Aaliyah Superstardom Cut Short by a Tragic Accident

Ateenage star who never reached her adult potential, Aaliyah Haughton blazed a bright trail through the world of contemporary rhythm and blues during the middle to late 1990s, until her untimely death at the age of twenty-two in a plane crash in the Bahamas.

Haughton was born in New York and raised in Detroit. (Her name, pronounced Ah-LEE-yah, a transliteration from Swahili, means “exalted one”). She was inspired by her mother, Diane, a singer, and her uncle, a lawyer briefly married to Gladys Knight, the R&B legend best known for the 1970s ballad “Midnight Train to Georgia.” Haughton got her first break performing with Knight at the age of eleven and released her debut album, Age Ain’t Nothing but a Number, in 1994, at the age of fifteen. The preternaturally mature singer scored several Top 10 hits from the album with the sing-songy, hip-hop-flavored “Back & Forth” and the Isley Brothers’s “At Your Best (You Are Love).”

But her marriage to her producer, the Chicago singer R. Kelly, threatened to overshadow her debut. Kelly wrote most of the songs on the album, which mixed street-savvy R&B with rapping and a few unexceptional ballads. The songs, such as “Throw Your Hands Up,” feature lyrics that match Aaliyah’s early image, which blended street-tough baggy pants and bandannas with a sly, girl-next-door smile (”Straight from the streets / Is where I’m coming from / Straight out the streets / With a touch of jazz in me”).

Because Haughton was underage at the time of the marriage, the union generated controversy and was quickly annulled; it did nothing, however, to slow the singer’s meteoric rise. Her second album featured even stronger compositions and touches that prefigured her later signature style, thanks to a close collaboration with the producer, Timbaland, and the rising star rapper/producer, Missy “Misdemeanor” Elliott. Their combination of skit-tering, minimalist space-age beats and Haughton’s rich yet ethereal vocals set the stage for their most distinguished future collaborations. The 1996 album One in a Million produced another pair of hits, including the languid title track and the seductive “If Your Girl Only Knew.” “One in a Million” finds Haughton evolving from the inexperienced, shy teen of her debut into a more mature, enigmatic seductress.

Haughton continued to grow artistically with every single she released, most notably in her 1998 single, “Are You That Somebody,” from the Dr. Dolittle soundtrack. Again buoyed by Timbaland’s crisp, futuristic beats, the song is built around an infectious sample of a baby’s cry. “Journey to the Past,” a track from the animated Disney film Anastasia, was nominated for an Academy Award for Best Song that same year, and Haughton performed it on the Academy Awards.

Unlike so many of her contemporaries, Haughton kept her private life off-limits, furthering her slightly mysterious image. Known for her close familial relationships, a tireless work ethic, and a pleasant disposition, the singer gained fans among profanity-spewing rap artists and suburban teens alike with an image that was both streetwise and classy. With a preference for black leather, dark sunglasses, and a tuft of hair covering her left eye, the singer exuded an air of effortless cool that extended to her fluid, languid dance moves. It was that enigmatic style that earned Haughton her first movie role, co-starring with the Asian martial arts star Jet Li in Romeo Must Die (2000).

The single “Try Again,” from the film’s soundtrack, further cemented the creative and commercial symbiosis between Haughton and Timbaland; this stutter-stepping, up-tempo R&B affirmation helped push the album, which Haughton executive-produced, to more than 2 million in sales. With positive reviews for her work in Romeo Must Die Haughton signed on to appear in a co-starring role in the two sequels to the science fiction film The Matrix and a lead part in the vampire drama Queen of the Damned.

While filming her gothic role in the Anne Rice–inspired Queen of the Damned, Haughton recorded her self-titled third album, which further expanded her sound, adding touches of blues, jazz, and salsa to a group of songs exploring themes of abusive relationships, sex, and betrayal. Tracks such as the propulsively funky “More Than a Woman” and the Caribbean-flavored “Rock the Boat” are infused with Haughton’s increased confidence and control.

Just one month after the album’s release, Haughton was returning from the Bahamas after filming a video for Rock the Boat when her promising career was cut short. The charter airplane she and eight of her entourage were on crashed after takeoff. Haughton’s elaborate funeral in downtown New York City, which featured a horse-drawn carriage pulling her casket, was fit for royalty. A ceremony for friends and family following the funeral featured a photo of Haughton with the inscription “We were given a Queen, We were given an Angel.” The singer was buried in Westchester County, New York.

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