Well that was an awkward three-step rollout, TICKETMASTER. In early April, with the live-music economy in freefall, the ticketing giant told music fans they could get refunds for any concert that had been canceled but not for concerts that had been postponed, even if they were postponed by several months, and even if there was no new date at all. That didn't go over well, so in mid-April the policy was changed to allow for refunds for shows that had been moved to a specific date—but not, strangely, for those that had been indefinitely postponed. Like BON JOVI, who responded by outright canceling its previously postponed summer tour so fans could get their money back "to help pay their bills or buy groceries," and like the two members of Congress who responded angrily in writing, I could have told the company that wasn’t going to go over well either. Anyone could have. Over the weekend, Ticketmaster finally closed the gap, with the help of a tweet from MICHAEL RAPINO saying "Fans, we hear you." I get the issues behind the drawn-out, inelegant response. The ticketing business is a complicated web of stakeholders—venues, promoters, artists, ticket sellers—and by the time a show is canceled or postponed, the ticket seller has already shared most of its receipts with its partners. The money you paid for those BTS tickets isn’t sitting in a drawer somewhere in Ticketmaster's headquarters. Everyone in the live business is hurting, and no other major ticketing company has done much better with refunds this spring. Some have done worse. But none of those complications or mitigating factors matter to struggling, laid-off music fans who want their hundreds of dollars back, and who could use the money for those bills and groceries. To them, it isn't a complicated process at all. They bought the tickets from Ticketmaster and they want a refund from Ticketmaster. And like any consumer of any product, they think it's the company's job to make it happen. Some may take Ticketmaster up on its offer to accept 150 percent of each ticket's value in credit for a future show in lieu of a refund, or to donate their tickets to health care options, both great options for anyone who can afford them. But not everyone can. Not in this economy... Music journalism in the age of the video game concert in the year of the plague: "There was a timer projected above the stage counting down the minutes to the beginning of the show. One of the people in the crowd put away their mic stand, pulled out a gun and shot me in the head"... Elsewhere in video games, LIZZO's "JUICE" has been pulled from ROCK BAND because the lyrics include a particular vulgarity that becomes that much more problematic in a game that penalizes players who don't sing along to every word. Actually, there are two popular vulgarities in "Juice," and I'm going to agree to disagree with CONSEQUENCE OF SOUND's (and, perhaps, HARMONIX's) assessment that the other one is "ubiquitous enough in music to become innocuous." Ubiquitous, yes, Innocuous, no... The LIBRARY OF CONGRESS may have just unveiled the world's biggest digital crate for copyright-free sampling and remixing. Shoutout BRIAN FOO, one of the Library's two innovators-in-residence, for the CITIZEN DJ initiative.. RIP HAMILTON BOHANNON (whose extensive proto-disco catalog is almost entirely absent from streaming services), MIKE HUCKABY, HAROLD REID, BOOTSIE BARNES, IAN WHITCOMB, "SIR" DEAN GANT and MICHAEL COGSWELL.