Wanna Be Startin Somethin Song Lyrics: Unpacking a Michael Jackson Anthem

“Wanna Be Startin’ Somethin'” is more than just a catchy tune; it’s a vibrant explosion of rhythm and lyrical prowess that kicks off Michael Jackson’s iconic Thriller album. Released in 1982, this high-energy track immediately grabs your attention with its infectious beat and Jackson’s signature vocal delivery. But beyond the surface, the “Wanna Be Startin Somethin Song Lyrics” reveal a deeper message about dealing with negativity and unwarranted conflict.

The song opens with a distinctive, almost chant-like chorus that immediately sets the tone:

Chorus
I said you wanna be startin’ somethin’
You got to be startin’ somethin’
I said you wanna be startin’ somethin’
You got to be startin’ somethin’
It’s too high to get over (yeah, yeah)
Too low to get under (yeah, yeah)
You’re stuck in the middle (yeah, yeah)
And the pain is thunder (yeah, yeah)
It’s too high to get over (yeah, yeah)
Too low to get under (yeah, yeah)
You’re stuck in the middle (yeah, yeah)
And the pain is thunder (yeah, yeah)

This chorus is the core of the song’s message. The repetition of “wanna be startin’ somethin'” highlights the frustrating and often senseless nature of conflict. The lines about being “stuck in the middle” because it’s “too high to get over, too low to get under” vividly illustrate the feeling of being trapped in a no-win situation, where the “pain is thunder.” This sets the stage for the verses, which delve into the sources of this conflict.

The first verse paints a picture of rumors and gossip affecting someone close to the narrator:

1st Verse
I took my baby to the doctor
With a fever, but nothin’ he found
By the time this hit the street
They said she had a breakdown
Someone’s always tryin’
To start my baby cryin’
Talkin’, squealin’, lyin’
Sayin’ you just wanna be startin’ somethin’

Here, “my baby” could be interpreted as a loved one or even Jackson himself, facing public scrutiny. A minor health issue is twisted into a “breakdown” by street talk and gossip. The lines “Someone’s always tryin’ / To start my baby cryin'” emphasizes the malicious intent behind the rumors, directly linking back to the central theme of people wanting to “start somethin'”.

The second verse broadens the scope, pointing fingers at those who act deceptively and spread negativity:

2nd Verse
You love to pretend that you’re good
When you’re always up to no good
You really can’t make him hate her
So your tongue became a razor
Someone’s always tryin’
To keep my baby cryin’
Treacherous, cunnin’, declinin’
You got my baby cryin’

This verse calls out hypocrisy and the damaging power of words. “Your tongue became a razor” is a powerful metaphor for the sharp, cutting nature of gossip and lies. The repetition of “Someone’s always tryin’ / To keep my baby cryin'” reinforces the relentless nature of the negativity the song addresses.

Verse three brings in “Billie Jean,” a name that would become synonymous with another Thriller hit.

3rd Verse
Billie Jean is always talkin’
When nobody else is talkin’
Tellin’ lies and rubbin’ shoulders
So they called her mouth a motor
Someone’s always tryin’
To start my baby cryin’
Talkin’, squealin’, spyin’
Sayin’ you just wanna be startin’ somethin’

While it’s tempting to connect this “Billie Jean” directly to the later song, within this context, she represents a figure who thrives on gossip and spreading rumors. “Her mouth a motor” suggests constant, unstoppable chatter. Again, the verse ties back to the core idea of people actively trying to instigate conflict and cause distress.

The “Vegetable” interlude adds an intriguing, almost surreal layer to the song:

You’re a vegetable, you’re a vegetable
Still they hate you, you’re a vegetable
You’re just a buffet, you’re a vegetable
They eat off of you, you’re a vegetable

The meaning of “vegetable” here is open to interpretation. It could symbolize feeling dehumanized, objectified, or drained by the constant negativity and demands of fame. Despite being reduced to a “vegetable,” the lines “Still they hate you” and “They eat off of you” highlight the paradoxical nature of fame and public attention – even when someone is perceived as passive or diminished, they are still subject to criticism and exploitation.

The ad-lib section shifts the tone towards empowerment and resilience:

Ad-lib
If you can’t feed your baby (yeah, yeah)
Then don’t have a baby (yeah, yeah)
And don’t think maybe (yeah, yeah)
If you can’t feed your baby (yeah, yeah)

You’ll be always tryin’
To stop that child from cryin’
Hustlin’, stealin’, lyin’
Now baby’s slowly dyin’

Ad-lib
Lift your head up high
And scream out to the world
I know I am someone
And let the truth unfurl
No one can hurt you now
Because you know what’s true
Yes, I believe in me
So you believe in you
Help me sing it, ma ma se,
Ma ma sa, ma ma coo sa
Ma ma se, ma ma sa,
Ma ma coo sa

The initial part of the ad-lib, “If you can’t feed your baby,” seems to be a somewhat cryptic societal commentary, perhaps about responsibility and the consequences of actions. However, the second part is a clear message of self-affirmation and overcoming adversity. “Lift your head up high / And scream out to the world / I know I am someone” is a powerful declaration of self-worth. The Swahili-inspired chanting (“Ma ma se, ma ma sa, ma ma coo sa”) adds a global, unifying element, suggesting that this message of self-belief is universal.

In conclusion, “Wanna Be Startin’ Somethin’ song lyrics” are not just about the desire to instigate conflict, but rather a commentary on dealing with unwanted negativity, rumors, and the pain they cause. The song ultimately offers a message of resilience and self-empowerment, urging listeners to rise above the noise and believe in themselves. It’s a powerful and enduring anthem that continues to resonate with audiences worldwide, solidifying its place as a classic Michael Jackson track and a standout from the Thriller album.