In Buena Vista in the Club, Geoffrey Baker traces the trajectory of the Havana hip hop scene from the late 1980s to the present and analyzes its partial eclipse by reggaetón. While Cuban officials initially rejected rap as 'the music of the enemy,' leading figures in the hip hop scene soon convinced certain cultural institutions to accept and then promote rap as part of Cuba's national culture. Culminating in the creation of the state-run Cuban Rap Agency, this process of 'nationalization' drew