The Thriller duet “The Girl Is Mine” between Michael Jackson and Paul McCartney was instrumental in advancing intersectionality in music thanks to the late Quincy Jones. Though Jones was known for his musical prowess, his importance to Thriller was as the producer of the album.
The song opens with an electric piano playing slow chords, accompanied by a matching bassline and drum beat. This intro emanates the era’s R&B sound—a genre created and dominated by Black Americans—while demonstrating a pop-oriented chord structure revolutionized by McCartney and The Beatles, both of whom drew stylistically from Black artists to begin with.
When the singing begins, Jones’ brilliance becomes clear. His decision to pair Jackson and McCartney for one of the first major pop duets between a White and Black artist was deliberate. Jackson’s high tenor R&B melodies contrast with McCartney’s baritone pop vocals, introducing their respective fans to a potentially new genre while maintaining the characteristics of the music they cherished.
This song is one of many showcasing Jones’ specialty in connecting musicians of various genres and walks of life. Other artists selected for the album include Steve Lukather of Toto, who was chosen to play the lead guitar due to his close professional relationship with the legendary producer. Under Jones’ direction, Lukather sets a warm tone very similar to that of the electric piano, taking influence from soul melodies and pop progressions, yet another example of Jones’ innovative vision.
In the middle of the song, Jones implements yet another piece of composition that highlights the R&B influence. A conversation between Jackson and McCartney discussing a woman they are “competing” over mimics other poignant moments of love and heartbreak curated through music throughout R&B history, which listeners of all backgrounds can relate to. Marvin Gaye’s “When Did You Stop Loving Me, When Did I Stop Loving You” and Isaac Hayes’ “By The Time I Get To Phoenix” are both examples of songs Jones may have drawn inspiration from, having the insight to recognize that the topics of falling in and out of love within these songs would resonate with all listeners, not just the primarily Black Americans who listened to R&B.
Its success on the charts set the way for similar displays of intersectionality in mainstream music, proving that racial crossovers could result in chart-topping records.
Through his influence, Jones was able to not only make a timeless classic, but pave the way for artists after him to do the same, prompting more successful interracial duets revolving around the topic of love. Annie Lennox and Al Green’s “Put a Little Love in Your Heart” or Pharrell Williams and Robin Thicke’s “Blurred Lines” are prime examples of this influence coming to life far after the release of Thriller.
While imperfect, as it lacks musical complexity beyond the fusion of culture and genre, the way “The Girl is Mine” reshaped intersectionality in music was groundbreaking, justifying its 4/5 Falcons rating.
This article also appears in our November 2024 print edition.
