In 2012, Steve was inducted into the Guinness Book of World Records as Most Prolific Voice Actor in Video Games - appearing in almost 300 games (now over 400!) Lately you can catch him as Yumyan Hammerpaw in Kipo and the Age of Wonderbeasts, the terrible Jindiao in Dreamworks' Kung Fu Panda: Paws of Destiny, more Star Wars stuff like The Mandalorian, Star Wars Resistance, Jedi: Fallen Order and as Admiral Karius in Vader Immortal, Wheeljack in the BumbleBee Feature film, Returning as Tank Dempsey in COD Black Ops 4, Grimstroke in Dota 2, Roy Evans in Angel of Vine - the true crime podcast, as "Shoe" and "Sparky" in Laika's The Boxtrolls, and as astronaut Quentin Thomas on Hip Hop superstar Logic's amazing albums "The Incredible True Story," "Everybody," and "Young Sinatra 4" and on camera in Logic's music videos for the songs "Everyday," "Take it Back," and "Icy." Also appearing as "Nar Est" and "Rasper" in Amazon's Niko and the Sword of Light, "Frank" the flying monkey and others in Dorothy and the Wizard of Oz on Boomerang, as "Makucha" the Leopard on Disney's The Lion Guard and as Lovable Pub Thug "Attila Buckethead" and more in Disney's Tangled television series! And see if you can find his characters in Star Wars Star Wars Rogue One, Solo, and Rise of Skywalker, Incredibles 2, Goosebumps 2, Shazam and Critters Attack feature films! And. The crowd at Town Hall ecstatically screamed their excitement and sat back down in their seats from their standing ovation.With hundreds of V/O credits to his name, Veteran Voice Monkey Steve Blum is best known as the voice of "Spike Spiegel" from Cowboy Bebop, "Wolverine" from several incarnations of X-Men (animated movies, games, the Wolverine and the X-Men TV Series, The Super Hero Squad Show, X-Men Anime and more), "Zeb Orrelios" and dozens of other characters from Star Wars: Rebels, "Orochimaru," "Zabuza," and others from Naruto, "Green Goblin" from the Spectacular Spiderman series, "Heatblast," "Vilgax" and "Ghostfreak" from Ben 10, "Grayson Hunt" (Bulletstorm) "Grunt" (Mass Effect 2 and 3),"Zoltan Kulle" from Diablo 3, "Abathur" from Starcraft 2:Heart of the Swarm, "Tank Dempsey" (Call of Duty), "Killer Croc" from Arkham Asylum, "Oghren" (DragonAge),"Vincent Valentine" (Final Fantasy VII), "Leeron" (Guren Lagann), "Jamie" from Megas XLR, "Storm Troopers" and many others in most of the Star Wars games, The voice of 7-11, dozens of Digimon and a gigantic list of other characters from Anime, Video Games, TV and Film. Listening to that score told me, “I did it, and you can, too.”Īt the end of the night, conductor Macy Schmidt proposed playing “the greatest theme song in history” one last time. ![]() I was discovering that, more than many of my peers, I was having to create my own performance opportunities (gender wasn’t the only reason for this-my playing style was also getting more experimental, largely as a revolt against being dismissed as the “cute little guitar player”). It was the piece of music I loved most, and “even though” it was written by a woman, thousands and thousands of people loved it, too. ![]() It’s also why, as a college junior fighting my way to class during Midwest winters, Yoko Kanno’s score to Cowboy Bebop became a balm. That’s why keeping an eye on programming is so important. If, especially as a child, you see someone who shares a key characteristic with you doing something exception, you think, “Wow, maybe I can do that one day, too.” Maybe I’ve watched too many anime, but that spark of inspiration can have a huge domino effect. The power of example truly can’t be overstated. But sometimes the quiet sexism-like simply not booking the equally talented female horn player-is the hardest to confront. These perceptions are getting better, especially after me too burst the conversation wide open. Jazz is a very male-coded genre-when I was going to jam sessions around 2011, people usually assumed I was either a singer or, if they saw the guitar on my back, someone’s diligent girlfriend. In my lived yet unacademic opinion, the idea of “missing women” in an arts scene largely comes down to whether or not a space welcomes them, in both an institutional sense and a “vibe check of the room” sense. It’s a conundrum for the ages, one that gets hot takes galore. ![]() ![]() Is the kind of music I’m playing (rock, jazz) too male-coded? Is it this city’s scene? Is it me? You begin to wonder why this keeps happening. It’s a bizarre feeling, to be in a group of about a dozen people presenting something where you alone are the onstage representative for about 50% of the earth’s population-again and again. I, too, am a musician-and often in circles that I’ll call “jazz and jazz adjacent.” The percentage of shows where I have thought to myself, “Ah, I’m the only non-male on the bill,” is well over half.
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