Live Music Thursdays

Live Jam, the independently owned ‘All Live’ radio station, will debut a revamped weekly lineup

Live Jam, the independently owned ‘All Live’ radio station, will debut a revamped weekly lineup featuring established and new artists on these weekly shows.

Live Jam has been a go-to spot for live music lovers who appreciate the raw, unedited sound of live music. Now, with a revamped weekly lineup, the radio station will offer even more opportunities to hear live music from both established and up-and-coming artists.

Friday Night Lights is excited to announce that they will be featuring a handpicked recent live concert, classic live event, historic show and 2023 live shows of Elton John, Paramore, Twenty-One Pilots, War on Drugs and upcoming shows with Jimmy Buffet, Steel Pulse and more to be announced every week. This is an incredible opportunity for fans to catch up on some of their favorite artists and see them live in concert. Friday Night Lights has something for everyone!

Starting this Saturday, Live Jam will feature a live album played in its entirety. This week’s featured live album is Peter Frampton at Royal Albert Hall. Live Jam will then feature new live releases like Fleetwood Mac Rumours Live, Dan Fogelberg’s Live at Carnegie Hall, and The Grateful Dead’s RFK Stadium, Washington, DC. All of these albums have debuted at Live Jam and songs from them are in high rotation.

“Scheduling these weekly shows get tricky’ says Don Lichterman, the Program Director at Live Jam, and the head of the SCA Sunset Company, “I announce them pretty much on the fly and as I get the new release schedules because I want to be ahead of every release date for any album, and I want to be as close to recent as possible for any viable live concert that I want to air on Friday Nights.” For instance, last week, Live Jam just played the Phish Benefit Concert where the band raised more than $3.5 Million for flood victims in upstate New York and in Vermont.

Monday at Live Jam is MetalMania Live where heavy metal acts and hard rock acts have their live downloads, songs from live shows and songs from live albums get featured every week. This week’s show is going to be extra special because we have two of the biggest names in metal going head-to-head. Metallica and Megadeth will be going live against each other in a battle of the bands. This is the first time these two bands have ever gone live against each other and it’s sure to be a show you don’t want to miss.

Tuesday is the Don Plays Zappa Live show that features as many live songs from classic live shows, live albums and live bootlegs with great soundboard recordings by Frank Zappa and his bands throughout his career. The show on Tuesday Nights is a great way for fans of Frank Zappa to hear some of his classic songs performed live. Most of all, gaining new listeners and new Zappa fans is the goal for the station.

Wednesday night is Get the Led Out Live, the station plays only Live music by the legendary music act, Led Zeppelin. This is the only place to hear live Led Zeppelin music, commercial free and uninterrupted. Get The Led Out Live airs every Wednesday night from 10pm-1am. This is the perfect way to hear Led Zeppelin the way they were meant to be heard, live and in concert. So, tune in this Wednesday night and rock out to Get the Led Out Live.

Thursday Night is the Grateful Dead Man’s Party. Don Lichterman, the radio show’s creator, says, “Thursday Night is the Grateful Dead Man’s Party is another one of our radios shows we emulate a band’s live show by playing live Grateful Dead material from albums, live downloads and official soundboard recordings and not only that, we also do this in real time to try to make as close to possible to being at a show.” Lichterman has been a big fan of the Grateful Dead since he was in high school and has been to hundreds of their live shows. He started the show last month as a way to share the music he loves with other fans. The show has become a popular destination for Deadheads all over the world, with listeners tuning in from as far away as Australia and Japan. So, if you’re a fan of the Grateful Dead, or just good music, tune in to Thursday Night is the Grateful Dead Man’s Party and enjoy the ride.

Sunday is Unplugged, the show that plays acoustic and material from ‘Unplugged’ shows. You can hear live acoustic songs The Red Hot Chili Peppers, Oasis, Nirvana and songs from the MTV Unplugged show are featured every week.

Live Jam is the first and only ‘all live’ radio station with an ‘all live’ radio format ‘where every song played is the live version’.

With this revamped weekly lineup, Live Jam Radio is sure to become the go-to spot for music lovers who appreciate the raw, unedited sound of live music.


A Deadhead’s pilgrimage: How a Dead & Company concert


When my uncle Robert passed away in 2014, his obituary in the San Francisco Chronicle aptly mentioned that he was a loving father and an empathetic psychiatrist who had worked with H.I.V./AIDS patients right up until his death. But perhaps most true to Robert was the inclusion of his love for the Grateful Dead.

Born and raised in San Francisco, the same city that the band hails from, Robert “got on the bus,” as Dead fans say, and attended hundreds of shows while amassing an expansive collection of tapings of gigs. Growing up on the East Coast, I can remember visiting Robert’s house a few times, being shown his collection of surrealist art and listening to the stories he would tell me about the mischief that he and my dad would get into as teenagers. But the memories of our time together started to get more hazy as I got older.

I may never hear my uncle Robert’s voice again, but if I want to know he’s still with me, I just need to listen to the music play.

During my own teenage years, I developed a passion for live music, with some of my first shows being the Smashing Pumpkins, Blink 182 and Foo Fighters. These experiences introduced me to the fun that concerts have to offer, but I wasn’t quite yet indoctrinated into the intense devotion to live music that groups such as the Dead were capable of conjuring.

While I always knew that the Dead were a respected band in the canon of American music and a source of immense joy for my uncle, it was not until I started college that I gave their discography a deep dive. This was courtesy of one of my best friends, Jack, a Deadhead himself. Living in the same hallway in sophomore year and seeing a huge Skull and Roses flag in his room, I knew I needed to add the Dead to my regular musical repertoire. Fast forward to this summer, when my interest in the Dead had peaked.

A way of life

In the 1960s, the Grateful Dead created a way of life for fans largely through the counterculture movement that was developing in the United States. Formed in 1965, the Dead offered a kaleidoscopic world as an alternative to the rat race and incessant Vietnam War headlines that grew tiring for so many. The Dead provided an unconventional replacement for a life of consumerism and division based on class and race, as they focused on a way to play music that would provide an escape. In part due to their participation in the Acid Tests around the San Francisco area, as famously described in detail by Tom Wolfe, their longing to expand the mind through music and psychedelics were a firestarter for one of the biggest musical followings of all time.

The Dead achieved some commercial success through their studio albums, but their true calling card was their live shows. Unlike the predictability of studio albums, each of the Dead’s concerts took on a life of its own, with no two live versions of a song sounding quite the same. All of this material allows Deadheads to spend hours fishing through cassette tapes with setlists written in smudged ink, debating their favorite setlists and combing through tour after tour. This has created a high level of engagement with the band’s seemingly endless amount of live material to this day.

In college, I grew fascinated by the fanatical culture of the band’s live shows, which are dynamic ecosystems in their own right. “Spinners” overcome with euphoria and letting the music control their movements, the idea of a “miracle” ticket falling into people’s laps, the tie dye marketplaces—all of it captivated me.

Luckily for me, the most recent iteration of the Dead’s lineup, Dead and Company, were going on one more nationwide tour this summer. (The band has toured under various names since the death of singer and guitarist Jerry Garcia in 1995. The four surviving members held a series of farewell concerts in 2015 to mark the band’s 50th anniversary.) There is speculation that the new faces of the Dead, including the popstar and guitar virtuoso John Mayer, may carry the torch and keep the music going in the future. However, it’s likely that the touring days of original band members Bob Weir and Mickey Hart are over; I knew I needed to go see them while that was still possible.

Luckily for me, the most recent iteration of the Dead’s lineup, Dead and Company, were going on one more nationwide tour this summer.

When I was browsing tickets for the Citi Field shows shortly after returning to New York upon graduation, I suddenly had a realization: The last three shows of the tour were happening in San Francisco. How incredible would it be to see this era of the band come to an end in its birthplace and at the same time revisit the city my father, uncle and aunts grew up in?

I scrambled to pitch the idea to my dad and his gracious sister Margaret, the last of my dad’s siblings who still call San Francisco home. Everyone was on board with me going back out West, and I was even more excited that my friend Jack would also be joining me. But I felt there was one thing missing—sharing my excitement with my uncle Robert, in much the same way he would express his longing to have a pastrami sandwich with me at Katz’s Deli the few times he came to visit in New York.

Although I wasn’t able to discuss which songs I was most looking forward to hearing with him, I was connected to the show through Robert in a different way. My dad introduced me to two of Robert’s close friends, Jim and Alethea (not to be confused with the titular figure of the Dead song “Althea”) who were just as enthusiastic fans as Robert was. They were overjoyed to hear about my interest in going to California, and offered me tickets for the Friday gig—I got a miracle.

This unique scene reminded me of the transcendental power of music to bring people.

Only a few hours after we landed at SFO, we made our way to Oracle Park in the city’s SoMa District for the first show, and I immediately understood why this had become a ritual for Robert. There was virtually nobody walking around the outskirts of the ballpark without a smile on their face, regardless of whether they had a ticket or not. With balloons floating through the air, dancing bears jiving on T-shirts and speakers blaring jam band bliss, everyone was ecstatic just to be in the presence of like-minded people whose values of acceptance and kindness were palpable. Whether under the influence of drugs or not, everyone around that ballpark was high on life.

I had experienced plenty of positive energy at concerts before, including seeing Yo La Tengo (one of my favorite bands) in Ireland and watching Kendrick Lamar from the front row at Barclays Center, but nothing could quite compare to this.

This unique scene reminded me of the transcendental power of music to bring people together regardless of creed or background. While Robert identified as a lapsed Catholic and I am still practicing, Robert had been my godfather. Jerry Garcia’s family was also Catholic. While the Dead’s bandleader likewise became distanced from the church, he said in an interview, when asked about his idea of God: “I was raised a Catholic so it’s very hard for me to get out of that way of thinking. Fundamentally I’m a Christian in that I believe that to love your enemy is a good idea somehow.” Everyone at the show was a pilgrim in their own way, religious or otherwise, traveling from near and far to get whatever they needed out of the music.

Soon after we settled into our seats, the band ripped into a rendition of Buddy Holly’s “Not Fade Away” that has become synonymous with the Dead. Since in most of their shows they save the number for last, opening with it made the crowd collectively lose their minds. It is one of their most succinct songs lyrically, with just 12 lines, including the assertive opener: “I wanna tell you how it’s gonna be/ You’re gonna give your love to me.”

Soaking in the music and the San Francisco sunshine, I was able to feel my uncle’s presence more potently than I ever had since his passing.

The song has become a hymn about never letting the band’s music and values die, a successful endeavor nearly 60 years after their inception. Soaking in the music and the San Francisco sunshine, I was able to feel Robert’s presence in that moment more potently than I ever had since his passing.

The rest of the show was a joy, as expected. The Dead played plenty of other fan favorites, including “Brown Eyed Women” and “I Know You Rider,” and concluded the show with a touching video tribute to members of the band who have passed on, including Garcia and the keyboardist Brent Mydland.

While Jack and I originally had tickets only to the Friday gig, we knew that we wanted to return to the scene for the grand finale on Sunday, even if that meant we had to listen to the music from outside the park. As we walked around with a finger up in the air indicating that we would like a ticket to get into the show, I got a text from Jim. He had found another pair of tickets for us. We got another miracle.

Jim and Alethea’s good-hearted treatment of me and Jack reinforced the idea that Deadheads are among some of the most amiable of any fanbase. But more importantly, it also spoke to how much Robert meant to Jim and Alethea, helping me to paint more of a picture of the man I longed to know more about.

As the sky grew dark deep into the set and the crowd was treated with a visually stunning drone display depicting the Dead’s iconic “Steal Your Face” emblem, I savored this piece of history that I was witnessing live. I couldn’t help but feel a deep sense of gratitude toward my parents for being supportive of this adventure; my aunt for opening her home to me; and Jim and Alethea for making our experience possible. I sent Jim a text expressing this gratitude I was feeling when the show ended (which closed with “Not Fade Away,” as expected), and he sent back: “Thank your Uncle Robert. He did that, not us.” The third miracle of the trip.

Returning home to New York, I missed the connection to the music, my friend, the crowd and my uncle that I had felt at the concerts. I feared that I may never feel my uncle’s presence that strongly again.

But I soon remembered the opening lyrics of my favorite Grateful Dead song, “Ripple”: “If my words did glow with the gold of sunshine/ And my tunes were played on the harp unstrung/ Would you hear my voice come through the music?/ Would you hold it near as it were your own?”

I may never hear Robert’s voice again, but this experience reminded me that if I want to know he’s still with me, I just need to listen to the music play.


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So Many Roads Brewery Busted Again for Serving Alcohol to


So Many Roads Brewery, a psychedelic Grateful Dead bar that doubles as a live music venue, has wandered down the wrong path yet again — getting slapped with its second liquor license violation for serving alcohol to minors in less than a year — and the Department of Excise & Licenses isn’t letting the establishment off easy.

On September 7, Excise & Licenses Executive Director Molly Duplechian rejected a settlement agreement between the City Attorney’s Office and So Many Roads that had required the business show why its liquor and cabaret licenses shouldn’t be revoked after the bar violated an agreement it had reached with the city last October.

“The August 16, 2023, Settlement Agreement between Respondent and the City Attorney is hereby rejected,” Duplechian wrote.

So Many Roads, located at 918 West First Avenue, had closed for the month of November 2022 as part of a previous settlement. In response to accusations that it had sold alcohol to minors along with distributing controlled substances and disorderly behavior, the bar admitted to those behaviors and closed for a month.

That So Many Roads controversy was closely linked to a licensing case in which a bartender sold cocaine to an undercover cop, causing Sancho’s Broken Arrow to close for good. Both venues were once owned by promoter and Deadhead Jay Bianchi. In 2020, while facing sexual assault allegations, Bianchi transferred ownership of Sancho’s to Tyler Bishop and Timothy Premus, and Bishop took over as sole owner of So Many Roads.

Bishop did not respond to a request for comment.

The latest violations at So Many Roads were uncovered through a Denver Police Department operation, just as they were last year.

In February, an underage DPD cadet who possessed a vertical Colorado driver’s license with “Under 21” printed on it attempted to enter So Many Roads with an undercover officer. Both were allowed into the venue.

“Upon entering the bar area, the underage cadet went to the bar and ordered two Coors Light beers (alcoholic beverage) from a white male with grey hair, who was working as a Bartender,” notes a show-cause order issued by the city in June. “This bartender was later identified as Jay M. Bianchi, date of birth 06/22/1968. Bianchi served the two beers to the underage cadet, for which the underage cadet paid a total of $10 in cash.”

Bianchi did not respond to a request for comment regarding the case.

Though he no longer owns So Many Roads, Bianchi has been involved throughout the establishment’s licensing saga — and even helped organize a fundraiser to help keep So Many Roads afloat last November.

Now his bartending escapade could put the venue in jeopardy of closing for another lengthy amount of time.

The So Many Roads settlement from last fall stipulated that if any additional violations occurred over the next year, the space would get hit with an automatic 45-day closure. Whether that happens will be determined after a September 27 meeting with a city hearing officer, who will subsequently issue a recommendation on whether to impose the 45-day closure penalty or any other penalty. Duplechian will then review the evidence before making a final decision.

This marks just the second time in the past five years that an Excise & Licenses executive director has rejected a settlement reached between the Denver City Attorney’s Office and a business license holder. The other was in the Pinkerton security guard case.


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Why the hippie van is making a comeback in the 21st


By Gareth Newman

Anyone remember the VW Bus? In a world that seems obsessed with AI, tech and everything new, a groovy blast from the past is getting ready to make a comeback. Yes, you read that right!

The iconic and quirky Volkswagen hippie van is staging an incredible revival, leaving a trail of peace signs, tie-dye, and good vibes in its wake. Next year, Volkswagen is bringing back the bus as the ID. Buzz, a 21st-century all-electric remake of the legend.

It was referred to as the Bulli, Transporter, Kombi, Microbus, Samba, or Campervan in various international markets. Due to its popularity as the icon of the American counterculture movement, we remember it as the “hippie van.” But what is it about this timeless symbol of counterculture that has captured the imagination of the modern era? Is it merely a whimsical fascination with a bygone era, or does this resurgence mean something more? Let’s hit the open road with and explore the cultural legacy and incredible comeback of the Hippie Van.

The roots: A colourful journey of freedom and expression

The Microbus, or the Volkswagen Type 2, was first introduced in the 1950s by the German automaker Volkswagen. Little did they know that this unassuming van would soon become an emblem of an entire generation’s hopes and dreams. In the late 1960s and early 1970s, the world witnessed an unprecedented cultural movement that swept across America, challenging societal norms and advocating for peace, love, and unity. As a result, this versatile van became a canvas for self-expression, adorned with vibrant colors and messages.

As the hippie movement gained momentum, young people seeking an alternative way of life saw the VW Bus as more than just a mode of transportation; it embodied their quest for freedom. Traveling in a Hippie Van was a statement—a way to rebel against the materialistic and war-torn world.

From serving as a symbol at anti-Vietnam War demonstrations and as an emblem for the fight against rapid industrialization, the Volkswagen Microbus and counterculture became synonymous. By being linked to renowned musicians like Bob Dylan, The Grateful Dead, and The Beach Boys, as well as music festivals like Woodstock, the Hippie Van’s mystique was further enhanced.

What happened to the hippie van?

As the 1970s rolled in, the hippie movement gradually waned, as did the glory days of the Hippie Van. A combination of societal shifts and changing preferences led to a decline in the popularity of the iconic vehicle. Still, its legacy continued to inspire generations, leaving an indelible mark on popular culture, art and even Hollywood films.

  • 1973 Oil Crisis: The oil crisis led to rising fuel prices, making Hippie Vans less desirable during the economic uncertainty.
  • 1980s: The 1980s saw a shift towards fancy and tacky trends. The desire for flashy, modern cars clashed with the retro charm of the Hippie Van.
  • Rise of Modern Campervans: The industry evolved, offering sleeker, more sophisticated campervans with improved features and better fuel efficiency, drawing attention away from the classic Hippie Vans.
  • Changing Aesthetics: The visual appeal of car designs transformed with time. The colorful VW Hippie Vans belong to a different era, making them less attractive to younger car buyers.

A modern renaissance: The electrifying resurgence of the hippie van

In 2014, the production of the Microbus came to a halt. But wait, the story doesn’t end there! The VW bus’s return has been in the works for a while. Just when it seemed like the sun had set on the iconic Hippie van, a new chapter was about to unfold – and it’s electrifying!

Gone are the days of gas-guzzling; this new iteration promises to capture the essence of the past while embracing the future. With sleek designs, advanced technology, and a renewed commitment to environmental responsibility, this electric reincarnation is set to captivate the hearts again. The ID. Buzz, the Microbus’ spiritual successor, is expected to be available in the American market in late 2024. The new ID. Buzz will also be available with rear-wheel-drive and all-wheel-drive, with the latter offering a total of up to 330 horsepower compared to the 30 horses that debuted in 1950.

Final thoughts

From its origins as a symbol of counterculture to its recent electrifying rebirth, the Hippie Van’s timeless presence continues to weave its magic. So, whether you’re a nostalgic yearning to relive the glory days or a Gen Z searching for eco-conscious thrills, the new Hippie Van might be the best choice for you. Now, all we have to do is wait and see.


What are those hippie vans called?

Known officially as the Volkswagen Type 2, the Hippie Van is known by various names in different international markets, including Bulli, Transporter, Kombi, Microbus, Samba, Campervan, or just Bus.

How much do hippie vans cost?

The cost of hippie vans can vary widely depending on the model, condition, and year. Since its popular among car collectors, the prices range from a few thousand dollars for older, less restored models to tens of thousands for well-maintained or fully restored ones.

Where can I buy a hippie van?

The classic Hippie vans can be found through various online marketplaces. Additionally, specialty car dealers, car collectors, vintage car auctions, and classic car shows are excellent places to find these iconic vehicles.

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

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Santa Fe Chamber Music Festival Names New Executive Directo…


David J. Kitto will step into the role, succeeding long-serving Executive Director Steven Ovitsky


David J. Kitto comes to the role at the Santa Fe Chamber Music Festival from Washington, D.C., where he has been working as the Executive Director of the National Theatre Foundation. He was responsible for the organization’s financial planning, as well as operations, marketing, and outreach.

He has extensive experience in the field of arts management, having previously served as Interim President of The Conrad Prebys Performing Arts Center/La Jolla Music Society (2018-19), as an independent consultant, as Senior Vice President of Marketing and Sales at The John F. Kennedy Center for the Performing Arts in Washington, D.C. (2001-2017), and, before that, as Director of Marketing and Ticket Operations at Carnegie Hall (1983 to 2000).

“The Festival is fortunate to welcome David Kitto as its next Executive Director,” said Ralph Craviso, President of the Board of Trustees. “He brings a wealth of experience in performing arts management, including extensive experience in arts marketing. I and the rest of the Board look forward to our collaboration as the Festival moves into a new era under David’s leadership.”

“I am thrilled to be given the opportunity and privilege to lead the renowned Santa Fe Chamber Music Festival,” said David J. Kitto. “I look forward to working with Marc Neikrug, the Board of Trustees, and the entire staff to build upon the great successes of this revered festival’s first 50 years, as it enters its next 50.”


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City rejects settlement with Grateful Dead-themed bar So


The city’s liquor license agency on Thursday rejected a settlement agreement with a Denver bar that has repeatedly been the subject of police stings for underage alcohol sales and drug dealing.

Molly Duplechian, executive director of Denver Department of Excise and Licenses, declined to comment on why she rejected the settlement, which was made between So Many Roads Brewery, a Grateful Dead-themed bar and music venue at 918 W. 1st Ave., and the City Attorney’s Office. But in her decision, Duplechian wrote that “any agreement reached … must include the penalty to be assessed against” So Many Roads owner Tyler Bishop.

An agency spokesman said Duplechian didn’t feel comfortable with the terms. As a result, the City Attorney’s Office will either have to present an alternative agreement, or the case will move forward at a hearing, in late September, where the fate of So Many Roads’ liquor license could be determined.

In that scenario, “the hearing officer will hear evidence and testimony from the city and the liquor license holder, then issue a recommended decision,” wrote Excise and Licenses spokesman Eric Escudero in an email to The Denver Post.

Very few settlement agreements are ever rejected because the goal of enforcement is not to shut businesses down but rather achieve compliance, Escudero has said in the past. In fact, 94% of all licensing “show cause” orders issued by his department are geared toward that, “unless the city sees no pathway to achieve compliance” and must revoke a business’s license.

Bishop said he was unaware of the rejection when reached by The Denver Post Thursday afternoon. He did not return additional requests for comment Friday. The City Attorney’s Office also did not immediatley respond to requests for comment.

So Many Roads first ran into problems in the fall of 2022 when a Denver police sting resulted in four counts of providing alcohol to a minor, one count of distribution of a controlled substance (cocaine), and one count of disorderly behavior. In that case, the City Attorney’s Office and bar came to an agreement on Oct. 12 that closed So Many Roads for 30 days, through November. The jam-band venue, which also describes itself as a Grateful Dead museum, reopened in December 2022 with the proviso that it would be on probation for 12 months, having admitted to the violations that occurred between Sept. 23, 2021, and March 25, 2022.

But within two months of reopening, So Many Roads violated the terms of that agreement, according to a Feb. 10 investigation by Denver police.

During an undercover operation in February, a police cadet was given a green wristband and allowed by a staffer to enter the bar, the investigation found, despite the fact that the words “Under 21” were clearly printed on the cadet’s vertical driver’s license, and that his fellow undercover officer had a legitimate, over-21 ID. “Upon entering … the underage cadet went to the bar and ordered two Coors Light beers from a white male with grey hair, who was working as a bartender,” according to an April 30 order by Excise and Licenses.

This bartender was later identified as Jay M. Bianchi, who formerly co-owned So Many Roads with Bishop as well as the Dead-themed Capitol Hill bar, Sancho’s Broken Arrow, police said.

Sancho’s was the site of numerous complaints of alleged sexual assault, drugging, drug sales, and underage violations before it was ordered to permanently shut down in October 2022. Denver police detectives have repeatedly declined to say whether Bianchi is under criminal investigation related to those accusations.

As a result of the February sting, the City Attorney’s Office set up the new hearing with Bishop for June 29, which eventually led to the now-rejected Aug. 16 agreement that was submitted for approval to Duplechian.

So Many Roads will be allowed to remain open at least until its Sept. 27 show-cause hearing.

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One dead, five injured after car hits pedestrians in


Victorian police are grateful for a quick arrest that might have prevented further harm to people after a motorist died and five others were injured in a Melbourne CBD car ramming.

One person was killed and five others injured after a car ploughed into pedestrians at a busy tram stop and two other vehicles along busy Bourke St in the CBD last night.

Bourke St was closed overnight, but reopened this morning after tow trucks removed a white Hyundai whose 76-year-old driver died in the crash, and a grey Mazda SUV – believed to be an Uber – from the scene.

Three pedestrians – a 26-year-old man from South Yarra, a 23-year-old woman from China and a 35-year-old woman from Docklands – were taken to hospital. Two are in a stable condition and the other remains in a serious condition.

Two people travelling in the grey Mazda, aged 30 and 37 and both from Diggers Rest, were taken to hospital with minor injuries.

Superintendent Zorka Dunstan said the driver, a 26-year-old man from Melton West, was arrested at the scene and taken into police custody.

Video footage of the arrest shared on social media shows a man with long dark hair, wearing white pants and a white long-sleeved top and no shoes, sitting on top of his white Toyota sedan following the incident.

Dunstan said three officers on foot patrol nearby were able to take the driver into custody quickly.

“Obviously any incident of this magnitude is concerning for Victoria Police but at this stage, there are no terrorist links,” she said at the scene last night.

She said the man was known to police through “mental health interactions” and was undergoing a mental health assessment.

“I can assure the community that there is no ongoing threat,” she said.

“We’re just grateful that we had that quick arrest and there were no further injuries.”

Police said the man was in hospital under police guard.

The streets of Melbourne were packed yesterday ahead of Carlton’s blockbuster AFL clash against Sydney at the MCG.

Police were grateful to bystanders who came to the aid of the injured.

“In any of these situations, it’s obviously critical that we get assistance where we can,” Dunstan said.

“We were obviously very grateful for the people who’ve rendered assistance and we’ll also be speaking to them and offering support.”

Dunstan urged witnesses and anyone with dashcam footage to contact police.

Where to get help.


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Police rule out terror link to Melbourne CBD incident, say


Police say the driver involved in last night’s fatal incident in Melbourne’s CBD is in hospital and is not in a fit state to be interviewed.

Chaos broke out in the CBD when a Toyota struck three pedestrians at a tram stop near the busy intersection of Bourke Street and Swanston Street at about 6:20pm, authorities said.

The vehicle then hit another car — a Hyundai — killing the 76-year-old driver and injuring his passenger.

Police arrested the Toyota driver, a 26-year-old man from Melton West, who was taken to Royal Melbourne Hospital.

He has not yet been charged and has been deemed unfit to be interviewed.

Chief Commissioner Shane Patton said the Toyota driver sat on the bonnet of his vehicle “making some utterings and ravings” before he was apprehended.

“He has no prior criminal history. He’s in fact a ‘clean skin’, a term used by Victoria Police for someone whose not had police involvement,” he said.

“The only record we have of that male is that he’s had a report of missing persons before.”

Chief Commissioner Patton said police had ruled out any connection to terrorism at this time.


Investigators said the car, a Toyota, then continued along Bourke Street, colliding with two other vehicles near the Russell Street intersection. 

A 76-year-old Brunswick man who was driving one of the vehicles, a Hyundai, died at the scene.

The driver of a Mazda that was struck — a 37-year-old man from Diggers Rest — suffered minor injuries.

His passenger, a 30-year-old man from Diggers Rest, was also taken to hospital with minor injuries.

Three pedestrians — a 26-year-old man from South Yarra, a 23-year-old woman from China and a 35-year-old woman from Docklands — were also injured.

Two of those people are in a stable condition in hospital and one is in a serious condition.

Look back at how ABC readers and other Australians responded to this live moment.

Wondering what this is? Join us next time we’re live and be part of the discussion.

Witnesses describe ‘chaos’ as incident unfolded

Jean Paul Rosette, who owns a hairdressing salon on Russell Place saw the vehicle hit a pedestrian.

“The car then basically floored it, I’m talking like a hundred miles an hour on the wrong side of the street up Bourke Street,” he told ABC Radio Melbourne.

“I had to sort of get myself out of the way because I was crossing the road there and it didn’t look like he was going to stop.

“I think I was in shock actually. I was almost like paralysed.”

A grey Mazda vehicle crashed into a pole.

A driver and passenger of this Mazda vehicle suffered minor injuries.(Supplied: Shipra Roma)

Witness, Harry Fernandes was in a nearby bar when he heard the crash outside.

“Everybody thinks it’s a safe place and you never know what’s going to happen to you until it does,” he said.

Another witness, Alexander Chantarengsi said he was “shocked” by what he saw in the aftermath of the crash.

“Chaos all over the place. Not something you expect, especially in Melbourne, so it was pretty full on,” he said.

“Friday night is usually buzzing and to see that sort of stuff, there are no words.”

CBD a safe place, Daniel Andrews says

Premier Daniel Andrews thanked those who responded at the scene and offered his condolences to those affected.

“This is a terrible incident and we are all deeply grateful to all of those who played a part in comforting others and of course coming to the aid of those who were caught up in it,” he said.

He said Melbourne’s CBD was a safe place to be and pointed to the $50 million worth of safety improvements made in the wake of the 2017 Bourke Street incident.

“An enormous amount of work was done following 2017, as was absolutely appropriate. But there is not an engineering treatment that we are advised about or aware of, or can I think, practical, that would change this outcome,” he said.


Mr Andrews said he would wait for the Victorian Coroner to investigate last night’s incident before considering any further safety measures in the CBD.

“Government always stands ready to implement any findings that the coroner hands down,” he said.

“But it is not readily apparent to us that the engineering works that we did need to be extended.”

Victorian Opposition Leader John Pesutto offered his condolences to the family and friends of the man who died last night.

“This latest tragedy, like those before it, must do nothing to diminish our city as a place for all people, young and old alike, to congregate safely and share in the excitement of its boundless energy across all of life’s endeavours, from sport, the arts, culture, commerce and so much else,” he said in a statement.

“In this, we must be unyielding.”


Melbourne Lord Mayor Sally Capp said her thoughts were with the families of those caught up in the incident.

“We thank those who stepped in without a moment of hesitation to provide assistance during this emergency,” she said.

“The City of Melbourne is working with and supporting Victoria Police and other relevant authorities as investigations continue.”

All of the affected streets have since reopened and trams are operating along Bourke Street.


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Bob Weir lends voice to new Stephen Marley track –


Grateful Dead’s Bob Weir is featured on Stephen Marley’s new track, “Winding Roads.” It also features Jack Johnson and Weir’s backing band, Wolf Brothers, made up of Don Was, and Dead & Company members Jeff Chimenti and Jay Lane.

The song will be featured on Marley’s new album, Old Soul, which drops Friday, September 15. It also features a guest appearance by Eric Clapton on Stephen’s acoustic cover of dad Bob Marley’s “I Shot The Sheriff,” which Clapton also covered in 1974 for his album 461 Ocean Boulevard.

Other guests on the album include Ziggy MarleyDamian “Jr. Gong” MarleyBuju Banton and Slightly Stoopid.

Old Soul, Marley’s first full-length album since 2016, will be released digitally, on CD and as a limited-edition double vinyl; it’s available for preorder now.

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