International music shop Butter Music and Sound has signed Coke Youngblood as a staff composer out of Los Angeles.
A skilled musician by way of Texas in instruments ranging from guitars to keys to bass and beyond, he merges a myriad of organic and synthetic sounds with powerful vocals and beats for a range of self- and co-produced projects. From his established collection, his singles from projects Little Brothr, FLOWERZ, Wandering Wanda, Truli, MANHATTN, and others were synced in brand ads for Buick, Nintendo, DirecTV, Amtrak, Target, Netflix and many more. His songs have been featured on television series and film for shows and movies such as Wish Upon, Atypical, Charmed, American Gods, the FIFA Women’s World Cup, Veronica Mars, MTV’s Catfish, Ball In The Family, 68 Whiskey and Selling Sunset. His most recent album coming out this October, ASTROKNOTA x MARIO STERLING, melds reggaeton, hip-hop, and some Texas spice with Los Angeles songwriter and collaborator Sterling.
Youngblood had been working with Butter on a freelance basis for a few years before now officially joining the team.
New York Film Fest Preview: “The Brutalist,” “Nickel Boys,” “April,” “All We Imagine as Light”
When you think of blockbusters, the first thing that comes to mind might not be a 215-minute postwar epic screening for the first time at Lincoln Center. But that was the scene last week when the New York Film Festival hosted a 70mm print of Brady Corbet's "The Brutalist." The festival hadn't then officially begun — its 62nd edition opens Friday — but the advance press screening drew long lines — as some attendees noted, not unlike those at Ellis Island in the film — and a packed Walter Reade Theatre. Word had gotten around: "The Brutalist" is something to see. Corbet's epic, starring Adrian Brody as a Jewish architect remaking his life in Pennsylvania, is the kind of colossal cinematic construction that doesn't come around every day. Shot in VistaVision and structured like movements in a symphony (with a 15-minute intermission to boot), "The Brutalist" is indeed something to behold. It's arthouse and blockbuster in one, and, maybe, a reminder of the movies' capacity for uncompromising grandeur — and the awe that can inspire. It's been fashionable in recent years to wonder about the fate of the movies, but it can be hard to placate those concerns at the New York Film Festival. The festival prizes itself on gathering the best cinema from around the world. And this year, the movies are filled with bold forays of form and perspective that you can feel pushing film forward. This is also the time Oscar campaigns begin lurching into gear, with Q&As and cocktail parties. But, unlike last year when "Oppenheimer" and "Barbie" were entrenched as favorites, the best picture race is said to be wide open. In that vacuum, movies like "The Brutalist" and the NYFF opener, RaMell Ross' "Nickel Boys," not to mention Sean Baker's "Anora" and Jacques Audiard's... Read More