In downtown Los Angeles, a person speeds by on a motorcycle. Through the spinning wheel and into the engine, Aaliyah and her dancers perform a routine.
She points standing against a white circular background, which seems to be the headlight. The gears move up and down as the motorcycle moves.
The person pops a wheelie and continues to speed down on the street. Then, the rides down under a semi-truck.
Aaliyah, with her back towards the camera, in sunglasses, touches the gray metallic screen of the light.
The person jumps over some wood in the street and drives down an alley.
Moving up to another level of the engine, Aaliyah, in a black tank top and black leather pants with cutouts. They perform a routine. She dances towards a group of guys sitting on chairs. The guy touches her leg. She touches his chin and beckons him to dance with her. DJ Mark Ronson looks on in his booth. She dances by a headlight. A group of people dance within the engine. The guys perform their own routine. Rashida and Kidada Jones smile for the camera.
Aaliyah takes the helmet off and shakes her hair. Within the engine, she uses a towel with the dance routine. As she sits on the motorcycle in silhouette, the screen reads: In Memory Of Aaliyah.
In her last video, Aaliyah is a badass, challenging the definition of femininity and stereotypes. It would be assumed the person driving the motorcycle throughout would be a man. Considered a man’s toy, it denotes rebellion and a high level of testosterone with something to prove.
Inside the shifting gears of the motorcycle and bright glare of the headlights, are Aaliyah and her dancers performing a routine. Dressed in all black leather, she wears it as though she can name the current models, the differences over the years and can discern with a single noise, what needs to be fixed.
With the man the motorcycle is a symbol for a sexual organ, giving them power. Aaliyah, though, finds her power in her knowledge and confidence. She won’t be underestimated and has the means to fight back. It becomes a form of empowerment rather than a mid-life crisis moment.
Director: Dave Meyers Year: 2002