Cuban, the government supported The Black August Collective and allowed the rappers to perform as they were supportive of the revolution. The youth of Cuba were fascinated not only by this style of music, but also by the Black Pride of the performers. This consciousness of struggle and achieving the goals of revolution are a key characteristic of a majority of Cuban hip hop today. The Underground Scene In the early stages of Cuban hip hop there was minimal technology to record their beloved hip hop. This made it virtually impossible to duplicate the exotic sounds in Cuba. This lack of technology led to the private gatherings of very devoted fans called, bonches. These bonches can be considered the seeds of today's Cuban rap community. Only the most dedicated fans would be in attendance and they would receive an understanding of raps evolvement and fame outside of Cuba. Eventually, the gatherings attracted too many people and they were forced out of private homes. In 1994, rap entrepreneur, Adalberto Jímenez was able to get a public space for these amazing hip hop gatherings. This public space was known as, el local de la Moña. This place would be a spot to find beautiful women, great drinks, and innovative Cuban hip hop. Moñas were so popular that it became the Cuban word for rap and Moñeros for rappers or rap enthusiasts. This is not a place for tourists, but mostly for young, black Cubans. La Moña moved around a great deal and became a sort of traveling party in Old Havana. La Moña charged a 5-peso admission charge, which would have translated to about 20 cents. In January 1999, La Moña moved to a tiny club called La Pampa and they had raised the price of admission to 20 pesos. This price is too high for a lot of the destitute Cubans in Havana. La Moña still remains the only place for moñeros to hear the latest underground rap in Cuba. In the underground scene of Cuba, freestyle becomes a manifestation of a communal establishment (usually the community of rappers and audience come to form a cycle) where those who are not rapping provide vocalized "backing track", opened for anyone to jump it for a freestyle. Cuban scholar Geoffrey Baker argues that those music-making circles "enable a community to generate (rather than simply embody) a different social order and a distinct set