Previous research shows how male and female can be reflected differently within the progressive music movement and other music genres. This research often derives from the dichotomy between women and men and analyzes how the prevailing gender order affects culture and its followers. The purpose of this study is to investigate how the progressive music movement portrays men and how these can be sorted into the masculine hierarchy. Through a hermeneutic perspective and with the help of Raewyn Connell's masculinity theory, Hoola Bandoola Band's texts are analyzed to investigate how they portray men and their social position in relation to the masculine hegemony. The study also takes a didactic perspective and in front of a discussion regarding how the music in question can be used in the subject of history at the upper secondary school. The result shows that the lyrics of the band regards men with the hegemonic, the participant, the subordinate and the marginalized masculinity. The result also shows that the most prominent categories are the hegemonic and the participatory masculinity. This is because many texts center around men who possess a dominant position and men who legitimize the prevailing hegemony. The subordinate masculinity is depicted by the men who sympathize with feminism and who want to change women's subordinate position. They can also be portrayed as homosexual men. Men who are categorized by the marginalized masculinity often relate to men who lack the influence of the prevailing hegemony and who do not legitimize the hegemony even though the possibility exists that they possess desirable attributes. Their position is clearly based on a structure that means that their class affiliation places them in a marginalized power position.