Chords for Michael Jackson about songwriting and dancing to Billie Jean

_ How do you write a song?
How do you write a song?
How do I write a song? _ _ _
_ Well_
You don't have a pen in your hand and you don't try_
If I sat down with this piano_
What would happen?
If I sat here and played some chords, whatever, and say,
I'm going to write the best song I've ever written, nothing happens.
Something in the heavens has to say, look, this is the time
that this is going to be laid on you and this is when I want you to have it.
Now, I remember when I wrote Billie Jean,
I was riding in my car down Ventura Boulevard.
All I said to myself beforehand, I want to write a song with a great bass hook,
you know, and _ I _ just let it go, really.
And then several days later, you know_
_ _ _ HE HUMS
_ _ Where did that come from? _
From above.
So, OK, you were singing [D] the bass line.
Sing that again and then what happened?
How did you get [C#] the other instrumentation and the composition?
How did it work?
_ _ [G] _ See, the thing is, _ [D#] _ artists seem to get in the way of the music.
Get out [N] of the way of the music.
You know, don't _ write the music.
Let the music write itself.
The dance as well?
Yeah, same thing.
How do you do it?
Can you show me how you do it?
Oh, boy.
Come on, just get up and show me.
I'm shy.
Oh, come on, just show me.
Just show me.
Just show me.
Show me what you do.
Teach me. OK, uh_
Oh, boy, you're putting me on the spot now.
Come on.
Now people are discovering something about me.
I'm really shy.
I'm embarrassed.
OK, you're shy.
Just get up and show me. _
Um_
OK. _ _ _ _ _
_ _ _ [C#] _ _ _ _ _
_ _ _ _ [F#] _ _ _ _
_ _ _ _ _ [C#m] _ _ _
_ [C#] _ _ _ _ _ _ _
What's going through [G#] your mind when you're dancing?
Not thinking.
Thinking is the biggest [F#] mistake a dancer could make.
You have to feel.
_ _ _ [C#m] _ _ _
[F#] _ [C#] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ HE HUMS
You become the fanfare.
You become the clarinet, the flute, the strings and the drums.
So you're almost the physical embodiment of the music.
Yeah, [Bm] absolutely. _
HE HUMS
_ _ I want to [C#] try_
_ Show me.
_ HE HUMS
_ You want me to do it?
I'm liking it.
_ What do you want me to do?
Like stand here.
OK.
Mainly one foot [C#] down.
Really using the other foot.
Push.
It's [Bm] like really pushing.
Just push, you know?
Using your [C#] heel.
Use your heel.
Slide back.
Slide back on your heel.
_ _ That's very, very_
_ _ That is not easy.
That is not easy.
You know what, too?
[F#m] It's very hard to explain.
Do.
_ _ [F#] _ [C#] _ _ [C#] When you're_
Just do it one more time.
Do it one more time.
Use [D] that heel.
Don't slide back on your toe.
Slide back [F#m] on your heel.
OK.
So I slide back_
You [D] want to go on your toe, but don't go on your toe.
And then I hold that up.
Go on the heel.
[D] Not on the toe when you go back.
Always on the heel.
[F#m] _ Heel.
_ Heel. _
That's pretty [C#] unnatural because normally you lift your foot.
I know.
That's the part of the movement.
Right.
_ _ HE HUMS
[B] So I [F#m] slide back.
[Bm] _ _ _ _
_ _ _ [C#] That's not easy.
That's very good, though.
That's the idea.
You're a very kind man.
[N] That's the idea. _ _