Blog of the Society for Menstrual Cycle Research

Another Day, Another Shame: Sports Edition

August 5th, 2013 by Chris Bobel

The BODY POLICE just wrote us another ticket.

Sweating through our workout clothes, is a big NO NO, that is, if the sweat shows up (whisper…blush…giggle…) down there. The “solution” to the non-problem du jour is U By Kotex’s Sports Liners. Thank you, Kotex, for reminding me that I am, in fact, a functioning, healthy human. Here’s the commercial. (Prepare your rage).

In response, Australian Humorist Sammy J sent the BODY POLICE back to the station with: “The Crotch Song” He performed the jaunty tune on the new Australian weekly comedy series Wednesday Night Fever, which he hosts.  Then, like good satire often does, it went viral.

Apparently underestimating our hunger for a good solid FemCare smackdown, Sammy J humbly posted to his Facebook page on July 25th:I awoke to discover my song about crotch sweat has gone viral overnight, clocking up over 30,000 views. Power to the sisterhood!”  Well, Sammy J, your fandom is growing. Video views on YouTube alone are at nearly 48K and climbing.

I love the sassy critique of the product, of course, but I especially appreciate the way Sammy J redirects our attention away from the intractable ‘to use or not to use’ debate that quickly devolves into missing the point much bigger than any particular individual’s consumer choice. Instead, he exhorts every woman to steer clear of men (let’s expand that to ANYONE) “ who would make you feel as bad as panty liner companies.”

Amen.

Here’s the full lyrics here. Every delicious word.

 The Crotch Song by Sammy J 

 I saw a new ad for a new product aimed at women
New panty liners to eliminate crotch sweat.
And though I don’t have degree in feminism
I feel their message is a little hard to get

Cause the assumption seems to be that sweating when you exercise is a major turn off so it’s best to keep sweating in disguise

But that does not address the fact that any guy who judges you for sweating when you exercise is probably a cock-head.

So if we apply the logic they’re using to sell it.
And your crotch is sweaty so you buy a 30-pack

Well then there’s a stronger chance you’ll end up with a douche-bag, and that’s a few years of your life you won’t get back.

In-fact when you think it through
Any guy who talks to you despite your sweaty crotch has already past a very basic test
It means he’s not brain dead.
It means he understands the cause or link between exercise and perspiration.

So take him to the formal

The website says and this is word for word I’m quoting “It’s time we all stop being shy about vaginas” 


And then you click the product tab they’re promoting
 guilt, shame and embarrassment to sell their panty-liners.

So young girls if you’re listening and your crotch is feeling sweaty.
You can chose to use a liner. 
Do whatever sets you free

But as you make your way through life avoid dating the assholes who would make you feel as bad as panty liner companies.

[Source: LYBIO.net]

It’s the only power that I possess: Ani DiFranco’s “Blood in the Boardroom”

February 14th, 2013 by David Linton

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.

Advertise Your Period Dot Com

February 15th, 2012 by Elizabeth Kissling

Today, in vintage femcare advertising, we bring you Tampax’s idea of menstrual shaming, 1990s style:

 

But Tampax doesn’t understand menstruation as well as they think they do. Sure, it might be a little tiresome to have a Mariachi band follow you around everywhere for most of a week, but as I’ve indicated before, I love the idea of a musical celebration of my monthly miracle.

Christina Aguilera, Etta James, and a Lesson in Uncontrollable Bodies

February 2nd, 2012 by Heather Dillaway

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!

Women and their bodies are shamed in very specific ways. Plenty of feminist researchers have written about menstrual shaming and menstrual taboos. Others have written about the power of Western beauty norms. We know that women are told they are dirty, evil, ugly, untrustworthy, irrational, etc., when they are menstruating, and must hide any evidence of menstruation. At the same time, we know that women are held to unattainable beauty standards and are critiqued for not meeting these standards. Aguilera was doomed to be derided for this bodily event. Regardless of what it was running down her legs, she is at fault for not being able to control her body. Which brings me back to my original point and question:

Did you . . . did you make me a period mix?

March 21st, 2011 by Elizabeth Kissling

I’m not really a fan of Ashton Kutcher (and I haven’t seen this movie) but a boy who made a period mixtape for me would definitely have a chance.


From the film No Strings Attached

Menstruation and Music Don’t Mix

January 29th, 2010 by Elizabeth Kissling

Cartoon illustration of opera singerThat’s the report from this arts blogger at the New York Times. Yesterday, doctors from the Methodist Center for Performing Arts Medicine of the Methodist Hospital in Houston held a daylong symposium on the management of medical problems among musicians specifically and performing artists more generally. Performing-arts medicine is a relatively new specialty, and frankly, I’m not surprised by the need for it. (I know a drummer who has ongoing neck and back problems caused – or at least aggravated – by his art.)

But I was surprised to see a blanket recommendation that female vocalists use oral contraceptives to suppress menstruation. According to Keith O. Reeves, the deputy chief of Gynecology at the Methodist Hospital and a professor at Weill Cornell, premenstrual syndrome “brings vocal fatigue, decreased range, loss of power and loss of some harmonics.” Continuous use of synthetic hormones is quite an extreme remedy for an illness without a clear definition or etiology.

But apparently menopause is much harder on the vocal folds – our intrepid blogger can’t even tell us:

As for menopause, you don’t want to know. As Dr. Reeves quotes the great mezzo-soprano Christa Ludwig, “It was a hell of some years.”


Another reason to love Beth Ditto

November 30th, 2009 by Elizabeth Kissling

Beth_Ditto15As if you needed one. Gossip played a sold-out show Saturday night at London’s HMV Forum. Her period started moments before the performance, and instead of fretting about how to conceal it, Beth Ditto asked her fans to go on ‘bleed watch’. She said: “I started my period about four minutes ago and I was like ‘Oh no!’” She then asked them to go on “bleed watch” before adding, “If you see period stains you let me know!”

Readers should note that statements published in re: Cycling are those of individual authors and do not necessarily reflect the positions of the Society as a whole.