When Prince took the stage, anything was possible—from feral, shirtless screaming to hall-of-fame guitar solos to the kind of destructive rock-star showmanship that few others would be willing to attempt. One of his signature moves was throwing his instrument—sometimes into the air, where, on one memorable occasion, it seemed to vanish completely; other times over to a technician waiting in the wings. Many of these guitars—including his “Cloud” axe, built by Dave Russan—suffered a fair amount of abuse. “He would always throw them to the roadie at the end of the show, and they weren’t always caught, so they’d have to be repaired often,” Russan told Alternative Nation. “They were hard rock maple but couldn’t always stand up to that.”

But that was Prince’s gear. Not the case in a case from 2013, when The Artist performed on Late Night with Jimmy Fallon, having borrowed a guitar from “Captain” Kirk Douglas of house band The Roots. The wild promotional spot ended with a bold toss, a broken instrument, and a supremely bummed-out musician. But the story is even weirder than you might expect, and it led to a surprisingly happy ending.

Prince destroys—in more ways than one

[vimeo https://vimeo.com/254237430 expand=1 site_id=26881454]

On taping day, Prince’s team had forgotten to bring his requested six-string, and Douglas—a huge fan of the rock/funk chameleon—was more than cool with sharing his own, a beloved 1961 Epiphone Crestwood. In fact, it’s almost like the stars had aligned: “The crazy thing is the only reason that guitar was in 30 Rock [home of NBC Studios, where the show was taped] was because I was rehearsing for a Prince tribute at Carnegie Hall this week,” Douglas later tweeted.

The performance itself is pure electricity. Joined by his back gin band 3rdEyeGirl, Prince brought a majestic psych-funk energy to 1979’s “Bambi,” concluding with a wah-wah-heavy solo on the Crestwood. Afterward, he tossed the guitar into the heavens and confidently stomped backstage as it crashed to the floor, spurting feedback through the room. A giggling Fallon walked up to plug Prince’s latest single, and the camera briefly cut over to The Roots, including a somewhat confused-looking Douglas, as they played the show’s theme song.

“Completely crestfallen”

“And at the end of the song, he lifts the guitar up, and I think he’s about to play behind his head, but he’s not playing behind his head,” Douglas reflected in a 2020 video on The Roots’ YouTube channel. “He lifts the guitar up and throws it in the air, and it comes crashing down to the ground, and it’s squealing in feedback. And he just struts off the stage. I was completely crestfallen, and I knew that there were cameras on me, and I knew there was nothing I could do about it, and I just had to sit there and be in it. I remember looking to my right, and Mark Kelley, our bass player, was laughing hysterically.”

Naturally, Douglas was devastated—at least at first. “I went through some complicated emotions in that very moment,” he recalled to Consequence of Sound in 2019. “Initially it was kind of negative. After it happened, I had my guitar in pieces. I went to Prince, and I was like, ‘Hey, you broke the guitar. If you don’t mind, could you sign it at least?’ And he was like, ‘Oh, I haven’t signed anything since the ’70s.’” After assessing the immediate damage, he tweeted a photo of the guitar with the caption, “Purple Pain…Maybe it’s because I’m a dad,” he added, “but I think framing the guitar is a little like rewarding bad behavior.”

Silver linings

Prince eventually apologized for the ill-fated toss and arranged to have the guitar fixed. Plus, there were multiple silver linings to the heartbreak. As the guitarist told CoS, he wound up connecting with other music heroes, including Jackson Browne and Elvis Costello. And through conversations elsewhere (including one with Chris Rock), he realized he wasn’t the only one with a bizarre Prince story: “I feel like I’m part of this club of people who’ve been wronged by him,” he said. “For all I know, he could have just even known, in all of his genius, like, ‘Watch, I’m gonna hook this kid up. I’m gonna break his guitar so he can have this story and talk about it for the rest of his life.’ If that was his thought, he would not be wrong about that.”

He even ended up writing a song about it: “Little Friend,” which he released on his debut solo album, 2019’s Turbulent Times. “‘[It] was actually composed on the guitar I purchased with the money left over from the repair of the guitar he actually broke,” he told Rolling Stone. “I recorded the song with the Crestwood. The lyric comes from the emotion of the moment of that time where I was upset, but in retrospect it’s one of the coolest things that has ever happened to me. He’s probably looking down, saying, ‘I made your old-ass guitar way more interesting, paid you for your troubles, and gave you something cool to write about…You’re welcome.”

In the Roots YouTube video, Douglas rightly called the tale “one of the greatest guitar stories ever told,” noting that the instrument had since been displayed at the Rock and Roll Hall of Fame’s as part of the “Plat It Loud” exhibit. “That guitar is bigger than me,” he said. “But I’m so happy to have played a part in what’s now widely regarded as rock and roll history.”

  • European Union enforces ban on destroying unsold fast-fashion clothing by major companies
    Photo credit: CanvaThe European Union hopes to reduce fast-fashion waste.

    A new rule adopted by the European Union is intended to reduce landfill waste while holding major clothing manufacturers accountable.

    Starting July 19, the EU prohibits large companies from destroying unsold clothing, accessories, and shoes under the Ecodesign for Sustainable Products Regulation (ESPR). The regulations will expand to cover medium-sized companies in 2030.

    Fast fashion has become a major environmental concern. As retailers rapidly cycle through trends, unsold clothing often ends up in landfills or is destroyed to make room for new inventory. Many garments are made from synthetic fibers that can release greenhouse gases as they break down and shed microplastics that may contaminate soil and waterways.

    What’s the ban’s purpose?

    The ban is intended to reduce the amount of unsold clothing that large manufacturers dispose of. According to the European Environment Agency, between 264,000 and 594,000 tonnes of unused textiles are destroyed across Europe each year.

    Instead of destroying unsold clothing, companies will need to find other ways to keep those products in use. That could mean selling excess inventory at a discount, donating it to charities or social enterprises, or preparing it for reuse through repair, refurbishment, or remanufacturing. When those options aren’t feasible, the materials can be recycled.

    While the regulation is primarily focused on reducing the fashion industry’s environmental impact, the EU also hopes it will strengthen the economy by encouraging more sustainable business practices. The ban incentivizes companies to design products that are more resource-efficient, durable, reusable, and easier to repair or recycle. In turn, consumers should benefit from higher-quality products that last longer and generate less waste.

    Companies may destroy unsold clothing and footwear only in limited circumstances, such as when the items are damaged, unsafe, counterfeit, infringe intellectual property rights, or have been rejected by charitable organizations. Businesses relying on these exemptions must provide supporting documentation, such as test results or other records, to justify the destruction. Even then, they must follow the EU’s waste hierarchy, which prioritizes reuse and recycling over disposal. Companies are also required to publish annual reports detailing the unsold products they have discarded.

    National authorities will enforce the ban and may impose fines on companies that violate its requirements, including failing to maintain records for at least five years to support inspections. To help reduce the administrative burden, businesses may use existing customs and logistics codes when reporting the products they discard.

    Why recycling isn’t enough

    Recycling clothing can be a complicated and labor-intensive process. It often involves separating fabrics, dyes, synthetic fibers, and natural textile materials before they can be reused. That’s not to say it isn’t worthwhile. Instead of ending up in a landfill, recycled textiles can be turned into new clothing, home insulation, carpet padding, and other products.

    Still, recycling isn’t a cure-all. The EU hopes the new ban will encourage companies to keep usable clothing in circulation for as long as possible through resale, donation, reuse, or refurbishment before recycling becomes necessary. In doing so, the regulation aims to create a more circular economy rather than allowing piles of unused clothing to continue growing.

    This movement hopes to encourage clothing manufacturers to produce higher-quality products and reshape the industry as a whole. Making clothing from higher-grade materials with durable stitching that’s easier to repair can help reduce waste. While critics argue that doing so could reduce the number of garments sold each year, many say better-made clothing is worth the higher price—especially if consumers end up buying fewer replacement items over time.

    What can you do with old clothing?

    There are plenty of things you can do with old clothing around your home. If an item is too damaged to donate, its fabric can be repurposed for crafts or used as cleaning rags. And if you’re handy with a needle, there are countless ways to upcycle old clothes into new outfits, accessories, or other useful items with a little inspiration from the Internet.

    Giant corporations and everyday people alike can do their best to make the most of the materials they have, helping save money and reduce waste.

  • European Broadcasting Union offers guide to reduce sexualizing camera angles of Olympic women athletes
    Photo credit: CanvaA new guide has been introduced on how to respectfully broadcast woman athletes.

    Being an athlete is tough, especially if you’re an Olympian. They sacrifice their time and bodies in order to achieve peak physical condition. There is also the mental pressure to compete against the best. The last thing they should worry about is being objectified and sexualized online. 

    With this in mind, the European Broadcasting Union wants to help. They offered a booklet to broadcasters titled Raising the Bar: Guidelines for respectful media coverage in women’s athletics. The 23-page guide shows how camera placement choices and editing could potentially compromise an athlete. It also offers broadcasters guidelines for how to set up camera shots and show slow-motion replays that won’t sexualize or present athletes in undignified poses. 

    athletes, infographic, olympians, guide
    Screenshot

    Focusing on the sport, reducing harassment

    These guidelines come as multiple stories about women athletes being harassed online have surfaced. Many misogynistic posts about athletes have come from slow motion footage focused on certain parts of the athlete’s body. 

    “The sexualization of women athletes through selective camera angles and editing choices continues to be a significant concern across many sports broadcasts,” wrote Glen Killane, executive director of EBU Sport in the booklet. “Lingering shots on bodies, low-angle cameras that capture revealing views, and excessive slow-motion replays that serve no technical or storytelling purpose are among the issues observed in the media coverage of women’s athletics competitions today.”

    These new broadcast guidelines and suggestions are backed by Serbian long jumper Ivana Španović, British Olympic pole vaulter Holly Bradshaw, and Croatian high jumper Blanka Vlašić. Vlašić has spoken out regarding the equal visibility of women’s sports. Bradshaw has spoken out against the discomfort and sexualization of Olympic women athletes due to their tight-fitting uniforms.

    “I first-hand have received social media abuse and witnessed inappropriate videos online of myself and colleagues when slow motion content of us competing is captured,” wrote Bradshaw in the guide. “Athletes want to enjoy themselves doing the sport they love without feeling uncomfortable or anxious about the footage being shown live. Many athletes, myself included, have been in competitive scenarios where they are more focused on the cameras instead of their own performance.”

    What the guide provides

    The guide provides visual aids for broadcasters along with insights from the athletes to explain why certain shots would be preferred. Broadcasters are requested to avoid tight shots from the back of athletes. They’re also asked to avoid low camera angles from underneath. They recommend shots above the pelvis or ones that don’t linger onto commonly sexualized areas of the body. They recommend wider shots so the audience can see the technical ability being displayed by the athlete. Overall, the point is to focus on the athletic performance rather than close-ups of the athlete.

    Currently, there is no enforcement of these guidelines or penalties if a sports broadcast doesn’t adhere to them. However, there is value in knowing which broadcasts will focus on the athletic contests rather than an athlete’s appearance. This will help the competitors focus on how they do rather than how they look when the cameras are on.

  • The summer concert state rankings: Which states pack more festivals, shows, and tours in 2026
    Photo credit: Matthew Bolt // Icon Sportswire via Getty ImagesILLENIUM performs a free concert for fans prior to the start of Game 3 of the Stanley Cup Finals between the Vegas Golden Knights and the Carolina Hurricanes on June 06, 2026 at T-Mobile Arena in Las Vegas, Nevada.

    Trevor Mahoney

    Summer 2026 is shaping up to be one of the densest live music seasons in recent years. From packed festival calendars to a resurgent touring industry, a handful of breakout U.S. states are finally getting the traffic they deserve.

    Not all states are created equal when it comes to live music density, though. ThatsThem has compiled per-capita concert data, venue infrastructure metrics, and festival schedules from leading sources including the Recording Industry Association of America, Pollstar, and the National Independent Venue Association to create a list of 15 standout locations this summer.

    15 of the most concert-dense states in Summer 2026

    1. Nevada

    Las Vegas leads the nation in concerts per capita in 2026. According to an analysis on the website of Princess Polly, a clothing brand, nearly 3,500 concerts are listed in Las Vegas alone, translating to approximately 150.67 concerts per 100,000 residents. This is undoubtedly the highest concentration in the country. The residency model means the Strip always has something major running, regardless of the season, but the Las Vegas Summer Concert series is the standout event.

    2. Tennessee

    Nashville ranks second in concert density nationally, with 6.76 venues per 100,000 residents. This is the highest venue density among top-ranked cities and equates to 1,148 concerts in 2026. Bonnaroo’s return to Manchester, Tennessee in June anchors their summer calendar on top of nonstop club and arena action across the entire state.

    3. California

    California dominates by sheer volume alone. Research from the Recording Industry Association of America counts over 80,433 music establishments in the state, with music contributing more than $51.4 billion to gross domestic product. The summer calendar alone includes Outside Lands in San Francisco, a dense SoCal arena circuit, and Coachella’s long tail of satellite events that carry into the fall.

    4. New York

    New York generated $24.9 billion in music industry value and supports 210,878 music jobs in 2020, which is the highest job count among all states. The summer festival circuit reflects this depth. The Governors Ball, featuring Lorde and A$AP Rocky as headliners per Variety, is followed by a packed arena season through Labor Day.

    5. Illinois

    Chicago’s Lollapalooza remains one of the best-attended urban music festivals across the whole country, with around 100,000 people turning up per day. The city’s venue ecosystem, from the Riviera to the United Center, also keeps the calendar full beyond just a single festival weekend.

    6. Texas

    Texas punches well above its weight on music infrastructure, with over 127,993 songwriters and $26.6 billion in annual music industry economic output. In fact, it’s second only to California nationally. ACL Fest’s October dates are the main headliner event, but Austin’s live music scene means something notable is happening every weekend.

    7. Colorado

    Denver ranks fifth nationally for concert density, with 1,766 concerts listed in 2026 and 59.41 concerts per 100,000 people. The real draw, though, is Red Rocks. The event calendar of this outdoor amphitheater boasts a summer schedule that many serious concertgoers are planning vacations around this year.

    8. Georgia

    Atlanta holds the title of “premier U.S. city for music aficionados” according to one 2026 study highlighted by Spin Genie, scoring more than 8.74 points out of 10. The city boasts 188 upcoming events and 577 musical artists per 100,000 residents.

    9. Florida

    Florida’s music economy supports 169,706 jobs and adds $9.3 billion to the U.S. GDP, fueled by Latin, pop, and Southern rock scenes. Welcome to Rockville in Daytona Beach is their signature event, while the Latin and pop circuit continues to run year-round.

    10. Washington

    Seattle ranks 10th among top U.S. concert cities with 1,304 concerts listed in 2026. The city’s venue density, anchored by Climate Pledge Arena and a dense club circuit in Capitol Hill, helps to keep national tours running even in the summer months.

    11. Louisiana

    New Orleans ranks second nationally in SCCG Management’s live music city analysis, and The Big Easy plays host to three major festivals in 2026. With 302 concerts planned and an average concert attendance of 74, the city’s extensive live music culture is on full display this year, anchored by the genuine local community engagement as opposed to tourist capture alone.

    12. Minnesota

    Minneapolis ranks third among U.S. cities for live music in 2026 per the same SCCG Management study, with two major festivals, 1,055 concerts listed, and an average attendance of 52. The Twin Cities’ independent venue scene, most famous for First Avenue, is truly unmatched.

    13. North Carolina: The first breakout state

    Asheville has emerged as one of the most-cited breakout music cities in 2026, with more than 61 upcoming concerts and festivals listed on music resource Bandsintown alone, including AVL Sounds Fest in August and MAJACE Festival in July. The city is small enough that shows still feel like unexpected discoveries..

    14. Pennsylvania

    Pennsylvania supports 114,731 music jobs and generates $6.3 billion in music GDP, ranking among the top six states nationally for music economic contribution. This is spread across Philadelphia’s festival-heavy summer season and Pittsburgh’s growing independent venue scene.

    15. Idaho: The second breakout state

    Boise is also one of the most-cited “rising” live music markets in the U.S., with 2025 setting concert attendance records and 2026 already tracking to match or exceed them. What makes the city notable isn’t its scale, but the fact that national tours are now coming through as a primary stop.

    The music map is changing nationally

    The traditional top tier states of Nevada, New York, California, and Tennessee are all holding strong at the top of the list of most-visited states for music. However, the story of summer 2026 is the states on the rise. Colorado’s Red Rocks circuit, Atlanta’s per-capita chokehold, and the emergence of Asheville and Boise as new hot spots show that the live music scene is shifting dramatically.

    This story was produced by ThatsThem and reviewed and distributed by Stacker.

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