King Von Autopsy Report Secrets Revealed

King Von, born Dayvon Bennett, was a rising star in the Chicago drill music scene whose life and career were tragically cut short on November 6, 2020. The events of that night outside the Monaco Hookah Lounge in Atlanta, Georgia, led to his fatal shooting and sparked widespread public and legal scrutiny. The official autopsy report, released by the Fulton County Medical Examiner’s Office, provides a definitive, clinical account of the physical trauma that ended his life, moving beyond speculation to documented fact. It details the precise nature of his injuries, serving as a critical piece of evidence in the subsequent investigation and trial.

The report confirms that King Von died from multiple gunshot wounds, classifying his death as a homicide. He sustained a total of five gunshot injuries. The most immediately fatal wound was a shot to the right side of his back, which penetrated his lung and caused massive internal bleeding. A second shot entered his right lower back, traveling through his abdomen and exiting his left upper thigh, damaging several internal organs along its path. These two injuries were determined to be the primary causes of death, with the others contributing to the fatal outcome. The trajectory and location of these wounds indicate he was likely shot from behind or the side during a chaotic exchange of gunfire.

Further examination revealed three additional gunshot wounds. One entered his right forearm and exited the back of his arm, suggesting a defensive wound or that his arm was positioned away from his body. Another struck his right index finger, a common injury in close-quarters shootings where a hand might be near a weapon or in the line of fire. The final wound was a graze to his left knee. The report notes that all projectiles recovered were consistent with handgun ammunition, and the path of the bullets did not indicate any close-range discharge, such as stippling or soot, on his clothing or skin. This forensic detail is significant for reconstructing the distances between individuals during the shooting.

Beyond the ballistic analysis, the autopsy included a comprehensive toxicology screening. The test returned negative for alcohol, cocaine, heroin, fentanyl, and other common narcotics. However, it did detect THC, the primary psychoactive compound in cannabis, in his system at a level described as “low.” The presence of THC alone, without other substances, is not considered a contributing factor to his death but rather a snapshot of his recent intake. This finding helps dispel any narratives that intoxication played a direct role in the altercation or his subsequent vulnerability.

The official report meticulously documents the scene and his condition upon arrival at the hospital. He was transported to Grady Memorial Hospital where he was pronounced dead. The medical examiner’s findings are supported by diagrams mapping each wound’s entry and exit points, photographs from the external examination, and the ballistics report linking the recovered bullets to the firearms used. This level of detail is standard in homicide investigations and is designed to be objective, scientific evidence. It provides a permanent, unemotional record that contrasts sharply with the often-sensationalized narratives that can surround such high-profile cases involving musicians.

The release and contents of the autopsy report became a focal point in the legal proceedings that followed. The primary suspect, Timothy Leeks (also known as Lul Tim), was charged with felony murder and aggravated assault. During the trial, the forensic pathologist who conducted the autopsy testified, explaining the wounds and their fatal consequences to the jury. The report’s conclusion that the back wound was the primary cause of death was central to the prosecution’s case, supporting their argument that the shooting was not an act of self-defense. Ultimately, in a highly publicized trial, Leeks was acquitted on all charges after the jury accepted the defense’s claim of self-defense, a verdict that relied heavily on interpreting the same forensic evidence differently.

Public reaction to the case and the autopsy details was deeply divided, reflecting the polarized nature of drill music and street violence. For many fans, the graphic specifics of the wounds—the lung collapse, the organ damage—humanized the loss and underscored the brutal finality of the violence that frequently plagues the genre. For others, the report’s findings fueled ongoing debates about the circumstances of the shooting, the ethics of portraying real-life violence in music, and the legal standards for self-defense. The autopsy, as a public document, became a text through which these larger cultural and social conflicts were debated.

Examining the report holistically offers several clear takeaways. First, it demonstrates the indispensable role of forensic pathology in violent death investigations, transforming an emotional event into a sequence of documented physical facts. Second, it highlights how such reports, while definitive on cause and manner of death, do not always resolve questions of intent, provocation, or legal culpability—those are determinations for the justice system. Finally, for the community of listeners and observers, the report serves as a stark, undeniable reminder of the human cost behind the lyrics and headlines. It grounds the abstract concept of “gun violence” in specific, tragic biological reality: a shot to the back, a punctured lung, the cessation of a young life. The document remains a permanent, clinical ledger of a moment of chaos whose reverberations continue to be felt in music, law, and community.