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Milton J – “Come and Go”

Milton J lets the pen bleed in “Come And Go” produced by @TheRealCharlemagne and Steve Kang. Instrumentation by Tony Correlli. Background vocals b y Kristina Hong.

In this track, Milton J vents all his frustrations with the music business. From fake promises and bullshit advice, to the cons promising you the world for a couple bucks. In this business the majority of artists, connects, friends, family, and visionaries are only in your corner when it benefits them. Nothing is free in this world so be careful who you let become part of your circle. The moment you fall short, their true colors will show.

The story line of the video is an analogy of this vicious cycle. The main character broke the so called “rules” of this group of individuals. The reality is the main character no longer benefits them. Those stabbing you in the back will often feel righteous and justified in their choice. I guess you had it coming. Evil and betrayal are relative.

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A picture of Batalá Washington DC's drums and sticks
DMV

All-Women Afro-Brazilian Ensemble Batalá Washington DC Has Rhythm and Purpose

“We like for our audience to be empowered by the beats of the drums and the energy transmitted by the women in the group”

Batalá Washington DC discuss their impact, favorite songs to perform, and how being a part of the DMV creative scene influences the collective’s approach.
Within an industry that is historically dominated by men, all-women Afro-Brazilian percussion ensemble Batalá Washington DC is here to show us what they are made of. Launched in 2007 as the newest branch of the Batalá band and the first-ever in the United States, Batalá Washington, a 501(c)3 nonprofit, brings its powerful, invigorating sounds to the nation’s capital and across the globe as a means of empowering women to be change agents in their respective communities.

Join contributing writer Cynthia Gross as she connects with Marly Perez, board president and musical conductor of Batalá Washington DC, to discuss the collective’s impact over the years,

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