Mediaboss Marketing

The bill would require schools to notify parents of any potentially sexually explicit classroom material and require that schools offer an alternative for the students of any parents who opt out. (Thinkstock)

WASHINGTON Virginias House of Delegates could take a final vote Monday on a bill that would require schools to notify parents of any potentially sexually explicit classroom material and require that schools offer an alternative for the students of any parents who opt out.

Opponents of the bill said it amounts to censorship in schools. Supporters said it is simply a requirement to keep parents informed and in control.

This does not prohibit any teacher from assigning any type of material they deem necessary or appropriate. It does not ban books. It does not ban any materials that teachers or school systems would like to have on their reading list and the like. It doesnt do that, the bills patron Del. Steve Landes, R-Augusta, said Friday.

This legitimately addresses a legitimate concern that parents raised, he said.

Del. Dave Albo, R-Springfield, described the bill as a compromise that strikes a fair balance.

I think that 99.99999 percent of the parents in Virginia would like to know if someone assigned a book that has scenes about sexual abuse of a child and infected sexual battery, Albo said.

Del. Alfonso Lopez, D-Arlington, said that even though this years bill set for a final vote is narrower than the bill that was vetoed by Gov. Terry McAuliffelast year, there would still be significant unintended consequences and problems.

More than likely, a teacher will not be able to do two entire lesson plans for the same class, sometimes on a very quick turnaround, after an objection from just one parent. This makes it much less likely that theyd be willing to even attempt to use anything that might be considered objectionable in their lessons, Lopez said.

He said it would be a form of censorship that could limit all kinds of classic art and literature.

For a junior taking AP English and learning iambic pentameter, what is less objectionable literary work that is the equivalent to any of Shakespeares plays? Lopez said.

Most importantly, what is an equivalent work to Toni Morrisons Beloved, which teaches us in a very raw and unflinching manner and terms about the horrors of slavery? he added.

The bill was originally triggered by a Fairfax County mother who protested the use of Beloved in her sons class when he was a senior in high school.

Lopez and Del. Vivian Watts, D-Annandale, warned of a potential black eye for Virginias reputation if the bill passes, and it becomes widely reported or mentioned on late-night TV.

Lopez cited the widespread reaction to the recent move in Accomac, Virginia, to pull To Kill a Mockingbird and The Adventures of Huckleberry Finn following a parents complaint.

We will end up with excluding for all what might be objectionable to just a few, she added.

The bill advanced Friday on a voice vote to a final vote that is expected on Monday. The bill would then go to the state Senate.

Del. Nicholas Freitas, R-Culpeper, said this is simply a service for parents.

I dont care how many Pulitzer Prizes it has. If its sexually explicit material, that might be something as a parent that I want to be notified of, Freitas said.

Read the proposed bill on theVirginia General Assembly website.

Like WTOP on Facebook and follow @WTOP on Twitter to engage in conversation about this article and others.

2017 WTOP. All Rights Reserved.

Read this article:
Censorship or parental control? Va. lawmakers divided on bill - WTOP

Slide: 1 / of 2. Caption: RadiTo

Slide: 2 / of 2. Caption: RadiTo

Reza Ghazinouri remembers the importance of pirate radio as a teenager growing up in in the city of Mashhad in northeast Iran. His father tuned in multiple times a day to the banned Farsi version of the BBC transmitted from neighboring countries, to hear the truth about Iranian political scandals like the impeachment of the countrys liberal minister of culture, and the shutdown of dozens of its newspapers. While Ghazinouri studied for his college entrance exams in 2003, hed listen to the US government-funded Radio Farda coverage of student protests against university privatization. I still remember those programs so clearly, Ghazinouri says, Every night Id imagine myself protesting like the students.

Today, Ghazinouri has found his own form of protest. Hes one of the creators of an app that aims to bring the same contraband audio to modern Iran in a revamped form: the pirate podcast. Today he and his fellow activists and coders at the Berkeley-based, Iran-focused app developer IranCubator will launch RadiTo, an audio app for Android uniquely suited to the conditions of the countrys internet. It navigates slow, expensive data connections, users who speak a variety of languages and dialects ignored by most podcast distributors, and trickiest of all, a draconian digital censorship regime. With RadiTo, the group hopes to evade that internet filtering and bring a rare stream of aural information about the outside world to the countrys burgeoning smartphone culture.

For now, the app works as a kind of digital radio tool, offering banned foreign channels like the BBC, Radio Farda, and Amsterdam-based Radio Zamaneh. But eventually RadiTo, whose name means Radio You in Farsi, plans to let anyone create their own podcast channel, serving as a kind of audio-only Iranian YouTube for illicit ideas and entertainment. This allows individuals to have a platform to broadcast whatever they want to broadcast, says Firuzeh Mahmoudi, one of IranCubators founders and the executive director of its creator United For Iran. Getting access to radio stations outside the country is imperative, and a platform where individuals can have channels to share information is critical.

Beyond mere news, RadiTo will offer audio channels devoted to other subjects forbidden in Iran. One show it plans to distribute, called Taboo, has in the last several months devoted episodes to censored topics like pre-marital sex, separatist groups, and the female orgasm. Another show will focus on Iranian mysticism, a controversial topic under Irans strict interpretation of Islam. Both shows are run by Iranians living in America; the subjects they cover, after all, are a form of thought crime in Iran. Irans digital censorship body, the Supreme Council for Cyberspace, has long blocked all internet content in the country that violates its tight restrictionseverything from political dissent against the countrys hardline regime to cultural content it considers anti-Islamic.

RadiTo has a few ideas about how to stay ahead of that filtering. It offers two ways to download RadiTo: both Google Play and trusted Telegram accounts, like the one run by pseudonymous Iranian activist and blogger Vahid Online. Iran doesnt currently block either method, Ghazinouri says, and since connections to Google Play are encrypted, the Iranian censors cant easily block downloads of RadiTo without blocking all connections to the Android app store that serves more than 70 percent of the countrys smartphone users. The server that hosts RadiTos content, Ghazinouri explains, is hosted on Amazon Web Services and encrypted, which similarly hides its data in a tough-to-block collection of other services. (The encrypted calling and texting app Signal recently used a similar tactic to circumvent blocking of the app in Egypt and the United Arab Emirates.)

Ghazinouri concedes that the government might still find a way to block the apps connections by, say, identifying the exact IP range of the apps Amazon servers, or using deep packet inspection to spot its data in transit. So the group also has a workaround in mind: In the case of a block, its ready to push an update to the app via both Google Play and Telegram that would embed a proxy function, routing its data over the Psiphon network, an anti-censorship tool created by the University of Torontos Citizen Lab, which bounces users connections through the computers of volunteers outside Iran. Individual Farsi audio apps from broadcasters like Radio Zamaneh do have their own Android apps, but probably arent as well prepared to play the cat-and-mouse game of censorship evasion, argues Ghazinouri. The Iranian government comes up with new censorship techniques all the time, says Ghazinouri. You always have to have a Plan B.

Iranians can already access some of these services piecemeal, through proxies and other workarounds. But RadiTo on top of censorship circumvention, RadiTo also has features that solve uniquely Iranian problems. Its interface offers not only Farsi and English, but four other Iranian minority languages: Balouchi, Iranian-dialect Turkish, Kurdish, and Arabic. And it allows users to download content and listen offline, a crucial setting in a country where a lack of infrastructure and intentional government throttling slows internet speeds to an expensive trickle. Theres no other Iranian app that offers all this, says Fereidoon Bashar, an internet activist and developer at the Toronto-based technology lab ASL-19, which is working with IranCubator on future apps for the same market. Its accommodating not just the user experience, but also the internet ecosystem that exists in Iran, the limited access to data.

RadiTo is only the first official launch for IranCubator. In the coming months, it hopes to launch a dozen apps, all tailored for Iranian users and the challenges of Irans cloistered internet. Later in February, for instance, IranCubator plans to release a tool called Hamdam, aimed at womens health education. Hamdam will include a period tracker, information about marriage rights and divorce, and advice about dealing with domestic violence.

IranCubator founder Mahmoudi says she hopes the groups human-rights focused apps can collectively ride the growing wave of mobile device adoption in Iran, where 40 million people already own smartphones, with a million more added every month. Iranians are tech-savvy and globally minded. They want to be in a county thats more democratic and worldly, says Mahmoudi. All the indicators are there. Technology is the right tool to engage people where they want to engage.

The rest is here:
A Pirate Podcast App Takes on Iran's Hardline Censors - WIRED

PHOENIX A Senate panel voted Thursday to give student newspapers new freedom from censorship by school administrators.

SB 1384 specifically declares that student editors and not administrators are responsible for determining the content of school-sponsored media. More to the point, the legislation would prevent administrators from censoring publications and preventing publication except under four narrow circumstances.

The unanimous approval by the Education Committee came after a parade of student editors and advisers told lawmakers of situations where administrators had stepped in to block stories or cartoons.

Peggy Gregory of Greenway High School who said she has taught journalism and advised student papers for 36 years, told lawmakers that student press freedom was the law of the land following a 1969 U.S. Supreme Court ruling declaring that it was protected by the First Amendment. But nearly 20 years later the same court partly reversed itself, declaring that student newspapers do not have the same constitutional rights as other publications.

After that second ruling, Gregory said, everything changed.

For example, she said students were working on a news story on what she said was a testing program the district liked. That article quoted a teacher who was critical of that testing.

Gregory said the school superintendent instructed the principal to tell her to kill the story or lose her job.

The result was censorship, she said. But Gregory said the harm done to student journalists from these kinds of situations is much greater.

If they're only allowed to publish puff pieces, how will they ever learn the power of the press to bring about change, to challenge ideas, to take the responsibility for their words, and to take up the mantle of the great journalists who have preceded them? she asked.

The shield against prior restraint in SB 1384 is not absolute. The legislation spells out that it does not authorize content that is libelous, an unwarranted invasion of privacy, violates federal or state law, or creates an imminent danger of inciting students to violate the law or district regulations or materially and substantially disrupts the orderly operation of the public school.

Sen. Steve Smith, R-Maricopa, questioned whether that goes far enough. He envisioned situations where students might use words or publish cartoons that are inappropriate or unfairly poke fun of someone.

But Sen. Kimberly Yee, R-Phoenix, the sponsor of the legislation, said she anticipates those kinds of issues can be handled by the teachers who advise the newspapers. Yee said, though, she might add some language about material being age appropriate when the measure goes to the full Senate.

Henry Gordon, a student at Sunnyslope High School in Phoenix, said censorship sends a bad message.

What we're taught now in schools is we have to defer to government officials, to our school administrators, in the content we produce, he said. We are censoring ourselves and letting government officials manipulate the facts.

Yee knows something about this kind of censorship. In fact, this is actually the second time she has pushed the legislation.

The first time was in 1992 when she was a 17-year-old senior student at Greenway High School and was a reporter and cartoonist for the Demon Dispatch. She said there were numerous times when administrators refused to let items remain in the paper before it went to print, apparently because they believed they shed a bad light on the school.

So Yee convinced Stan Furman, who was the state senator from the district, to sponsor anti-censorship legislation.

And I came to the Capitol for the first time, she said, sharing her story and that of other students. In fact, Peggy Gregory also testified for the bill, as she was the newspaper's faculty adviser.

The result was not only approval by the Education Committee but a 21-8 vote by the full Senate.

Based on that, Yee assumed the problem was resolved. But Yee said she did not learn until last year, when asked about it, that the measure died after never getting a vote in the House Judiciary Committee.

Original post:
Student journalists gain freedom from censorship - Arizona Daily Sun

ANARCHY: Anti-free-speech protesters lit fires and damaged property Wednesday to protest the appearance of campus speaker Milo Yiannopoulos.

In an embarrassing display of vulgarity and violence, rioters at the University of California, Berkeley lit fires and destroyed property to shut down a campus event featuring a speaker whose speech they oppose.

Breitbart technology editor Milo Yiannopoulos was scheduled to speak Wednesday night, but had to be evacuated from campus when protesters masked with black scarves began throwing fireworks at the building where hisspeech was to occur.

I have been evacuated from theUC Berkeleycampus after violent left-wing protestors tore down barricades, lit fires, threw rocks and Roman candles at the windows and breached the ground floor of the building, Yiannopoulos wrote on Facebook. My team and I are safe. But the event has been cancelled. Ill let you know more when the facts become clear. One thing we do know for sure: the Left is absolutely terrified of free speech and will do literally anything to shut it down.

TOLERANCE: Included among the property damage at UC Berkeley weregraffiti death threats against the president of the United States.

The good newsfor the protestersis that they shut down Yiannopoulos speech. The bad news for protesters is that this will likelyhelp Yiannopoulos, as Reason associate editor Robby Soave explained in detail.

[The protesters] turn Yiannopoulos into a free speech martyr, which is exactly what he wants, Soave wrote. When Milo is censored, Milo wins.

A freshmen at Berkeley told Soave that the press gained by the riots turned Yiannopoulos event from one that was going to be attended by 500 people to one that attracted the attention of thousands.

It was a 500-person event, thats like the max occupancy of the room, said university freshman Kevin Quigley. If it was just 500 people going to hear him talk it wouldnt be in the news, but when you have thousands of people gathering in the streets theyre just making him more famous.

Many of the people hearing about the riots will, as Soave wrote, see college students and social justice warriors acting in a belligerent fashion. The riotsmay even cause those who arent familiar withYiannopoulos to seek him out on social media andevaluate his message for themselves. Either way, the campus speakerstands to becomemore famous the opposite of what the rioters intended.

At the core of this situation is the First Amendment, and whether peoplewith differing opinions should be allowed to speak.

The Foundation for Individual Rights in Education released a statement on the riots late Wednesday evening:FIRE condemns both violence and attempts to silence protected expression in the strongest terms.We also urge that decisions affecting long-term policy be made only after all the facts are gathered and with appropriate opportunity for reasoned discussion.

The university had previously refused to cancel Yiannopoulos speech, which was organized by College Republicans. Changing speech codes to kowtow to violent disrupterscould send themessage that violence is a suitable responseto disagreement, and that censorship is valid.

Former President Barack Obamaon numerous occasions told college students not to shut downthose with whomthey disagree, but to use peaceful dialogue and verbal arguments.

President Donald Trump weighed in on the violence, questioning whether the school should lose federal funding as a result its handling of the anti-free-speech riots. It is unclear what authority the federal government has to remove funding over the actions of violentprotesters and students.

Those who resort to violence stand to lose public support. Moving forward, UC Berkeley will have to bestrong in defendingfree speech to avoid becoming the new face ofcensorship among college campuses.

More here:
Violence and censorship rule at UC Berkeley - Watchdog.org

Angolans are the vainest people in the world.

This is how the documentary Bangalogia from Angolan artist and director Coron D starts. While itmight seem like a harsh place to begin a film, the rest of the documentary does a rather convincing job of explaining why Angolan vanity is, in fact, something to celebrate.

Banga, the Angolan term for swag orstyle, is examined in detail. From the lowest rungs of Angolan society to the countrys cosmopolitan jet-setBanga were told is something vital to the Angolan peoples cultural future.

And if the film has a particularly nationalistic bent to it, well, D is also known as Jos Eduardo Paulino dos Santos, son to longtime Angolan president Jos Eduardo dos Santos. A renaissance man in the Angolan arts, D is a recording artist, soap opera creator and one of the people behind I Love Kuduro, a film that documented the Angolan dance music lifestyle. We spoke to D about Banga, Kuduro and what it means to be an artist living in the shadow of an autocratic father.

This interview has been edited for length and clarity.

Aaron Leaf for OkayAfrica: What is Banga?

Coron D:Banga is a synonym for style, for personality and for attitude. Youve got to combine those three elements into one word. What really drove me to make the documentary is that the concept of Banga in Angolan culture is not really about how you dress but about how you express yourself. But the visual expression is the more obvious one.

Right.

Because, see an African almost anywhere in the world, and youll notice that theres some sort of fashion statement happening. Even if were not trying. The way you dress is an expression of Banga. But the way you talk is an expression of Banga. As is, the way you cook. Basically, whatever is strongest in your personality will come out in that role.

Your mark on the world?

Yes, exactly. While the documentary is primarily about fashion, what really fascinated me was that in the past five or six years theres been a big interest in the African aesthetic. Not just in fashion, but overall. Theres a lot of African visual artists who are now getting more opportunities. African filmmakers. African musicians. African models in fashion. African fashion designers. People used to come research things about Africa and get inspired by it. Now people want to see what the African point of view is directly.

Its no longer an anthropological look. Its Africans themselves.

Exactly. People now no longer want to see what their cultures interpretation of African culture is. They want to see what someone from a specific part of Africa has to say about whatever they have to say. I think thats really interesting.

How did you get started?

After I concluded I Love Kuduro, which was about three years ago. I was fixated on looking at whats happening in Angolan style. I got involved with model scouting in the process.

In Angola?

Yes, in Angola. And then in South Africa. All of a sudden, I saw that it was a big splash. Especially with the few girls that I startednamely the Victorias Secret model Maria Borges.

Cool. We know her.

One of the first girls I scouted was her and Roberta Narciso, a girl that at the time did very well because she did a lot of shows where she was the only black girl. A lot of fashion media started picking up on, Okay, so theres only one black person in the show. Which was news itself because of the diversity conversation. But then she happened to be from a country that most people never heard of. Then Maria came along, and made a big splash.

I saw a lot of people that I knew from all other countries, again, getting architecture awards, visual arts awards. Our music started becoming more popular. I was like, Its time for me to buckle down and focus and start to research this a bit more cohesively. Thats how the process for Bangaologia started. It took me a while to actually get going, but especially last year was a time where I was filming, interviewing, and trying to get in touch with people. Getting the whole process going.

Is Banga analogous to the Les Sapeur movement in Congo?

Thats a question that I get very commonly. The things that I like to say is the Les Sapeurs have Banga. It is related in the fact that La Sap is an expression of Banga. Because Banga is what French people call the je ne sais quoi behind everything. But then, theres various forms of it being expressed. Sapeurs are more like an urban tribe with a very specific visual and behavioral code. Theres many others. Which is why, in the documentary, there is a college professora music researcherthat says, Even someone in a remote village, in a loin cloth, has Banga. Its more of how you carry whatever it is that youre trying to carry out.

What language does Banga come from?

One of the Bantu languages in the region. There are some commonalities between Angola and the Congo, since at one point it was all one kingdom. Im part Bakongo, because my moms family is from the North of Angola. There are some tribes that are the same, but now, since one side has Portuguese influence, the other side has Belgian, and the other one are French, some cultural differences started happening. But a lot of things are very similar.

What are some of the other expressions of Banga we should be looking out for? Are there other movements, subcultures, that have these labels?

Banga is the reason why a lot of people now are starting to tune into African cultural movements. Theyre becoming mainstream. The place where you see it the most is in fashion and music. Right now a lot of African influence is coming into pop music. Especially American pop music. Its been in European pop music for a while. But in American pop music its becoming quite relevant. And in fashion, a lot of the household names are now African.

A lot of the Angolan artists we interview in OkayAfrica are quite political. How does politics relate to your work if at all?

I like to steer clear from politics because it can be a distraction. I just try to focus on things that I find interesting. I try to develop my work very organically. I already am driven by inspiration, as opposed to trying to make a specific statement. But sometimes my work does make a statement. Especially some of my choices to include members of the LGBT community in my work which is very taboo in Angolan culture. That, I think, has been the biggest statement in some of my work. In I Love Kuduro, it was undeniable for me to do that because I was following Titicas career, for example. Its very funny that the first time that I worked with her, most people did not know she was a trans-woman. She actually had to reveal that. Once she revealed that to the world, it became controversial. She was a really awesome performer. No one had an issue.

Was she popular in Angola before?

Yes, before everyone knew she was trans. I worked with her before and after the process. After she revealed that she was a trans-woman, a lot of people stopped working with her. I was like, I see no reason why you should do that. She was still selling out shows. That was one of the things that we showed in I Love Kuduro. Although there was that very conservative and occasionally religiously or politically fueled rejection, at the time, people didnt necessarily agree, but they loved her work. That stood out. And those are the kinds of things I love to show. Which is why I say that sometimes if you get political, it can be distracting from actually showing an interesting moment thats happening. Thats why we would just love to focus on that.

Your family is political.

Well, yes.

So when you do stuff that goes against the grain, like LGBT rights, does that influence

Ive been censored from national television. And that made international news.

You get censored?

Oh yes. Its no secret. Its been covered by many international media because it was quite a recent case and obvious case. I did two telenovelas, like soap operas that were probably the most challenging, controversial, and wonderful pieces of work that Ive done. The second one got pulled off the air temporarily because, again, people were really into it but it did touch on some LGBT topics. It actually got taken off the air, but then viewers started complaining that they wanted to see what happened. They put it back on the air.

Are things changing in Angola?

In my opinion, people were more progressive maybe 10years ago than they are now. That has to do more with where the world is currently, as a whole. As opposed to just specifically one place. Our country is mainly people under the age of 25. A lot of the adults are very much under 40. People are connected to technology. They know whats happening. Theyre very wired. I think thats something people dont really realize, especially when theyre talking about African countries.

A lot of behaviors and attitudes that are very common, because we are in a global world, are very common to our global village as opposed to one place versus the other. And some things are generational. Thats why now, ironically, a lot of people are more conservative. I do portray a lot of that in my work. For example, I was raised by very strong women. By that I mean, when I was born, there was a civil war going on and women were at work. They were a very big pillar of the Angolan household, overall. Whereas now, I have young men, who are younger than me Im 32 but theres guys who are 25 who like to say that their wives should not be at work. Because they are the man they need to be the provider.

I think its interesting to talk about these subjects and create a conversation about them. I can say that I steer clear from politics, but theres a lot of people who like to take advantage of some of my work and try to push it in a political direction. Thats why the soap opera that I made got censored. Its not because theres not other LGBT subject in Angolan popular theater, in film, and even on TV. Its because people want to take my work in that direction. Thats just not where Im at, and Im not really interested in being political at all.

Angolan artists like Ikonoklasta, who weve interviewed before deal a lot with politics and freedom of speech in their work. Do you see your censorship as part of that same issue?

Were a very young society. I think that sometimes, I can chalk that up to a question of maturity. There are certain things that people take personally that you should look at objectively. Occasionally there is work that rubs certain people the wrong way and because of that there are consequences. Ive had that experience. Im pretty sure the artists youve mentioned as well. At the same time, I just keep working. I know theres an audience for my work. At the end of the day, I know it does get trickier when you have a political intention or drive in your work. Thats not really me.

Do you spend most of your time in Angola? Or overseas at this point?

I grew up in the Virginia-D.C. area. I went to college in New Orleans. After that I moved to Angola. Ive been in Angola the past 10years, almost 11years.

Do you worry about being overshadowed your family? Their politics?

Unfortunately, the big problem is that a lot of people are not objective enough to look at my work. They always want to find some hidden meaning. Or some conspiracy theory behind what Im doing. And it is tough. Ive spoken about this before. The simple fact that even in Angola, where Im sort of working, I always get heavily attacked by people in politics because Im doing something that has nothing to do with them. When I started my music career, interestingly enough, and still to this day theres a lot of media that will not play my work. Im not even talking about private. Im talking about public media that will not play my work. I just have to be okay with that and keep going and try to find someone to listen.

What are the issues people have with your work?

Well, no its not issues. I like to call it what it is. Prejudice and bias do exist no matter where you are. When people think you come from a place of privilege, there is also prejudice in that way. Its not only against people who probably would not be in that position. The other part of that still applies. I think it goes both ways. From a humanistic point of view, we already have to be very careful and keep ourselves in check.

Although we complain about biases about ourselves. I grew up abroad, so I did have to deal with other kinds of bias because of my ethnicity. Because of my nationality. I like to be very mindful of that. Everyday, pretty much since I was born, theres another kind of bias, as well, that I have encountered. Ive even had bias from teachers at school, both there and when I came to the U.S. because of that fact. It sort of negatively affected me in that way. It also presents a challenge that I have to overcome as a human being.

Youre also clearly a person with Banga yourself.

Right. We all have Banga, but then its our choice whether we choose to express it or not.

Okay, so its like a switch.

Exactly. Its a matter of confidence. For me to get to this particular point in the way that I express myself, whether its in the way I dress everyday or in my work, I had to build up my confidence a lot. I did not grow up as a very confident kid. I was usually the shy kid in the corner. At this point, Im at the point where Im confident enough to express a lot of these things creatively and also in my everyday appearance. Which is why I say that Banga is there, but its our choice on whether were going to tap into it, and how were going to tap into it. Theres many different ways. For example, I have an uncle whos a chef. His Banga is the fact that he makes the best pastries and the best lasagna ever. So hes very confident about that.

So, yes. Thats just an example. I have friends who are visual artists that a lot of the way they express themselves is very directly connected to visual communication. Across the board, its something that is like the essence. Banga is the essence of style but then how you express your personal style is your choice in how you choose to do it.

Aaron Leaf is OkayAfricas Managing Editor. Follow him on Twitter.

Read the rest here:
Angolan artist and filmmaker Coron D Photo: Patrice De Lemos - Okayafrica