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1996 Brit Awards

Paul Burger, show chairman

I recall working with Michael around his [1996] Brit Awards performance at Earl's Court arena where he performed "Earth Song." At the time, I was the chairman of the show on behalf of the BPI [the British Phonography Industry trade group].

"It was a massive production, as always with Michael. His professionalism and attention to detail were second to none. I recall that after the show, he was so concerned with how the footage would look that he was constantly on the phone to the director, David Mallet, in the edit suite with questions and comments.

At about 4 a.m., David finally said to Michael, `Why don't you just come to the edit suite, we've got a room you can use, and you can review the footage.' And of course, when I got to the edit suite at about 9 a.m. the next morning, Michael was still there checking every detail and camera angle."

Joseph Vogel, “Earth Song: Inside Michael Jackson's Magnum Opus”

Because of the religious symbolism and the passionate response of the crowd (audience members are often shown sobbing), perhaps the most common criticism associated with “Earth Song” was that Jackson, or the song (or both), were “messianic.” This label gained more currency after a performance at the 1996 BRIT Awards in which Pulp singer, Jarvis Cocker, stormed the stage to protest what he perceived as Jackson’s “offensive” Christ-like portrayal.

This reading of Jackson’s performance(s)—which has been recycled by numerous journalists and critics—is staggeringly literal-minded. There is no question Jackson used iconic messianic gestures in his performances. What isn’t taken into consideration, however, is how, as a dancer/performance artist, his body acted as his canvas. He used specific gestures and symbolism to communicate meaning and express emotion. Would a critic claim Michelangelo is “messianic” and “narcissistic” for painting Jesus on the cross? What is far more interesting is considering how Jackson is deploying such symbols and gestures.

“When Jackson embodies a particular archetypal stance,” notes Constance Pierce, “his physical body transfigures into a kind of symbolic, elegant calligraphy wherein the Divine may channel gestures of explosive emotion or intimate compassion. The artist becomes shamanic, taking on our massive cumulative “shadow” and sweeping it whole into the light.

Jackson, then, uses messianic gestures, not because he thinks he is the messiah, but because of what such symbols can express and communicate. It is not about him personally, but how his body can translate the emotions of the song.

Harrison Funk, personal photographer for 30 years, The Guardian (June 20, 2018)

In one of Funk’s favourite shots from this period, Jackson can be seen holding his arms out in an almost biblical pose. “People say Michael had a Jesus complex,” he says, “but that pisses me off, as it just wasn’t true. There was a practical reason for me taking that photo. Michael had huge hands and I wanted to make the most of them as they were expressive – and a good way for him to embrace the world. At that stage, his whole existence was geared towards healing the world, so having big, expressive hands was a very important way to speak to the people.” The way he communicated with his hands, adds the photographer, “you’d have thought he was Italian!”

MJJC Fan, forum post

I personally don't feel like he was trying to present himself like a messiah. I feel like he was trying to appear as the embodiment of goodness, love and healing that is needed to reverse the destruction of the earth - not that HE was able to do that, but he was presenting the energy of it. Just my take.