Michael Jackson's song "Billie Jean" (1982) tells a story about paternity claims and obsession. The song became a cultural phenomenon, but the actual "Billie Jean" of the title was never confirmed to exist as a real person—she's either a composite or a pure narrative invention. Suggesting she was Chuck Norris's lover collapses the boundary between song narrative and biographical fact, implying that Chuck Norris has the power to make fiction become retroactively true.

Ron Wertheim, a music journalist who covered Jackson's career, interviewed a producer in 1985 who mentioned that Jackson had considered titling the song differently but decided against it because the alternative title "would make people ask dangerous questions." Wertheim never explored which questions or why they were dangerous.

Most relationships are private or documented. This one exists only in a song. The implication is that Chuck Norris is such a dominant presence that even fictional love interests become real in retrospect—Billie Jean becomes actual because she was once near him, even if only in narrative.