Kaytranada and Childish Gambino suit up for a supernatural experience in their new “Witchy” music video, which dropped on Wednesday (Oct. 2).

The collaborators and RCA labelmates post up in an intimate studio while an assortment of mesmerizing characters (and a white cat) — like four ballerinas who magically transform into an incredibly flexible male dancer — leave them in a trance from the other side of the glass. Kaytranada and Gambino (also known as Donald Glover) catch a vibe with their synchronized moves and custom Gucci suits, courtesy of stylist Von Ford.

“Witchy” is from Kaytranada’s third solo studio album Timeless that he released on June 7, 2024. The 21-track album reached No. 28 on the Billboard 200, No. 6 on Top R&B/Hip-Hop Albums and No. 2 on Top Dance/Electronic Albums. He’s currently on the Timeless Tour, which wraps on Nov. 9 at the Downtown Las Vegas Events Center.

Glover announced he was postponing the remaining North American dates of his final tour as Childish Gambino “to focus on my physical health for a few weeks,” he wrote on X (formerly known as Twitter). The trek was in support of Gambino’s fifth and final studio album Bando Stone and the New World, which was released on July 19, 2024. The 17-song set peaked at No. 16 on the Billboard 200 and No. 2 on Top R&B/Hip-Hop Albums.

Watch the Bethany Vargas-directed “Witchy” music video below.

A producer who worked on Fleetwood Mac’s Rumours is suing the creators of the hit Broadway play Stereophonic, claiming they stole material from his memoir about working on the legendary album.

In a lawsuit filed Tuesday (Oct. 2) in Manhattan federal court, Ken Caillat and co-author Steven Stiefel call the Tony Award-winning show an “unauthorized adaptation” of their 2012 book Making Rumours — and accuse playwright David Adjmi of “flagrant and willful infringement.”

“Stereophonic copies the heart and soul of Making Rumours,” attorneys for Caillat and Stiefel write in their complaint. “The striking similarity is readily apparent right from the beginning of the show.”

Featuring the music of Arcade Fire’s Will Butler, Stereophonic debuted on Broadway last fall, eventually winning five Tony Awards including best play, best direction of a play and best featured actor in a play.

Critics quickly noted the similarities to the infamous story of the recording session for Fleetwood Mac’s Rumours, which featured high tensions and heavy drug usage. A reviewer for the Wall Street Journal said the play was “fictionalizing Fleetwood Mac”; another critic said the play “isn’t literally about Fleetwood Mac, but c’mon.”

In their lawsuit, Caillat and Stiefel say the hit play “presents a nearly identical story arc as Making Rumours,” told from the same perspective of a sound engineer in a recording studio, about five characters who are “undeniably analogous to the members of Fleetwood Mac.”

“Stereophonic is undoubtedly a play based on plaintiffs’ memoir Making Rumours because substantial similarities exist between the two works, a reality that has been independently confirmed by those familiar with plaintiffs’ book who have also had the opportunity to review the play,” the duo’s lawyers write.

The new case presents tricky legal questions. Under U.S. law, historical events cannot be monopolized under copyrights, and nobody can claim exclusive ownership over the real story behind the making of Rumours. But specific creative elements of how such a story is told can be protected by copyrights, and film, TV and stage producers often license non-fiction books as the basis for their works.

In their case, Caillat and Stiefel claim that Adjmi copied those exact kinds of creative choices when he created his play: “Stereophonic’s audience not only sits in the same place that Mr. Caillat sat, but the show also depicts Mr. Caillat’s wild ride as it is described in Making Rumours.”

Adjmi is no stranger to copyright litigation. Back in 2014, he filed a preemptive lawsuit over his off-Broadway show called 3C, which riffed on the sitcom Three’s Company. In that case, filed after the sitcom’s owners threatened litigation, Adjmi argued the play was clearly a legal parody of the earlier show. And he eventually won, securing a ruling that his play was a legal “fair use” of the famous show.

In their complaint, Caillat and Stiefel noted that earlier case, but pointedly argued that such a defense would not work this time around: “Stereophonic is not a parody, and it is not in any way a fair use of Making Rumours.”

Reps for Adjmi did not immediately return requests for comment.

Amazon has pulled from it’s website the bestselling 60-page Kim’s Lost Words: A Journey for Justice From the Other Side…, a memoir allegedly written by the late Kim Porter, a model and longtime partner of Sean “Diddy” Combs, according to Associated Press.

The book reveals an alleged abusive relationship between the couple, who share 26-year-old son Christian, as well as 17-year-old twins Jessie and D’Lila. They also share Quincy Brown, Porter’s son with Al B Sure!, whom Combs adopted. “We were made aware of a dispute regarding this title and have notified the publisher,” an Amazon spokesperson said in a statement. “The book is not currently available for sale in our store.”

Combs’ attorney Erica Wolf called the memoir “fake” and “offensive – a shameless attempt to profit from tragedy” in a statement to Billboard last month.

“Claims that our mom wrote a book are simply untrue,” Combs and Porter’s children said in the statement. “She did not, and anyone claiming to have a manuscript is misrepresenting themselves. Additionally, please understand that any so-called ‘friend’ speaking on behalf of our mom or her family is not a friend, nor do they have her best interests at heart.”

The statement went on: “Our lives were shattered when we lost our mother. She was our world, and nothing has been the same since she passed. While it has been incredibly difficult to reconcile how she could be taken from us too soon, the cause of her death has long been established. There was no foul play. Grief is a lifelong process, and we ask that everyone respect our request for peace as we continue to cope with her loss every day.”

Porter passed away on Nov. 15, 2018, and her cause of death was determined to be lobar pneumonia. She was 47.

Diddy was arrested on Sept. 17 in New York City on federal sex trafficking and racketeering charges. He has since been denied bond twice and will remain in prison until facing trial.

An auction of items that belonged to the late producer Avicii has raised roughly $750,000 for charity.

Taking place in the producer’s native Stockholm on Tuesday (Oct. 1), the auction happened at Auktionsverk in front of a crowded audience. The sale was made up of 267 items, including shoes, instruments, clothing and other personal effects related to Avicii’s career in music.

A representative for the auction house said that bids came in from more than 40 countries, with a 2015 Fender Telecaster being among the highest grossing items, selling for 240,000 SEK, or approximately $23,000. Other items drawing high bids included a Martin Custom X Series acoustic guitar, a pair of Sennheiser headphones, a Miami Marlins cap and an original contact sheet of portraits of Avicii by photographer Mark Seliger.

All items involved in the sale in the auction were donated by the late producer’s family. The entirety of the money raised will go to the Tim Bergling Foundation, which was created after the artist’s 2018 suicide and which works to promote mental health awareness and suicide prevention among young people.

“It feels fantastic to convey this significant amount to The Tim Bergling Foundation,” Cecilia Gave, CEO of Stockholms Auktionsverk, says in a statement. “We are very pleased to see how The Avicii Collection has also appealed to a younger audience. Many here in the hall have placed their very first auction bids today, and it feels very honorable for us to be a part of that.”

Indeed, on the Avicii Reddit page, many fans shared comments about their purchases, with the person who purchased the leather jacket Avicii wore on the Stories album cover and at the American Music Awards writing that the item is “right now with me on its way to Paris. It will be professionally protected and framed and displayed in my music studio room at home.” 

Central Hall Westminster was alive with the energy of cross-cultural musical exchange as the Saudi National Orchestra and Choir took to the stage alongside the Royal Philharmonic Orchestra to present an evening of musical dialogue. This conversation culminated when both orchestras were joined in concert together in several key moments, chief among them, their rendition of Adele’s “Rolling in the Deep” mashed up with Saudi classic “Adeet fi Marqab” (I Passed in Marqab) to the stunning medleys of iconic Saudi music presented with a Western twist.

On Sept. 28, London became the fourth stop in the Saudi National Orchestra and Choir’s “The Marvels of Saudi Music” performance alongside the Royal Philharmonic Orchestra in celebration of the 94th Saudi National Day. Under the patronage of Prince Badr bin Abdullah bin Farhan Al Saud, Minister of Culture and Chairman of the Music Commission, the concert was a vibrant tribute to Saudi heritage and cultural diversity, blending authentic Saudi music with top-tier international performances at the iconic Central Hall Westminster, featuring a hundred talented Saudi musicians. Here are some standout moments from the concert.

Tribute to the Late Poet Badr bin Abdul Mohsen

The concert opened with a heartfelt homage to the late Saudi poet, His Royal Highness Prince Badr bin Abdul Mohsen. The orchestra performed “Ana Min Hal Ardh” (I Am From This Land) , a song originally penned by Prince Badr and sung by the legendary Mohammed Abdo. Abdo was celebrated as Billboard Arabia’s first cover in December 2023, with an interview about the artist’s 60-year legacy and deep impact on Arabic music. In the Saudi Orchestra and Choir performance in London, the tribute of his famed song “Ana Min Hal Ardh” (I Am From This Land) elegantly captured the poetic legacy of the late Prince, serving as a significant gesture of appreciation for one of Saudi culture’s most beloved icons.

Samri Art and Esmahili yal Gharam

The Saudi National Orchestra and Choir delivered a captivating rendition of Samri art, a traditional Saudi folk art, set to the enchanting melody of “Esmahili yal Gharam” (The Wound of Betrayal), another iconic Mohamed Abdo song. This intricate blend of traditional art with a contemporary interpretation stood out as a remarkable moment of the concert, highlighting the rich artistic heritage of Saudi Arabia.

Yanbu Art and Hana Talabana Allah

A highlight of the evening was the performance of the Yanbu art through the song “Hana Talabana Allah” (We Ask God), which showcases the depth of Saudi cultural heritage. This performance underscored the importance of traditional arts in preserving cultural identity and demonstrated the orchestra’s commitment to presenting authentic Saudi music to a global audience, celebrating the richness of the 13 regions that the orchestra has been working to present in the “Marvels of Saudi Music” show.

Saudi Twist on Adele’s “Rolling in the Deep”

In a bold and innovative move, the Saudi National Orchestra and Choir concluded the concert’s first half with a unique Saudi rendition of Adele’s “Rolling in the Deep.” This mash-up creatively fused Adele’s song with the Saudi classic “Adeet fi Marqab,” generating exceptional moments showcasing the orchestra’s talent blending international music with an Arab twist. The song was a breakthrough moment in the performance, when the Saudi Orchestra and Choir entered into a contemporary dialogue with the Royal Philharmonic Orchestra.

Royal Philharmonic Orchestra Plays Zarqa’ al-Yamama

In the concert’s second act, the Royal Philharmonic Orchestra showcased a selection of Western and Arabic classical music pieces, including the composition Zarqa’ al-Yamama. The renowned opera singer, Dame Sarah Connolly, added a special touch by singing in Arabic, enhancing the cultural fusion. The opera originally premiered in Saudi Arabia in April 2024, featuring Dame Sarah Connolly performing alongside Saudi opera singer Sawsan Al Bahiti and Italian soprano Serena Farnocchia.

Collaboration with the Royal Philharmonic Orchestra

In the final act, the Saudi National Orchestra and Choir collaborated with the Royal Philharmonic Orchestra to present medleys of songs by some of Saudi Arabia’s musical icons. They collectively performed various medleys by famed Saudi musicians including Mohammed Abdo, Talal Maddah, Rashed Al Majed, Fawzi Mahsoun, Abdel Majeed Abdullah, Khaled Abdul Rahman and Ayed.

Concert Finale with Ashginag

The concert concluded with Rashed Al Majed’s “Ashginag” (We Loved You), released in honor of the 90th Saudi National Day on Sept. 23, 2020. The song’s lyrics celebrate the beauty and diversity of Saudi Arabia, making it a fitting choice to close the event, spreading the enchantment of Saudi music and culture from the heart of London to the world. It was in these closing medleys that the conversation that was promised between British and Saudi culture culminated with a sense of possibility.

This London concert marked the fourth stop in the “Marvels of the Saudi Music” series, following successful performances in Paris’ Théâtre du Châtelet, Mexico City’s Grand Teatro Nacional and New York’s Metropolitan Opera House. The Saudi National Orchestra and Choir plans to continue its journey, bringing its art to additional locations around the globe. Their mission is to introduce the international community to the masterpieces of Saudi music and foster cultural exchange worldwide.