Wanna Be Startin' Somethin'

"Wanna Be Startin' Somethin'" is a powerful and complex song that operates on multiple thematic levels. At its core, it is a fierce indictment of gossip, media sensationalism, and the destructive power of rumors. The lyrics express a deep sense of paranoia and frustration with individuals who thrive on creating conflict and spreading lies for no reason. Jackson directly confronts these antagonists, describing their words as sharp as a 'razor' and accusing them of being treacherous and cunning.

The song is also deeply personal. It was initially written by Michael for his sister La Toya, reflecting on her difficult relationship with her sisters-in-law. However, Michael's decision to record it himself imbued it with his own experiences of being under the intense scrutiny of the media and public eye. The lines, 'You're a vegetable, you're just a buffet / They'll eat off you,' serve as a potent metaphor for how he felt consumed and exploited by the relentless press and public obsession.

Furthermore, the song touches on broader themes of social responsibility, particularly in the lines, 'If you can't feed your baby / Then don't have a baby.' This can be interpreted both literally, as a statement on parental responsibility, and metaphorically, as a warning against initiating conflicts or problems ('startin' somethin'') that one cannot control, which ultimately leads to negative consequences. The chaotic and urgent energy of the music mirrors the lyrical themes of anxiety and confrontation, creating a track that is simultaneously a vibrant dance anthem and a bitter, paranoid outcry.

The narrative begins with an immediate accusation, a feeling of being trapped in a volatile situation. The singer describes a conflict that is inescapable, likening it to a force that is simultaneously 'too high to get over' and 'too low to get under.' This establishes a sense of claustrophobia and helplessness. The lyrics paint a picture of public scrutiny and the malicious spread of misinformation, where a simple visit to a doctor with a 'fever' is twisted into a major scandal, causing emotional distress to a loved one, referred to as 'my baby.' The core message is a direct confrontation with those who create drama and spread rumors for their own amusement or gain.

The song then shifts its focus to a broader critique of duplicitous behavior. It speaks of individuals who present a facade of kindness but are treacherous and cunning, whose words are like a 'razor.' This theme of betrayal and backstabbing is deeply personal, reflecting a growing sense of paranoia. The narrative becomes more pointed, mentioning 'Billie Jean,' a direct reference to another song on the same album, portraying her as a perpetual source of lies and attention-seeking behavior. This intertextuality reinforces the theme of being constantly hounded by false narratives and fabricated stories.

A significant portion of the song delves into stark, almost brutal imagery to convey the consequences of this negativity. The repeated line, 'You're a vegetable,' serves as a powerful metaphor for being passive and lifeless, allowing others to metaphorically 'eat off you' – to exploit and consume one's life and reputation. This is followed by a dire warning about responsibility, using the metaphor of being unable to 'feed your baby.' This speaks to the broader societal issue of bringing life into the world without the means to care for it, but also functions as a metaphor for starting conflicts ('somethin'') that one cannot control or resolve, leading to decay and slow death ('your baby's slowly dyin'').

The song culminates in a famous, lengthy chant: 'Mama-se, mama-sa, ma-ma-ko-ssa.' This coda, borrowed from another artist, serves as a release of the built-up tension. While the syllables themselves don't have a literal meaning in the context of the song, their rhythmic, incantatory repetition transforms the track from a paranoid rant into a powerful, collective groove. It becomes a primal scream, a danceable exorcism of the negativity and paranoia that have been building throughout the verses. It shifts the focus from the specific accusations to a universal feeling of release and rhythmic unity, ending the song not with a resolution to the conflict, but with a triumphant, energetic assertion of musical power over verbal poison.

"Wanna Be Startin' Somethin'" was written and co-produced by Michael Jackson, with Quincy Jones serving as the primary producer. The song's origins trace back to the late 1970s, as it was initially written by Jackson for his sister La Toya Jackson to address her strained relationship with her sisters-in-law. A demo was reportedly first recorded in 1978, with the intention of including it on the Off the Wall album, but it was ultimately shelved.

The track was re-recorded in 1982 in Los Angeles for the groundbreaking album Thriller. Jackson famously did not write his music down on paper; instead, he would dictate melodies and rhythms from memory into a sound recorder. The song was one of the first tracks worked on during the Thriller sessions and was intended to have a sound that would connect with fans of his previous work while also pushing into new territory.

The song's iconic closing chant, 'Mama-se, mama-sa, ma-ma-ko-ssa,' was adapted from the 1972 song 'Soul Makossa' by Cameroonian saxophonist Manu Dibango. Jackson used the phonetic phrase without direct permission, which later led to a lawsuit from Dibango. The matter was settled out of court in 1986, with Dibango receiving financial compensation. This chant became one of the most recognizable hooks in popular music. The track features a host of top-tier session musicians, including Louis Johnson on bass, David Williams on guitar, and Paulinho da Costa on percussion, contributing to its complex and layered rhythmic foundation.

The rhythmic structure of "Wanna Be Startin' Somethin'" is its most defining characteristic. The song is set at a bright tempo of around 120-124 BPM in 4/4 time, driving its infectious dance quality. Its core is a complex, layered polyrhythmic groove that feels perpetually propulsive. A key technique is the syncopation in the bassline and kick drum, which deliberately avoids landing on the 'one' beat, creating a sense of urgency and rhythmic tension that makes the track feel 'wildly unstable' for a pop song. This syncopated foundation is overlaid with a steady 16th-note shaker pattern and sharp, accented hi-hats, creating a dense and intricate rhythmic tapestry.

Lyrically, the rhyme scheme is relatively simple and direct, often using couplets (AABB) to deliver its confrontational message, such as 'talkin', screamin', lyin' / always tryin' to start my baby cryin'.' This straightforward rhyme structure makes the lyrics impactful and easy to follow despite the musical complexity. Jackson's vocal delivery is highly rhythmic, with his phrases often dancing around the main beat, using syncopation and his characteristic percussive gasps and hiccups to function as another rhythmic layer within the track. The interplay between the structured lyrical rhymes and the highly complex, groove-oriented instrumental creates the song's signature feeling of controlled chaos.

Musically, "Wanna Be Startin' Somethin'" is a masterclass in rhythmic and harmonic complexity, disguised as a simple dance track. Its foundation is a post-disco and funk groove, but it incorporates Afropop elements, particularly in its polyrhythmic structure. The song is built on a simple two-chord loop (D and E), placing all the musical excitement in its rhythm. The drum machine pattern, programmed by Jackson on a Linn LM-1, is famously unconventional; the kick drum and bass avoid the downbeat, accenting the sixteenth notes just before and after it, creating a 'wildly unstable' and energetic groove.

The arrangement, credited to Jackson and horn arranger Jerry Hey, features a 'brassy and precise' horn section that adds powerful punctuation, and layers of percussion by Paulinho da Costa. The bassline is performed by the legendary Louis 'Thunder-Thumbs' Johnson. The track is more of a continuous groove than a traditional song with a linear progression, allowing it to build intensity over its six-minute length.

Jackson's vocal performance is a stylistic tour de force. He employs a range of techniques, from a confrontational and rhythmic delivery in the verses to his signature hiccups, whoops, and ad-libs that imbue the track with 'effervescent vitality.' Lyrically, the song uses direct address ('You're a vegetable') and repetition of the main hook ('You wanna be startin' somethin'') to create a confrontational and memorable anthem. The final chant is a key feature, a long, hypnotic coda that layers vocals into a powerful, rhythmic climax.

As the opening track of Thriller, the best-selling album of all time, "Wanna Be Startin' Somethin'" holds a significant place in music history. It was released as the fourth single from the album on May 9, 1983, and became a top 10 hit on the Billboard Hot 100, peaking at number five. The song was a commercial success internationally, topping the charts in Canada and the Netherlands.

The song became a staple and often the opening number of Michael Jackson's live performances, featured prominently in the Victory Tour, Bad World Tour, Dangerous World Tour, and HIStory World Tour. Its high energy and extended chant made it a perfect show-starter. The song's most famous element, the 'Mama-se, mama-sa, ma-ma-ko-ssa' chant, has had a vast cultural impact of its own. It was famously sampled by Rihanna for her 2007 global hit 'Don't Stop the Music,' which led to a lawsuit involving Jackson and the original creator, Manu Dibango. The chant has been referenced and interpolated in countless other hip-hop and R&B songs.

In 2008, a remixed version, 'Wanna Be Startin' Somethin' 2008,' was recorded with Akon for the Thriller 25 anniversary album, introducing the song to a new generation of listeners. The song's complex rhythms and confrontational themes were a departure from typical pop fare and showcased a darker, more paranoid side of Jackson's songwriting that would be further explored in his later work.

"Wanna Be Startin' Somethin'" is rich with metaphors and symbolism that convey its themes of paranoia and exploitation.

• 'You're a vegetable': This is perhaps the most striking metaphor in the song. It symbolizes a state of passivity and helplessness, suggesting a person who is unable to defend themselves against others. The subsequent line, 'They'll eat off you,' extends this metaphor, graphically depicting how people are consumed and exploited by gossip-mongers and the media, much like a buffet.
• 'Your tongue is a razor': This simile vividly portrays the destructive power of words. It characterizes the antagonist's speech as a weapon capable of inflicting deep and painful wounds, emphasizing the malicious intent behind their gossip.
• 'It's too high to get over, too low to get under': This phrase symbolizes an inescapable trap. It illustrates the feeling of being caught in a web of lies and rumors with no clear path to escape, contributing to the song's claustrophobic and paranoid atmosphere.
• 'If you can't feed your baby...': This lyric serves as a powerful metaphor for responsibility. On one level, it's a direct social commentary on parenthood. On a symbolic level, the 'baby' can represent any creation or situation—an idea, a relationship, or a conflict ('somethin''). The line warns that if one cannot nurture or control what they start, it will inevitably lead to suffering and decay ('your baby's slowly dyin'').
• 'Billie Jean is always talkin'': The direct reference to 'Billie Jean' acts as a symbol for the recurring nature of false accusations and public drama in Jackson's life, linking the song thematically to another narrative of lies and media obsession on the same album.

The most prominent recurring element in "Wanna Be Startin' Somethin'" is the title phrase itself, functioning as the song's central hook and thematic core. Its repetition drills home the central accusation against the song's antagonists. The response, 'You got to be startin' somethin',' reinforces this idea, turning it into a confrontational chant.

Another significant recurring phrase is the bridge's incantation, 'You're a vegetable,' repeated multiple times for emphasis. This repetition transforms the line from a simple insult into a powerful, almost hypnotic motif representing vulnerability and exploitation.

The most famous and extensive recurring motif is the closing chant: 'Mama-se, mama-sa, ma-ma-ko-ssa.' This vocal hook, adapted from Manu Dibango's 'Soul Makossa,' is repeated extensively for over a minute, building in layers and intensity. Its phonetic, rhythmic quality, devoid of literal meaning within the song's narrative, acts as a powerful musical release. It becomes a motif of pure rhythm and celebration, transcending the lyrical paranoia and ending the song on a note of ecstatic, communal energy. This chant is the song's most memorable and enduring feature, sampled and referenced in numerous other works.