Archive for the ‘ Uncategorized ’ Category

Awards Eligibility Post 2020

It’s that time of the year, for all the good little authors and creatives to post their lists of eligible works as we head into the SFF awards season. I have a novella, a novelette, and a couple short stories for consideration.

NOVELLA

Sorcerers (NeoText Books)

EXCLUSIVE: AMC has optioned the rights to Sorcerers, a novella by co-writers Maurice Broaddus and Otis Whitaker and featuring illustrations by internationally renowned artist Jim Mahfood, with plans to adapt it into a series. The short story is a psychedelic urban fantasy about a 30-year-old man from Harlem who comes into his own as a hip hop-inspired sorcerer. It follows Malik Hutchins, the black sheep to one of the most successful families in Harlem. Malik couch-surfs with relatives, parties with his girlfriend, and ghostwrites rhymes for local rappers for a few bucks to finance his lifestyle—but when cocky Malik sells two warring rappers the same verse, he paints a target on his own back. Then on his deathbed, Malik’s beloved grandfather Pop-Pop reveals that Malik is a sorcerer, in the great tradition of African sorcery born on the plains of the rift valley before the beginning of time. Malik is thrown headlong into a quest that winds through the streets of Harlem, to the rural South, and places much farther beyond, places he’s only visited in dreams…

NOVELETTE

“Bound By Sorrow” in Beneath Ceaseless Skies

From SFF Reviews: “Thematically, this novella is about grief, death, and choices. It is also a story about the power of stories. Its main character, Dinga, and his wise-ass friend, Gerard, are on a quest to deliver Dinga’s dead sister to a city where gods reside, the Dreaming City. Along the way, their journey is interspersed by stories told by Dinga and others they encounter. These narratives give a story-within-a-story feel to the piece that help further illustrate Dinga’s life and mission while building a richly layered history and mythology. You may need to read the story twice to fully grasp all its nuances, but your time will be well spent.”

SHORT STORIES

The Legacy of Alexandria in Apex Magazine
“Cities of Refuge” in Escape Pod

Some of the SFF awards:

Nebula Awards
If you’re a member of the SFWA (any type), you can nominate a work for the Nebula Awards right now. The deadline for nominations is February 15, 2019 at 11:59 PM PST.

Hugo Awards
Nominations for the Hugo Awards aren’t open yet, but they will be early in 2020. In order to nominate and vote in the awards, you must be an attending or supporting member of Worldcon 77 (last year’s), Worldcon 78 (this year’s), or Worldcon 79 (next year’s).

World Fantasy Awards
Attendees of the World Fantasy Convention can nominate works to be considered for the World Fantasy Award.

Stories on Serial Box!

A couple stories of mine have been published on Serial Box:

El is a Spaceship Melody

Originally published on Beneath Ceaseless Skies, it’s now narrated by Eboni Flowers over on Serial Box. “On a spaceship powered by jazz, the ship’s AI approaches sentience while dissent builds between the captain and a group of rebels who want to change the music.”

The Migration Suite: A Study in C Sharp Minor

Originally published on Uncanny Magazine, it’s now narrated by Eboni Flowers over on Serial Box. “The movement—both willing and not—of African people, from prehistory to the stars. A story told in five stanzas.”

Ache of Home

Another story originally published on Uncanny Magazine. It’s narrated by Chante McCormick. “A Black woman living in a food desert in Indianapolis uses her innate magic to oppose the forces trying to destroy her neighborhood.”

“DREAMING OF A BETTER WORLD” – Indiana Library Federation Conference

Here’s the text from my talk at the Indiana Library Federation Conference. Thanks to Indiana Humanities for the opportunity.

“DREAMING OF A BETTER WORLD” aka How Pimp My Airship Came to Be

Back in 2009, a horror writer wondered why I kept talking about my latest story, “Pimp My Airship,” because it was such a departure from what I usually did. I’d spent the previous ten years building my reputation as a horror writer, having already published a couple dozen short stories by that time. But I sensed, even then, that this story was the beginning of something new for me. A new direction. A new potential. Because I was looking to write something new.

Now some of you know how the story “Pimp My Airship” came into being. It began as a joke on Twitter. I didn’t know much about the steampunk genre. Folks dressed in Victorian clothing and there were a lot of gears … that was about it. Enough to make a joke on Twitter: “I’m gonna write a steampunk story with an all-black cast and call it ‘Pimp My Airship.’” That was it. That was the post. I was ready to move on but then a half dozen editors reached out to me for me to send the story to them when it was finished.

I’m never so published, especially then, that when an editor asks to see work that I’d pass up the opportunity. But I knew that I needed to do more research on the genre.

Steampunk is weird to explain. It’s a retro-futuristic subgenre that mixes future technology and aesthetic designs with culture inspired by the 19th-century Victorian era. Basically, imagine alternate histories where future tech is powered by steam. Think H.G. Wells, Jules Verne, The League of Extraordinary Gentlemen.

So I began reading a lot in the genre, mostly short stories. The anthology Extraordinary Engines and the VanderMeer’s anthologies, Steampunk and Steampunk II. After several dozen stories, I couldn’t escape this feeling that this genre had this weird … unspoken longing. Like it looked by to the good ol’ days … without people that looked like me. It was like a subgenre with a near systematic erasure of black people.

And I was like … “I can’t do this.”

But I really wanted to send something to these editors. So I popped in some Parliament-Funkadelic and began dreaming. I got caught up in their mythology, starting with the Star Child and the idea of a Bop Gun, and imagined an alternate history. One where America lost the Revolutionary War and remains a colony of England. I’m also a British citizen. One where Jamaica is its own world power. My mom’s a Jamaican citizen. One where black people are in the world and a part of the culture. I’m, uh, black.

I began telling the tale of three conspirators:

A lay-about named Sleepy

A professional social agitator named 120 Degrees of Knowledge Allah

A rogue, female scientist named Deaconess Blues

United to free the Star Child, a popular social activist and community organizer, from prison. Three of my favorite characters I’ve ever created.

The story was published in Apex Magazine. Its editor, Jason Sizemore, was a huge champion of the original short story. I originally sent it to him for an anthology he was editing because Apex was on hiatus. He wrote me back and said “I’m rejecting this story because it’s too good for this anthology. I’m bringing back Apex, let me publish it in there.” 

The story was well-received. Um, really well-received. Requests began pouring in for more stories. Hang on, let me back up: there was one critique, a constant in many of the reviews. Folks kept saying that I’d crammed a whole novel into a short story. People wanted to see more of the world. Well, two things:

-One, I do the same level of world-building work for a short story as I do a novel

-Two, they were only paying me for a short story. So that’s all they were getting.

But the requests came in which gave me the excuse to build out the “Pimp My Airship” world a bit.

            -I wrote more about Deaconess Blues and her history at Oxford University

            -I wrote about Knowledge Allah and his involvement with his activism

            -I wrote about the Star Child, first in a Jamaican steampunk novelette, then in my novella, Buffalo Soldier

Soon I had over a dozen stories, novelettes, and novella … but I never wrote about Sleepy.

A few years ago, not long after Buffalo Soldier sold in 2015, I began thinking about what I wanted to do with the rest of my life. I was in a sales job, in my early 40s, and I had given myself permission to dream about possibilities for my life. I wanted to make a difference. I wanted to make my community a better place. I wanted to make my world a better place, leave a legacy worthy of my children.

But I’m just a writer.

I was talking about making a major leap from my job to re-create my life with purpose and intentionality, but the only recent thing on my resume, my main skillset, was being a writer. I had no idea how to go about leveraging my gift for the benefit of community, no idea what a possible job or future could look like—and mind you, none of this process made my wife, mother of my two children, nervous at all—so I did what I always do when I’m unsure about things.

I wrote.

Now you have to understand that I write for me. I’d never tried to turn a short story into a novel before, so it was an interesting experiment.

Thus I returned to the world of “Pimp My Airship.” Particularly Sleepy. I wanted to work some things out in my head and Sleepy was the perfect vehicle. I was inspired by my friend J.J., a poet and rapper. Watching him with his gift, not even realizing how gifted he was.

At the same time, I was looking at what kind of art-based work was going on in my community. a journey that took me through Second Story to The Learning Tree to the Kheprw Institute.

Mirroring Sleepy’s journey, starting in a spot where you’re comfortable in life. Got a 9-5, bills paid, and can do a little thing of his own at night at a poetry spot. You know, life was comfortable. That “I gots mine” mentality.

Only to have your world intruded upon and expanded by the reality of the system that controls the pillars of your world:

-redlining

-over-policing

-predatory capitalism

-poverty criminalized

-mass incarceration

-Given the context of turn of the century Indianapolis to add the weight of history to the lens of viewing those issues.

-Being opened up to the reality that the world is bigger than “the I”—that there’s in fact a “we,” your community—that puts “the I” in context.

-What it means to examine your gifts, use them to find and define your voice, and organize into a chorus of voices that can leverage change.

All while having a fun romp.

Because I gots jokes. This entire journey began with a joke and the name of the book is still Pimp My Airship. And while I want to make you think, the other part of my job is to entertain.

Can I tell you a secret? This book was never supposed to be published. Like I said, I write for me. Once it was finished, I put it in a drawer. I’d just signed a two-book middle grade book deal and was mid-doing the work of what would be a three book science fiction deal. In 2018, I was a co-host of the podcast Writing Excuses. On one episode, I was asked about the strangest hero’s journey I’d written. So I talked about Sleepy.

He’s a dude who just wants to be left alone so that he can enjoy his little corner of the world. Every character has to have a motivation, a goal, some thing they are trying to achieve or work toward. Well, Sleepy just wants to get high. And I won’t let him. I keep piling ever increasing obstacles in front of him just to keep him from getting high. Criminals underworld. The Klan. Riots. Prison. Giant robots. You know, the usual.

When the episode aired, my inbox started filling with people asking where they could get the book. I couldn’t just say “in my drawer,” so I reached out to Jason of Apex Books. He’s my friend, but I also respect his taste as an editor. It was a weird conversation.

I said “as a friend, I need you to look at some pages and tell me if I have something worth revisiting to get it into publishing shape.” And I sent three chapters.

He said “Yes you do. I’ll take it.”

“You can’t just call dibs on stuff.”

“Well, I’m about to announce that this book is coming out in May, so you better start working on the re-write.”

We were now friends. We could negotiate like that. Plus, I secretly wanted the project to land at Apex to bring things full circle. I wanted to write something that would excite him as much as the original story had.

He called dibs in October of 2018. Pimp My Airship was published in May of 2019. And the whirlwind around this book hasn’t stopped.

I have to say, I’m pleased with how the book has landed with readers. And it has been recognized. It’s changed my life in a lot of ways, took my writing in a different direction, but the key was in why I wrote the book in the first place. The journey started by giving myself permission to dream.

When you have a clear picture of what you want to work toward in the future, you can create a roadmap to begin those first steps in the present. Figure out what your gifts are, what you’re passionate about, and live your life in light of that. Be a part of a community that you can dream alongside. One who holds you accountable. Who sees your potential and keeps pushing you to be the best version of you.

In the end, that’s what Pimp My Airship is about.

Thank you for listening.



Join us for a special Afrofuture Friday (A Mo*Con sponsored Saturday edition) where we get to talk to two exceptional creators: Nisi Shawl and K. Tempest Bradford. We’ll be discussing their work as Afrofuturists and their Writing the Other workshop.

Date: Saturday, November 14th Time: 4:00pm

BIOS

Nisi Shawl, winner of the 2019 Kate Wilhelm Solstice Award, wrote the 2016 Nebula Award finalist Everfair (Tor) and the 2008 Tiptree Award-winning collection Filter House (Aqueduct). Their stories also comprise the contents of PM Press’s 2019 Talk like a Man and Dark Moon’s 2018 Primer to Nisi Shawl, and they have edited and co-edited numerous anthologies such as New Suns: Original Speculative Fiction by People of Color. In 2005 they co-wrote Writing the Other: A Practical Approach. Shawl helped found the Carl Brandon Society, and serves on the board of the Clarion West Writers Workshop. They live in Seattle and take frequent walks with their cat.

K. Tempest Bradford is a science fiction and fantasy writer, writing instructor, media critic, reviewer, and podcaster. Her short fiction has appeared in multiple anthologies and magazines including Strange Horizons, PodCastle, Sunspot Jungle, In the Shadow of the Towers, and many more. She’s the host of ORIGINality, a podcast about the roots of creative genius, and contributes to several more. Her media criticism and reviews can be found on NPR, io9, and in books about Time Lords. When not writing, she teaches classes on writing inclusive fiction through LitReactor and Writing the Other.com. Visit her website at ktempestbradford.com.

RESOURCES

Carl Brandon Society

Take a Tour Through the History of Black Science Fiction

A Crash Course in the History of Black Science Fiction

Must Read List Of Speculative Fiction By Writers Of Color

Writing the Other classes

Who Gave You the Right to Tell That Story? Ten authors on the most divisive question in fiction, and the times they wrote outside their own identities.

How Not to Be All About What It’s Not All About: Further Thoughts on Writing About Someone Else’s Culture and Experience

How to Unlearn Everything When it comes to writing the “other,” what questions are we not asking?

Chesya Burke’s story “Say, She Toy”

Tempest Bradford’s “Androids and Allegory

Nana Nkweti – Walking on Cowrie Shells

The Fourth and Most Important by Nisi Shawl

Zin E. Rocklyn works



Afrofuture Fridays brought to you by a partnership with folks we’d like to thank:

Writing from the Center/Writing from the Crossroads

Description: What does it mean to write from the center? In Indianapolis, the Crossroads of America, we’ll consider the many facets of “center:” the position and perspective a writer takes, how place and geography influence written works, and the core self that the writing process engages, to name a few. We’ll also explore “crossroads moments:” the point of no return in a poem, story, or essay, and the lived experiences that may have influenced that moment. This session intends to highlight Indiana writers and writing, offering conference goers an opportunity to interact with practicing writers who are actively writing and participating in literature-based community events throughout Indianapolis and the state of Indiana. The audience will be invited to participate in the conversation, to deepen the connections forged around the idea of “the center.” Panelists: Sarah Layden, Indiana University-Purdue University Indianapolis; Callista Buchen, Franklin College; Maurice Broaddus, independent author; Terry Kirts, Indiana University-Purdue University Indianapolis

Indianapolis is the place that I’ve called home since I was ten years old. I set most of my stories here. The theme of identity is common in much of my work and Indianapolis is where my roots are, my social network, my community, all the things that are pieces of my identity. So I feel like I am constantly interrogating the idea of what home means.

A few years ago, not long after my novella, Buffalo Soldier, sold in 2015, I began thinking about what I wanted to do with the rest of my life. I was in a sales job, in my early 40s, but I had given myself permission to dream about possibilities for my life. I wanted to make a difference. I wanted to make my community a better place. I wanted to make my world a better place, leave a legacy worthy of my children.

But I’m just a writer.

I was talking about making a major leap from my job to re-create my life with purpose and intentionality, but the only recent thing on my resume, my main skillset, was being a writer. I had no idea how to go about leveraging my gift for the benefit of community, no idea what a possible job or future could look like—and mind you, none of this process made my wife, mother of my two children, nervous at all—so I did what I always do when I’m unsure about things.

I wrote.

The Learning Tree – learn your neighbors

At the same time, I was looking at what kind of art-based work was going on in my community. a journey that first landed me with the grassroots organization, The Learning Tree. The Learning Tree has been doing community building work in the United Northwest Area (UNWA) neighborhood since 2010. When I joined in 2016, one of the projects we did was called the Portfolios of Joy. I would go and learn the gifts and talents of the neighbors. What were they passionate about? What moved them to get out of bed in the morning? What skills could they teach to someone else in the community?  And I would talk to other neighbors to see how they saw each other. When I was done, I would compile the stories of the neighbors.

We were gearing up for Open Bite Nite II.  Open Bite Night launched from the porch of one of our neighbors, my sister as a matter of fact, to encourage local businesses and artists. It came in the wake of a spate of police violence toward the African American community. The event proved to be a healing one, allowing residents to grieve and protest while celebrating community. For Open Bite Nite II, we were setting up an open-air gallery of art. You see, 25 doors had been dumped in an alley in the neighborhood, a perfect metaphor of how the neighborhood was seen from the outside: someone in the city decided we were no longer useful or had any value so we’d been discarded and left to be forgotten. One of our artist neighbors came up with the idea to have the artists in our community paint their stories on the doors. While some of our neighbors working on setting up the art display, I passed out the Portfolios of Joy.

Well, they read their stories on the spot (nothing is more nerve-wracking for a writer than having people read your work in front of you, because you’re going to be looking for that immediate feedback). I waited. And waited. And waited. Wanting to see their reaction. But then they started swapping the stories with each other like they were collector cards. Asking each other “is this who I am?” “Is this how I’m seen?” Why? Because our culture doesn’t often see us for who we are. We’re labeled, we’re discounted, we’re invisible. Unless some aspect of the system needs someone to blame. But to have who you are, the blessing of what you bring to the community, reflected back at you, it can be life affirming. That’s the power of stories.

The Kheprw Institute – Resident Afrofuturist

I moved on to work with the Kheprw Institute. KI is a nonprofit organization focused on empowering youth and building community wealth in Indianapolis since 2003. I’m their resident Afrofuturist. Many organizations have futurists on staff, people using their vision and skillset to consider new alternatives or be a guide to navigate current circumstances. Futurists by definition look for new ways of examining our society, technology, and the world to extrapolate and create blueprints and roadmaps to innovate tomorrow.

With an Afrofuturist lens, however, that visioning is rooted in black history and culture to create a vivid picture of what the world could look like.

For KI, a resident Afrofuturist represents a public statement of the attitude and mindset of the organization and community, about creating desired future states in the present by constantly re-imagining the work and the way the community moves through the world.

We live in a culture that doesn’t value imagining as a skillset. But we also live in the midst of collapsing systems that are past reforming and require radical re-imagining.

By strange coincidence, I just had a story published a couple days ago. “The Legacy of Alexandria” in Apex Magazine. It’s about a community organization full of books used to train up future leaders (in a near apocalyptic version of Indianapolis). Basically, a story about finding resilience, purpose, and identity through the power of books. The power of stories.

My Work

Part of my work involves hidden worlds. With Knights of Breton Court, I retold the legend of King Arthur through eyes of homeless teenagers, set here in Indianapolis. I had been working as a volunteer at the homeless teen ministry, Outreach Inc, at the time. I used magic as metaphor for homelessness. Again, with the idea of making the unseen seen.

I also love secret history, the hidden stories. I returned to the world of a short story I’d written a decade ago, “Pimp My Airship.” I wanted to tell the story particularly through the eyes of a poet named Sleepy. I wanted to work some things out in my head about what it means to leverage your gift, your art, for change in the community.

Sleepy’s journey started in a spot where he was comfortable in life. Had a 9-5, his bills paid, and he could do a little thing of his own at night at a poetry spot. You know, life was comfortable. That “I gots mine” mentality.

Only to have his world intruded upon and expanded by the reality of the systems that control the pillars of his world:

-redlining

-over-policing

-predatory capitalism

-poverty criminalized

-mass incarceration

Using the trappings of the subgenre steampunk allowed me to tell this story within the context of turn of the century Indianapolis in order to add the weight of history to the lens of viewing those issues.

-Being opened up to the reality that the world is bigger than “the I”—that there’s in fact a “we,” your community—that puts “the I” in context. A greater story that puts your story in context.

-What it means to examine your gifts, use them to find and define your voice, and organize into a chorus of voices that can leverage change. To learn the stories of your neighbors and join them into a force.

Conclusion

The power of story. Now you have to understand that I write for me. But part of me writing for me is telling the stories of and within my community. My community work informs my writing and my writing informs my community work. That’s what writing from the center looks like for me.

Re-Group – 11/11/20 (w/ Anna Powell Denton)

You are an entrepreneur with Anna Powell Denton

Are you a hustler? Is your creative practice a business? Should it be? Anna’s answers to these questions keep her creative life nimble and thriving even in uncertainty.

– Redefining yourself: how do you promote yourself to create the work you want to do?
-How do you define entrepreneurship for yourself? What are the qualities you could build something with?

Anna Powell Denton is a photographer and filmmaker based in Bloomington, Indiana. She works with both digital and film formats specializing in editorial portraiture and documentary photography.

“The Legacy of Alexandria” in Apex Magazine

In what be my last story for Apex Magazine for awhile (since I’m not its special fiction editor), my story “The Legacy of Alexandria” appears in the promotional mini-issue of Apex’s return from hiatus.

The Library of Alexandria

Rahim dragged a shopping cart of his belongings along the cracked sidewalk. With the highways flooded, he followed the dense foliage lining the creek which wouldn’t be much cover for him much longer if he were intent on making his way deeper into the neighborhood. If it were night, he’d be following the drinking gourd, finding the brightest jewel in the sky and following its direction. By some movement stirring his spirit he couldn’t explain, he just knew it was the right way.

Continue reading here.

“City of Refuge” in Escape Pod: The Science Fiction Anthology

The fifteenth anniversary of the Hugo-nominated science fiction podcast Escape Pod, featuring new and exclusive stories from today’s bestselling writers.

Celebrate the fifteenth anniversary of cutting-edge science fiction from the hit podcast, Escape Pod. Escape Pod has been bringing the finest short fiction to millions of ears all over the world, at the forefront of a new fiction revolution.

This anthology gathers together fifteen stories, including new and exclusive work from writers such as from Cory Doctorow, Ken Liu, Mary Robinette Kowal, T. Kingfisher and more (including ME!). From editors Mur Laffterty and S.B. Divya comes the science fiction collection of the year, bringing together bestselling authors in celebration of the publishing phenomenon that is, Escape Pod.

City of Refuge by Maurice Broaddus

Hope was a fickle bitch. Mercurial and quixotic, the kind of woman you spent the whole week getting ready for only to have her cancel the date at the last minute.

The world was ending, but Royal Parker still had to go through the motions of a job interview. He knew as soon as he sat down across from the manager—in his ridiculous red and white striped shirt and paper hat—that he wasn’t getting the job. Despite the assurances from the Liberation Investment Support Cooperative, the corporate entity controlling the state’s infrastructure, jobs were scarce. He hated that even part of him wanted this person’s approval, that this idiot pretending to have authority held the keys of opportunity. Still, Royal tried to do all the things his counselors recommended. He shook the manager’s hand, his large, meaty hand engulfing it like a shark devouring tuna. Royal attempted to shrink into his seat to hide his hulking build, a man used to many hours a day lifting weights. As the manager bridged his fingers in front of him, Royal could see him assuming what his story was without so much of a glance at his resume dancing before him as a series of holographic projections. He’d taken note of Royal’s cautious shamble, his one eye constantly on alert over his shoulder; his cornrows, nice and neat, revealing the barest hint of gray budding at his temples. He’d always wanted to wear a linen suit for as long as he could remember. When he was inside, such a suit had the feel of reaching for something he couldn’t attain. Not that things were much different now. Sitting up straight as to not cause a crease in it, Royal smiled his best, safe, toothy grin.

Continue reading by buying this great anthology.

[PATREON] OCTOBER AND NOVEMBER ROUND UP

Well panel season is just about over. In the last couple weeks alone I did:

Future Telling: Past, Present, (Afro)Futurism Podcast

Multiverse Convention 2020 (Virtual)

Science Fiction and Christian Hope Panel (Upper House)

This year’s official school photo aka Mr. Broaddus 2020

And I sold a couple of short stories which I am quite pleased about (look, I never take story sales for granted and these were pieces I am quite proud of so I’m excited that they found good homes).

With that in mind, I really appreciate the support to my Patreon, which helps me continue to be active in the community. With that in mind, these months (since I was apparently slacking last month and didn’t do a round up) we look at:

-[AWESOME PICS]: with a Broaddus family photo shoot (and a return to pics of Ferb, since that’s who you all really want to see)

-[AWESOME BLOG]: some thoughts on social media privacy and lessons learned along the way to a debut novel

[BONUS AWESOME BLOG POST] My First Halloween aka Why I’m Not a Halloween Guy – a public post. Enjoy!

-[AWESOME PIMPING]: “The Mis-Education of Kurt Vonnegut” (a lost essay/story) and a peek at my upcoming middle grade novel, Unfadeable.

-[AWESOME COMMUNITY]: an update on the latest goings on in the community, plus a focus on our RE-GROUP project.

As always, I appreciate your support of my Patreon. Words cannot express how encouraging it is, especially during these dark times. I really appreciate it…and each and every one of you. Thank you!

I launched a Patreon because some friends wanted a way to help support the work that I do in the community. If you would like to support it (and receive updates on the work that’s being done) please feel free to join. Thank you so much!
Become a Patron!



Re-Group – 10/28/20 (w/ Diop Adisa)

TONIGHT (10/27/2020) AT 7 P.M. EASTERN TIME
HOW TO STOP LIVING IN SCARCITY WITH DIOP
Why are finances so difficult? Maybe money will never be enough. Maybe our economy is a complete illusion. How would life be different if money didn’t exist? If you’re feeling like resources are scarce, let Diop introduce you to community wealth. This conversation is perfect for both your anti-establishment friends and your those with stocks and bonds. Let’s find abundance.

ABOUT DIOP
Diop Adisa was born and raised in Indianapolis, Indiana. He attended Broad Ripple high school and IUPUI. He has been with the grassroots community organization Kheprw Institute (KI) since inception back in 2003. To describe him simply, he’s an artist, activist and entrepreneur. He’s also an independent hip hop artist who has worked within the Indianapolis hip hop community for the past 15 years.

“Abundance is tied to creative energy, and nothing is out of reach,”Diop Adisa shared last night in Re-Group: Virtual Working Group for Creatives.

These ideas are great, but how will you make them happen in your own life and practice?