"Because parents have power over children. They feel they have to do what their parents say. But the love of money is the root of all evil. And this is a sweet child. And to see him turn like this, this isn't him. This is not him"
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He’s not arguing a case so much as staging a moral autopsy: how does a “sweet child” become the kind of person who does harm? Jackson’s answer is a chain of coercion, with parents as the first link. “Because parents have power over children” is blunt, almost courtroom plain, and that simplicity matters. It frames the child not as a villain-in-training but as a captive audience, trained to equate obedience with survival. The subtext is familiar in show business, where childhood is a commodity and family becomes management.
Then he pivots to a biblical register: “the love of money is the root of all evil.” It’s a loaded phrase that does two things at once. It gives his critique moral authority, and it relocates blame from individual depravity to a system of incentives: adults, industries, even families warped by profit. Jackson isn’t just condemning greed; he’s describing how money creates permission structures where exploitation can be rationalized as “opportunity.”
The emotional engine is the repeated insistence on essence: “this isn’t him. This is not him.” That doubling reads like denial, but it’s also a plea for a different story about accountability-one that separates the person from the forces that shaped them. Coming from Jackson, a celebrity whose own childhood was famously disciplined into performance, it lands as self-protective and confessional at the same time. He’s defending the idea of innocence while admitting how easily it can be purchased, directed, and rewritten by adults who call it love.
Then he pivots to a biblical register: “the love of money is the root of all evil.” It’s a loaded phrase that does two things at once. It gives his critique moral authority, and it relocates blame from individual depravity to a system of incentives: adults, industries, even families warped by profit. Jackson isn’t just condemning greed; he’s describing how money creates permission structures where exploitation can be rationalized as “opportunity.”
The emotional engine is the repeated insistence on essence: “this isn’t him. This is not him.” That doubling reads like denial, but it’s also a plea for a different story about accountability-one that separates the person from the forces that shaped them. Coming from Jackson, a celebrity whose own childhood was famously disciplined into performance, it lands as self-protective and confessional at the same time. He’s defending the idea of innocence while admitting how easily it can be purchased, directed, and rewritten by adults who call it love.
Quote Details
| Topic | Parenting |
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