Today's MusicREDEF is dedicated to my fellow music scribes who've spent their pandemic either starting their own SUBSTACKs or being bought out by hedge fund millionaire metal fans who come to meetings with spreadsheets of every concert they've ever been to, "meticulously laid out," complete with "various rules about what counts as a show." I don't know yet if this dedication is about the death or the rebirth of music media. Ask me in a few years... The HBO documentary about the birth and death and rebirth and death and rebirth of the BEE GEEs that everybody, or possibly just everybody over 40, is talking about is a weird, disjointed, elision-filled, genuinely moving film about a band of brothers who may or may not have had something to do with Australia (I thought I knew before I saw the doc; now I'm confused), who may or may not have invented the two-bar drum loop (spoiler: seems unlikely), and who had an almost miraculous musical bond to go along with a biopic-worthy family bond that survived their multiple breakups. Zero in on the details that interest you, ignore the details that aren't there, luxuriate in the great vintage footage (and, of course, music) and prepare to cry more than once. There's a mini-documentary within on the initial rise and fall of disco starring DJ NICKY SIANO, who coins my new favorite music industry diss ("some executive in diapers"), and house music producer VINCE LAWRENCE, who accurately boils Chicago's disastrous Disco Demolition Night down to "a book burning. It was a racist, homophobic book burning." Director FRANK MARSHALL intercuts footage of that musical book burning with a Bee Gees concert from the same summer and it's virtuoso editing and an entire BEHIND THE MUSIC episode in 5 minutes. They weren't the first pop band to radically reinvent themselves mid-career and they weren't the last, but they're one of the gold standards and a pretty good object lesson in the benefits of hiring a legendary R&B producer to help with the transition. In case any current pop bands are looking to do the same. They were all, for what it's worth, in their mid-20s at the time... Oh, and it would be nice if someone could explain why Bee Gees keyboardist BLUE WEAVER, who talks in some detail of how he wrote "HOW DEEP IS YOUR LOVE," with BARRY GIBB, isn't credited on the song, which, one imagines, could still be providing a nice little income in 2020... Clickwrap and browsewrap aren't new EDM or indie-rock subgenres though perhaps they should be. They're descriptions of two different ways websites display their terms of service, which turns out to be a crucial detail in a class-action suit filed by a RAGE AGAINST THE MACHINE fan who says TICKETMASTER changed its terms of service after the pandemic started and didn't refund his $590 when the band postponed but didn't cancel its 2020 tour. Ticketmaster apparently uses modified clickwrap, which was enough for a federal judge in California to conclude last week that Hansen could have, or should have, read and understood its terms, which dictate that any such complaint is to be be handled by an arbitrator rather than a judge. I'll leave my thoughts on cancellations, postponements and refunds for another time, but for now a note to this and all judges: No civilian has ever read the terms of service of any website, and as long as they continue to be written by lawyers without editors, it absolutely does not matter how or where they're displayed... Also headed to arbitration: The MICHAEL JACKSON estate's claim that HBO violated an agreement not to disparage the King of Pop when it aired the documentary LEAVING NEVERLAND... RIP PAULINE ANNA STROM, DON ZIMMERMANN and ANN REINKING.