MEGHAN BENDER
823 Apgar, Oakland, CA 90608
415-935-0548 ▪ mbender719@gmail.com

Objective
My objective is to obtain a position that utilizes my writing, marketing and communication skills in San Francisco.

Education
OHIO UNIVERSITY Athens, OH (2007-2010)
Bachelor of Science, Journalism. Specialization: Marketing and Promotion

Experience
MUSICAL EARTH, Publicist 
Columbus, OH (November 2010 - Present)

• Creating, printing, building and sending press packs to media outlets
• Correspond with press to coordinate interviews with artists and features/articles
• Communicate with ALL venues to get them the most up to date pictures, bios, info, links, and music for their website/Facebook events/etc
• Contacting street teamers in markets for all upcoming shows and followed up with printed materials or digital promo tools
• Managing Facebook/Twitter/RootsMusic/BandPage/ReverbNation, etc... pages for bands including making all events for Greensky Bluegrass and Dark Star Orchestra tours
• Writing press releases, bios, e-mail newsletters and made list serv emails on DreamWeaver
• Compiling and updating media lists for multiple clients

OURVINYL.COM, Writer and Editor 
Columbus, OH (November 2010 - Present)

• Contacting publicists and musicians to coordinate press access, interviews, and features
• Providing coverage of Columbus, Ohio music events and festivals across the country
• Working with video and audio to create short documentary-style features on musicians
• Proofreading, editing, and publishing articles and photos for teammates

THE CENTER FOR WRITING EXCELLENCE, Tutor 
 Athens, OH (September 2009 - November 2010)

• Provided valuable advice, editing, and tips on theses, applications, essays, and other assignments
• Assisted undergraduate, graduate, and PhD. students in improving their writing and utilizing the writing process
• Prepared and critiqued student work for everything from extra credit to thesis defense
• Gave presentations to large groups of potential clients on the benefits of using The Writing Center

ATHENS MIDDAY NEWS, Reporter, Digital Content Developer 
 Athens, OH (January 2010 - June 2010)

• Produced, reported, and coordinated a daily newscast
• Wrote stories for print, broadcast, online, and blogs in AP style and appropriate format
• Managed and edited online components including blogs, Twitter, etc.
• Worked with analog and digital video editing to create content for TV and online
• Managed contact lists and maintained relationships with valuable news sources and local officials

WILKS BROADCASTING, Promotions Intern 
Columbus, OH (December 2008 - August 2009)

• Performed outreach and follow up with potential advertisers and clients
• Worked promotional events
• Assisted promotions manager with writing and designing proposals for potential advertisers
• Wrote promotional pieces for on-air and web

Skills
Software: Adobe Suite CS5, Final Cut, iMovie, Microsoft Office, Publisher, AP ENPS
Social Media Platforms: Facebook, Google+, Twitter, Digg, reddit, Foursquare, BandCamp, ReverbNation, Myspace, LinkedIn
Professional: Excellent networking and communication skills, highly trained and experienced writer, sales and marketing skills, team player, personable

Writing Samples available at http://meghanbenderbot.blogspot.com/ and http://ourvinyl.com/?s=meghan+bender

The Budos Band Gets "Funk Nasty" @ Outland

Finally! New Yorkers; The Budos Band, brought their unique style of funk and afro-beat to Columbus, playing at Outland Live last Saturday. Together since 2003, and playing over 150 shows in the last two years, it was about damn time, but they made it well worth the wait.

Outland Live was the last stop of their week-long tour into the South and Midwest, and there was a celebratory feeling in the crowd and onstage. The band brought out a varied crowd; no age group was excluded and a good portion of the crowd was looking classy, dressed up in suits and dresses. The venue was like something out of Fear and Loathing with colored lights everywhere, couches, and even a 20-ft. tall Eiffel Tower out front. There were two big rooms, two bars, and a stage with mirrors and poles all around it. The band played in the bigger back room with a higher, slightly more normal stage (if you don’t count the painted mannequin bodies around the room). The lighting left something to be desired but when you’re traveling with over ten people, there isn’t much room for a light rig.

The band took the stage over, stretching ten people across. To the left was the driving force of the Budos sound, the percussion section. Big enough to be its own band, the drum section included Brian Profilio on drum kit, conga & drums player John Carbonella Jr., bongo and conga player Rob Lombardo, Dame Rodriguez on cowbell, clave, & tambourine, and Vincent Balestrino on shekere (talk about stamina!). Balesetrino, Rodriguez, and Carbonella were surprisingly present and notable, bringing an African groove out of the Staten Islanders. Lombardo had some incredible solos, bringing every tone possible out of the hand drums. A defining part of the Afro-beat Budos sound, the percussion section is full of subtleties and different layers. It’s uncommon to see such a large band touring, but by trying not to leave out any part of the live performance that fans would hear on the album, the band shows true attention to detail and dedication.
In the middle of the stage were the horns, a trumpet, and baritone sax. The sax has a deep booming tone that adds mysteriousness to their sound and brings some serious power. For being so big, it is surprising how fast sax player Jared Tankel can tear it up. Trumpet player Andrew Greene was somewhat buried when the whole band was playing, but made his presence and talent known when he stepped up to the mic for one of his many solos. Also carrying the melody, and amping up the ambiance, was guitarist Thomas Brenneck. The tone of his vintage Harmony H74 is perfect for the 70’s-style analog character of Budos.

Brenneck, Greene, and Tankel, when they got into a groove, would all step back and forth in sync, but the rest of their stage presence was totally unique. Brenneck was rocking out with one foot on the monitor, head banging, shaggy hair flying, and even crowd surfed with his guitar in the encore. Greene is a sunglass wearing, dirty mouthed badass, leading the crowd in an encore chant of the line he uses with the band, “what the fuck, Budos!”. Tankel came across as an early 70’s rock star, stomping his cowboy boots (tight jeans pulled over them, of course), and pushing his long hair out of his face to take a swig from a bottle of Absolut.

Bass player Daniel Foder’s stage presence came from his interesting style of playing, holding his 1967 Gibson EB-0 bass guitar straight up and playing it like an upright. He and Brenneck work together to build a foundation for the rest of the band, writing their own parts and building many of the songs from there. On instruments that typically take the lead, they are great at stepping back and sharing the lead with the horns and organ, leaving no decisive front-man and making for better variety and complexity.

The final element of Budos’s spooky, driving funk is Mike Deller on a vintage Farfisa organ. The Farfisa brings a psychedelic element and Deller’s playing is on point, whether he’s taking the lead or playing trills and runs in the background complimentary to the band. Usually in a minor key, Deller adds to the dark and sneaky feeling that first drew me into Budos.
They played an incredible set, including songs from all 3 of their albums (appropriately titled Budos I, Budos II, and Budos III). Highlights included the driving force of Adenji, Ride or Die, Up From the South, the fast and spooky Black Venom (“Do you guys like metal?!”- Greene), and the first song of the encore, Volcano Song.

The Budos Band is somewhat indie and underground, but has gotten some great and well-deserved recognition from all over including NPR, The New York Times, and Wakarusa Festival… (they were even being played in the Apple store this winter). They are signed to Daptone Records, the New York funk/soul/afrobeat label best known for bringing us Sharon Jones and the Dap Kings (and Budos, of course). The show was their first time in Columbus, and they had a great turnout. Even with Trey Anastasio Band playing five minutes away, the stage room at Outlands was packed with funk-hungry fans. The band seemed to love the crowd, so hopefully they will be back soon for more. In the meantime, if you see Budos on a festival line-up this summer, consider it an incentive to be there. Their one-of-a-kind style and energetic live performance is not to be missed.

Yonder Mountain String Band @ The LC

Yonder Mountain String Band brought their jammed out bluegrass to Columbus, OH last Thursday. The band and the fans were on their A-game; as Jeff Austin put it, “you guys are crazy!”
The first thing that stood out was that the LC Indoors was a great venue for Yonder to perform at; there was plenty of room to dance and fans could move around the venue without any problem. When it came to the sound in the LC, the huge warehouse-esque room seemed ringy and didn’t have the best acoustics for a string band, but overall there was a good mix and every part was distinguishable.

The stage set-up was simple but fitting. The four band members stand straight across the stage with about 6 feet in between them. On the LC stage (which flips around for outdoor shows) the high ceiling left the guys looking like monuments. Rather than having a complicated light set up, there were colored spotlights on the stage and that was about it. They were well run and just enough to compliment the music without being too complicated. The real surprise came with the strobe lights. There’s something you don’t see at a bluegrass show very often…
…But, that’s what Yonder does. They don’t stick to the rules of one genre. Rock, blues, and jam music all have a noteworthy influence on Yonder’s style, making the title of “bluegrass” seem too vague a description for their sound. They bring the improvisational oomph of a jam band to the stage, with their ability to change things up, jam into other songs, and feed on the crowd. They allow their punk and alt-rock influences to form a more modern style of bluegrass when it all melts together, differentiating them from any other “bluegrass” band in the scene. Their blend of roots and danceable rock are what have gotten them to places most other bluegrass bands don’t try to go to (All Good 2010 Late Night… what a show!).

The band didn’t waste any time getting the crowd to dance to the uptempo banjo-picking, starting the show with Out of the Blue. They went old school with Rag Mama and then featured the incredible Ed Carner on fiddle for A Father’s Arms. Yonder brought up the energy with Red Rocking Chair and continued to play faster dancey songs, even teasing a little polka (Polka On A Banjo) and Grateful Dead (Althea). Mandolin player Jeff Austin was strumming, headbanging, and singing his heart out on Ruby. The band’s speed is incredible, and props are due to banjo player Dave Johnston who was playing with his right hand in a cast. The stand-up bass, played by Ben Kaufmann, stood out on Sometimes I’ve Won. The band brought it down for How ‘Bout You and as the set went on the jams got longer and longer. They wrapped the first set with Illinois Rain into Troubled Mind back into Illinois Rain.

Early in the second set, Austin told the crowd they were holding up their reputation as one of the craziest he’s seen. Rumor has it, when Yonder played a two-night set at the Newport in Columbus in 2006, the Newport saw record liquor sales. The crowd at the LC was rowdy for a Thursday night but most fans seemed to keep it under control and there were good vibes all around.
Set two was loaded with jamming and dancing, and between the string band and the crowd, the LC was filled with an electric energy. Much of the 2nd set was a blur of foot stomping, strobe lights, and bluegrass twang. Snow on the Pines into Follow Me Down to the Riverside and back to Snow on the Pines was the highlight of the night, with an incredible long jam and climactic lights to match. Follow Me Down ended in a climax of bright strobe lights and then it was right back in to the foot stomping of Snow on the Pines. Toward the end, they brought it down and started back up softly with a fresh riff carrying them into Raleigh & Spencer. Lights flashed to the crowd’s calls for an encore and the band quickly came back on stage and honored a request from a fan’s sign: Ooh La La, a Rod Stewart cover YMSB first played on New Year’s Eve 2006.
Bluegrass die hards may knock Yonder by saying they aren’t “true bluegrass”, with their rock guitar solos and improved peaks and jams. While they may not be the most old fashioned musicians, the way that they’ve added a modern twist to an old style of music is refreshing and it’s good to see, in an age of electronic music, how far good old fashioned musicianship has progressed.

Set 1: Out Of The Blue, Rag Mama, A Father’s Arms(1), Red Rocking Chair, Polka On A Banjo, Althea, Another Day, Ruby, Sometimes I’ve Won, Not Far Away, How Bout You, It’s All Too Much, Illinois Rain> Troubled Mind> Illinois Rain
Set 2: Don’t Let Your Deal Go Down, Honestly> Casualty> Train Bound For Gloryland> Honestly, Ripcord Blues, Nothin But Nothin> 2 Hots & The Joint Turned Brown, Damned If The Right One Didn’t Go Wrong, Part 1> Fingerprint> Snow On The Pines> Follow Me Down To The Riverside> Snow On The Pines> Raleigh & Spencer E: Ooh La La, 20 Eyes

BoomBox Plays for Their Remaining Columbus Fans

Columbus love for DJ & Guitar electronic/rock/groove band BoomBox seems to be fading based on their show at The Newport Music Hall last Saturday, February 12. The lacking crowd and absence of buzz around the scene led this first-time BoomBox-goer to wonder, what’s the deal?

The Newport was low-key for the show with no more than a few hundred people spread out in the floor area. The plus side of the sparse crowd was that there was plenty of room on the dance floor, but the weak turn-out an obvious negative for the artists.

Openers Signal Path started at 9:45. They were a synth-heavy trio of multi-taskers, mixing live drums and electronics to bring some serious energy. They got the crowd going and we were glad we got there early to catch their set. At the end of their performance they announced that you can download their album for free at http://albums.signalpathmusic.com/ ; they are worth checking out.

BoomBox took the stage at 11:15 to a big round of applause. The duo stood on raised platforms, one for DJ/Producer Russ Randolph and his set up, and one with a feather boa-wrapped mic as well as a DJ set up for the fu-manchu’d Zion “Rock” Godchaux (yep, son of Grateful Dead members Keith and Donna Godchaux). The multi-colored LED light bars behind the stage were cool and a nice compliment to the spotlights but the stage was, at most times, too dark to see the artist’s faces.

They have a unique sound, mixing groovy soul guitar with electronic drums and synthesizer. Godchaux doesn’t do much “shredding” per se, but would rather strum to a mellow groove. Randolph is talented on the synthesizer and the samples, but the drum beats were very repetitive. A constant booming kick drum overshadowed nearly every song. Whether it was the sound in the venue or the excessive use of bass drum, Godchaux’s vocals were indecipherable most of the show.

The set went back and forth between happy guitar-led down-tempo grooves and untzy synthesized dub-step influenced songs with less vocals. Randolph’s (and Godchaux’s) synth lines are modern and creative, but not as unique as Godchaux’s guitar parts. Even some of the bass lines were ear catching, but not surprisingly, pre-programmed (the most boring part of going to an electronic show- hearing a melody but not watching anyone play it).

The influence of the Grateful Dead and his acoustic soul roots in Godchaux’s playing is evident. When mixed with Randolph’s DJing, the resulting style is enticing, but ultimately restricting.
Though the two musicians have been playing together since 2004, their catalog is very limited. They have only put out two albums (http://www.music.thisisboombox.com/) during their 7-year career, and this was very evident during their show. Many of their songs sound the same or similar and don’t carry as much energy for it.

After about an hour and a half they covered “Who Killed Davey Moore” (Bob Dylan), and on that note, I left. The energy levels at the show were not high enough to keep me and the show was ultimately disappointing. As far as the numbers go, it would be great to see these talented guys put out some new material, but until then, BoomBox is off the radar.

Umphrey's McGee Tears Up the LC Indoors

Back for their first time headlining Columbus in nearly a year, Chicago-based Umphrey’s McGee brought out die-hards and new fans last weekend and showed them what they’ve been missing for the last year. On Friday February 4th UM packed the LC Indoors for over two and a half hours of shredding guitars, funky synth and incredible improv.

Keyboard player Joel Cummins eased the anxious crowd into “Jazz Odyssey” which the band jammed out of, really picking it up during “Search 4”. The party started when they busted out “Partyin’ Peeps”. Joel and guitarists Jake Cinninger and Brendan Bayliss sounded great on vocals and the Cinninger/Bayliss guitar duel that shortly followed was on fire.

Umphrey’s had to have something up their sleeves after the intensity of “Partyin’ Peeps”, but when they pulled out fan favorite “Nothing Too Fancy” the crowd didn’t know what they were in for. Umphrey’s carried the jam from “Nothing Too Fancy” into a 16-minute “Uncle Wally”, into “2x2”, into “Jimmy Stewart” and then back into “2x2”.

After being bombarded with glow sticks, Bayliss requested “If you’re going to throw shit at us throw your bras or your weed.” Bras and joints hit the stage and the band went into the last song of set one.

“Interstate Love Song” was a little weak (how could they follow the last 45 minutes?), but the real treat, as far as UM covers go, was coming in the second set. The song choice kept with the 90’s theme of the Lexington show the night before, where they played Nirvana’s “In Bloom” as well as Snoop and Dre’s “Nothin’ But a G Thang”.


The band came back strong after the set break with “Wappy Sprayberry”, which lasted nearly 18 minutes before they quickly switched into “Spires”. The packed pit swayed to the rhythm of a dub style “Push The Pig” into “Believe The Lie” which lasted nearly 15 minutes, peaking hard about eleven minutes in.

The band really started cranked the heat with their cover of “Girlfriend Is Better” by The Talking Heads. They flowed right into “Ocean Billy” and then rode an intense jam to segue back to “Nothing Too Fancy” from first set. Joel was on point on the synthesizer and the crowd’s energy at the end of the show was tangible.

Umphrey’s came back onstage after a few minutes of chants of “Umphrey’s!” and “We want the funk!” The band had 2 more songs in store, starting the encore with crowd sing-along favorite “Hangover” then dropping down and going into “Ocean Billy”.

The sound could have been better in the LC, and new soundboard engineer Chris Mitchell proved a great replacement for former soundboard Kevin Browning (who now works in UM headquarters). Their lights, run by Jeff Waful, were intense and to the music; UM undoubtedly puts on one of the best light shows in the jam scene. From the set list and the band, to the sound and lights guys, everything came together for an incredible night. Friday night’s show by far topped the last time they played at the LC (Outdoors) opening for Widespread Panic to a sparse crowd. After this show, they don’t need to worry about playing to another crowd of 200 people. UM tore the night up and Columbus fans will surely be coming back for more.
SETLIST
Set One: Jazz Odyssey>Search 4, Partyin’ Peeps, Nothing Too Fancy>Uncle Wally>2x2>”Jimmy Stewart”>2x2, Interstate Love Song

Set Two: Wappy Sprayberry>Spires, Push the Pig>Believe the Lie, Girlfriend is Better>Ocean Billy>Nothing too Fancy

Encore: Hangover>Ocean Billy

Opening Act: Orchard Lounge

Dark Star Orchestra Is Dead On at The Newport

To call Dark Star Orchestra a cover band almost seems rude after seeing them bring down the house at The Newport Music Hall last Friday night. Their talent, accuracy, and authenticity are unmatched not just when it comes to playing the Grateful Dead but as a tribute band. The show they chose to bring to life was from October 27, 1990 at The Zenith in Paris, France.

When the show started The Newport was shaking with the sound of Hell in a Bucket, and fortunately it could be heard outside by the dozens of people still waiting in line to get in. They transitioned into Sugaree so stylistically true to the way the Grateful Dead would’ve, it was the first confirmation for the crowd that DSO doesn’t mess around.

The Newport was packed with a mix of all ages; there were fans who were barely alive when Jerry died and there were heads who had followed the Dead for years. The band’s ability to bring such a varied crowd together into a groove just goes to show the timelessness of the Grateful Dead, and why DSO continues to find success “raising the Dead”.

Dark Star grooved through the first set, ending with Bird Song into The Promise Land. After an intermission, they came back for more, playing a jam heavy second set. Improvisation is one of the defining features of the Grateful Dead, who pioneered the jam scene making it what it is today. Though covering a jam band leaves a lot open to interpretation, Dark Star doesn’t disappoint. It’s in the improvised transitions and jams that DSO revives the spirit of the Grateful Dead.

Another aspect of the show that didn’t disappoint was new lead guitarist Jeff Mattson. Lead guitarist and founding member John Kadlecik left DSO in 2010 to join Further (Bob Weir and Phil Lesh’s new band, can you blame him?). That left some big shoes to fill, but Mattson is an impressive and experienced addition. The show also included both drummers, Dino English and Rob Koritz, who played together with ease, and rocked out “Drums>Space”. The band showcased their own styles during Space, combining modern electronic elements with the Grateful Dead’s more acoustic sound.

The band ended the show with “Not Fade Away,” walking off stage with the crowd clapping and singing, “love is love and not fade away...” until they returned for an encore. They rounded out the evening with One More Saturday Night, and then were joined on stage by singer Lisa Mackey for a cover of Warren Zevon’s “Werewolves of London”.

Set One: Hell In A Bucket>Sugaree; New Minglewood Bloes; Jack-A-Roe; Black Throated Wind; Ramble on Rose; When I Paint My Masterpiece; Bird Song>The Promise Land

Set Two: China Cat Sunflower> I Know You Rider; Saint of Cirsumstance>Crazy Fingers>Playing In The Band>Drums>Space>Playing Reprise>Stella Blue>Throwing Stones>Not Fade Away

Encore: One More Saturday Night

Filler: Werewolves of London (Warren Zevon)

If there is anyone who can do the Grateful Dead justice, it’s Dark Star Orchestra. They are currently spreading the love of the Dead, in the midst of a massive nationwide tour. You can also catch the band at Wakarusa, where they will be play a special 3-hour set.

The Werks Double Their Crowd at The Newport

The Werks are hoping 2011 is going to be their break out year, and if their show at The Newport Music Hall last Saturday is any indication, they’re probably right. The Werks, co-headlining with Columbus staple Mike Perkins, brought nearly twice as many jam-hungry fans into the show as the last time they played The Newport less than six months ago.

The show kicked off early with openers Shank Bone, of Columbus, taking the stage around 8:30. They were a great act to compliment The Werks with shredding guitar, funky organ sounds and just the right amount of improvisation.

Mike Perkins played from 10 until midnight, alongside a bassist Johnny Z and saxophone player Jerry DePizzo of O.A.R. The acoustic singer/songwriter is reminiscent of Keller Williams or Dave Matthews and has been playing in Columbus for years. It was a little bit too mellow for a two-hour set but the crowd dug it, dropping into a mellow groove and dancing along.

The Werks finally took the stage at midnight to play until curfew at 2 am. Having seen The Werks many, many times before this its safe to say they brought it hard, playing their best show that central Ohio has seen. The crowd was going wild; senses overloaded with the incredibly loud P.A. and the band’s amazing light set up.

The band played songs off of their first two albums, “Synapse” and “Dig it”, as well as some new tunes we can anticipate on the studio album they’re currently working on. Each member of the band is so talented, which makes their show so fun to watch. Its easy to find yourself staring, jaw-dropped at guitarist Chris Houser as he shreds through the most incredible solos like it’s nothing. All members of the band sing, too, including drummer Rob Chafin who is best described as an animal. One signature of their shows is a five-minute drum solo during which the rest of the band walks off stage, highlighting the intensity and rhythmic talents of Chafin. Bassist Chuckie Love may seem quiet when you meet him but with a bass in his hands he’s a funky slapping machine. Keyboardist Norman Dimitrouleas, on the other hand, is described by the band as having an “explosive personality” and his playing isn’t any less exciting.

The show wrapped up just before 2 with the band coming back on stage for an encore. Overall, the show was representative of the band’s position right now; full of excitement, anticipation, and awesome jams. Here’s to 2011, boys.

Written by Meghan Bender

(Below is a great video of The Werks performing at Newport Music Hall from last year. Photo borrowed from http://www.theuntz.com/TheWerks)