The roots of Cuban music go back a long way, to pre-Columbian times. The Revolution only changed, or attempted to change, some characteristics of music, while others were allowed to flourish (Chomsky 120). Traditional Cuban “son” music was revived internationally in the 1990s, in a post-revolutionary manner (Chomsky 121). The Revolution gave traditional music more modern variations. In 1965, musician Carlos Puebla wrote “Hasta Siempre Comandante” about Che Guevara leaving Cuba to spread the Revolution elsewhere. Cuba took the “New Song” movement that was happening in other Latin American countries and transformed it into the “Nueva Trova” in Cuba. The goal of “Nueva Trova” was to challenge commercial and foreign control of airways, playing traditional, meaningful and authentic songs. Throughout Latin America and Cuba, people embraced indigenous musical roots instead of being influenced by the popular sounds of the time (Chomsky 121). Cuban rap music also flourished, but later, in the post-revolutionary 1990s. Cuban rap was a new aspect of music influenced in part by the lack of political influence and modern sounds, but also by the edginess and secrecy coaxed by the Revolution (Chomsky 122). The popularity of rap music made its concept seem less radical, but within a very short time people began to praise rap for its rejection of the normal social standards of the time (Chomsky 122). Cuban rappers may have networked with some rappers from the United States due to similar interests, but realistically, that was a plan to criticize capitalism and embrace the freedoms granted to them by the Revolution. For many modern musicians it has been a struggle to reject what was popular and accepted. (Chomsky