snyder’s interpretation of the character, a tittering loon in the darkness where in spite of some truly inspired setpieces in Death of the Family and Endgame, his ultimate motivations and goals are frankly banal as all get-out.
But when he’s handled properly, he’s The Joker, a league unto himself, and the dividing line isn’t just his commitment to fucking with Batman - half of Gotham’s convicted felons live for that shit. No, the difference between him and the rest of the rank and file is that while they exist to defy the rules of Batman’s world - to show they’re smarter, stronger, more resilient, more morally correct - Joker is out to show that those rules simply don’t apply at all, to him or anyone else. His power isn’t in blowing things up, or forever surviving certain doom, it’s his ability to derationalize the traditional Batman narrative. He’s out to dismantle the engine, taking control of the story of Batman (hence his guise as a performer) and seeing Gotham fall apart once the center no longer holds into the same broken universe he occupies. We see it in his inversion of Robin’s nurturing with the corruption of Harley Quinn, in implicitly mocking the idea of spending billions on bat-gadgets with the Jokercopter in Last Rites, in Zero Year reframing his entire criminal career as a negative response to the same moment that created Batman. Of course at the same time the order that Batman represents is the only bedrock of certainty and meaning Joker has, leaving him simultaneously drawn to and repulsed by him, compulsively driven to destroy him while fully aware that were he ever to succeed he’d annihilate the only purpose and true joy his own life has. But c’est la vie; he was never a long-term kind of guy.
For stories with that Joker, you aren’t going to find a better start than Batman #1 itself: while the main story may be fairly by-the-book for the time, Joker managing to succeed in the beginning with Batman and Robin literally not having a chance to stop him sets the tone from day one for the next 78 years, making it no surprise it’s been so heavily homaged. Most successfully with The Laughing Fish/Sign of the Joker, which not only recentered his unpredictability and ability to stay one step ahead of the caped crusader, but cemented the now-basic idea that he’s also genuinely really funny. All the Joker stories in the first paragraph have him at least poke his head in too: Five-Way Revenge established the then pretty radical idea that unlike the rest of Gotham’s criminals he doesn’t actually want to kill Batman (at least, not without the appropriate pomp and circumstance), with DKR pushing it to another level entirely by revealing his entire feud has been motivated by a form of ersatz love; Slayride is built around subverting Robin’s understanding of his situation; Snyder’s work with him deliberately inverts and perverts Batman’s iconography at every turn in ways that fit perfectly.
Past that, while The Killing Joke has become fairly passe over time in some important ways - its treatment of Barbara Gordon has been discussed for decades, and its ‘tears of a clown’ treatment of the lead is ultimately too simple and maudlin to feel appropriate (not to mention that One Bad Day is truly Two-Face’s shtick) - his master plan is a solid one, and his rambling speech in the hall of mirrors is about as on-point a statement of intent on his worldview as has still ever been delivered. For something a little more old-school, The Man Who Wrote Joker’s Jokes is my own favorite of his Silver Age hijinks, with the Clown Prince of Crime taking a brilliantly off-kilter new tack for his operation that spirals into, yet again, a knowing inversion of the traditional Batman dynamic. And of course there’s the two defining Joker comics of the 21st century: Soft Targets from Gotham Central, entirely upending the stakes of the story three times over as the happy ending condition of every other Batman comic ends up serving as the final step of his plan - not only providing an instant classic, but inspiring the Joker of The Dark Knight more directly than any other comic - and Morrison’s handling of him throughout his Batman epic, building off his work in Arkham Asylum: A Serious House On Serious Earth and Aztek to show Joker surrendering the very concept of a stable self in The Clown At Midnight, proving why he sits at the head of the table when it comes to destroying Batman in R.I.P., and taking on the most unexpected role of all in Batman and Robin Must Die! There’s other great Joker stories out there by the fistful, but those I’d say provide about as solid as base as it gets in what takes him from one Gotham weirdo among many to inarguably the most iconic supervillain of all time.
Aztek: JLA Secret Filesby N. Steven Harris // DC Comics
Aztek is the champion of the Aztec god Quetzalcoatl. The character first appeared in Aztek, The Ultimate Man #1 in August 1996, created by Grant Morrison and Mark Millar. Following the short run series, Aztek appeared in several issues of JLA also written by Morrison.
Aztek can manipulate four dimensional energy to achieve almost limitless effects, superstrength, superspeed, superhearing, x-ray vision, flight, invisibility, density shifting. (X)
#11: Walter White’s lumpy Aztek survives through a surprising amount of drug-deal-gone-wrong–related and Jesse-Pinkman’s-temper–related damage—five seasons, in fact—proving a rough, unglamorous exterior can handle a lot more than it seems. That sounds like someone we know…
Kafaları karıştıran bir birliktelikti bu. Dalga dalga eleştirilere, kışkırtıcı heyecanlara, dedikodulara, meraklara neden oluyordu. Hep kuşku uyandıran bir birliktelik. Birilerinin kafasında mutlaka şu tür bir soruya neden oldu: “Bunlar birbirlerini nasıl seviyorlar?” Yani, aslında “Bunlar birbirlerini nasıl sevebilirler? Ne tür bir ilişkileri olabilir? Kim kimi seviyor? Acaba birbirlerini seviyorlar mı?” Hatta: Kadın adamın annesi, adam kadının babası, ikisi birbirinin çocuğu, adam kadının ağabeyi, kadın adamın sevgilisi, adam kadının vazgeçemediği aşığı, birbirlerinin aşığı değiller, bunlar iki dost, iki yoldaş, ilişkilerinde sapkın bir yan olmalı, ilişkilerinin erotizmle hiçbir ilgisi olmaz, birbirlerine ihtiyaçları var, her biri kendi kendine yetiyor, eşitsiz bir ilişki, bunaltıcı olsa gerek, aralarındaki yirmi yaş farkı bir köprü mü oluşturuyor yoksa bir engel mi? Bu işte şike var, birbirlerine iliklerine kadar bağlılar, dramatik bir şey mi bu? Harikulade! Evet, kafalar bu sorularla kurcalanıp duruyordu. Sanatçılara ait magazin haberleri besliyor, hatta daha da ötesine gidiyorduk. Evet, tüm bunlar biraradaydı. Aşk mıydı? Bilmiyorum. Eğer aşk her şeyi kapsıyorsa, çelişkileri ve taşkınlıkları, aşırılıkları ve söylenemeyenleri, evet, o zaman aşk diyebiliriz. Ama aksi takdirde, hayır, aşk değildi bu(s.152).
Belki canavarca ama kesinlikle kutsal olan birlikteliğimiz konusuna dönecek olursak, şunu söylemek isterim: Bu bir aşk beraberliğiydi. Bize uygun, taşkın bir akarsu gibi delişmen, Nikaragua şelalesi ya da Iguazu çaylanları gibi coşkulu, denizlerin dibi gibi derin ve gizemli, Odysseus’un Akdeniz’i gibi fırtınalı, Patzcuaro gölleri gibi uysal ve Aztek chinampa’ları(*) gibi verimli, çöller gibi yorucu ve altın pırıltılı, yırtıcı hayvanlar gibi ürkünç, yaşayan evren gibi rengarenk(s.154).
If you had to pick one car, from throughout the history of the automobile, as the most beautiful of all time, what would it be? The Bugatti Type 57 Atlantic? Ferrari 250 GTO? Pontiac Aztek? Tough decision, and while everyone has their own opinion, we’d be hard pressed to pick just one. That’s why the editors of Classic & Sports Car magazine assembled a panel of some of the most influential car designers around and asked them to choose. And what did they come up with? The Citroen DS.