Entertainment

Lawyer Says Allegations B.B. King Was Poisoned ‘Ridiculous’

Published

11 years ago

May 26, 2015

Patty King leaves a memorial service for her father B.B. King Saturday, May 23, 2015, in Las Vegas. Friends and family members gathered Saturday at a funeral home in Las Vegas to remember the Blues legend. (AP Photo/John Locher)

KEN RITTER, Associated Press

LAS VEGAS (AP) — Two B.B. King heirs who’ve been most outspoken about the blues legend’s care in his final days have accused King’s two closest aides of poisoning him, but the attorney for King’s estate called the claims ridiculous and police said there was no active homicide investigation.

Three doctors determined that King was appropriately cared-for, and King received 24-hour care and monitoring by medical professionals “up until the time that he peacefully passed away in his sleep,” attorney Brent Bryson told the AP on Monday.

Daughters Karen Williams and Patty King allege that family members were prevented from visiting while King’s business manager, LaVerne Toney, and his personal assistant, Myron Johnson, hastened their father’s death.

Toney is named in King’s will as executor of an estate that, according to court documents filed by lawyers for some of King’s heirs, could total tens of millions of dollars.

Johnson was at B.B. King’s bedside when he died May 14 in hospice care at home in Las Vegas at age 89. No family members were present.

“I believe my father was poisoned and that he was administered foreign substances,” Patty King and Williams say in identically worded sections of affidavits provided to The Associated Press by their lawyer, Larissa Drohobyczer.

“I believe my father was murdered,” they say.

An autopsy was performed Sunday. Test results will take up to eight weeks to obtain and shouldn’t be affected by the fact that King’s body had been embalmed, Clark County Coroner John Fudenberg said.

Fudenberg issued a statement Monday saying there was no immediate evidence supporting the murder allegations, and Las Vegas police Lt. Ray Steiber told the AP that there was no active homicide investigation.

Toney and Johnson each declined to comment on the accusations.

“They’ve been making allegations all along. What’s new?” said Toney, who worked for King for 39 years and had power-of-attorney over his affairs.

A week before King’s death, a judge in Las Vegas dismissed a request from Williams to take over as King’s guardian.

An April 29 petition alleged that Toney had blocked King’s friends from visiting him and had put her family members on King’s payroll. It also alleged that large sums of money had disappeared from King’s bank accounts.

But Clark County Family Court Hearing Master Jon Norheim said on May 7 that police and social services investigations in October and April uncovered no reason to take power-of-attorney from Toney.

Williams, Patty King and another daughter — Rita Washington — vowed to keep fighting.

“We lost the battle, but we haven’t lost the war,” Williams said then.

This week’s allegations come days after a public viewing in Las Vegas drew more than 1,000 fans and mourners and a weekend family-and-friends memorial drew 350. A Beale Street procession and memorial are scheduled Wednesday in Memphis, Tennessee, followed by a Friday viewing and Saturday burial in King’s hometown of Indianola, Mississippi.

Fudenberg said Monday that his office’s investigation shouldn’t delay those services.

Bryson said the allegations were “extremely disrespectful” to King.

“He did not want invasive medical procedures,” he said. “He made the decision to return home for hospice care instead of staying in a hospital. These unfounded allegations have caused Mr. King to undergo an autopsy, which is exactly what he didn’t want.”

Drohobyczer said she represents Williams, Patty King and most of King’s nine other adult children and heirs.

“The family is sticking together … to oust Ms. Toney based on her illegal conduct, conflicts of interest and self-dealing,” she said. She alleged that Toney hastened King’s death by “misconduct, or by failing to properly attend to his medical needs.”

An affidavit from Patty King, who used to live at King’s home, says she saw Johnson administer to King two drops of an unknown substance on his tongue during evenings for several months before his death, and that Toney never told her what the substance was.

Bryson called Drohobyczer’s claims ridiculous.

“I hope they have a factual basis that they can demonstrate for their defamatory and libelous allegations,” he said.

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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.

Published

6 days 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.