Entertainment

‘King of the Blues’ Blues Legend B.B. King Dead at Age 89

Published

11 years ago

May 15, 2015

In this Feb. 16, 2007 file photo, B.B. King performs at the Wicomico Youth and Civic Center, in Salisbury, Md. King died Thursday, May 14, 2015, peacefully in his sleep at his Las Vegas home at age 89, his lawyer said. (Matthew S. Gunby/The Daily Times via AP)

Ken Ritter, ASSOCIATED PRESS

LAS VEGAS (AP) — B.B. King, whose scorching guitar licks and heartfelt vocals made him the idol of generations of musicians and fans while earning him the nickname King of the Blues, died late Thursday at home in Las Vegas. He was 89.

His attorney, Brent Bryson, told The Associated Press that King died peacefully in his sleep at 9:40 p.m. PDT. He said funeral arrangements were underway.

Clark County Coroner John Fudenberg confirmed the death.

King’s eldest surviving daughter Shirley King of the Chicago area said she was upset that she didn’t have a chance to see her father before he died.

Although he had continued to perform well into his 80s, the 15-time Grammy winner suffered from diabetes and had been in declining health during the past year. He collapsed during a concert in Chicago last October, later blaming dehydration and exhaustion. He had been in hospice care at his Las Vegas home.

For most of a career spanning nearly 70 years, Riley B. King was not only the undisputed king of the blues but a mentor to scores of guitarists, who included Eric Clapton, Otis Rush, Buddy Guy, Jimi Hendrix, John Mayall and Keith Richards. He recorded more than 50 albums and toured the world well into his 80s, often performing 250 or more concerts a year.

King played a Gibson guitar he affectionately called Lucille with a style that included beautifully crafted single-string runs punctuated by loud chords, subtle vibratos and bent notes.

The result could bring chills to an audience, no more so than when King used it to full effect on his signature song, “The Thrill is Gone.” He would make his guitar shout and cry in anguish as he told the tale of forsaken love, then end with a guttural shouting of the final lines: “Now that it’s all over, all I can do is wish you well.”

His style was unusual. King didn’t like to sing and play at the same time, so he developed a call-and-response between him and Lucille.

“Sometimes I just think that there are more things to be said, to make the audience understand what I’m trying to do more,” King told The Associated Press in 2006. “When I’m singing, I don’t want you to just hear the melody. I want you to relive the story, because most of the songs have pretty good storytelling.”

A preacher uncle taught him to play, and he honed his technique in abject poverty in the Mississippi Delta, the birthplace of the blues.

“I’ve always tried to defend the idea that the blues doesn’t have to be sung by a person who comes from Mississippi, as I did,” he said in the 1988 book “Off the Record: An Oral History of Popular Music.”

“People all over the world have problems,” he said. “And as long as people have problems, the blues can never die.”

Fellow travelers who took King up on that theory included Clapton, the British-born blues-rocker who collaborated with him on “Riding With the King,” a best-seller that won a Grammy in 2000 for best traditional blues album.

Singer Smokey Robinson praised the music legend.

“The world has physically lost not only one of the greatest musical people ever but one of the greatest people ever. Enjoy your eternity,” Robinson said.

Still, the Delta’s influence was undeniable. King began picking cotton on tenant farms around Indianola, Mississippi, before he was a teenager, being paid as little as 35 cents for every 100 pounds, and was still working off sharecropping debts after he got out of the Army during World War Two.

“He goes back far enough to remember the sound of field hollers and the cornerstone blues figures, like Charley Patton and Robert Johnson,” ZZ Top guitarist Billy Gibbons once told Rolling Stone magazine.

King got his start in radio with a gospel quartet in Mississippi, but soon moved to Memphis, Tennessee, where a job as a disc jockey at WDIA gave him access to a wide range of recordings. He studied the great blues and jazz guitarists, including Django Reinhardt and T-Bone Walker, and played live music a few minutes each day as the “Beale Street Blues Boy,” later shortened to B.B.

Through his broadcasts and live performances, he quickly built up a following in the black community, and recorded his first R&B hit, “Three O’Clock Blues,” in 1951.

He began to break through to white audiences, particularly young rock fans, in the 1960s with albums like “Live at the Regal,” which would later be declared a historic sound recording worthy of preservation by the Library of Congress’ National Recording Registry.

He further expanded his audience with a 1968 appearance at the Newport Folk Festival and when he opened shows for the Rolling Stones in 1969.

King was inducted into the Blues Foundation Hall of Fame in 1984, the Rock and Roll Hall of Fame in 1987 and received the Songwriters Hall of Fame Lifetime Achievement Award in 1990. He received the Presidential Medal of Freedom from President George W. Bush, gave a guitar to Pope John Paul II and had President Barack Obama sing along to his “Sweet Home Chicago.”

Other Grammys included best male rhythm ‘n’ blues performance in 1971 for “The Thrill Is Gone,” best ethnic or traditional recording in 1982 for “There Must Be a Better World Somewhere” and best traditional blues recording or album several times. His final Grammy came in 2009 for best blues album for “One Kind Favor.”

Through it all, King modestly insisted he was simply maintaining a tradition.

“I’m just one who carried the baton because it was started long before me,” he told the AP in 2008.

Born Riley B. King on Sept. 16, 1925, on a tenant farm near Itta Bena, Mississippi, King was raised by his grandmother after his parents separated and his mother died. He worked as a sharecropper for five years in Kilmichael, an even smaller town, until his father found him and took him back to Indianola.

“I was a regular hand when I was 7. I picked cotton. I drove tractors. Children grew up not thinking that this is what they must do. We thought this was the thing to do to help your family,” he said.

When the weather was bad and he couldn’t work in the cotton fields, he walked 10 miles to a one-room school before dropping out in the 10th grade.

After he broke through as a musician, it appeared King might never stop performing. When he wasn’t recording, he toured the world relentlessly, playing 342 one-nighters in 1956. In 1989, he spent 300 days on the road. After he turned 80, he vowed he would cut back, and he did, somewhat, to about 100 shows a year.

He had 15 biological and adopted children. Family members say 11 survive.

___

Associated Press writers John Rogers and Mesfin Fekadu in Los Angeles contributed to this report.
Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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From Palestine to Oakland: Seeds for Liberation Examines Shared Struggles for Freedom

The screening was hosted by the East Bay Democratic Socialists of America and the Dr. Huey P. Newton Foundation. Following the film, director Matthew Solomon joined local community leaders for a discussion about solidarity, resistance, and the historical connections explored throughout the documentary.

Published

2 days ago

August 20, 2026

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Documentary film, "Seeds for Liberation," highlights the Palestinian struggle and the shared fight for freedom and liberation in the United States and abroad. Graphic courtesy of www.seedsforliberationmovie.com

By Carla Thomas

Community members gathered at the Black Panther Party Museum on Saturday, Aug. 15, in downtown Oakland for a screening of “Seeds for Liberation,” an award-winning documentary examining the Palestinian liberation movement and its connections to Black, Chicano and other movements for collective liberation.

The film reveals the face of conflict, struggle, and injustice today and yesterday. In one scene, a bleeding child pleads for help on a shell-shattered rooftop after a bombing in the Gaza Strip last year. In another scene, newly freed Nelson Mandela addresses thousands at the Oakland Coliseum in 1990, at the end of apartheid.

Directed by Solomon and executive-produced by Donna Hadjikhani and Alana Hadid, “Seeds for Liberation” situates Palestinian experiences within the broader history of anti-imperialist and decolonial movements.

Through interviews with historians, legal scholars, activists and organizers, the documentary examines Palestinian resistance. It also details the role of social media in shaping the public’s understanding of the impact of Palestine’s 77-year occupation by Israeli forces, events in Gaza and the West Bank, and relationships between liberation movements across generations and geographic boundaries.

The film includes perspectives of people connected to the Black Liberation Army, La Raza Unida and the Stop Cop City movement. Those featured talk about colonialism, U.S. foreign policy, policing, racial justice and their views of what solidarity with Palestinians has meant.

Solomon developed the documentary following his previous film, “Reimagining Safety,” which explored alternatives to traditional policing.

“I use film as a medium to connect personal testimony with larger social and political questions,” said Solomon, who is currently touring the film across the nation as well as Canada and other countries.

Executive producer Hadjikhani brought a personal connection to the project. An Iranian American designer and social justice advocate, she traveled to Gaza and the West Bank as a college student in 1993 during the First Intifada. Hadid has since focused on Palestinian stories and other underrepresented voices.

The Oakland screening carried added historical significance because it was held in the Black Panther Party Museum, where the history of Black resistance and community organizing provided a backdrop for the film’s examination of interconnected struggles.

Activist and artist Cat Brooks passionately spoke about the fight for the freedom of all people. “No one is free until everyone is free,” she said.

Brooks played a key role in the struggle for justice for Oscar Grant, who was gunned down by a BART police officer in 2009 and is co-founder of the Anti Police-Terror Project (APTP), whose mission is to rapidly respond to and ultimately eradicate state violence in communities of color.

Rather than treating liberation movements as isolated chapters, “Seeds for Liberation” asks audiences to consider how movements separated by time, race and geography have influenced one another and how solidarity has continued to evolve across generations.

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Oakland Post: Week of August 12 – 18, 2026

The printed Weekly Edition of the Oakland Post: Week of August 12 – 18, 2026

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August 15, 2026

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Misty Copeland Shapes Ballet’s Tomorrow

THE POSITIVE COMMUNITY — Misty Copeland will curate the 2026 Joyce Ballet Festival, a two-week event in New York City from August 4-16. This role allows her to influence the future of ballet by showcasing a wide range of dancers, choreographers, and companies. The festival will present both established and contemporary works, blending classical traditions with new artistic expressions.

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2 weeks ago

August 9, 2026

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Misty Copeland at the 2026 Met Gala, wearing fashion in theme of "Costume Art" Date 4 May 2026, 19:39:21

This summer, Misty Copeland will step into a different kind of spotlight. Instead of taking center stage as a dancer, she will help determine what audiences see onstage as curator of the 2026 Joyce Ballet Festival. Taking place August 4 through August 16 at The Joyce Theater in New York City, the two-week celebration will bring together dancers, choreographers and companies representing a broad spectrum of ballet. The festival gives Copeland an opportunity to share not only her appreciation for ballet’s traditions, but also her vision for its future.

Copeland understands better than most how powerful a ballet stage can be. Her historic career with American Ballet Theatre changed the conversation about representation in one of the world’s most traditional performing arts. When she became the company’s first Black woman to reach the rank of principal dancer, her achievement carried significance far beyond a personal milestone. It gave young dancers of color a new image of what was possible and challenged the industry to reconsider who belonged at the center of ballet.

That history informs the perspective she brings to the festival. Copeland has spent much of her career moving between performance, mentorship, advocacy and storytelling. Her curatorial role allows her to bring those interests together by creating a program that does not treat ballet as a museum piece. Instead, the festival presents dance as an evolving language capable of carrying classical traditions into new cultural and artistic territory.

Audiences will encounter a mixture of established works and contemporary creations during the festival. Classical ballet vocabulary will share space with choreography that pushes dancers toward different physical, emotional and theatrical possibilities. The result is intended to give audiences a broader understanding of the art form while demonstrating that tradition and innovation do not have to be competing forces.

The lineup also provides an opportunity to see dancers from different artistic environments. Performers connected to organizations including American Ballet Theatre, New York City Ballet, Paris Opera Ballet, Houston Ballet, Dance Theatre of Harlem and Complexions Contemporary Ballet are among those represented in the festival. Each company carries its own history and artistic identity, making their participation part of a larger conversation about the many ways ballet can be performed and interpreted.

The presence of Dance Theatre of Harlem is particularly meaningful within the larger story of Copeland’s career and the evolution of Black representation in ballet. Founded during a period when opportunities for Black dancers were severely limited, the company helped demonstrate that excellence and classical training could flourish in a Black cultural environment. Its legacy continues to influence dancers and audiences, making its connection to a festival curated by Copeland especially resonant.

The program also reaches beyond a single definition of contemporary ballet. Choreographers with different backgrounds and artistic philosophies contribute to an evening that can move from recognizable classical structures to works shaped by modern dance, theater, popular culture and new approaches to movement. That diversity reflects a generation of artists who increasingly see ballet not as a rigid vocabulary but as a foundation from which they can explore.

For New York audiences, the festival offers something that is increasingly valuable: the opportunity to experience outstanding dancers in an intimate setting. The Joyce is known for presenting dance in a theater where audiences can see movement and artistry up close. That environment can make a familiar ballet work feel newly personal while allowing experimental pieces to communicate with unusual immediacy.

Copeland’s role as curator also sends a message about the importance of artistic leadership. The people who select performers and choreography help determine which stories receive attention and which artists receive opportunities. By bringing a range of voices into the festival, Copeland is using that responsibility to broaden the conversation around ballet. Her choices can introduce audiences to artists they may not otherwise encounter while encouraging longtime ballet followers to look at the form from a different perspective.

The 2026 Joyce Ballet Festival ultimately arrives at an important moment for the art form. Ballet is carrying centuries of tradition into an era defined by changing audiences, broader representation and increasingly adventurous choreography. Copeland’s festival reflects that transition. For two weeks in August, The Joyce will become a meeting place for the familiar and the unexpected—a celebration of where ballet came from and a preview of where it may be going. And with Misty Copeland helping shape the conversation, the future of ballet promises to be as expansive as the dancers who are defining it.

Based on reporting by The Positive Community.