It's been yet another eventful year here at Amoeba San Francisco, our 11th here on Haight Street! Below is a sort of best-of, a bunch of the highlights from the year for us, from instores to holiday events-- read on to celebrate the end of 2008 with us!

Going back to January 2008, we kicked off the new year with a groovy instore from Devendra Banhart.

AMOEBA MUSIC SAN FRANCISCO HIP-HOP TOP FIVE 07:18:08

1) Lil Wayne Tha Carter III (Cash Money/Universal)

2) Messy Marv Hustlas Motivation Mixtape

3) Jean Gray + 9th Wonder Jeanius (Blacksmith/Warner)

4) Immortal Technique The 3rd World (Viper)

5) Nas Untitled (Def Jam)

This week's number one seller at the Amoeba Music San Francisco store should come as lil surprise. It was Tha Carter III by Lil Wayne, which, despite advance leaks and rampant downloading of its tracks, still managed to sell big numbers (by today's music industry standards) and hit the number one spot on countless charts (both airplay & sales) from Billboard (3 weeks straight @ #1) to KMEL to Amoeba etc. Luis in the hip-hop department at the Haight Street Amoeba, who kindly supplied this week's Hip-Hop Top Five, said that Bay Area music buyers love Lil Wayne just as much as national audiences (especially considering the historic Bay Area/Dirty South connections), but that their dedication to Bay Area rap/hip-hop, including this week's chart's number two album, is unbridled.

After having the plug pulled prematurely on the concert he was a part of last Saturday at the Bayou Boogaloo & Cajun Food Festival in Norfolk VA where authorities charged him with "abusive language" (apparently for uttering the lyrics "What the fuck" during one of his songs),  Boots Riley of The Coup has issued a statement saying that the local authorities' charges against him are "racially motivated."

The obscure local Virginia law, on the books as # 18.2-416, has never before now been applied to a performer, nor has it been enforced against anyone in over 25 years.   But yet the city of Norfok is determined in pressing forward with the charges against the visiting Oakland emcee.

"City Officials claim that they are making the statement that profanity will not be tolerated," said Boots Riley in a prepared statement sent out yesterday by his label. "Obviously, since no one has been charged with this in 26 years, profanity IS tolerated. The statement they are making is that the culture and the people they feel I represent won't be tolerated. I was already off stage; the man they asked to leave the stage was Trombone Shorty, another Black man who looks nothing like me."

"This happened at 10PM, and it was far from a 'family' atmosphere, most of the audience was intoxicated after drinking at the festival's bar -- 'The Missing Kidney.' There was also a VIP section where free alcohol was distributed by the keg. Anyone who has been to a music festival on a Saturday night understands the scene. I did not leave the park afterward, as was claimed by FestEvents, the organizers of the Bayou Boogaloo Festival. I stayed and debated the validity of the charge with police and festival promoters. It is clear that this is part of a larger debate that has nothing to do with profanity, one that is being dealt with nationwide. That debate is about racism, gentrification and the ownership of public space."

It might well look from a mainstream glance that hip-hop today has evolved into nothing but slickly produced, bouncy, party music with mindless lyrics that are more concerned with ringtone-designed, catchy choruses than any type of political message.

We are in a time in the once widely revolutionary music that whenever you hear of an artist accused of being 'offensive' it is more likely that they are being misogynist  than being lyrically threatening or offensive to the government or the economic or social system.

But there are still hip-hop artists today making politically charged, socially relevant music in the tradition of such militant rap artists as Public Enemy and Paris. Immortal Technique is such an artist and his latest album, The 3rd World (Viper), which arrived in Amoeba Music yesterday, is a prime example of an artist using his craft and resources as a platform to make powerful political, economic, and sociological statements.

I recently had the opportunity to catch up with the outspoken Harlem, NY emcee, who is as critical of the music industry as he is of the Bush administration. The 3rd World, like his previous releases such as the classic Revolutionary Vol.2, is  released on his own label, Viper, with carefully monitored distribution by KOCH. He told me he would rather have control of his music and his business than have some huge corporation pimp him. Not that any large entertainment conglomerate would not be scared away by such a loud political rapper. The industry won't really push political artists, he told me. "They will champion someone who is not fit to defend those positions for our people," he said, noting that this only inspires him to stick to the script. "It's very important for us to never lose sight of the revolutionary aspect of hip-hop.....that's the 3rd world: the revolutionary side, the street side, the hardcore side, and the independent."