Full Name:  Stephan Douglas Jenkins
Name Pronunciation: 
Steee-vin  (not stef-on)
Birthdate: 
September 27, 1964 (38 years old) in Southern California.
Sign: 
Libra, year of the Dragon
Grew Up:
  Briefly in Wisconsin, but mostly in Palo Alto, California.
Current Residence:
  Has a house in the Pacific Heights district of San Francisco.  Is rumored to have homes in Lake Tahoe, CA and Manhattan.  
Previous Residences:  Lived on 767 Haight Street in San Francisco in the late 80s.  Lived for years (until Summer 2001) as a "punk rocker" in the Cole Valley area of San Francisco.  Summer 1999 lived on a house boat in Sausalito, CA while recording "Blue".
Graduated
:  1983 Gunn High in Palo Alto, CA.  1987 University of California at Berkeley with a degree in Literature.  Stephan was Valedictorian of his graduating class. This is a great accomplishment, knowing that Stephan overcame dyslexia from childhood.
Height:
  6'1"  Weight:   180 lbs.  Hair Color:  Dark Brown  Eye color:  Green
Current Job:  "music maker"   Lead singer, songwriter and guitar for Third Eye Blind.  Other credits on the self-titled debut album Third Eye Blind include:  producer, percussion, brushes, programming, keyboard arrangements, and drums.

"Am I a rock star? Yeah, I guess. I also get to live in North Beach and go to a pub and drink my pint and go to a café and drink my coffee.
I carry groceries home on the tank of my motorcycle. I find pleasure in things that are simple. Is that a rock star's life? It is for me." - SJ

Hobby:  Making movies.  Stephan has a small role in "Rock Star" and a leading role in "Angelic Tuesday." He has also made a cameo appearance on the Chris Isaak Show (episode "The Devil Made Me Do It") which was broadcast on Showtime on 1/13/02.
Side Projects:  Musical Director and Producer of "Breathe," an annual concert event benefiting breast cancer research.  Producer / Manager for hip-hop group The Braids.   Will be writing and producing some works for Billy Idol who is attempting a comeback.  Has signed a co-publishing deal with EMI Music Publishing, in addition to multi-act production deal with Elektra Records and another production deal with Atlantic Records specifically for his work with The Braids.  Now producing Third Eye Blind's material, sometimes under the name "The Mud Sisters."

Previous Job:  Funky rap masta Puck, from rap duo Puck and Natty. Prior to that, in a band named "Splash."

puck.jpg (10991 bytes)

Worst Habit:  Being evasive.
Pet Peeves: 
Brad being a pig in the hotels.
Gross Outs:
  "People who eat their BOOGERS - it happens more than you think"
Biggest Turn-on:
  Long legs and big butts.
Boxers or Briefs:
  Briefs 
Pets:
  American Staffordshire Terrier named "Boo".  
Current Girlfriend:
  Vanessa Carlton, since summer 2002
Famous Ex-Girlfriend:  Model/Actress Charlize Theron December 1997 - early 2001.

     sjct2.jpg (14071 bytes)

Automobiles:  1961 beige Buick Invicta Convertible, a 1998 Ford Explorer and a Triumph motorcycle.
Musical Influences:
  Camper Van Beethoven, U2 and The Police.
Hobbies:
  Surfing, snowboarding and volleyball, to name a few.

Songs Published: (
JENKINS STEPHAN DOUGLAS)

1. 10 DAYS LATE BMI WORK # 5042018
2. 1000 JULYS BMI WORK # 5001372
3. ABC SOCCER-BG CUES BMI WORK # 0
4. ALRIGHT CAROLINE BMI WORK # 1798656
5. AN ODE TO MAYBE BMI WORK # 5001388
6. ANYTHING BMI WORK # 5033504
7. BACKGROUND BMI WORK # 4051464
8. BEST OF LUCK BMI WORK # 1762749
9. BIKE MESSENGER BMI WORK # 1762744
10. BURNING MAN BMI WORK # 4053347
11. CAMOUFLAGE BMI WORK # 5001357
12. COURAGE BMI WORK # 2160517
13. CRYSTAL BALLER BMI WORK # 5781639
14. DARKNESS BMI WORK # 4868547
15. DARWIN BMI WORK # 5033657
16. DEEP INSIDE OF YOU BMI WORK # 1762750
17. DEEP INSIDE YOU BMI WORK # 4566358
18. EYE CONQUEROR BMI WORK # 5552401
19. FARTHER BMI WORK # 5036154
20. FATHER BMI WORK # 2160541
21. FIRE ESCAPE BMI WORK # 4740400
22. GIANT STEPS BMI WORK # 4859565
23. GOD OF WINE BMI WORK # 4057480
24. GOOD FOR YOU BMI WORK # 4057481
25. GORGEOUS BMI WORK # 4566414
26. GRADUATE BMI WORK # 3991015
27. HEROIN BMI WORK # 2160525
28. HORROR SHOW BMI WORK # 4409943
29. HOW S IT GOING TO BE BMI WORK # 4057482
30. HOW WE GREW UP BMI WORK # 1767863
31. I DON T FEEL YOU ANYMORE BMI WORK # 4742682
32. I WANT YOU BMI WORK # 4057463
33. IN MY TRIBE BMI WORK # 1762746
34. JAZZY LIFE BMI WORK # 4745413
35. JULIETTA BMI WORK # 1767862
36. JUMPER BMI WORK # 4057465
37. JUST WANNA BE YOUR FRIEND BMI WORK # 1762755
38. KISS GOODNIGHT BMI WORK # 4566415
39. LIFE IN AMERICA BMI WORK # 1762761
40. LONDON BMI WORK # 4057483
41. LOSING A WHOLE YEAR BMI WORK # 3991009
42. MIXED UP FAMILY BMI WORK # 1762752
43. MOTORCYCLE DRIVE BY BMI WORK # 4057477
44. NARCOLEPSY BMI WORK # 4057484
45. NEVER LET YOU GO BMI WORK # 5038971
46. NEW GIRL BMI WORK # 4566361
47. ONE THOUSAND JULYS BMI WORK # 5001372
48. RED SUMMER SUN BMI WORK # 5001361
49. ROCK SHOW BMI WORK # 5416154
50. SEMI CHARMED LIFE BMI WORK # 1942578
51. SHELTER BMI WORK # 4566416
52. SLOW MOTION BMI WORK # 1942581
53. SOMETHING TO BELIEVE IN BMI WORK # 4747786
54. STATIC IN THE WIRES BMI WORK # 4747809
55. STILL WANT BLOOD BMI WORK # 4800770
56. TATTOO OF THE SUN BMI WORK # 1798651
57. TEN DAYS LATE BMI WORK # 5042018
58. THANKS A LOT BMI WORK # 4057485
59. THIS IS HOW WE GREW UP BMI WORK # 2160538
60. TIME TO BE WILD BMI WORK # 1762759
61. TOGETHER FOREVER BMI WORK # 1767865
62. WORDS BMI WORK # 1762758
63. WOUNDED BMI WORK # 5001367
 

Stephan's Equipment:  

GUITARS

Studio:

  • Epiphone Casino
  • 12-string Hamer Electric
  • '59 Gibson J-200

Live:

  • Gibson Explorer Natural Burst (customized in white and wood colors)
  • PRS Stephan Jenkins Signature Model
  • PRS McCarty Models
  • Gibson Jumbo Acoustic
  • Epiphone Casino
  • Martin Acoustic/Electric 6 String
  • Ovation 12 String Ac./Elec.
  • Gibson Gold Top Les Pauls *seen on Keenan Ivory Wayans show..the first time around*
  • Hamer Duo-Tone
  • Semi-hollow Washburn

 

AMPS

Studio:

  • Matchless 30
  • Mesa 4x12

Live:

  • 2x10 Mesa Heartbreaker combo

In the SCL video:

  • Gibson Sunburst Les Paul
Other Valuable Info: 
  • Stephan uses three words to describe himself:  "Knock 'em down!"
  • Greatest compliment Stephan has ever received:  "You rock!"
  • Stephan's most embarrassing moment:  "I have no shame."
  • The best day of Stephan's life:  "Today."
  • As a child Stephan envisioned himself growing up to be a marine biologist.
  • Stephan is left handed, but strums the guitar with his right hand.
  • Stephan is very handy on the drums!  He also plays keyboards!
  • Stephan loves to snowboard, look for him in Tahoe in December 1998!
  • Stephan suffers from ADD - Attention Deficit Disorder.  That means he has a hard time doing any one thing for a long period of time - short attention span. 
  • Nacho and Mr. Flipper are some of the aliases Stephan uses when staying at hotels.
  • Stephan secretly digs The Carpenters and Abba.
  • Stephan and Metallica man Lars Ulrich are reportedly becoming bosom buddies!
  • Stephan has been dubbed the "Big Mouth in Music" by several members of the press.
  • If Stephan could be an appliance he would be "a big ol' power tool cutting through everything".

THE OFFICIAL BIO (from 3eb.com):

Lead singer and guitarist for Third Eye Blind, Stephan Jenkins, started his musical career early in life. He recalls banging out original works at the age of five, pulling out pots and pans on the floor of his kitchen at home in Southern California. Stephan got his first drum set when he was nine and alternated between envisioning a future as a rock star and as a marine biologist. Stephan tried the trumpet as a child, but reportedly had trouble reading the notes. "Everybody said I was pretty much unteachable," Stephan explains in reference to his school band experiences.

Stephan has probably surprised a lot of teachers in the last few years with the incredible success of Third Eye Blind's debut album. Jenkins creates songs that are heartfelt and intense. The songs tell stories of people who are both flawed and radiant, of making sense of the fates life hands you. "I wanted to be a storyteller," says Jenkins. "I see music and drama and writing and poetry as all being connected to the same idea, which is storytelling Music has always been the thing that compelled me the most. There's something about a four-minute song that creates this complete world you can step into."

Stephan cites the energy of the city as an inspiration that sparks his creativity. "I'm a real child of the concrete," he states. "I like urban environments. I'm inspired by all the different lives and strata that go on there." He also credits the instruments themselves and the time spent just "messing around" with keyboards, drums, and guitar as fuel for his art. For Stephan, the process of making the new record has been very exploratory. "We've always wanted to create our own sort of world," says Jenkins about Third Eye Blind. "The ethic of that was to always do it yourself. Think for yourself." This sense of originality and independence is one key that drives the creative spirit of the band.

After two years of touring and a rigorous schedule of work on the new record, Stephan is excited to share the soon-to-be-released album with fans. He is optimistic about the new material, but hopes to avoid the mass publicity of one or two hits alone. "I'm very proud of the songs that were on the radio, but I think that what Third Eye Blind is about to its core audience wasn't really represented to the public at large." Fans are important to Stephan and he is impressed by the creativity of the active Web culture that surrounds Third Eye Blind. "The Web allows a closeness that's not filtered between me and the media. It's much more direct. I appreciate that, and I really respect that."

 From San Francisco Chronicle:  An article every big 3eb fan should read

Blind Ambition
Third Eye Blind leader Stephan Jenkins makes sure his band is a success
Joel Selvin, Chronicle Pop Music Critic
Sunday, November 28, 1999
©1999 San Francisco Chronicle

Stephan Jenkins is a classic -- a rock 'n' roll bad boy with an angel face and a movie-star girlfriend. He rides around town with his dog on a Triumph motorcycle and lives in a rented room above his manager's office in an unremarkable Cole Valley duplex.

More than just his group's singer, songwriter and record producer, Stephan Jenkins dreamed up the name for the band and wrote many of the songs before there were any other musicians involved. His colleagues are all seasoned, highly skilled rockers, but he is clearly the alpha dog of the pack. The band is a corporation wholly owned by Jenkins. Make no mistake, Jenkins is Third Eye Blind.

Third Eye Blind's 1997 self-titled debut sold more than 3 million copies and lofted three hits into the Top 10, including the No. 1 ``Semi-Charmed Life.'' The release earlier this week of the second album, ``Blue,'' could make 3EB the biggest rock band out of San Francisco in a long, long time. ``Anything,'' the screaming rocker released as the first single, is scorching up modern-rock radio playlists.

But people who have worked with Jenkins, if they will talk at all, don't necessarily have nice things to say about him. He has already settled one lawsuit with an old friend. People accuse him of stealing credits he didn't earn. They call him ambitious, driven -- which Jenkins confirms.

``I don't think I owe anyone an apology,'' said Jenkins, unflinching and unfazed. He's heard it all before.

LOWER HAIGHT ROOTS

Behind the multiplatinum success of Third Eye Blind lies a tangled path that Jenkins followed. If the first album romanticizes the bohemian decadence so easily found around the lower Haight in the early '90s, it is a subject Jenkins knows firsthand.

Longtime friend and later manager Eric Gotland and Jenkins were always the team. They met in 1990 when they were both living on lower Haight Street. Jenkins was a starving rapper wannabe. Gotland was, by day, a straight-arrow management consultant not even allowed to wear colored shirts at his job. By night, he was a lousy club DJ with a huge record collection.

``That was my 1967, my summer of love,'' said Jenkins, 35. ``So much of the first record is drawn from that time.''

Jenkins, who grew up in Palo Alto and graduated with an English degree from the University of California at Berkeley, rented out his room and started sleeping in the closet. He was living on money he stole from his roommates to buy coffee, eating lots of Top Ramen and writing songs. ``I had a moral boundary,'' he said. ``I wouldn't take anything larger than a quarter.''

He started as one-half of an interracial rap duo that eventually landed a song on a soundtrack.

Jenkins teamed with a reggae musician from Detroit, Herman Anthony Chunn, who had a shaved head and called himself Zen, to form Puck and Natty. Their tape found its way to industry heavyweights such as Clive Davis and Irving Azoff.

A track, ``Just Wanna Be Your Friend,'' landed on a soundtrack album of the hit TV show ``Beverly Hills, 90210'' in 1992.

``You want me to do a song for your TV show that I've never seen?'' Jenkins said. ``No problem. It was $7,800. I bought groceries.''

With a cut on a soundtrack and the label interested in signing the group, Jenkins needed a manager. His brother was in a fraternity at the University of California at Davis with Adam Duritz of Counting Crows. Martin Kirkup and Steve Jensen of Direct Management, who managed the Crows, signed them as Puck and Zen. The duo took the new name after New Age-y duo Tuck and Patti raised objections to Puck and Natty. (Leave it to English major Jenkins to adopt a pseudonym from Shakespeare's most mischievous character.)

The record company never released the Puck and Zen track as a single, but another stepped up to the bar. Jenkins found himself in a meeting with Capitol Records executives -- ``The whole thing was so not rock,'' he said -- discussing who should produce Puck and Zen. ``I told them I don't want a second opinion.'' Capitol quickly lost interest.

``For Puck and Zen, that was it,'' Jenkins said. ``We couldn't withstand that.'' Zen would not comment for this article.

All through Puck and Zen, the vision of a rock band was growing in Jenkins' mind. He already had a name -- Third Eye Blind. And he had some songs, including a piece he developed out of music written by Zen that came to be called ``Semi- Charmed Life,'' Jenkins' tale of sleazy sex and crystal meth that eventually would propel him to stardom.

``I was telling these guys that I had these ideas,'' Jenkins said. ``I wanted a production company. I wanted to write my own rock songs. I was having fun with the Puck and Zen thing, but it was a more immediate thing. `You're unfocused,' everyone said. Except Eric (Gotland).''

He needed a band and some demo recordings.

A TRIP TO SKYWALKER

Jenkins met engineer David Gleeson at a Puck and Zen session. Gleeson took Jenkins and his first edition of Third Eye Blind -- including bassist Jason Slater and guitarist George Earth of World Entertainment War -- to cut demos in world- class studios at Skywalker Ranch and the Marin County studios of Walter Afanasieff, who had produced Celine Dion and Mariah Carey.

Putting a band together and getting established on the local club scene proved problematic and became a sticking point with his Hollywood managers. Jenkins went through a number of guitarists before finding Kevin Cadogan. Arion Salazar from East Bay punk-funksters Fungo Mungo joined on bass. Many drummers came and went before Steve Bowman, freshly dismissed from Counting Crows, took the drum chair. To get his band its first gig, Jenkins appealed directly to Duritz by letter for an opening slot on the Counting Crows shows at the Fillmore Auditorium in October 1994.

``My managers saw the last two songs,'' Jenkins said.

Third Eye Blind set about carefully making a mark on the local club scene. One longtime scenester remembered early 3EB shows: ``Even opening for some s-- band at the Paradise, the guy acted like he was at the Oakland Coliseum.'' Jenkins: ``So? You ought to see me at rehearsal.''

Engineer-producer Gleeson quit working with the band in a huff. ``He and Stephan had a fight, a blowout,'' Gotland said.

Gleeson, who received a small credit on the first 3EB album, reportedly settled a lawsuit for six figures after the multiplatinum success, Gotland said.

Gleeson would not comment for this article.

BATTLE OF THE BANDS

The real low point came in July 1995 with Cocky Pop I. The event was designed to trumpet the three leading unsigned bands of San Francisco's live rock scene and would star Third Eye Blind. The band rented the Transmission Theater and joined forces with two other comers in the clubs, Protein and Heavy Into Jeff. Record company talent scouts flew in for the event, which turned into a debacle for

3EB.

The band's latest drummer, Michael Urbano, quit shortly before the show. Jenkins was suffering from chronic fatigue syndrome, which left him feverish and nauseous when he wasn't actually onstage. With little draw of their own, the musicians faced a hall filled with Protein fans. At the show, guitarist Cadogan's amp blew out two songs into the set.

``Protein wiped the floor with us,'' Jenkins said. ``They got signed that night. Heavy Into Jeff stomped us.''

The band lost the big-time managers, the engineer who had been supervising its recordings and Jenkins' publishing deal. The whole thing was on the verge of falling apart. ``It would have been a good time to quit,'' Jenkins said.

Instead, the band regrouped, pulling together, at last, the winning team. Drummer Brad Hargreaves joined.  Gotland finally assumed management. They found a new recording engineer, a crucial player as the band prepared another assault on the record industry.

RECORDING A DEMO

Gear hound Slater kept a lot of equipment at a small recording studio in Redwood City run by a musician named Eric Dodd. Dodd, who called himself Eric Valentine, was once half of Hollywood Records rock group T-Ride. Dodd didn't want to front the band time, but he agreed to engineer the sessions once Gotland stepped up with his credit cards.

``Eric threw down and paid for the demos and they were expensive,'' Jenkins said. ``But we had recorded these songs multiple times and, in Eric Dodd, I had an engineer who could do it.''

``I guess the stuff came out reasonably well,'' Dodd said. ``There was some interest from record companies. It was a reasonably creative combination.''

RCA Victor coughed up money for more recording and then passed. The group auditioned for hit-picker Clive Davis of Arista Records in New York. ``He said, `Do you have any more?' '' Jenkins recalled.

One label felt strongly enough to arrange a showcase performance at the Viper Room on the Sunset Strip in Hollywood. Among the record industry heavies in the crowd that April 1996 night was Sylvia Rhone, president of Elektra Records, one of the most powerful women in the record business. ``Sylvia was in the crowd high-fiving people, like she'd already made the deal,'' Jenkins said. ``We made the deal we wanted.''

Signed personally by the president of the label in June 1996, armed with a new publishing deal that the label said was one of the biggest ever given to a new artist, Jenkins was ready to make his major-label debut and was going to produce the record himself. Over the course of the sessions, however, engineer Dodd felt his role shift.

``There was quite a bit of trauma that went down, and I'm not sure how much I'm supposed to talk about,'' Dodd said. ``There came a point where it became obvious that I was doing production work and I was hired as an engineer.''

Jenkins said Dodd was given a co-production credit -- ``He never asked for it,'' he said -- and that he was paid a fair royalty. Still, some observers think Dodd made some substantial contributions to the recording that, in other circumstances, could have made him a full producer, a difference that can mean big money and more work.

``He produced the s-- out of that record,'' Slater said. ``I think Stephan even got credit for production, but he didn't produce that record . . . Eric and Stephan didn't get along at all.''

Sometime before the release of the album, Gotland cut a deal with Jenkins' old partner, Zen, to sell his interest in a couple of songs, including ``Semi-Charmed Life,'' which became a No. 1 record and 3EB's biggest hit. Gotland said he advised Zen against selling the song.

Jenkins fiercely defended his proprietorship of the song. ``He wrote part of the music, part of the riff,'' Jenkins said. ``I kept going until it was my song. I had no idea where that song was going, but I bought him out.''

He bought out Zen for $10,000 before the album was released to become the song's sole author.

The song did benefit from a lot of work. Many versions were recorded.

``A lot of people contributed to that song,'' Dodd said. ``It's been around for many years. There are a lot of people who contributed to that tune and didn't get credit.''

ON THE ROAD

After the April 1997 release of the first album, the four musicians spent the next two years on the road. The band started as an opening act for U.K. alt-rockers James but quickly graduated to headline status.

The Third Eye Blind record started to get airplay almost immediately and, as each of the three hit singles -- ``Semi-Charmed Life,'' ``Jumper'' and ``How's It Going to Be'' -- went into MTV rotation and headed up the charts, the crowds grew. The band opened a few dates for U2 and the Rolling Stones. Jenkins got into wars of words in the press with other rock stars. He started getting his name in gossip columns by dating his current girlfriend, actress Charlize Theron.

The band barely paused from the endless tour before entering the studio to start the new album.

SECOND TIME AROUND

Behind an anonymous Mission Street storefront facade, Toast Studios was home away from home to Third Eye Blind for five months this year. With the October 15 deadline for delivery of its second album five days away, tapes of some songs were being mixed in two other studios, while Jenkins put down some last- minute vocals on other songs in downtown San Francisco. Salazar's vintage keyboards were stashed in every corner. Guitarist Cadogan had a room piled with cords and equipment. A poster of '40s burlesque queen Patti Waggins, borrowed from manager Gotland's extensive collection, stared back into the control room from the other side of the glass.

``It's an album we can hold our heads up about,'' Jenkins said. Later he uses the word ``redeeming'' to describe it. As soon as he finished the record, he flew off to Savannah, Ga., to visit Theron on location.

Even before release, Jenkins' new record hit a nerve, this one at the top of the corporate ladder at Elektra's parent company, Time Warner. The label asked Jenkins to substitute an instrumental for the full version of ``Slow Motion,'' a song that spoofs violence, written by Jenkins. Label executives were apparently sensitive to the issue since the slaying two years ago of schoolteacher Jonathan Levin, the son of Time Warner Chairman Gerald Levin.

``Miss Jones taught me English/ But I think I just shot her son/ 'Cause he owed me money/ With a bullet in the chest you cannot run,'' go the lyrics.

The pressure of following up his big hit record, Jenkins said, makes him wake up at 6 in the morning grinding his teeth. Jenkins is not ready to coast.

He declines the laurels because the race isn't won.

``I was possessed,'' Jenkins said. ``People thought I was crazy. I probably was. I'm more quiet inside now. There's that whole thing in Western mythology that for a man to feel good he has to have gone out and slayed a dragon. To some extent, I've done that.

``But the journey doesn't stop. There's no sense of arrival with Third Eye Blind. I think we can grow. I don't feel like I've arrived. That doesn't mean I'm not happily inspired by the journey.

``Twenty years from now, I'll be in some studio arguing over whether there's too much cello. It's my life's work, and I'd do it all for free.''

©1999 San Francisco Chronicle   Page 40


shmen.jpg (3841 bytes) sophomore.jpg (30295 bytes) junior.jpg (45563 bytes)

senior.jpg (48345 bytes)

Stephan's high school pics.