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Ride-or-die chick

Neologism of 'biker culture' From Wikipedia, the free encyclopedia

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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 significant other and their risky lifestyle despite the way it might negativity affect her. [1]

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Origin

The term "ride or die" began as 1950s biker slang,[2] describing a mindset where a rider would rather die than be unable to ride. Over time, the expression drifted into mainstream culture and its meaning evolved. Today, it usually refers to a woman who embraces an intense "us-against-the-world" relationship with her significant other. In this modern sense, she’s seen as a loyal, "all-in" companion who’ll stick by her partner no matter what, even when it could put her at risk.

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Use in hip-hop music

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The "ride-or-die chick" trope is used 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.

An early mainstream rap song to popularize the notion of the lifestyle of a woman willing to "ride or die" is "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 term's stand in mainstream hip-hop was established by other notable works, namely "Ride or Die" by Baby Gangsta ft. Lil Wayne and Juvenile on his 3rd album, It's All on U, Vol. 2 in 1997, "Ride or Die" by Jay-Z on Vol. 2. Hard Knock Life in 1998, "Ryde or Die" by Ruff Ryders on Ryde or Die Vol. 1 in 1999, and "Ryde or Die, Bitch", a duet between The Lox and Eve on We Are the Streets in 2000.

Other examples of the term in hip hop include:

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Everyday use of the term

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Within celebrity culture

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 of her divorce from 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.[7] Lil' Kim was also called a "ride-or-die chick" after she was sent to jail for perjury after lying to a jury about her manager's involvement in a shootout that included several rappers.[8][9]

Yet, the term "ride and die chick" 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 sharp criticism by basketball player/analyst Charles Barkley.[10]

The term "Ride or die" may even be used for any heterosexual commitment, such as in the Philadelphia Tribune's statement that Beyoncé and Jay-Z were "ride and die" after renewing their wedding vows.[11]

Outside of celebrity culture

The term is frequently and negatively used 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. Such articles support the notion that women should have boundaries in their romantic relationships and dismiss the idea of limitless loyalty as either unrealistic myth, or one that facilitating abuse and disrespect.[12][13][14]

Academic response

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Defense of term

Black feminist scholar Treva Lindsey, claims that the term "ride-or-die chick" is challenging the dominant narrative in hip hop that privileges homosocial male relationships and undermines heterosexual romantic bonds between men and women.[15] Drawing on scholars such as Patricia Hill Collins and bell hooks, Lindsey argues that "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."[16]

In addition, it was argued that the "ride or die" narrative constitutes a recognition of the disenfranchisement relevant couples face because of race and class, and it is because of this systematic oppression that they feel it is them against the world.[17] According to this notion, 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 actually a statement about the difficulty her partner will likely face as a black man living an illicit lifestyle.[17]

Another favorable understanding of the term depicts its meaning as a flexible one that may positively evolve. For example, as a partnership between adult and put together men and women, and denotes loyalty rather than self sacrify of women for their male partners. [16]

Critique of term

Despite positive readings of the term and the fact that "ride-or-die chicks" are often the subject of male praise or female self-identification in hip hop, the notion has been heavily criticised as a negative and damaging ideal imposed on (Black) women. Critics have argued that "ride-or-die chicks" constitute a heterosexual male fantasy that privileges male pleasure and ignores the costs women must bear to fulfill this fantasy.[15] Hip hop feminist author Gwendolyn D. Pough claims that the rising number of Black women in prison, currently the fastest-growing prison population in the USA, is evidence of the high cost "ride-or-die chicks" must pay.[18]

The "ride-or-die chick" can also be understood as a hip hop reiteration of the Madonna–whore complex. The "ride-or-die chick" is the Madonna, and her opposite is the trick/hoe. While the "ride-or-die chick" is sexualized (unlike the Madonna), sexuality is praised and valued. In accordance with 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.[19] moreover, similarly to the Madonna–whore complex, in this understanding, the "ride-or-die chick" is a sexual script, although, unlike the Madonna–whore, it is specific to Black women.[17]

Another criticism of the concept refers to its place as one of several stereotypes, or scripts, that supposedly represent the entirety of black female behavior rather than its specific meaning. Hip hop activist Toni Blackman voiced her critic of the term by stating 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."[20]

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See also

References

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