Detroit is Different

  • Latest episode: “Misha Stallworth West on how watching a Rich Detroit Legacy in Community Leadership as a Child inspires her Today”
  • Latest episode: “The Piano Bench to the Picket Line: Bill Meyer’s Road from Music to Movement”
  • Latest episode: “Don’t Know the beauty of our Black City till You Leave: Aaron Foley on Being Raised on Detroit Culture”

  • Latest episode: “Misha Stallworth West on how watching a Rich Detroit Legacy in Community Leadership as a Child inspires her Today”
  • Latest episode: “The Piano Bench to the Picket Line: Bill Meyer’s Road from Music to Movement”
  • Latest episode: “Don’t Know the beauty of our Black City till You Leave: Aaron Foley on Being Raised on Detroit Culture”

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What Detroiters Should Expect if Mary Sheffield Becomes Mayor

“I wanted a red brick house in Detroit. That’s all I wanted.” In this Detroit is Different studio sit-down, Misha Stallworth West—Senior Program Officer at the Ralph C. Wilson, Jr. Foundation—traces a five-generation arc from Selma to Detroit and family full of community organizers. She remembers a “stoic” grandfather, and a grandmother Alma Stallworth nicknamed “the Rep,” whose fierce love for children helped shape the Northwest Activity Center, Beaubien Junior High, and the Black Caucus Foundation of Michigan’s drug, tobacco, and violence prevention work. Misha explains how growing up in meetings made her “a well-trained introvert,” and why she’s “never asked herself if I’m allowed to speak in any space—ever.” From Grant Park Chicago IL on election night of Barack Obama, to part of Detroit’s first school board after emergency management, she connects Legacy Black Detroit’s political education to today’s care economy. Her current focus is caregivers of older adults: “every time you go get a box for my auntie house, I’m talking about you,” and “you can’t pour from an empty cup.” This episode is a blueprint for how Detroit’s past-built institutions can power our next future. and how we honor elders.

“My life will be better if everybody else’s life gets better”—that’s the heartbeat of this Detroit is Different conversation with musician and lifelong activist Bill Meyer, where jazz isn’t just sound, it’s a human-rights practice. Bill takes us from his family’s Depression-era move from Canada to Detroit, to learning piano out of pure little-brother defiance—“the only way I could stop him was if I went and sat on the piano bench”—and into the moment he first saw racism up close as a child and knew something was deeply wrong. He breaks down how he didn’t understand “the politics” of jazz until college, when Vietnam-era organizing radicalized him, and he started naming the truth: “Jazz is black music,” and too often “the black people created it…and the white people made all the money.” From producing a 1987 Detroit tribute to Paul Robeson to building a 24-year jam-session institution at Bert’s, Bill calls community-building “a political project”—using music to cross lines, support Black business, and push peace and justice. This episode connects past movements to future ones with a simple charge: “Music is love…bring people together.”

“You don’t know that you live in a Black city until you leave.” Aaron Foley pulls up to Detroit Is Different with that truth and four generations of Detroit in his pocket—from Conant Gardens to the North End—unpacking how Legacy Black culture was built through homes, institutions, and the Black press. He paints his great-aunt Joyce’s house as “JoAnn Fabrics full of patterns and clothes,” a creative HQ where couture fashion shows happened in the living room, and laughs at family lore: “I kicked that man out of my dressing room,” his grandmother’s story after mistaking Lou Rawls for an intruder. From Pershing to Northern, Four Tops doo-wop to Smokey “out in these streets,” Foley shows how Detroit genius was neighborhood-deep. Then he brings it to the Michigan Chronicle, where he grew up watching the paper “come to life,” learning why “papers like The Chronicle…were very important in documenting our stories.” Now back at the Chronicle himself, he’s focused on “what kind of stories…you can only read this in The Chronicle,” writing pieces meant to “stand the test of time” and seed the next wave of Black journalists. This episode is a love letter to our past—and a blueprint for our future.

“It’s for the community. It’s about the community. It is community centered”—and Bryce Huffman brings that energy from the first minute, taking us from deep family roots (“Granddad… from Alabama by way of The Bahamas”) to the neighborhoods that raised him—Conant Gardens, Anderson Memorial, Bagley/University District—where “thank God because this is my city” isn’t just a line, it’s a life stance. In a conversation packed with Detroit geography, humor, and hard truth, Bryce breaks down how growing up across the city (and seeing the suburbs up close) shaped his lens on journalism, power, and Legacy Black culture—our churches, our hustles, our street-corner wisdom, and the stories outsiders miss. He opens up about the moment Ferguson flipped his purpose—“I can use these skills… to force people to talk about things that matter”—and how that throughline led him home to Bridge Detroit. Looking ahead, Bryce lays out a 2026 vision rooted in “civic accountability,” including Bridge’s Porchside series in District 5, where residents invite journalists into the neighborhood to talk solutions—because the future of Detroit depends on people knowing “what can you do about it?”

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