This week on MichMash, Democratic House Minority Leader Ranjeev Puri (D-Canton) joins the show to talk about ongoing tensions between parties within the Michigan Legislature.

Before that, host Cheyna Roth and Gongwer News Service’s Zach Gorchow discuss news this week that Secretary of State Jocelyn Benson violated campaign finance laws when announcing her bid for governor inside a state-owned building.

Subscribe to MichMash on Apple Podcasts, Spotify, NPR.org or wherever you get your podcasts.

In this episode:

• Michigan AG finds Jocelyn Benson violated campaign finance act
• ‘Political theater’ creating gridlock in the Michigan Legislature
• Puri’s working relationship with House Speaker Matt Hall

In a determination released by the Michigan Attorney General’s Office on Monday, Dana Nessel found that Benson violated the Michigan Campaign Finance Act by holding a press conference in the lobby of a state office building to announce her bid for governor.

Benson has denied the violation, saying she had planned to make the announcement outside the building after filing her paperwork, but moved it to the lobby because it was freezing cold. 

“The law does exist for a reason,” said Gorchow. “[To] prevent government officials from using taxpayer resources for political purposes. Benson’s campaign should’ve rented a facility to hold this press conference. The cost to taxpayers was zero…but Republicans will argue that Benson conveniently ignored the law she’s supposed to enforce, when it came to her own activities.”

Speaking with Roth and Gorchow, Rep. Puri said the Michigan Legislature is “at a crossroads for what the vision of Michigan could be,” calling much of what the governing body accomplished this year unproductive and “political theater.”

“For things to get done there needs to be true bipartisanship,” he said. “Until that changes we will continue to see the gridlock we’ve been seeing.”

Roth noted the strained relationship between Puri and Michigan House Speaker Matt Hall (R-Richland Township). Puri said he attempted to have a handful of conversations with Hall early on to encourage healthy bipartisanship, but it hasn’t led to meaningful dialogue.

“I’m not a reporter, I’m not President Trump, I don’t think [Hall] has much interest in talking to me,” Puri said. “But jokes aside, you know I think, again, Speaker Hall is engaged in being an actor of political theater. I am taking a much more pragmatic approach here; I understand that we are in split government.”

Puri said with billions of dollars in federal cuts looming over the state, it’s more important than ever for state legislators to work together to find bipartisan solutions.

“There’s a whole host of things that we should be doing to protect Michiganders, from the tariffs, the economic uncertainty…there’s a lot of problems headed Michigan’s way, but here we are continuing to talk and fill the room with distractions and just an unserious approach,” he said.

–WDET Digital Editor Jenny Sherman contributed to this report.

More from WDET:

• MichMash: Michigan House comes to dramatic close, adjourning early
• GOP oversight chair wants Benson to testify on disclosure site glitches
• House GOP, Dems at odds in chaotic budget fight

This weekend is Movement Electronic Music Festival in Detroit, which means Hart Plaza will be packed with Techno fans and legendary DJs from around the world. In this guide, we’re highlighting some Movement-adjacent events going on around the city, plus some live concerts, ambient art and multimedia exhibitions for when you need a break from the bass.

Plus, juried art fairs and the return of your favorite backyard comedy show. Read on to learn more.

Movement side-parties

Techno Christmas 2 at The Old Miami | Friday, May 23 from 4 p.m. to 2 a.m. — A Movement pre-party featuring music from Eddie Fowlkes, Milan Ariel Atkins, Nick Speed b2b Sheefy McFly and more. Admission is $10 or $5 if you come in Christmas attire.

Shigeto presents: Live and Direct at Spot Lite Detroit | Sunday, May 25 from 3–9 p.m. — A day party featuring all live sets spanning funk, jazz, beats and more. Performers include Charles Trees, Salar Ansari, Kenjiro, Pablo R. Ruiz and WDET’s own Shigeto (host of The New Music Show Saturdays at 8 p.m.). Admission is $40 online.

Move! at UFO Bar | Sunday, May 25 from 4 p.m. to 2 a.m. — A full-day sonic celebration highlighting Black DJs and producers from all over the country, featuring open DJ workshops from 4–7 p.m., followed by drinks and dancing until 2 a.m. The lineup includes Mike Clark, Huey Mnemonic, Planet KaiA and more. Admission is $29 for the party and $5.50 for the workshops.

Movement Rewind on WDET | Friday, May 23 through Sunday, May 25 from midnight to 3 a.m. — A broadcast of past Movement performances from Huey Mnemonic, DJ Minx, Audion b2b Ryan Elliott, Sama’ Abdulhadi, Stacey “Hotwaxx” Hale and Seth Troxler. We’ll also be playing Movement highlights during In The Groove on Monday, May 26 from noon to 3 p.m. Listen live at 101.9 FM, wdet.org/listen-live or the WDET app.

Dive deeper

Waltz of a Ghetto Fly at Wayne State University’s Elaine L. Jacob Gallery | Friday, May 23 through Saturday, Sep. 20 — An exhibition in the gallery’s lower level honoring Amp Fiddler, a prolific musician and producer who left a lasting impact on hip-hop in Detroit and around the world. There will be an opening reception on Friday, May 23 from 5–8 p.m., after which the exhibition will be accessible Wednesdays and Thursdays from noon to 5 p.m., Fridays from noon to 7 p.m., and Saturdays from noon to 5 p.m.

Those Who Keep Strange Hours at Wayne State University’s Elaine L. Jacob Gallery | Friday, May 23 through Saturday, Sep. 20 — An experimental multimedia exhibition in the gallery’s upper level featuring Detroit-affiliated artists and collectives whose work spans visual art and music, including pieces by John Ikera, Beverly Fresh, Jeff Mills, Pure Rave and Sterling Toles. There will be an opening reception on Friday, May 23 from 5–8 p.m., after which the exhibition will be accessible Wednesdays and Thursdays from noon to 5 p.m., Fridays from noon to 7 p.m., and Saturdays from noon to 5 p.m.

Urban Art Orchestra residency at Cliff Bell’s | Thursday, May 22 through Sunday, May 25 — A four-night celebration of Detroit music coordinated by Grammy-nominated bandleader De’Sean Jones. Showtimes are at 7:30 p.m. and 9:30 p.m. each night. Cover is $35.

More art festivals

The Potluck Detroit at Talking Dolls Studio | Friday, May 23 through Monday, May 26 — A free four-day art and music festival intended to create safe spaces for the community to heal together through art, music, poetry and food. Performers include Ideeyah, Tall Black Guy, Joel Fluent Greene and more.

Reset Fest 2025 at Batch Brewing Company in Corktown | Saturday, May 24 and Sunday, May 25 at noon — A free two-day festival featuring soothing, ambient music and visual art. Artists include John Beltran, Kevin Reynolds, Robert Guzman and more.

Kensington Metropark Art Fair in Milford | Saturday, May 24 through Monday, May 26 — A three-day art fair featuring 100 juried artists, a ten-ton sand sculpture, food, music and more. Admission is free with a Metropark pass.

Comedy

What’s So Funny About Detroit? at the Old Miami | Thursday, May 29 from 7–9:30 p.m. — WDET’s backyard comedy show returns for 2025 featuring comedians Josh Adams, Brett Mercer, Zech, Mary Spencer, Johnny Mocny and music from DJ Thornstryker. Doors open at 6 p.m. and the venue is 21+. Tickets are $25 in advance or $30 at the door.

WDET’s CuriosiD series answers your questions about everything Detroit. Subscribe to CuriosiD on Apple Podcasts, Spotify, NPR.org or wherever you get your podcasts.

In this episode of CuriosiD, we answer the question:

“Fortune Records recorded Detroit artists for 25 years — just a mile from WDET. Can you tell us the story and play us some music?”

WDET listener David Perry was perusing the stacks at Ann Arbor’s Encore Records when he stumbled upon a three-disc compilation album with 60 tracks — ranging from R&B and doo-wop to hillbilly, rockabilly, blues and gospel — all recorded at the now defunct Fortune Records in Detroit.

“It was $9.43 and it turned out to be a real bargain,” Perry said.

It was his first introduction to the pioneering mom and pop label, which — as a music lover — led him to wonder why he hadn’t ever heard of it before. So, he turned to WDET to find out more.

The short answer

Fortune Records was founded by husband and wife Jack and Devora Brown in 1946. It operated in Detroit for more than 30 years under the Fortune name and other subsidiary labels, recording a diverse range of artists and genres.

The label produced many local stars throughout the ’50s and ’60s out of their small studio on Linwood Avenue — and later on Third Avenue in the Cass Corridor — but the couple’s hesitancy toward licensing and distribution deals and a devastating accident would eventually hamper their success.

The ‘Myths and Mysteries’ of Fortune 

To help us learn more about this otherworldly Detroit gem and why it faded into obscurity, we headed to Hamtramck to speak with a man who, for all intents and purposes, wrote a textbook on the subject.

Michael Hurtt is a Detroit area writer, musician, and music historian. He co-wrote the book “Mind Over Matter: The Myths and Mysteries of Detroit’s Fortune Records” with his long-time friend Billy Miller, who sadly died four years before the book went to print.

“That was brutal,” Hurtt said of Miller’s death. “And to have to finish it without him would have been more difficult, had we not had an absolute cosmic connection over this stuff.”

At 576 pages, the book has been referred to as “the brick” or “the bible” for its heftiness. It took more than a decade to complete.

Still, Hurtt admits there were many mysteries associated with the label that they never did get to the bottom of.

“When Billy and me were marveling at this incredible story and asking ourselves, ‘Why did they do this? And why did they do that?’ It doesn’t make any sense…” Hurtt said. “A lot of times, we didn’t know the answers, and we never found them.”

The couple behind the label

Fortune’s story begins in the early 1940s with Jack and Devora Brown, a young, middle class Jewish couple in Detroit who had hopes of breaking into the music business.

Born in Cleveland, Ohio to immigrant parents, Devora was a talented songwriter and composer who dreamed of selling her music in Tin Pan Alley — New York’s historic music publishing district.

Jack studied accounting at Wayne University and spent most of his life in Detroit.

After striking out with publishers in New York City, the couple launched their own publishing company in 1943.

“Trianon Publications was the name of their company,” Hurtt said. “Jack founded it just sort of like, because he wanted her dream to come true, ya know? And then they just started the label in 1946.” 

And just like that, Fortune Records was born.

Without a studio space of their own, they recorded the label’s first hit at United Sound Studios on Second Avenue.

“A song called ‘Jane (Sweet as Summer Rain),’ that was the first Fortune record,” Hurtt said.

Devora wrote the music for the track, which was performed by Canadian singer Russ Titus with American bandleader Artie Fields and his Orchestra.

“[The track] doesn’t sound like any of the crazy rock and roll or rhythm and blues or soul or hillbilly music that we associate with the label,” Hurtt said. “But that’s interesting, because it’s sort of where they came from.”

Devora and Jack continued to make records at United Sound until 1951, when they opened their own studio on Linwood Avenue on the city’s west side, where much of the city’s Jewish community resided.

Sounds of the city

“The minute they opened the studio on Linwood, they started recording everyone that came through the door basically,” Hurtt said.

That included artists like the Davis Sisters, John Lee Hooker, Earl and Joyce Songer, Paul Lewis and The Swans, The Royal Jokers, The Five Dollars, and many other artists who — had it not been for Jack and Devora — may have never been recorded.

Contrary to Motown’s highly-polished, almost formulaic sound, Fortune stood out for its rawness and diversity of artists. Hurtt says Devora’s fondness for exotic or foreign styles of music and the melding of cultures in the city at the time was reflected in the types of records they produced.

“They had everybody on this label, every culture that was in the city at the time,” he said. “They recorded some of the first gypsy music that was ever recorded in the United States; Tony Valla and the Alamos, which was, you know, Latino rock and roll; and then later Tejano from Southwest Detroit.”

Fortune’s ‘Big Three’

The first real hitmakers for the label were Nolan Strong & the Diablos — a young doo-wop vocal group attending Detroit’s Central High School, which was across the street from the Brown’s studio.

“They just walked in there and wanted to know what they would sound like on a record, and they basically pestered Jack and Devora into recording them,” he said. “Of course, that became… it was ‘Adios My Desert Love,’ that really started the label off in rhythm and blues.”

“If I could really sing, I’d be Nolan Strong”

– Lou Reed

Andre Williams was the label’s next major star. Though he himself would say he was a lousy singer, he was a brilliant entertainer who masked his lack of singing skills by talking over his records.

Willams’ biggest hit, “Bacon Fat,” was recorded by the Browns in 1956. The record’s success led Devora and Jack to license it to Epic Records for wider distribution, but later felt that they weren’t compensated fairly.

As a prolific performer, Williams felt the Browns’ reluctance toward distribution deals with larger labels restricted him. He eventually left Fortune to record for various other labels over the years.

“[Andre] ended up helping Berry Gordy get Motown started, actually, which is something that I don’t think he really gets credit for,” said Detroit musician Matt Smith, who has performed with and produced records for both Williams and Nathaniel Mayer — Fortune’s third major hitmaker.

Smith says both Williams and Mayer played pivotal roles in the development of rock and roll, soul music and funk.

“Andre was really kind of ahead of his time with a lot of ideas, and his stuff had an enormous influence on the generation of rock and rollers that came after him,” he said.

Mayer’s 1961 record  “Village of Love” became Fortune’s biggest national hit. However, the Browns’ distrust of others would ultimately go on to stifle his success as well.

An ethereal echo: Fortune’s signature sound

Devora wrote many of the label’s biggest hits and was considered the creative force behind the label.

“There’s a certain mystique to Fortune Records, like an otherworldly sound,” Hurtt said. “And part of it has to do with Devora Brown and her Ampex 350 tape recorder, which she just loves the echo effects of.”

That ethereal echo effect is especially prevalent in The Diablos’ 1954 hit, “The Wind.”

“[‘The Wind’] is, you know, one of the greatest doo-wop records ever — if not thee greatest doo-wop record,” Smith said. “It’s just one of the most mysterious, supernatural sounding records ever made…I mean it is just weird.”

Hurtt says The Diablos wrote “The Wind” while cruising on Belle Isle.

“They’re like harmonizing sort of to the breeze…to the wind,” he said. “It’s almost like he is the wind, you know? Is this guy a spirit, or is he real?”

The label’s decline

In 1956, the Browns moved the label to a standalone cinderblock building on Third Avenue, in what was then considered Skid Row. 

“Supposedly the floor was partially dirt. Whether that’s true or not is another myth and mystery that we were never able to truly solve.”

– Michael Hurtt, co-author of “Mind Over Matter”

The label persisted at that location for decades, but after the mass exodus following the 1967 riots, the neighborhood wasn’t the same.

“The Detroit of the ’70s, was so much different than the Detroit of the ’60s,” Hurtt said. “And after the rebellion, you know, the riot…so much changed in the city that I think it was sort of a convenient time for Fortune to sort of, you know, go into decline.”

The label began to truly fall apart in 1973, when Jack and Devora were hit by a car while crossing the street.

“There are all these weird stories about that, you know, and one of them was that he was run over by a disgruntled hillbilly artist,” Hurtt said. “Well, that wasn’t true at all.”

Jack sustained internal injuries from the accident that eventually led to his death in 1980. 

Devora tried to keep the label alive but without Jack handling the business operations it proved to be too difficult to maintain. The building was sold in 1996, shortly before Devora died. Despite efforts to save it, the building was demolished in 2001. 

“It was criminal that that happened,” Hurtt reflected. “I mean you can imagine what it could be now, it could be a museum, that could be any number of things. There was enough left, even though the roof was gone, you know, it basically was a shell and it looked the same.”

Fortune Records may not have lasted long in our collective memory, but it certainly had an impact on the music industry and especially in Detroit.

“If you look for the records, they’re hard to find,” Smith said. “But there’s hundreds and hundreds of these Fortune records, and they’re all out there.”

About the listener

David Perry has lived in metro Detroit for over 30 years. As a music lover, Perry says he was drawn to the wide variety of genres recorded by the label during its golden era.

He currently resides in South Lyon with his wife and grandson.

We want to hear from you! 

Have a question about Detroit or southeast Michigan?
Send it our way at wdet.org/curiosid, or fill out the form below. You ask, we answer.

More from CuriosiD:

• What happens to old fire trucks in Detroit?
• How did Ann Arbor get its name?
• Does Gen Z know who Bob Seger is?

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