Strange ad copy for an actor without children. But it’s celebrity flashback Monday! Brenda Vaccaro is one of a small number of celebrities who appeared in femcare advertising after she was famous. (Others include tennis star Serena Williams and gymnast Cathy Rigby and Mary Lou Retton.) Cheryl Tiegs, Susan Dey, and Cybill Shepherd all appeared in print ads before they became famous models and actors.
Guest Post by Saniya Ghanoui, New York University
Perhaps the most well-known song that addresses menstruation is Ani DiFranco’s “Blood in the Boardroom,” a nearly four-minute narrative about a woman getting her period while sitting in a male-dominated business meeting. The song is from DiFranco’s 1993 album, Puddle Dive, and contains lines identifying women who “bleed to renew life every time it’s cut down” and “right now it’s the only power that I possess.” As such, the song connects the period to an occurrence that bonds women from different classes/social standings; recognizes the period as a source of pride and, as bluntly stated in the song, power; points out the period’s use as a tool of protest; and states the union between life and bleeding. The song is a rich text (and I recommend following along with the lyrics if you’ve never heard the song before) with an even richer music video.
The video is a multi-dimensional piece that opens with a satirical address of typical tampon and pad commercials. A blonde wig-wearing DiFranco sits next to a window, sipping coffee, as she admires the beautiful sunny day. A voice-over starts by saying there are days when women need a “little extra protection,” and ends with a nod to products “introducing the ultimate in feminine protection.” As the last line is said, DiFranco turns to the camera, a small “cat caught the canary” smile on her face, and flicks open a switchblade knife. A play on the meaning of “protection,” the violent image of the knife is contrasted with the soft color palate of the frame and indicates that DiFranco is ultimately the one in power and is capable of her own protection.
The video then proceeds to jump between several quick shots of DiFranco in different locations before coming back to her, by the window, as she “stabs” the camera with the knife, and the song lyrics commence. The act of stabbing (and an aggressive one at that) indicates revulsion of the societal norms regarding the idea of protection from the period. Later in the video, DiFranco removes the wig illustrating the shedding of her faux exterior (an act of defiance) and thus the façade. The rest of the video consists of images of DiFranco performing onstage, shots of DiFranco outside skyscrapers (giving the impression that she is literally and metaphorically outside the male-dominated business world), DiFranco playing with an infant, and two sequences that are, in my opinion, the most distinguished visual sequences of the video: firstly, DiFranco wears a tight white dress and blood “spills” on her from the bottom up while in another image DiFranco rolls in blood on the ground, and, secondly, a collection of words that quickly flash on the screen at various points throughout the song.
The use of blood in the video is notable thanks to DiFranco’s interaction with it: she rolls around on the floor in it, she rubs it on her body, and she is coated in it (while in a white dress). The latter shots turn DiFranco into a used tampon: her tight white dress becomes saturated in red, her white headband turn red, and her face and hair are streaked with the blood. In nearly all of the blood shots, DiFranco seems to enjoy her interaction with it (I would go so far as to argue that, in certain shots, she seems eroticized by it). As she rolls around in it or rubs it on her body, she takes such delight and joviality in the act that she is, thus, embracing part of her existence as a healthy woman.
Mixed with these images of blood are words that flash across the screen creating interesting connections between the lyrics of the song and the words shown. For example, when the word “tampon” is mentioned in the song the word “Plug” is shown on the screen—linking the slang phrase “plug it up” with the menstrual apparatus. In addition, when DiFranco sings about money, what she deems the “instruments of death,” the word “Instruments” flashes on the screen and then all the letters disappear save for the “men” in “Instruments.” She connects the negative notions associated with financial power to men and death and, on the opposite end, women’s ability to make life (the power of the period) should be celebrated.
The text that appears on screen occurs in the following order (all text is in white with a black background unless otherwise noted):
Bored, Bored, Curl, Corporate (turns to Corpse), BLEED (in red font), Love, Life, Period. (punctuation included), Woman, Plug, Menstruate, Puddle (on left side of the screen) turns to Dive (on right), Instruments turns into Men (the letters in Instruments disappear leaving the word men), Life (white background with black writing), Breath (white background with black writing), Board, Bored, Corporate (turns into Corpse), Blood (on the left) turns into Stain (on the right)
As you can see, DiFranco makes numerous hefty statements including the connection between the corporate world and death (Corporate to Corpse)—a sequence that is used twice in the video. Or the play on the homophone of board/bored that is, again, a jab at the corporate world.
The video contains such visually striking images that reaffirm DiFranco’s theme of power in life, and the end of the video is no exception. However, instead of blood or text she concludes in a simple manner: a young child joyfully plays with DiFranco’s guitar as she smiles in amusement.
Another sign of menopause to add to the list: big breasts. Or so Helena Bonham Carter suggests in a recent interview. She suggests that she did not have big breasts until menopause and that it is “the one benefit of menopause.” But before this comment, she said that she wished they “didn’t stick out as much.” Apparently menopause and big breasts are a mixed blessing.
I’m fascinated by celebrities mentioning menopause these days. Actresses from the UK recently seem to be much more outgoing about their menopausal statuses than actresses from the US (see my previous post about Sinead O’Connor), at least from my followings of celebrity gossip (which, admittedly, is not very thorough). The idea that they are talking about it in passing, in simple conversation, is illustrative of the fact that menopause is not as hidden as it once was.
On the other hand, in this particular case, reading between the lines, Helena Bonham Carter says very directly that larger breasts are “the one benefit” of menopause, inferring that there are many more negatives. Further, the idea that the only benefit is appearance-based is not only interesting but also problematic in its reaffirmation of gendered norms about the necessity for women to look good for others. Finally, it is also clear from her comment that having big breasts – something that is often sought after in our highly sexualized, male-dominated culture – is maybe uncomfortable for women in public and that women’s bodies are indeed on display and women know it. Sure, she could have said that she wished her breasts didn’t stick out as much because they got in the way of her physical movement through space, but I doubt it. I think she made this comment more because of her discomfort with others’ gazes upon her body.
So, what does this all say about menopause? Or about big breasts? I think Helena Bonham Carter’s comments confirm the following: First, menopausal women are definitely still thinking (for better or worse) about their appearances. Second, women are intimately aware of the size of their breasts and understand that they are for public viewing (whether they like it or not). Third, big breasts are seemingly better than small ones, at least according to our various and intersecting gender norms. Fourth, Helena Bonham Carter doesn’t think there are any other benefits to menopause (a dismal thought), and we know she’s not the only one. (But aren’t there plenty of benefits? Come on….Sinead O’Connor thinks so…) Fifth, and despite some of the above conclusions, women aren’t necessarily hiding their menopausal status anymore.
I know, I’ve taken two sentences out of Helena Bonham Carter’s mouth and inferred lots of things, but am I that off base? I don’t think so, but feel free to comment!
In 1978, feminist pioneer Gloria Steinem penned a brilliant satire first appearing in Ms magazine and later in her collected essays Outrageous Acts and Everyday Rebellions. In it, she blew the lid off how gender ideology (read: sexism) shapes how we “do” menstruation.
Nearly 40 years old, this piece STILL hums. Have you read it?
Where tongue meets cheek, Steinem was able to break the menstrual taboo of concealment in under 1000 words. Her bold thought experiment stimulated a conversation that we will keep having until something big shifts in the menstrual discourse.
Until then, Steinem wryly asks:
So what would happen if suddenly, magically, men could menstruate and women could not?
Clearly, menstruation would become an enviable, worthy, masculine event:
Men would brag about how long and how much.
Young boys would talk about it as the envied beginning of manhood. Gifts, religious ceremonies, family dinners, and stag parties would mark the day.
To prevent monthly work loss among the powerful, Congress would fund a National Institute of Dysmenorrhea. Doctors would research little about heart attacks, from which men would be hormonally protected, but everything about cramps.
Sanitary supplies would be federally funded and free.
Nearly 40 years out, this prose should be nothing more than a quaint artifact of how things USED TO BE. It should be as relevant today as powder blue leisure suits, wide belts and platform shoes. But the gendered root of the menstrual taboo endures.
Because “If Men Could Menstruate”, near and dear to menstrual cycle advocates old and new, and emblematic of Steinen’s long career of speaking up for women and girls, the Society for Menstrual Cycle Research is pleased to announce that Ms. Gloria Steinem has been chosen as the first recipient of the newly established Making Menstruation Matter award. This award recognizes a journalist, activist, artist, public figure or organization that has meaningfully contributed to the public understanding of menstrual cycle-related issues. The intention of the award is to honor and encourage thoughtful dialogue about the menstrual cycle beyond the academy.
Timing is everything.
At the same time that “If Men Could Menstruate” was published, The Society for Menstrual Cycle Research was forming. Now more than 3 decades later, it seems most appropriate to honor the courage Gloria Steinem has shown throughout her career in articulating and calling attention to women’s realities and imagine something better. To quote Peggy Stubbs, SMCR president:
The intersection of her lifetime achievements and our Society’s interests, is no doubt, an example of how far-reaching Ms. Steinem’s work has extended. For our part, we want to let her know that her work has and continues to energize ours. And we know there are others who, like us, have been and are similarly inspired by Ms. Steinem to continue to work in their own ways to enhance the quality of girls’ and women’s lives.
SMCR will present the award to Steinem during the 20th biennial conference, to be held in NYC, June 6-8 2013. Details on attending the conference and the award ceremony are available here.
Join us to honor Gloria Steinem and hear her remarks about a piece that is timeless, but shouldn’t be.
Big news this week: Sinead O’Connor announces she is excited to be reaching menopause and looks forward to her first hot flash. News stories in the Daily Mail and a celebrity gossip magazine called Female First characterize her as ready to “embrace” this new life stage, unafraid of aging or bodily changes. They also make sure to tell us in the same breath that most other women dread this life stage. It is almost as if the reason that this is news is that it is absolutely amazing that a woman can feel positively about menopause. Comments on this article reaffirm the fact that this is absolutely amazing and that most women hate it, with one person even suggesting that menopause is “God’s revenge on women for being the superior race.”
I find plenty of women telling me they are happy to reach this life stage. Sure, the symptoms suck sometimes (maybe even for years). But, this doesn’t mean they dread all of the changes in their bodies or that they hate their bodily changes. And it doesn’t mean they dread aging. I think Sinead O’Connor is probably more representative of the ways in which many women are thinking about menopause than not. Or at the very least there is a sizable portion of the female population who feels like O’Connor as they reach this life stage. To characterize menopause as normally terrible and O’Connor as “outlandish,” “eclectic” and “quirky” in the same breath as telling us that she is excited about menopause just reifies negative cultural discourse on this reproductive transition. This does nothing positive for women.
What IS positive, though, is that we are even hearing about Sinead O’Connor’s take on menopause. And I argue that she is not as weird in her views on menopause as she seems.
It was Etta, Christina, Los Angeles. Was that menstrual blood or a melting spray-on tan running down Christina Aguilera’s legs during her performance at Etta James’ memorial service last Saturday? The verdict is still out. Regardless, word on the internet is that Aguilera’s bodily event, and not her heartfelt performance of James’ hit song At Last, stole the show.
When will we realize that bodies are sometimes uncontrollable? Think about all the ways our bodies demonstrate this, and often in public. Our noses run, our throats need clearing, we sweat when we’re nervous, burp after we eat, pass gas without meaning to, leak milk when we breastfeed, throw up when we have the flu, lose our balance, bump into walls, break out in acne, and yes, evil of all evils, maybe even menstruate.
Yet cultural norms suggest that we can, or should, control our bodies in all moments and that we can have the bodies we desire if we work hard enough. But when we really think about it, who can believe this is true?
Seriously, bodies are uncontrollable. They are leaky. They react to the things we do to them and inevitably carry on natural, physiological processes – like digestion and menstruation — even when we want to pretend that they don’t.
And we can be vicious in our response when real life drives this lesson home. Visit YouTube, celebrity news columns and even mainstream news sites and you can read about Aguilera’s outstanding performance at James’ memorial service, only to find out about the “disgrace” she caused while singing. The incident is being called Aguilera’s most recent “mishap”, a “wardrobe malfunction,” or a “disgusting accident,” depending on which article you’re reading.
I find it interesting that almost all commenters on this story imply that Aguilera should have been able to control her body. Says who? What makes Aguilera so different than any of the rest of us who have been unable to control our bodies in public at times? Despite what cultural norms tell us, bodies are sometimes uncontrollable. The very event – Etta James’ memorial service – reminds us that bodies are at times in control of themselves, even telling us when life is done. The idea that we can completely control natural processes is ridiculous. We can try to control our bodies as much as we want, but sometimes they just do what they want, when they want.
I also find it fascinating that Aguilera’s publicists (and plenty of commenters on this story) are so intent on discounting the idea that Aguilera might have started her period. To them, a dripping spray tan is the “better” story. Really? So, a natural process that almost all women experience for a good portion of their lives is more “embarrassing” and “gross” than spraying oneself with a fake tan?
Commenters on this story seem appeased by the possibility that Aguilera was simply trying to beautify (tan) herself, indicating to me that the natural (menstruation) has now become unnatural and the unnatural (fake tans) is the new natural. It is now more acceptable (“natural”) to fake a culturally condoned physical appearance than to menstruate? This seems a bit backwards. Why is evidence of a fake tan better than evidence of menstruation? Why has the unnatural become natural and more acceptable here?
Finally, the shaming of the individual (here, Aguilera) is so blatantly obvious that I am reminded of how distanced most of us are from our own bodies but how, simultaneously, we are so ready to gaze on others’ bodies to critique them for being just that, bodies!
Tina Fey, true to her reputation for being feisty and transgressive, tells two amusing menstrual tales in her recent bestselling book, Bossypants.
The first is, appropriately for a “tell all” memoire, about her menarche. The story, familiar to thousands of other women, relates how her mother gave her a “first period” kit from the Modess company that contained two pamphlets, “Growing Up and Liking it” and “How Shall I Tell My Daughter,” and pretty much left her on her own. Fey’s humor derives largely from exaggeration and in this case she compares the Modess box stashed in her closet to a Freddy Krueger nightmare figure lurking in the dark: “Modessssss is coming for you.”
She goes on to describe the moment of the period’s arrival when she was ten years old and performing in a choral concert. She claims that her surprise was not so much that she got her period but that the fluid wasn’t blue as she’d been lead to expect from TV ads.
The second, and more interesting, story is about how as a writer for the long-running TV series, Saturday Night Live, she managed to get the Kotex Classic sketch on the air. Fey refers to it as “my proudest moment as one of the head writers of SNL.” (The anecdote was also published in the March 14, 2011 New Yorker.) The ad parody has become an SNL classic in itself and an indispensible inclusion in any discussion of the history of menstrual references on television.
The Kotex sketch is a send-up of the trend at the time for nostalgia sales pitches such as the Coke Classis campaign. Written by Paula Pell, it features women proudly flaunting their Kotex belts and bulging sanitary napkins, even in a swimming pool and while wearing low cut, tight evening wear. A man in the ad comments approvingly, “Them girls are Old School!”
Fey describes how the men at the studio who had to approve the scripts balked at selecting it. Their resistance was eventually overcome once the women explained the exact nature of the unfamiliar menstrual technology and how it was worn. As Fey puts it, “They didn’t know what a maxi pad belt was. It was the moment I realized that there was no ‘institutional sexism’ at that place. Sometimes they just literally didn’t know what we were talking about.”
Beyond the fascinating behind-the –scenes access that Tina Fey’s book provides to the working of an influential TV show – and lots of other settings as well – she has also offered a glimpse of the menstrual social gap, the chasm of ignorance that separates women and men when it comes to understanding even the most rudimentary details of menstrual management. In this case she was able to educate the men and succeed in producing a memorable – and perhaps even liberating! – piece of TV comedy.
Guest Post by Jaime Hough
Tyra Banks wrote a young adult fantsy novel. And it’s a NYT bestseller. The book, titled Modelland, is about the journey of one awkward-looking girl who is whisked away to a magical boarding school which trains girls to become supermodels with superpowers, known as Intoxibellas. It’s kind of like Harry Potter, if Harry Potter revolved around modeling and was a battle between conventional and unconventional beauty rather than good and evil.
But I’m probably making it sound bad and it’s not, really. Modelland is the story of Tookie de la Crème,1 a girl unnoticed by her classmates and mostly ignored by her family, whose life is turned upside down when she is recruited for Modelland. The reader follows Tookie to and through her first year at Modelland as she, along dozens of other girls, trains for the chance to become one of seven Intoxibellas, supermodels with superpowers, in her graduating class. At Modelland Tookie makes her first real friends while becoming embroiled in a mystery involving the school’s headmistress, known as the BellaDonna, and the world’s mysteriously missing foremost supermodel, Ci~L.2
I read Modelland because I was curious and because I have long been fascinated by the public persona of Tyra Banks. What can I say? We all have our guilty pleasures. Most of Modelland is, for the most part, what you would expect, especially if you’re familiar with Tyra’s moneymaker, America’s Next Top Model. However, I was completely surprised by the fact that Banks chose to use menstruation as a key plot device to develop Tookie’s character. Below are excerpts from the book dealing with menstruation and my brief analysis of how these menstrual moments [MMs] function in the novel and could potentially function for the intended reader.
MM1: Not Yet A Woman
Menstrual Moment One comes near the beginning of the book when Tookie has just come home from her day at school and the readers are being introduced to her dysfunctional family. In particular, we’ve just met Tookie’s younger, dumb blonde little sister, Myrracle.
“Don’t laugh at me!” Myrracle said, frustrated. “I’m on my periodical right now! It makes me forgetful!”
“It’s period, not periodical!” Tookie growled.
Myrracle smirked. “How do you know? You haven’t even gotten yours yet!”
Tookie turned away, her face flooded with heat. Myrracle never resisted the urge to reminder her that she had gotten her period already, even though she was two years younger.3
In Menstrual Moment Two Tookie has just spent her first night at Modelland and is about to start her first day of classes. We follow her as she prepares for class.
Disoriented, Tookie stumbled into the large, sterile-looking community bathroom. As she did, a dull pain shot through her legs, hips, and stomach. She doubled over, feeling as though she was about to vomit. Perfect, she though. I’m sick on the first day of school. . .All at once , every single girl in the bathroom doubled over in pain, gripping her stomach and back just as Tookie had. . .Tookie shut her eyes, wincing again with another pain. “Piper, my back and tummy are killing me!” she whispered.
Piper shrugged. “Join the club, Tookie. Every new Bella started menstruating at the exact same time this morning.”
“You’ve never heard of menstrual synchrony, or the dormitory effect?” Piper asked. “Menstrual synchrony is a theory that suggest that the menstruation cycles of women who cohabitate-think army barracks, female penitentiaries, convents, and university dormitories—synchronize over time. It usually takes months for the alignment to occur but her at Modelland, it seems to have happened in twenty-four hours.”
No, I don’t mean all those drugs aimed at relieving the “symptoms” associated with the hormonal shifts that sometimes trigger a variety of physical or mood changes nor even the expenses that accompany joining a Red Hat Society (somebody’s making a little change on that flashy head wear!).
Rather, it’s the way Gennifer Flowers has packaged herself following her brief brush with fame as a participant in one of President Bill Clinton’s sex scandals. A recent NY Times op-ed piece by Gail Collins (December 7, 2011) informs us that Flowers is now working as an entertainer and motivational speaker and that one of her favorite topics is “The ‘M’ Years . . . Surviving Menopause Mania!” And, indeed, a visit to the Gennifer Flowers web site reveals that her talk “is a humorously-presented speech about the experiences of menopause while giving very current and important medically documented information to women on how to get through these ‘M’ years with the greatest of ease and dignity.”
Unfortunately, the site does not explain just what makes menopause (we presume she means perimenopause) worthy of being called “Mania!” – with an exclamation, no less – nor what makes it so daunting that one needs advice on how to “survive” nor why she feels it’s necessary to be coy with that use of “M” as some sort of code. But perhaps it’s those unknowns that make one want to pay the fee and invite her to one’s event.
The site also includes a lot of glamorous photos and some teasing references to her other favorite topic, “Surviving Sex, Power and Propaganda.” There’s that notion of surviving again. But surviving sex? There’s something touchingly sad about that.
In Gore Vidal’s 2006 memoir, Point to Point Navigation, he name drops his way through more than four decades of a very interesting life with great stories about the famous and notorious folks who crossed his path. One tale is related by his stepmother, Kit, about her former husband and Gore Vidal’s father, Gene Vidal, and his relationship with the pioneering woman pilot, Amelia Earhart, with whom he apparently had a long-running affair. Gene Vidal was also a pilot as well as an innovative businessman involved in many aspects of what was then called air commerce.
According to Kit, her husband had a theory about the accident over the Pacific that killed Earhart. He believed that she had deliberately crashed the plane: “’She was going through a bad time with G.P. [George Palmer Putnam, her publisher husband]; she was also undergoing some sort of premature menopause.’”
Whew! It seems that no matter where you turn, if a woman is having a bad day, the menstrual explanation will be trotted out. But suicide by plane crash as a response to perimenopause?!?! Now, there’s a flight of fancy.
Roseanne’s Nuts was one of the delights of summer 2011, especially for those of us who have missed the comedic talents of Roseanne Barr. If you don’t watch television (or are outside the US), Roseanne’s Nuts is Roseanne Barr’s return to episodic television, this time in the form of a reality show set on the star’s 40-acre macadamia nut farm in Hawaii. When her eponymous sitcom ended in 1997, she made a couple of attempts at talk show hosting, then left L.A. and the limelight to raise her youngest son and macadamias in Hawaii. He’s now a teenager, and the nuts are ready to harvest.
An ongoing thread of the show is Roseanne’s plan to harvest and distribute her nuts as a low-cost protein source for impoverished people. Each episode also has its own self-contained, seemingly unscripted plotline. Unlike many of today’s popular reality shows, however, there are no manipulated showdowns or drunken feuds. Much of the time, Roseanne and her family seem like everyone else’s family — if only the rest of us could live off sitcom residuals and were followed around by a camera crew. There is laughter and teasing, and some conflict underpinned with genuine affection, but everything isn’t always tidily resolved in 22 minutes.
In the Episode #15 (original air date September 10), 58-year-old Roseanne copes with continuing symptoms of menopause. It’s handled so honestly (for the most part) that I’m going to overlook the fact that the episode was titled “Menopause for Dummies”.* The episode opens with Johnny Argent, Roseanne’s manpanion**, sharing a list of menopause symptoms he has found on the internet. Roseanne acknowledges having them all, except for tingling in her extremities, and decides to visit her friend, Dr. Allen, and to investigate whether she should receive hormone treatments. (The full episode can be watched online at Lifetime.com until Oct. 11; preview a short clip at right.)
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Roseanne visits Dr. Allen — on camera, of course — this is a reality show — and explains her concerns. He asks about her libido and her sex life, and she replies, “It’s like an old person’s”. She responds forthrightly to his suggestion that dryness may be the cause of her ‘feminine itching’: “that’s all dried up like a sonofabitch”. Dr. Allen wants to measure Roseanne’s hormone levels with a 24-hour urine test, as he believes that will provide more precise information than any blood test. Roseanne is horrified by his description of her contribution to the procedure (“You pee in a bucket for 24 hours”), but even more horrified by his other recommendation: she needs to exercise.
Roseanne tells the camera — the proxy for us, the audience at home — that she doesn’t know if she’ll go on hormones or not. Her women friends recommend red wine, saying it’s bad for menopause (“because it makes you sweat”) but good for the libido. Her eldest son Jake is delighted to hear that his mom is considering hormones, telling the camera, “After eight years of being batshit crazy, I think she’s finally ready. I’m so happy — once she gets hormones, my life’s gonna be a lot easier.”
Some of my SMCR colleagues who study menopause may cringe at these scenes, but I think they’re representative of the kind of communication many women experience around menopause; that is, well-meaning, if ill-informed, advice from friends and family. It feels like the kinds of conversations lots of us have in our own living rooms and front porches. It is this feeling of unscripted authenticity that draws viewers to Roseanne’s Nuts. I also note the special irony of menopause; after 20 or 30 years of our hormones being blamed for erratic and irritable behavior, we’re now advised to consume hormones to rein in our erratic and irritable “batshit crazy” behavior.
U.S. readers probably know that on Monday, Congresswoman Michele Bachmann upbraided Texas governor Rick Perry for requiring girls in his state to have the vaccine during a Tea Party sponsored debate among Republican candidates for the presidential nomination, and then claimed the HPV vaccine causes ‘mental retardation’.
One dramatic response came on Twitter from writer Ayelet Waldman, who wrote that she got HPV from her husband in a monogamous marriage, and had to have cervical lesions removed. She was promptly told to keep that to herself, it was TMI, and that it was probably her fault for being slutty. (For an excellent critical summary of the whole kerfuffle, read Jill’s post at Feministe.)
HPV is easy to spread and hard to detect. From the CDC:
HPV is passed on through genital contact, most often during vaginal and anal sex. HPV may also be passed on during oral sex and genital-to-genital contact. HPV can be passed on between straight and same-sex partners–even when the infected partner has no signs or symptoms.
A person can have HPV even if years have passed since he or she had sexual contact with an infected person. Most infected persons do not realize they are infected or that they are passing the virus on to a sex partner. It is also possible to get more than one type of HPV.
HPV is easily spread, but can be prevented and treated. As the Village Voice article asserts, “Perhaps the greatest danger in the battle against HPV is one of PR. People are ashamed (after all, it’s an STD), and women in particular are shamed. No one wants to admit it, no one talks about it, and when people do, it’s in whispers and there’s a lot of misinformation.”
So talk about it, tweet about it, and don’t be ashamed. Fight sex negativity.