If you were holding off seeing “This Is It,” figuring you’d put the inevitable DVD on your Christmas list, thanks to the Grinch that is National Association of Theatre Owners, that’s not going to happen.

The L.A. Times reports today that the film company desperately wanted to release Jackson’s concert documentary in time for holiday sales, which, of course, makes perfect sense. But, since there is typically a 90-day-to-four-month window between a film release in theaters and its arrival on DVD to maximize ticket sales, theater owners raised concerns over such a quick turnaround – assuming the DVD would be out in early December.

Given the limited two-week run of “This Is It”—though don’t be shocked when Sony decides to extend that run, given the film’s tremendous worldwide take after one day—the film company remained hopeful that theater owners would understand the special circumstance. Not gonna happen. Don’t expect this one in stores until early 2010.

What do you think? Were you planning to skip the film in theaters, thinking you could ask for it as a holiday present, or does this time issue make no difference to you?

It’s a pity that all of the time, money and brainpower that went into what would have been Michael Jackson’s final concerts will never be fully realized.

But, “This Is It,” the concert film culled from more than 120 hours of rehearsal footage for Jackson’s 50 London shows that were slated to begin mere weeks after he died in June, is a worthwhile document of Jackson’s creativity.

The film opened worldwide today and is expected to be in theaters for only two weeks.

Fans will be moved to sing along to spirited performances of “Smooth Criminal” and “The Way You Make Me Feel” and simply moved by Jackson’s sweet falsetto on “Human Nature.” They’ll also get a glimpse into Jackson’s creative process and at what clearly would have been a spectacular production.

Along with the raw performance footage, the film captures Jackson practicing with his robust dancers, sharing his visions for the elaborate pre-taped videos to accompany the live performances and, of course, dancing.

Though painfully thin, Jackson usually appears spry as he effortlessly glides across the stage and pops and locks as heartily as his much younger dancers. Still, it’s often a sad realization that this is the last piece of history from the entertainment legend.

For a full review of “This Is It,” click here: http://www2.timesdispatch.com/rtd/entertainment/music/article/W-BEAT29_20091028-191006/302130/

With his “Fan Appreciation” tour kicking off in a couple of weeks, Chris Brown will also have an album to accompany his comeback.

Brown announced on his Twitter page tonight that “Graffiti” will drop Dec. 15.

His official return to the stage takes place Tuesday, when he headlines the Power 105.1 Powerhouse concert at New Jersey’s Izod Center (also on the bill: Petersburg native Trey Songz).

Brown’s tour will launch Nov. 14 in Houston and make a Nov. 22 stop at the Landmark Theater. Those tickets are on sale now with the password “hometown” for $44.50. Check http://www.landmarktheater.net for details or go to http://www.ticketmaster.com to purchase tickets.

Adding to the Bon Jovi blitz  is today’s announcement that the band is preparing another massive tour. “The Circle World Tour,” named after its forthcoming album (out Nov. 10), will kick off Feb. 19 in Seattle and hit 135 dates in 30 countries through 2011.

The closest date to us is March 29 at the Verizon Center in D.C. (tickets go on sale next month). Other drive-able shows are March 23-24 at the Wachovia Center in Philadelphia and April 22 in Charlotte.

As part of the “Circle” tour, the band will also play the opening concerts at the New Meadowlands Stadium in Jersey on May 24-25. Those tickets are on sale at 10 a.m. Oct. 31.

A video of the band’s press conference is set up at http://www.bonjovi.com though the player has been spotty.

As a way of saying “thanks” to fans, Chris Brown will embark on a 19-city tour next month.

A Nov. 22 date is slated for the Landmark Theater. A venue spokesperson said the date is on hold, but not confirmed.

The tour will launch Nov. 14 in Houston and wrap Dec. 13 in Philadelphia.

Brown is also expected to play the Warner Theatre in D.C. Dec. 4 and Sonar in Baltimore Dec. 11.

A portion of proceeds from ticket sales will be donated to Best Buddies International, a non-profit organization devoted to providing opportunities to people with intellectual and developmental disabilities, as well as The Jenesse Center in Los Angeles, whose goal is “to empower and equip women and men, address the needs of the children and strengthen families for the next generation.”

Kelsey Grammer’s new sitcom, “Hank,” is in no way a match for his considerable talent (unlike the never-given-a-chance “Back to You”).

But, I keep hoping it will improve, so I keep it on the TiVo list (the shows airs at 8 p.m. Wednesdays on ABC).

And, since the point of the show is that Grammer’s tumble from corporate wealth in New York has sent his family scurrying to the fictional town of River Bend, Va., I feel some odd obligation to watch, thinking there might be some funny Virginia references.

Instead, last night we got Grammer’s bratty daughter moaning to her boyfriend via Web cam, “I’ve only been in Virginia two weeks and I’m already becoming one of them. Today, I said y’all.”

Please. Any New Yorker knows that is an impossibility.

But, in the same ep, a U.Va. sweatshirt made a brief appearance in a scene about laundry – so my 22 minutes with “Hank” wasn’t a total waste.

Really, it’s the perfect show to keep on in the background while you surf the Web.

Meanwhile, back in New York, Tina Fey and the “30 Rock’ crew haven’t missed a clever beat since last season for its return tonight at 9:30 on NBC.

While “Hank” tackles the economic crisis and collapse of big business with obvious jokes about Grammer being uncomfortable and clueless about anything that wasn’t part of his former Wall Street honcho life, “30 Rock” approaches the same topic with its usual shrewd wink.

Alec Baldwin’s Jack Donaghy gripes about company downsizing while cashing his hefty bonus check, Jenna (the Emmy-robbed Jane Krakowski) reinvents herself as a country singer as a method of reaching Middle America (the closing credits “Tennis Night in America” is the funniest thing you’ll see all week) and Tracy Morgan is even occasionally funny when he realizes that wealth and fame have caused him to lose touch with his roots.

And then this kicker: “There’s nothing wrong with being fun and popular and giving the people what they want,” Jack lectures Liz, before delivering a deliciously wicked jab at Jay Leno.

Welcome back, “30 Rock.” The fall season’s IQ just jumped 40 points.

Last night, downtown Richmond actually looked like a real city with a thriving entertainment scene.

David Copperfield at CenterStage, David Cook at The National, a noticeable crowd at T-Miller’s and Gibson’s after both shows. Nice going, RIC.

Inside the Nat, about 800 people – many of them females college age and older – clamored to get closer to last year’s “American Idol” winner, the charming, scruffy Cook.

For about an hour and 15 minutes, Cook and his impressively tight four-piece band ripped out a string of sinewy pop rock that, when it worked, was passionate and anthemic and when it didn’t, became a somewhat staid collection of non-descript power chords.

The opening “Mr. Sensitive” was accompanied by an arena-ready light show as four panels blinked and reflected a rainbow of colors and a pummel of strobes were well-timed to the huskier parts of the song.

Though Cook’s voice was often difficult to discern over the heavy guitar riffs – the lyrics to “Heroes” and “Breathe Tonight” were a complete mystery to those who haven’t memorized every line of his platinum-selling debut album – it wasn’t for a lack of trying.

He’s definitely following the Daughtry path, but, while that “Idol” alum often bellows for the sake of establishing his rock cred, Cook is a bit more nuanced. He knows how to control his voice, evidenced on an acoustic version of “Life on the Moon,” delivered with a sincerity that benefited from its quiet musical backdrop.

Considering this was the 131st show of his Declaration Tour (something he mentioned from the stage), Cook’s voice has held up well, with only a few strains heard during the show as he grappled to reach some challenging notes.

“Bar-Ba-Sol,” in particular, was a grueling number that found Cook clutching the microphone stand with two hands as drummer Kyle Peek – a Tommy Lee in the making – slammed a swinging backbeat.

But the highlight of the night also pointed out the show’s biggest shortcoming.

After chatting with the crowd about the band’s run though college towns over the summer, Cook, in a standard uniform of gray jeans and a black T-shirt, dedicated the next song to all of the “educational professionals” in the crowd.

What followed was an amazingly faithful version of Van Halen’s “Hot for Teacher,” certainly not the easiest song to cover. While Peek and lead guitarist Neal Tiemann weren’t quite the Van Halen brothers, they nailed enough drum fills and whizzing finger tapping to jolt the crowd into a new bracket of energy. Cook even contributed a credible song-ending, “Oh my…God!” that would have given David Lee Roth a chuckle.

On “Idol,” a huge part of Cook’s appeal was his masterful reinterpretation of his song choices (Collective Soul’s “The World I Know,” which he performed on the finale, seemed to be the cover song of choice at several of his recent concerts).

Obviously, he wants to push his nearly year-old CD and play those tunes – as well as some from his pre-reality show days— and also give the crowd a chance to sing along with his radio staples “Come Back to Me” and “Light On.”

But his Cook-i-fied “Hello” would be an awesome live treat. Or how about a little Michael Jackson tribute with “Billie Jean”? A shout-out to Mariah Carey with “Always Be My Baby”?

No? OK. Then we’ll take “We’re Only Honest When We’re Sleeping” and look for those glorious “Idol” moments on YouTube.

If you’re one of those Rick Springfield fans willing to wince through the crass “Californication” just to see the ageless hunk in action (seriously, how is it possible that this man is 60?) get the TiVo set for 10 p.m. Sunday.

But a heads-up – there is very little Springfield in this first of four episodes he’ll appear in throughout the season of the Showtime series. Don’t look for him in the Oct. 18 ep, either. Gotta give David Duchovny’s sleazy Hank Moody more time to ruminate over whether he should sleep with his stripper/student, his teacher’s aide or the wife of his boss, the dean at the university where he now teaches. Or maybe he’ll take a spin with all of them since Moody’s libido is the engine of “Californication.”

I don’t know what it is about this show – I’m impossible to offend and I adore Duchovny, yet I can’t get past the ick factor in nearly every scene.

Anyway, Springfield is basically playing a more salacious version of himself when he’s summoned to a restaurant meeting with Moody’s agent, Charlie (Evan Handler), and his boss, Sue Collini (Kathleen Turner, looking like a drag queen and sounding as if she burns through a carton of Parliaments every day).

Though he looks great and that hint of Australian accent is still present, Springfield’s only scene is a quick conversation with the two agents about reviving his career.

The rabid followers will be happy to know that not only is Springfield working on a new album, a children’s book and an autobiography, but he’ll bare his backside by the end of his “Californication” stint this season. Shades of “Hard to Hold”?

Bruce Hornsby isn’t a star – he’s a musician.

And if you attended Hornsby’s concert expecting to hear faithful radio re-creations of his adult contemporary hits, well, you probably walked out of The National scratching your head – but hopefully at least feeling a bit more musically enlightened.

At Saturday’s sold-out show – technically a hometown gig since he hails from Williamsburg – Hornsby tackled the piano, dulcimer and accordion for about three hours, never seemingly knowing where the music was going to take him or his awesome Noisemakers band, but always managing to find the sweet spot.

Set lists are almost verboten at a Hornsby gig; he prefers fielding written requests from the crowd (check out his Web site, http://www.brucehornsby.com to see collages of some of his favorites) and allowing his band to follow his lead.

He got to work quickly Saturday night, approaching his piano with a handful of requests, the sleeves of his dark, button-down shirt rolled up. “Big Rock Candy Mountain” began with Hornsby solo at the piano, but the rest of the Noisemakers gradually joined in, building to a crescendo, in a scene that would be repeated frequently throughout his two generous sets.

It’s been many years since Hornsby played Richmond with a full band – he noted from the stage that he couldn’t remember the last time, either, but we’re going to guess it was at least the mid-‘90s – and this quintet of stellar musicians only augmented the loose, free-flowing vibe of the night.

“We like the setting of this place. We like the feel of it,” Hornsby said about his first-ever visit to The National.

“White Wheeled Limousine” was an exhausting musical workout, as Hornsby played jazzy, circular piano patterns and saxophonist Bobby Read – who also handled woodwinds and flute during the concert – poured out a searing solo.

Hornbsy is touring behind his just-released album, “Levitate,” and performed “Continents Drift,” a ballad colored with synthesizers and mandolin that is also part of the soundtrack to the off-Broadway show he’s been working on for a few years.

As further proof of his chameleonic musical abilities, Hornsby sat in a folding chair at the edge of the stage, dulcimer on his lap, for the funky hoe-down “Shadow Hand,” then strapped on an accordion for the Ricky Skaggs-bluegrass version of “Jacob’s Ladder” (remember when Huey Lewis and the News hit No. 1 on the charts with their soul-pop rendition in 1987?).

The casual fans got one of the few tastes of Hornsby’s mainstream work as he closed the first set by joking, “Let’s do a song by Tupac Shakur,” then launched into “The Way It Is,” his breakthrough smash sampled by many artists, including the late rapper.

An artist of Hornsby’s caliber is always going to turn his work inside out, both for the challenge and to examine its structure. The backbone of this version of “The Way It Is” resembled the original, but then the song was shifted onto another plane when a meaty drum solo by the terrific Sonny Emory was plopped into it.

During the second set, Hornsby briefly got radio friendly again with “Walk In the Sun,” a stirring midtempo song stuffed with those rich Hornsby chord progressions that, he said dryly, “Got to number 55 with an anchor on the Billboard 100 in 1995.”

Shifting pace again, he and the band strutted through “Simple Prayer,” a fun pop song with a N’Awlins swing that Harry Connick Jr. would appreciate.

Even though there is nothing ostentatious about a Hornsby concert, effective lighting offered the slightest drama on stage – not to mention, it was easy to be rendered slack-jawed at some of his piano runs.

So no, Hornsby isn’t the guy you’re going to see profiled in People Magazine, but you might find him talking about his craft to Keyboard Magazine – which is exactly where you want to see him.

By Hays Davis

 
He didn’t call it the “Theatre of Death” tour for nothing, to be sure.  Even aside from perishing in various ways throughout the show, Alice Cooper amazed a house full of the faithful by bringing out practically every trick in his book when he unveiled a coliseum-size show in the theater-size National.

    While not exactly a young man these days, Alice put makeup and wardrobe changes to good use (as with the age-defying Kiss), and amid the various sinister onstage scenarios and props he came across the same as always:  good ol’ Alice.

    Soon after kicking off the night with “School’s Out,” the first of a string of vignettes played out, with Alice getting the guillotine for impaling a stage extra.  Under huge, hanging A-L-I-C-E letters, there was always a new visual as the band rolled from one song to another:  masked dancers, Alice on a crutch made of bones, and a parade of actors. 

    The band, not surprisingly younger than their boss, seemed to genuinely love their job, and they pounded away happily at Alice’s songs and dodged the action as the singer got himself into one spot of trouble after another.  Strangling an evil nurse landed him in a noose during “Be My Lover,” not long after getting his ticket punched via a giant syringe.

    As the set moved from “Dirty Diamonds” to “Billion Dollar Babies,” Alice grabbed necklaces from a bejeweled wagon and tossed them to the crowd.  It was at this point that he seemed particularly interesting; dropping genuinely into character, he believably came across as being sort of casually deranged. 

    It probably shocked more than one audience member when he suddenly lopped off the doll’s head with his sword to the last chord of “Billion,” then sang to it, Yorick-style, for Alice’s version of a “Hamlet” moment.  This won his demise in a version of an iron maiden.

    Alice obviously still loves his job, and plenty of longtime fans turned out, even with their children in some cases.  The singer seemed determined to give his many returning concertgoers something wildly different, and though his visual and musical set of greatest hits didn’t include a live boa, offering the chance to grab dollar bills from the tip of his sword and dancing with the deceased during “Cold Ethyl” seemed the warmest kind of warped thank-you.