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A "ride-or-die chick" is a neologism originating from biker culture, referring to a woman who is willing to support her partner and their risky lifestyle despite how this might endanger or harm her. She may even take an active role as an accomplice. [1]
The term "ride or die" originates from 1950's biker slang, [2] meaning that if a biker couldn't ride, they'd rather die. This meaning has changed over the years, and now refers to a woman who embraces the "us-against-the-world", or Bonnie and Clyde dynamic with her partner. In theory, she accepts a life being their partner in crime, willing to do anything even if doing so results in danger towards her. [3] [4]
The "ride-or-die chick" trope is used by all[ citation needed ] in hip hop music, with men stating their desire for a ride-or-die chick, and women identifying themselves as willing to ride and die. Many of these songs are duets between male and female artists and contain both of these perspectives within the same song.
The first song to popularize the "Ride or Die" trope was released in 1997, "Ride or Die" by Baby Gangsta ft. Lil Wayne and Juvenile on his 3rd album, It's All on U, Vol. 2 .
Jay-Z and the Ruff Ryders advanced the term into the mainstream in 1998 and 1999 respectively, with the songs "Ride or Die" on Vol. 2... Hard Knock Life and "Ryde or Die" on Ryde or Die Vol. 1 .
However, in June The first mainstream rap song to advance the notion of the lifestyle of a woman willing to "ride or "The Bonnie and Clyde Theme" by Yo Yo in a duet featuring Ice Cube, on her third studio album You Better Ask Somebody , released in June 1993. The popularization of the term "ride-or-die chick" did not enter mainstream hip-hop until The Lox released a duet with Eve, "Ryde or Die, Bitch," on the 2000 album We Are the Streets . The song was produced by Timbaland.
Other examples of the term in hip hop include:
This term is sometimes used to describe the lives and decisions of women in the hip hop community. In their interview with Tashera Simmons following the announcement that she was divorcing DMX, Essence magazine referred to her as "having a reputation for being the ultimate ride or die chick," citing Simmons' support of DMX despite his jail time, drug use, and infidelity. [9] Lil' Kim was also called a ride-or-die chick after she went to jail for perjury for lying to a jury about her manager regarding a shootout involving several rappers. [10] [11]
The term does not always imply drama and danger. For example, Gabrielle Union was described as a ride-or-die chick for her public and vehement defense of her husband Dwyane Wade after his talent was criticized by basketball player/analyst Charles Barkley. [12] "Ride or die" is sometimes used a shorthand for any heterosexual commitment in the hip hop community, such as in the Philadelphia Tribune 's statement that Beyoncé and Jay-Z were "ride and die" after they renewed their wedding vows. [13]
The term is frequently used negatively outside of celebrity culture. Blogs targeting young black members of the "hip hop generation" as their demographic, such as Hello Beautiful, Hall of the Black Dragon, and Urbanbellemag.com, have all published articles that advise women to be wary of attempting to be a ride-or-die chick at the expense of their own happiness and health. These articles argue women need specific boundaries in their romantic relationships and dismiss the idea of limitless loyalty as either unrealistic myth or facilitating abuse and disrespect. [14] [15] [16] However, this negative perspective is not universal. The website https://www.singleblackmale.org, which claims to represent the "urban male perspective", tells women specific ways they can achieve ride-or-die status that vary from "being down for the cause" to "either watch sports...or get out and leave (your man) alone." [17]
Black feminist scholar Treva Lindsey claims the ride-or-die chick is a challenge to a dominant narrative in hip hop that privileges homosocial male relationships and undermines heterosexual romantic bonds between men and women. [18] Drawing on scholars Patricia Hill Collins and bell hooks, she argues this love is not only personal, it is also an act of political rebellion because "In a culture that claims black women are unlovable and undesirable, and black men are violent and irredeemable, it is considered 'rebellious' when black men and women love each other." [19] Others have also argued that the "ride or die" narrative is a recognition of the disenfranchisement these couples face because of race and class and it is because of this systematic oppression that they feel it is them against the world. [20] In this understanding by claiming to be a ride-or-die chick, a woman is not diminishing her own self-worth or inviting mistreatment, but symbolically invoking a politically aware alliance. Her recognition that committing to this relationship will require her to "ride or die" is a statement about the difficulty her partner will likely face as a black man living an illicit lifestyle. [21]
Another favorable understanding of the trope argues its meaning is flexible and can positively evolve. For example, one definition of this term claimed "for a 30+ year old man, who has his ish together, a down ass chick is someone who is down for you in other ways...Both versions are loyal and have your back but... the 30+ DAC is not willing (nor required) to sacrifice herself or her goals for her man. They are building together." [19]
Despite these positive readings and the fact that ride-or-die chicks are often the subject of male praise or female self-identification in hip hop, they have also been critiqued as a negative and damaging ideal imposed on Black women. Critics have argued that ride-or-die chicks are a heterosexual male fantasy that privileges male pleasure and ignores the costs women must pay to fulfill this fantasy. [18] Hip hop feminist author Gwendolyn D. Pough claims the rising number of Black women in prison, currently the fastest-growing prison population, is evidence of the high cost ride-or-die chicks must pay. [22]
The ride-or-die chick can also be understood as a hip hop reiteration of the Madonna–whore complex. In this understanding the ride-or-die chick is the Madonna and her opposite is the trick/hoe. Unlike the "Madonna", the ride-or-die chick is sexualized (casting doubt on this very comparison), but unlike the trick/ho, her sexuality is praised and valued. The ride-or-die chick is not seen as sexually deviant because her partner is the only man with access to her body. Like the Madonna–whore paradigm, in this schema women's sexuality is only for male pleasure and is limited to fulfilling one of two restrictive opposing roles. [23] Also like the Madonna–whore, in this understanding the ride-or-die chick is a sexual script although, unlike Madonna–whore it is specific to Black women. [20] In an interview, hip hop activist Toni Blackman noted that it is not the sexuality of these scripts she is troubled by, but that "woman's choices are only limited to A, B and C. When a guy gets to choose between ABCDEFGHIJKLMNOP." [24] In this critique the problem with the ride-or-die chick is not its specific meaning but its place as one of several stereotypes, or scripts, that supposedly represent the entirety of black female behavior.
Bitch is a pejorative slang word for a person, usually a woman. When applied to a woman or girl, it means someone who is belligerent, unreasonable, malicious, controlling, aggressive, or dominant. When applied to a man or boy, bitch reverses its meaning and is a derogatory term for being subordinate, weak, or cowardly. In gay speech the word bitch can refer approvingly to a man who is unusually assertive or has the characteristics used pejoratively of a woman.
Jeffrey Bruce Atkins Sr., better known by his stage name Ja Rule, is an American rapper, singer, and actor. Born and raised in New York City, Ja Rule became known for blending gangsta rap with pop and R&B sensibilities. He signed with Irv Gotti's Murder Inc Records, an imprint of Def Jam Recordings to release his debut studio album Venni Vetti Vecci (1999), which spawned his first hit single, "Holla Holla". In 2001, he peaked the Billboard Hot 100 on three occasions with his single "Always on Time" and his guest appearances on Jennifer Lopez's songs "I'm Real " and "Ain't It Funny".
Earl Simmons, known professionally as DMX, was an American rapper and actor. The recipient of various accolades, he won an American Music Award, a Billboard Music Award, and was nominated for six Grammy Awards. Regarded as an influential figure in late 1990s and early 2000s hip hop, his music is characterized by his "aggressive" rapping style, with lyrical content varying from hardcore themes to prayers. His violent lyricism helped popularize the horrorcore genre.
Slut is an English-language term for a person, usually a woman, who is sexually promiscuous or considered to have loose sexual morals. It is predominately used as an insult, sexual slur or offensive term of disparagement. It originally meant "a dirty, slovenly woman", and is rarely used to refer to men, generally requiring clarification by use of the terms male slut or man whore.
"Can't Hold Us Down" is a song recorded by American singer Christina Aguilera and rapper Lil' Kim for the former's fourth studio album, Stripped (2002). It was released by RCA Records on July 8, 2003, as the fourth single from the album. The track was written and produced by Scott Storch, with additional songwriting by Aguilera and Matt Morris. An R&B and hip hop song with a dancehall outro, "Can't Hold Us Down" criticizes gender-related double standards.
A video vixen is a woman who models and appears in hip hop-oriented music videos. From the 1990s to the early 2010s, the video vixen image was a staple in popular music, particularly within the genre of hip hop. First appearing in the late 1980s, when hip-hop culture began to gain popularity. It was most popular in American pop culture during the 1990s and 2000s. Video vixens are aspiring actors, singers, dancers, or professional models. Artists and vixens have been criticized for allegedly contributing to the social degradation of black women and Latinas.
"How Many Licks?" is a song by American rapper Lil' Kim featuring vocals by American musician Sisqó from Lil' Kim's second studio album, The Notorious K.I.M. (2000). Mario Winans and Sean Combs produced the song, and wrote it with Lil' Kim and Sisqó. The hip hop song samples the Knight Rider theme song, with lyrics expressing a woman's desire for oral sex and her sexual relationships with a variety of men. The chorus is a reference to the advertising slogan for Tootsie Pops. A remix by the Neptunes has additional vocals from American artists Kelis, Lil' Cease, and Snoop Dogg. "How Many Licks?" was released as the second and final single from The Notorious K.I.M. on November 21, 2000, by Queen Bee Entertainment and Atlantic Records.
American rapper DMX released eight studio albums, seven compilation albums, three mixtapes, 47 singles and 24 music videos.
Todd Angkasuwan is a Thai-American music video and documentary film director.
"Ryde or Die, Bitch",, is the lead single released from The LOX's second album, We Are the Streets. The song was produced by Timbaland and featured him and Eve. It was the most successful single from the album, peaking at 73 on the US Billboard Hot 100, 27 on the Hot R&B/Hip-Hop Songs and 22 on the Hot Rap Singles.
Misogyny in rap music is defined as lyrics, videos, or other components of rap music that encourage, glorify, justify, or legitimize the objectification, exploitation, or victimization of women. It is an ideology that depicts women as objects for men to own, use, and abuse. It reduces women to expendable beings. It might include everything from innuendos to stereotypical characterizations and defamations.
The following list is a discography of production by Lex Luger, an American record producer. It includes a list of songs produced, co-produced and remixed by Luger specified by year, artist, album and title.
Hip hop feminism is a sub-set of black feminism that centers on intersectional subject positions involving race and gender in a way that acknowledges the contradictions in being a black feminist, such as black women's enjoyment in hip hop music and culture, rather than simply focusing on the victimization of black women in hip hop culture due to interlocking systems of oppressions involving race, class, and gender.
"Tapout" is a song released by American hip hop group Rich Gang featuring performances by Trinidadian-born rapper Nicki Minaj and American rappers Lil Wayne, Mack Maine, Future, and Rich Gang founder Birdman. Produced by Southside & TM88 with co-production and uncredited vocals by Detail, the song is the lead single of the eponymous YMCMB compilation album, premiering on March 12, 2013 and becoming available for digital download on March 19. The song has since peaked at #44 on the Billboard Hot 100.
Misogynoir is a term referring to the combined force of anti-Black racism and misogyny directed towards black women. The term was coined by black feminist writer Moya Bailey in 2008 to address misogyny directed toward black transgender and cisgender women in American visual and popular culture. The concept of misogynoir is grounded in the theory of intersectionality, which analyzes how various social identities such as race, gender, class, age, ability, and sexual orientation interrelate in systems of oppression.
Feminist activism in hip hop is a feminist movement based by hip hop artists. The activism movement involves doing work in graffiti, break dancing, and hip hop music. Hip hop has a history of being a genre that sexually objectifies and disrespects women ranging from the usage of video vixens to explicit rap lyrics. Within the subcultures of graffiti and breakdancing, sexism is more evident through the lack of representation of women participants. In a genre notorious for its sexualization of women, feminist groups and individual artists who identify as feminists have sought to change the perception and commodification of women in hip hop. This is also rooted in cultural implications of misogyny in rap music.
Ratchet is a slang term in American hip hop culture that, in its original sense, was a derogatory term used to refer to an uncouth woman, and may be a Louisianan dialect form of the word "wretched".
Forbes magazine reported in 2017 that hip hop was the "dominant musical genre" in the U.S. music industry and, for the first time, outsold any other U.S. musical genre. With its cultural foundation in the South Bronx, hip hop has grown in popularity since its beginnings in 1979. Popular dominance of the genre coincided with the international #MeToo movement, which exposed the sexual misconduct of men in positions of power in the field of entertainment. Although women and men from all walks of life worldwide have shared their #MeToo stories, accounts in the music industry were few; the industry evaded public scrutiny, despite its dominance as broadcast and streaming media.
Ratchet feminism emerged in the United States from hip hop culture in the early 2000s, largely as a critique of, and a response to, respectability politics. It is distinct from black feminism, womanism, and hip hop feminism. Ratchet feminism coopts the derogatory term (ratchet). Other terms used to describe this concept include ratchet womanism as used by Georgia Tech professor Joycelyn Wilson or ratchet radicalism used by Rutgers professor Brittney Cooper. Ratchet is an identity embraced by many millennials and Gen Z black women and girls. The idea of ratchetness as empowering, or of ratchet feminism, has been articulated by artists and celebrities like Nicki Minaj, City Girls, Amber Rose, and Junglepussy, scholars like Brittney Cooper and Mikki Kendall, and through events like Amber Rose's SlutWalk. Many view ratchet feminism as a form of female empowerment that doesn't adhere to respectability politics.
Dr. Gwendolyn D. Pough (1970s) is an American academic and scholar in rhetoric and composition studies. She is a post-Civil Rights African-American academic who developed as a writer during the rise of hip-hop culture.
