Brad Jenkins

Twitter

Brad Jenkins - @bradjenkins

Washington D.C.

Fired Up with Brad Jenkins Podcast - @FiredUpShow

apple.co/2XBcakH

Hosted by a fired-up @BradJenkins. An insider’s view into the hearts and minds of political leaders, artists, and everyday heroes. 🔥☝🏽🇺🇸

Brad Jenkins for NC House - @BradJenkinsNC

votebradjenkins.com

The official Twitter account for the Brad Jenkins for NC House District Campaign | ~Faith * Family * Freedom~ | #NCPOL

China Grove, NC

Brad Jenkins - @LakesideSteel

lakesidesteel.com

Lakeside Steel & Machine is your one stop shop for full service heavy steel machining, fabrication, and processing specializing in rapid response.

Anderson, SC

Brad Jenkins - @CardinalsWay

Husband, Dad, IT Support Analyst, St. Louis Cardinals ⚾️, Kansas City Chiefs 🏈, NC State Alum 🐺

Bradley Jenkins - @Brad1990Jenkins

spotlight.com/interactive/cv…

Actor/Explorer/Fight performer. Raised in India and Zimbabwe. Now resides in London. Represented by @CherryParkerMgt

Current Location: Home

Brad Jenkins - @bradjenkins_16

vimeo.com/299837207/5eda…

🏴󠁧󠁢󠁷󠁬󠁳󠁿 🇺🇸

Newport

Brad Jenkins - @prespeople13

prespeople.com

Producer at Pirate Films

world wide

Brad Jenkins - @BradNfluence

Actor I VO I Impersonator I Singer I Painter I Eater I Drinker ***Charmingly witty, slightly absurd.***

Los Angeles, CA

Brad Jenkins - @hockeylinesman

Dad, Husband, Fredericton Firefighter, IAFF 1053 member, AUS/MHL Hockey Referee, Red Sox Fan. My tweets are my own, but will favor the Red Sox!!

Brad Jenkins - @BJenkinsTN

Blessed to be a Dad of two rambunctious boys and Husband to a beautiful wife! Go Hoosiers!

Murfreesboro

Brad Jenkins - @bradjenkins17

Father, Husband, Go Heels! 🐏

North Carolina, USA

Brad Jenkins - @Brrrrrrrrrrrrad

Still waiting on that check from George Soros.

Memphis, TN

Brad Jenkins - @BJenkins99

seedroundcapital.com

Co-Founder/CEO @SeedRoundCap. Previously: CEO @Cloud9Discovery. Early-Stage Investor, Serial Entrepreneur.

Houston, TX

Brad Jenkins - @Brad_Jenkins14

m.facebook.com/kycombatives/?…

Christian, Father, Patriot, Conservative, Sheepdog, Army Combatives Master Trainer and Self-Defense Instructor.

Owensboro, KY

Brad Jenkins - @bradjenk

rushthecourt.net/acc/

ACC Correspondent for Rush the Court, the Independent Voice of College Basketball.

Cary, NC

Brad Jenkins - @braudra

Hubby, Dad, Production Director at The Crossing, Audio Engineer, Musician, Gamer, Geek & What-not

Columbia, MO

Brad Jenkins - @bjenk

Christ-follower, husband, dad, college media adviser (@TheBreezeJMU), Commissioned Lay Pastor (@eco_pres) and 2x @jmu grad (‘99 and ‘19 M.Ed.)

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Facebook

Brad Fielder

songster, writer, and music-maker of traditional and contemporary style

Jenkins Family

We Are Family!!! Please help us keep this memory lane alive by posting pictures and tellin' stories!!!!! SHARE ALL MEMORIES AND CREATE MEMORIES!!!

Jenkins family

We made it to 2021 we are starting the new year off right and that’s with love �

Coal Grove Memorial United Methodist Church

Nonprofit Organization

Coal Grove, OH

Brad Jenkins Century 21 Lanthorn Realty

Belleville, ON, Canada

Fired Up with Brad Jenkins Podcast

Hosted by a fired-up Brad Jenkins. An insider’s view into the hearts and minds of political leaders, artists, and everyday heroes. 🔥☝🏽🇺🇸

Brad Jenkins for NC

The offical Facebook page for the Brad Jenkins public figure.

Brad Jenkins Roofing Services

374 like this

We pride ourselves on offering a completed service from replacing a single tile to a whole new roof. Covering all of South Wales and beyond.

We pride ourselves on offering a completed service replacing a single tile to a whole new roof. Covering all of South Wales and beyond.

Brad's Bears for Compassion

Brad Jenkins Bears for Compassion honoring a man , spreading awareness of CRPS/RSD supporting research for a cure , spreading compassion, with a hug!

Autobiography is more accurate. But it's a little short so perhaps Music Overview is even better. My Music Overview, written by Claire Jenkins on March 21st 2011. I grew up in Montreal then moved to Toronto to go to theatre school. Near the end of that time I wanted to say things that I had written. I started playing my boyfriend's guitar. I wrote a couple of songs and went to my first open mic at Graffiti's in Kensington Market. My brother came with me for support. When it was my turn to stand on the carpet with my back to the window and my mouth to the microphone I shook like I have never shook before or since. I played my two songs. I was cheered on to keep playing, but that’s all I’d written and I hadn't learnt anyone else's songs. And so I sat back down, I remember the feeling of my face being red. Corin Raymond and Sean Cotton were playing small venues all around Toronto. Corin and I had hit it off through talking about writers and music. I let him know that when I had eight songs I wanted to open for their duo The Undesirables. Three months later I opened for them at Sammy Joe's, a pizza joint with a restaurant upstairs that flipped over into a music venue at night in Little Italy. My formal education of Canadian Folk, Old Time Country, and late night jamming came next. Most of it spent in the workshop of Theatre Passe Muraille listening and playing until it was light outside or our lungs couldn't deal anymore. Every Sunday I would be at The Cameron House for The Backstabbers ol' country string band. Max Metrault taught me the two-step. I had befriended James Thompson, a great bass player, who played with The Backstabber's at TPM. He was into playing my songs with me and we started playing as a duo. We then made a folk album together. Greg O'Shea co-produced it and made the songs tangible. James and I parted ways and I started playing solo or with Joe Phillips on upright bass. Joe is the person I have played with the longest and he is more than magic. We met at another theatre workshop in Toronto, at the Tarragon. That little album which now exists in corners of memories and maybe some bookshelves took me to festivals. Red Rock in northern Ontario was the first to hire me of many to hire me. I also played for the first time overseas in Australia at Nannup Music Festival and Port Fairy Folk Festival. Life continued on as it does. At the Ontario Council of Folk Festivals conference I got asked to play an unofficial showcase in a hotel room. A couple of friends form the Toronto music scene joined me: Treasa Levasseur on piano accordion, and Tom Howell on violin. The songs vibrated and were right. We wanted to keep playing together. The three of us with Joe started a residency at Supermarket in Kensington Market. Sean Cotton came to see us play and could tell that I was struggling to play the guitar and do things I wanted to do with my hands. He soon joined us on electric guitar. Brad Hart came out to see us play and let me know that if we ever needed a drummer he would be happy to play. I was into it. Turns out Brad also sang all the killer high harmonies. We were now a six-piece. After about a year, maybe a bit more even, I got some funding from Canada Council to make an album. Producer Don Kerr was on board. We recorded Crow's Nest at Rooster Studios. I wanted to try and capture our live sound. What seemed to keep bringing people out to the gigs was the playfulness we shared on stage. Certain bits were locked down and other bits you didn't really know what was going to happen. We had to keep listening to each other so we could build the songs we were living in. When it came time to record we took four days for preproduction and then we recorded over three days. We played the whole album in sequence twice a day all together with no click track. The tracks we ended up using were from our last day. We would play each song twice, on average, before moving on to the next one. Any splicing that was done while mixing was like cutting a slice of a layer cake and sitting it up against another slice of a different layer cake cooked by the same hand. Crow's Nest took us across country playing festivals. Calgary Folk Festival, Regina Folk Festival, Ottawa Folk Festival to name a few. We played live on national radio and other such fun things. We also had bits in newspapers and such. I then started going back and forth to Melbourne because my partner lives here. I'm now based in Melbourne and I've done some playing in Venues around Melbourne opening for Sime Nugent and Kim Dellavedova. We’ve played The Apollo Bay Music Festival, and coming up we'll be at Lot 19 in Castlemaine. I've been writing, settling in and getting the taste for home in new surroundings. The next album is starting to take shape in terms of existing in some intangible way in my head. Funny how you can do something once and then have no idea how to do it again. There are too many people to name that have made a difference to who I am and what I make. Sometimes the debt feels so great it might crush me. Thank you. And thank you for reading.

Autobiography is more accurate. But it's a little short so perhaps Music Overview is even better. My Music Overview, written by Claire Jenkins on March 21st 2011. I grew up in Montreal then moved to Toronto to go to theatre school. Near the end of that time I wanted to say things that I had written. I started playing my boyfriend's guitar. I wrote a couple of songs and went to my first open mic at Graffiti's in Kensington Market. My brother came with me for support. When it was my turn to stand on the carpet with my back to the window and my mouth to the microphone I shook like I have never shook before or since. I played my two songs. I was cheered on to keep playing, but that’s all I’d written and I hadn't learnt anyone else's songs. And so I sat back down, I remember the feeling of my face being red. Corin Raymond and Sean Cotton were playing small venues all around Toronto. Corin and I had hit it off through talking about writers and music. I let him know that when I had eight songs I wanted to open for their duo The Undesirables. Three months later I opened for them at Sammy Joe's, a pizza joint with a restaurant upstairs that flipped over into a music venue at night in Little Italy. My formal education of Canadian Folk, Old Time Country, and late night jamming came next. Most of it spent in the workshop of Theatre Passe Muraille listening and playing until it was light outside or our lungs couldn't deal anymore. Every Sunday I would be at The Cameron House for The Backstabbers ol' country string band. Max Metrault taught me the two-step. I had befriended James Thompson, a great bass player, who played with The Backstabber's at TPM. He was into playing my songs with me and we started playing as a duo. We then made a folk album together. Greg O'Shea co-produced it and made the songs tangible. James and I parted ways and I started playing solo or with Joe Phillips on upright bass. Joe is the person I have played with the longest and he is more than magic. We met at another theatre workshop in Toronto, at the Tarragon. That little album which now exists in corners of memories and maybe some bookshelves took me to festivals. Red Rock in northern Ontario was the first to hire me of many to hire me. I also played for the first time overseas in Australia at Nannup Music Festival and Port Fairy Folk Festival. Life continued on as it does. At the Ontario Council of Folk Festivals conference I got asked to play an unofficial showcase in a hotel room. A couple of friends form the Toronto music scene joined me: Treasa Levasseur on piano accordion, and Tom Howell on violin. The songs vibrated and were right. We wanted to keep playing together. The three of us with Joe started a residency at Supermarket in Kensington Market. Sean Cotton came to see us play and could tell that I was struggling to play the guitar and do things I wanted to do with my hands. He soon joined us on electric guitar. Brad Hart came out to see us play and let me know that if we ever needed a drummer he would be happy to play. I was into it. Turns out Brad also sang all the killer high harmonies. We were now a six-piece. After about a year, maybe a bit more even, I got some funding Canada Council to make an album. Producer Don Kerr was on board. We recorded Crow's Nest at Rooster Studios. I wanted to try and capture our live sound. What seemed to keep bringing people out to the gigs was the playfulness we shared on stage. Certain bits were locked down and other bits you didn't really know what was going to happen. We had to keep listening to each other so we could build the songs we were living in. When it came time to record we took four days for preproduction and then we recorded over three days. We played the whole album in sequence twice a day all together with no click track. The tracks we ended up using were our last day. We would play each song twice, on average, before moving on to the next one. Any splicing that was done while mixing was like cutting a slice of a layer cake and sitting it up against another slice of a different layer cake cooked by the same hand. Crow's Nest took us across country playing festivals. Calgary Folk Festival, Regina Folk Festival, Ottawa Folk Festival to name a few. We played live on national radio and other such fun things. We also had bits in newspapers and such. I then started going back and forth to Melbourne because my partner lives here. I'm now based in Melbourne and I've done some playing in Venues around Melbourne opening for Sime Nugent and Kim Dellavedova. We’ve played The Apollo Bay Music Festival, and coming up we'll be at Lot 19 in Castlemaine. I've been writing, settling in and getting the taste for home in new surroundings. The next album is starting to take shape in terms of existing in some intangible way in my head. Funny how you can do something once and then have no idea how to do it again. There are too many people to name that have made a difference to who I am and what I make. Sometimes the debt feels so great it might crush me. Thank you. And thank you for reading.

Greater Houston

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