This chapter analyses Argentina's current governing political party's appropriation of the controversial but highly popular music genre known as cumbia villera for political purposes. Former president N鳴or Kirchner constructed his popularity around a transgressive macho image, identifying himself with the vast cumbia villera audiences to the point of financially supporting the emergence of the sub-genre cumbia social, a move considered opportunistic by many, but which without doubt proved successful. Paradoxically, even though the current president is Mr. Kirchner's widow, a self-proclaimed feminist, she defends exactly the same male chauvinist arguments as her husband did formerly. Our theoretical approach to this study will take into account Connell's concept of "hegemonic masculinities" to explore the relationship between popular cultural production, gender violence and official government discourses in contemporary Argentina.