Jocelyn Chambers, Butter Music and Sound

(Courtesy Butter Music and Sound)


Editor’s Note: “The Reel Black List” is our annual spotlight of brothers and sisters in the worlds of advertising, film, TV, music, radio and media who are making a difference through their contributions and creativity on a daily basis. For the next 29 days, you will be able to celebrate wonderful human beings, like, Butter composerJocelyn Chambers.

Chambers has always been a creative entrepreneur, learning how to play piano while running Sweets by Jocelyn at age 9. Music and film deeply resonated with her as a young child and once she discovered film scoring as a career option, it was a no-brainer that she would pursue it.

She began studying composition at the Armstrong Community Music School, winning the Texas Young Composer’s competition twice in 2011 and 2013. She attended the American Festival of the Arts, where she wrote the string quartet Enigma for the Night in collaboration with the Houston Ballet.

Jocelyn went on to study at The University of Texas at Austin, receiving a Bachelor of Music in Music Theory and was honored by the College of Fine Arts for her advocacy and activism. 

She moved to California, pursuing a graduate certificate in Film Scoring from the University of California at Los Angeles. While studying, she began working as a post-production assistant on Netflix’s Grand Army and Designated Survivor, eventually scoring music for both projects.

She also scored Mama Gloria, a feature documentary highlighting the life of black trans elder Gloria Allen and “In Favor of Fetus,” a short documentary detailing the experiences of women affected by Wisconsin’s Cocaine Mom law. Last summer, during the height of the COVID-19 pandemic, she revived Sweets by Jocelyn, which she had previously put on hold to focus on composing.

Let’s meet Jocelyn!

What’s your origin story? 

I found myself strongly resonating with film music as a child. As early as 8yrs old, I would cry at films (see: The Parent Trap, 1998, scored by Alan Silvestri) even though I was too young to fully understand their emotional context. At 13, when I learned it was film music that drove my emotional connection, I knew that was what I was made for. 

The following summer, on a trip to my grandparents’ house, I heard my granddad playing piano. He’s one of the only other musicians in my family, a self-taught gospel, jazz, and classical pianist. His father also composed music. I’m honored to carry that musical gene. As he played, three notes—B-flat, A-flat, and G—stood out to me. Those three notes became the motif of my first orchestral piece, “My Heart.” I entered the piece into the Texas Young Composer Competition in 2011 and became the first woman and Black person to win. My piece was premiered by the Austin Symphony Orchestra that following spring. I was merely 15 years old. 

My mom and I made a 10-year plan in which I would study composition and piano through high school, earn a bachelor’s in classical composition, move to LA and earn a graduate degree in film scoring, and finally launch my industry career. That 10-year plan was completed 3 years ago when, at 23, I transitioned to full-time film composition work.

How did you get into the music for the advertising industry? 

In the summer of 2020, I received several emails from multiple ad music houses over two days. Each asked if I was interested in writing freelance music for ads. I was surprised and accepted, asking how they found me. My name had been floating around their circles, partially due to my listing in the Living Black Composers Directory. That fall, Jennie Armon of Found Objects recommended me for the Association of Music Producers panel featuring Black ad composers.

I spoke along with Wendell Hanes and Kevin J Simon, two legends in our industry. My future employers at BUTTER Music and Sound listened and immediately scheduled a “get to know you” call. We hit it off, and they offered to send along some freelance work. The next summer, in 2021, they had a staff composing position open up, which I applied for. I was hired! I’ve been with BUTTER for two years come August 2023. It has been a delight, and the single most helpful experience I could ask for as a media composer. 

What did your parents think you would be? 

My parents were open to whatever I expressed interest/talent in. They encouraged me to try multiple sports and activities to see where my gifts were. I was a competitive swimmer for 13 years in Texas and was briefly on the Olympic track.

When I discovered composition at 13, I had already been playing piano for 6 years. I started skipping swim practices to focus on writing. Coincidentally, I was burnt out from swimming and begged my parents for 3 years to let me quit. They eventually obliged when I was 16, and composition became my sole focus. I never looked back. 


REELated: Read about others on The Reel Black List


Who were your mentors, Jocelyn? 

Rachel McInturff, my high school composition teacher at the Armstrong Community Music School. She taught me the foundation of everything I know—from proper music notation to orchestral reductions. Yevgeniy Sharlat, my college composition professor at UT Austin.

He encouraged me to score film during college even though the music school was classically focused. Nikki Walsh, the VP of Soundtracks and Marketing at NBCUniversal. When I was approached by multiple different agents, we sat down together and she gave me her insight on every single one.

Through her counsel, I chose the agent that was best for me (shout out to Brent Briggs at Evolution Music Partners!). I can’t thank her enough for that. Natalie Hayden, VP of film music at NBCUniversal, who encouraged me to continue taking care of myself as I collaborated with others. Alex Nickson, head of film music at DreamWorks Animation, who encouraged me to break ground on my first personal record. Angela Leus, senior VP of film music at NBCUniversal, who reminded me that the answer is always “No” unless I ask. 

The bravest thing you’ve done? 

During the first two years, I lived in Los Angeles, I was a post-production assistant for two Netflix series. I was told that editors and composers worked closely together and that it was a wonderful opportunity to learn how the post-production process worked. On my second show, I had a good relationship with one of the showrunners. A composing opportunity opened up.

I had already temp-scored a couple of scenes for fun, thanks to the openness of my editors. I was also intricately familiar with the story and what kind of music it needed. I decided, at the ripe old age of 22, to apply for the job. I scored a couple more scenes, refined my resume, wrote a cover letter, and approached my showrunner, producer, and supervisor to apply.

They listened attentively to my pitch and commended my bravery. I took an adrenaline walk afterward. I wasn’t hired—there was no way I was ready for that level of responsibility—but I have no regret. I knew if I could take that kind of risk once, I could do it as many times as I needed to. 

How do you handle failure? 

I roll my eyes, scream into the void, have a solo dance party (Beyoncé, Paramore, and Ayra Starr are recent faves), and remind myself that I’m writing music, not saving lives. It’s not that deep! Let’s go again. 

Lunch, happy hour, or dinner–name a living or deceased Black person you would love to spend each of those times with. 

Lunch: Frank Ocean. Fresh fruit on a patio with a view, talking about the feelings that become music. Happy hour: Issa Rae. Strategizing creative output AND vacation itineraries over mezcal margaritas. Dinner: Kendrick Lamar. Incredible food in an underground spot with a kickass playlist you have to almost yell to hear yourself over. Talking about how to honor the artists whose work has inspired us with the work we create.

Thank you, Jocelyn!


Subscribe: Sign up for our FREE e-lert here.  Stay on top of the latest advertising, film, TV, entertainment and production news!


(Courtesy Butter Music and Sound)


Editor’s Note: “The Reel Black List” is our annual spotlight of brothers and sisters in the worlds of advertising, film, TV, music, radio and media who are making a difference through their contributions and creativity on a daily basis. For the next 29 days, you will be able to celebrate wonderful human beings, like, Butter composerJocelyn Chambers.

Chambers has always been a creative entrepreneur, learning how to play piano while running Sweets by Jocelyn at age 9. Music and film deeply resonated with her as a young child and once she discovered film scoring as a career option, it was a no-brainer that she would pursue it.

She began studying composition at the Armstrong Community Music School, winning the Texas Young Composer’s competition twice in 2011 and 2013. She attended the American Festival of the Arts, where she wrote the string quartet Enigma for the Night in collaboration with the Houston Ballet.

Jocelyn went on to study at The University of Texas at Austin, receiving a Bachelor of Music in Music Theory and was honored by the College of Fine Arts for her advocacy and activism. 

She moved to California, pursuing a graduate certificate in Film Scoring from the University of California at Los Angeles. While studying, she began working as a post-production assistant on Netflix’s Grand Army and Designated Survivor, eventually scoring music for both projects.

She also scored Mama Gloria, a feature documentary highlighting the life of black trans elder Gloria Allen and “In Favor of Fetus,” a short documentary detailing the experiences of women affected by Wisconsin’s Cocaine Mom law. Last summer, during the height of the COVID-19 pandemic, she revived Sweets by Jocelyn, which she had previously put on hold to focus on composing.

Let’s meet Jocelyn!

What’s your origin story? 

I found myself strongly resonating with film music as a child. As early as 8yrs old, I would cry at films (see: The Parent Trap, 1998, scored by Alan Silvestri) even though I was too young to fully understand their emotional context. At 13, when I learned it was film music that drove my emotional connection, I knew that was what I was made for. 

The following summer, on a trip to my grandparents’ house, I heard my granddad playing piano. He’s one of the only other musicians in my family, a self-taught gospel, jazz, and classical pianist. His father also composed music. I’m honored to carry that musical gene. As he played, three notes—B-flat, A-flat, and G—stood out to me. Those three notes became the motif of my first orchestral piece, “My Heart.” I entered the piece into the Texas Young Composer Competition in 2011 and became the first woman and Black person to win. My piece was premiered by the Austin Symphony Orchestra that following spring. I was merely 15 years old. 

My mom and I made a 10-year plan in which I would study composition and piano through high school, earn a bachelor’s in classical composition, move to LA and earn a graduate degree in film scoring, and finally launch my industry career. That 10-year plan was completed 3 years ago when, at 23, I transitioned to full-time film composition work.

How did you get into the music for the advertising industry? 

In the summer of 2020, I received several emails from multiple ad music houses over two days. Each asked if I was interested in writing freelance music for ads. I was surprised and accepted, asking how they found me. My name had been floating around their circles, partially due to my listing in the Living Black Composers Directory. That fall, Jennie Armon of Found Objects recommended me for the Association of Music Producers panel featuring Black ad composers.

I spoke along with Wendell Hanes and Kevin J Simon, two legends in our industry. My future employers at BUTTER Music and Sound listened and immediately scheduled a “get to know you” call. We hit it off, and they offered to send along some freelance work. The next summer, in 2021, they had a staff composing position open up, which I applied for. I was hired! I’ve been with BUTTER for two years come August 2023. It has been a delight, and the single most helpful experience I could ask for as a media composer. 

What did your parents think you would be? 

My parents were open to whatever I expressed interest/talent in. They encouraged me to try multiple sports and activities to see where my gifts were. I was a competitive swimmer for 13 years in Texas and was briefly on the Olympic track.

When I discovered composition at 13, I had already been playing piano for 6 years. I started skipping swim practices to focus on writing. Coincidentally, I was burnt out from swimming and begged my parents for 3 years to let me quit. They eventually obliged when I was 16, and composition became my sole focus. I never looked back. 


REELated: Read about others on The Reel Black List


Who were your mentors, Jocelyn? 

Rachel McInturff, my high school composition teacher at the Armstrong Community Music School. She taught me the foundation of everything I know—from proper music notation to orchestral reductions. Yevgeniy Sharlat, my college composition professor at UT Austin.

He encouraged me to score film during college even though the music school was classically focused. Nikki Walsh, the VP of Soundtracks and Marketing at NBCUniversal. When I was approached by multiple different agents, we sat down together and she gave me her insight on every single one.

Through her counsel, I chose the agent that was best for me (shout out to Brent Briggs at Evolution Music Partners!). I can’t thank her enough for that. Natalie Hayden, VP of film music at NBCUniversal, who encouraged me to continue taking care of myself as I collaborated with others. Alex Nickson, head of film music at DreamWorks Animation, who encouraged me to break ground on my first personal record. Angela Leus, senior VP of film music at NBCUniversal, who reminded me that the answer is always “No” unless I ask. 

The bravest thing you’ve done? 

During the first two years, I lived in Los Angeles, I was a post-production assistant for two Netflix series. I was told that editors and composers worked closely together and that it was a wonderful opportunity to learn how the post-production process worked. On my second show, I had a good relationship with one of the showrunners. A composing opportunity opened up.

I had already temp-scored a couple of scenes for fun, thanks to the openness of my editors. I was also intricately familiar with the story and what kind of music it needed. I decided, at the ripe old age of 22, to apply for the job. I scored a couple more scenes, refined my resume, wrote a cover letter, and approached my showrunner, producer, and supervisor to apply.

They listened attentively to my pitch and commended my bravery. I took an adrenaline walk afterward. I wasn’t hired—there was no way I was ready for that level of responsibility—but I have no regret. I knew if I could take that kind of risk once, I could do it as many times as I needed to. 

How do you handle failure? 

I roll my eyes, scream into the void, have a solo dance party (Beyoncé, Paramore, and Ayra Starr are recent faves), and remind myself that I’m writing music, not saving lives. It’s not that deep! Let’s go again. 

Lunch, happy hour, or dinner–name a living or deceased Black person you would love to spend each of those times with. 

Lunch: Frank Ocean. Fresh fruit on a patio with a view, talking about the feelings that become music. Happy hour: Issa Rae. Strategizing creative output AND vacation itineraries over mezcal margaritas. Dinner: Kendrick Lamar. Incredible food in an underground spot with a kickass playlist you have to almost yell to hear yourself over. Talking about how to honor the artists whose work has inspired us with the work we create.

Thank you, Jocelyn!


Subscribe: Sign up for our FREE e-lert here.  Stay on top of the latest advertising, film, TV, entertainment and production news!