クイックビュー
{"id":8838514016506,"title":"Various Artists (Death Is Not The End \/ Bodega Pop) \/\/ Straight Outta Tenggara: Southeast Asian Hip-Hop, 1990s-2000s TAPE","handle":"various-artists-death-is-not-the-end-bodega-pop-straight-outta-tenggara-southeast-asian-hip-hop-1990s-2000s-tape","description":"\u003cp\u003eイギリス・ロンドンの発掘専門レーベルDeath Is Not The Endが、2025年4月にリリースした、1990-2000年代東南アジアヒップホップとR\u0026amp;Bにフォーカスしたコンピレーションカセットです。\u003c\/p\u003e\n\u003cp\u003eキュレーターはNYのラジオ番組／ハードディガーBodega Popが担当しています。\u003c\/p\u003e\n\u003cp\u003eカセットのみでの発表となります。\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/dinte\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/dinte\"\u003ehere\u003c\/a\u003e to see more Death Is Not The End releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e--------------------------------------\u003c\/p\u003e\n\u003cp\u003eCassette in norelco case.\u003cbr\u003eCASSETTE ONLY - no digital. \u003cbr\u003eNo tracklisting on cassette. \u003c\/p\u003e\n\u003cp\u003eDeath \u003cmeta charset=\"utf-8\"\u003eIs Not The End:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAnother cassette-only mixtape tape curated by cult WFMU show and blog Bodega Pop - aka Gary Sullivan's long-running project rooted in a passion for digging for music in bodegas and cell-phone stores across NYC's boroughs. This edition focuses in on late 1990s and early 00s hip-hop \u0026amp; rnb from across Southeastern Asia.\"\u003c\/em\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\"\u003eGary Sullivan:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cem\u003eWhile on a work trip to Chicago in the mid-2000s, I was craving a bowl of pho. A bit of sleuthing led me to hop on the red line “L” up to Argyle Street, ground zero of Chicago’s Little Saigon. In the 1960s, Chicago restaurateur Jimmy Wong invested in property on Argyle Street with a vision to build the city’s new Chinatown, a kind of mall with pagodas, trees, and reflecting pools. In 1971, the Hip Sing\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e Association, a labor\/criminal organization, established itself in the area, and along with Wong, they bought up 80% of the buildings on a three-block stretch of the street. Wong reportedly broke both hips in an accident, leaving his dream to wither; in 1979, Charlie Soo of the Asian American Small Business Association brought it back to life.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSoo expanded the area into a vibrant mix of Chinese, Vietnamese, and other Southeast Asian\u003c\/em\u003e\u003cbr\u003e\u003cem\u003ebusinesses, pushing for renovations, including an Argyle station facelift and the Taste of Argyle festival. At the time I exited the station and crossed the street to get a better look at a shop with a poster for A Vertical Ray of the Sun in the window, the area was home to some 37,000 Vietnamese residents.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eOpening the door, I was gobsmacked by a cavernous Southeast Asian media store, bigger than any I’d been to in Dallas, Montreal, New York, or Seattle. I spent some time at the bins, pulling out collections by some of my then-favorite singers — Giao Linh, Khánh Ly, Phương Dung — before approaching the register to ask the young woman behind the counter if the they carried any Vietnamese rap. It was a longshot, I knew, but if such a thing existed on physical media and anyone carried it, it would be this place.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e‘Have you heard Vietnamese rap?’ she replied, her tone of voice and facial expression betraying a comically exaggerated level of distaste. I admitted my ignorance but assured her that I had long cultivated a high threshold for cheesy pop music of all kinds and genuinely tended to like hip hop from around the world.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eShe rolled her eyes and pointed to an area I had missed. I walked toward a far corner of the store and knelt over a small box on the floor sparsely populated with CDs, VCDs, and cassettes. I pulled out half a dozen Vietnamese hip hop compilations and a strange-looking CD with a cavalcade of odd typefaces in a queasy multitude of colors: THAILAND RAP HIT, it boasted, with 泰國 “燒香\" 勁歌金曲 below it. The information on the back provided an address in Kuala Lumpur and the titles in Thai and English translation. The first track included three simplified Chinese characters after the English-language version of the title, “The Chinese Association”: 自己人.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWTF was going on here? Walking back to the register, I waved the CD, asking “What’s up with this one?” She gave me a look. I placed it on the counter so she could bask in the cover’s full glory. She shrugged. “I’m guessing it’s Thai rap?” She looked disappointed in me when I said I’d take it.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIt turned out to be a Malaysian pressing of half-Chinese Thai hip hop artist Joey Boy’s third album, Fun Fun Fun from 1996, and it completely changed my sense what the genre could sound like. The rapper’s self-assured, effortless, silly-but-cool rapid-fire delivery weaved in and out of the most bizarre, antic beats I’d ever heard. The six Vietnamese hip hop CDs were a mixed bag, mostly “serious” sounding mimicry of US rapping over predictable production, but the highs were very high. When I got home and listened to it all, I made a point to find as much hip hop from this part of the world as I could.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe tracks collected here provide a limited but potent reflection of the two-decade ascendency\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eand ultimate world-takeover of hip hop, as it displaced rock and its endless variants for millions of listeners. This not a fair and balanced overview of regional production: I’ve only included tracks from Cambodia, Indonesia, Myanmar, Philippines, Thailand, and Vietnam. Nor is this a biggest or most important artists collection; instead, I’ve tried to recapture the pure visceral thrill of that first time I heard Joey Boy, choosing bangers that sound like nothing else, from nowhere else.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Various\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003eDeath Is Not The End x Bodega Pop\u003c\/p\u003e\n\u003cp\u003ecat no : DEATH098\u003c\/p\u003e","published_at":"2025-06-23T05:33:40+09:00","created_at":"2025-06-22T13:59:52+09:00","vendor":"Tobira Records","type":"","tags":["death is not the end","hiphop \/ funk","new","tape"],"price":267000,"price_min":267000,"price_max":267000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47427183608058,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Various Artists (Death Is Not The End \/ Bodega Pop) \/\/ Straight Outta Tenggara: Southeast Asian Hip-Hop, 1990s-2000s TAPE","public_title":null,"options":["Default Title"],"price":267000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/ou1_1dae7644-218e-4f7a-bf8e-141e25279a9c.jpg?v=1750568297"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/ou1_1dae7644-218e-4f7a-bf8e-141e25279a9c.jpg?v=1750568297","options":["Title"],"media":[{"alt":null,"id":36243371098362,"position":1,"preview_image":{"aspect_ratio":1.0,"height":300,"width":300,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ou1_1dae7644-218e-4f7a-bf8e-141e25279a9c.jpg?v=1750568297"},"aspect_ratio":1.0,"height":300,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ou1_1dae7644-218e-4f7a-bf8e-141e25279a9c.jpg?v=1750568297","width":300}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eイギリス・ロンドンの発掘専門レーベルDeath Is Not The Endが、2025年4月にリリースした、1990-2000年代東南アジアヒップホップとR\u0026amp;Bにフォーカスしたコンピレーションカセットです。\u003c\/p\u003e\n\u003cp\u003eキュレーターはNYのラジオ番組／ハードディガーBodega Popが担当しています。\u003c\/p\u003e\n\u003cp\u003eカセットのみでの発表となります。\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/dinte\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/dinte\"\u003ehere\u003c\/a\u003e to see more Death Is Not The End releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e--------------------------------------\u003c\/p\u003e\n\u003cp\u003eCassette in norelco case.\u003cbr\u003eCASSETTE ONLY - no digital. \u003cbr\u003eNo tracklisting on cassette. \u003c\/p\u003e\n\u003cp\u003eDeath \u003cmeta charset=\"utf-8\"\u003eIs Not The End:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAnother cassette-only mixtape tape curated by cult WFMU show and blog Bodega Pop - aka Gary Sullivan's long-running project rooted in a passion for digging for music in bodegas and cell-phone stores across NYC's boroughs. This edition focuses in on late 1990s and early 00s hip-hop \u0026amp; rnb from across Southeastern Asia.\"\u003c\/em\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\"\u003eGary Sullivan:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cem\u003eWhile on a work trip to Chicago in the mid-2000s, I was craving a bowl of pho. A bit of sleuthing led me to hop on the red line “L” up to Argyle Street, ground zero of Chicago’s Little Saigon. In the 1960s, Chicago restaurateur Jimmy Wong invested in property on Argyle Street with a vision to build the city’s new Chinatown, a kind of mall with pagodas, trees, and reflecting pools. In 1971, the Hip Sing\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e Association, a labor\/criminal organization, established itself in the area, and along with Wong, they bought up 80% of the buildings on a three-block stretch of the street. Wong reportedly broke both hips in an accident, leaving his dream to wither; in 1979, Charlie Soo of the Asian American Small Business Association brought it back to life.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSoo expanded the area into a vibrant mix of Chinese, Vietnamese, and other Southeast Asian\u003c\/em\u003e\u003cbr\u003e\u003cem\u003ebusinesses, pushing for renovations, including an Argyle station facelift and the Taste of Argyle festival. At the time I exited the station and crossed the street to get a better look at a shop with a poster for A Vertical Ray of the Sun in the window, the area was home to some 37,000 Vietnamese residents.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eOpening the door, I was gobsmacked by a cavernous Southeast Asian media store, bigger than any I’d been to in Dallas, Montreal, New York, or Seattle. I spent some time at the bins, pulling out collections by some of my then-favorite singers — Giao Linh, Khánh Ly, Phương Dung — before approaching the register to ask the young woman behind the counter if the they carried any Vietnamese rap. It was a longshot, I knew, but if such a thing existed on physical media and anyone carried it, it would be this place.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e‘Have you heard Vietnamese rap?’ she replied, her tone of voice and facial expression betraying a comically exaggerated level of distaste. I admitted my ignorance but assured her that I had long cultivated a high threshold for cheesy pop music of all kinds and genuinely tended to like hip hop from around the world.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eShe rolled her eyes and pointed to an area I had missed. I walked toward a far corner of the store and knelt over a small box on the floor sparsely populated with CDs, VCDs, and cassettes. I pulled out half a dozen Vietnamese hip hop compilations and a strange-looking CD with a cavalcade of odd typefaces in a queasy multitude of colors: THAILAND RAP HIT, it boasted, with 泰國 “燒香\" 勁歌金曲 below it. The information on the back provided an address in Kuala Lumpur and the titles in Thai and English translation. The first track included three simplified Chinese characters after the English-language version of the title, “The Chinese Association”: 自己人.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWTF was going on here? Walking back to the register, I waved the CD, asking “What’s up with this one?” She gave me a look. I placed it on the counter so she could bask in the cover’s full glory. She shrugged. “I’m guessing it’s Thai rap?” She looked disappointed in me when I said I’d take it.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIt turned out to be a Malaysian pressing of half-Chinese Thai hip hop artist Joey Boy’s third album, Fun Fun Fun from 1996, and it completely changed my sense what the genre could sound like. The rapper’s self-assured, effortless, silly-but-cool rapid-fire delivery weaved in and out of the most bizarre, antic beats I’d ever heard. The six Vietnamese hip hop CDs were a mixed bag, mostly “serious” sounding mimicry of US rapping over predictable production, but the highs were very high. When I got home and listened to it all, I made a point to find as much hip hop from this part of the world as I could.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe tracks collected here provide a limited but potent reflection of the two-decade ascendency\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eand ultimate world-takeover of hip hop, as it displaced rock and its endless variants for millions of listeners. This not a fair and balanced overview of regional production: I’ve only included tracks from Cambodia, Indonesia, Myanmar, Philippines, Thailand, and Vietnam. Nor is this a biggest or most important artists collection; instead, I’ve tried to recapture the pure visceral thrill of that first time I heard Joey Boy, choosing bangers that sound like nothing else, from nowhere else.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Various\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003eDeath Is Not The End x Bodega Pop\u003c\/p\u003e\n\u003cp\u003ecat no : DEATH098\u003c\/p\u003e"}
![Dubbing Sun & Friends // Reveal The Lion / Babylon A Fall 12inch [COLOR]](http://tobirarecords.com/cdn/shop/files/fall1_07e1f485-0259-421a-becf-f71ecf2f407d_medium.jpg?v=1750558829)
