It’s a point hammered home by Bryant, the former LA Lakers point guard who was the subject of his own documentary last year, and who revelled in his selfishness and control – he makes the point that many of the greats share that trait, including Jackson.
There’s also the endless work he put into his singing and dance moves, taking inspiration from Gene Kelly’s “street style” (and white socks), as well as riffing on the moves of Fred Astaire and Sammy Davis Jr. The third was Jackson himself becoming more confident and outspoken (in a letter he wrote on tour he outlines his desire to become the “greatest” and to be known henceforth as “MJ”). The second came when Jackson ventured to New York City and spent time in Studio 54, absorbing the dance moves and the music. That saw them pair with Gamble and Huff, who’d established themselves as the Jam and Lewis of the 70s – producing hits for the O’Jays, Harold Melvin and the Blue Notes and MFSB, as well as developing the “Philly sound”, which set the template for the decade’s best disco. The first was his move with four of his brothers from Motown to Epic (Jermaine couldn’t join them as he was married to Motown mogul Berry Gordy’s daughter). It’s that journey from boy to man that interests Lee and he makes the case that there were a few crucial moments in that evolution.