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, listener Jennifer Kulczycki of Sterling Heights asks... 

“I’ve heard for many years that metro Detroit doesn’t have a robust transit system because the Big Three undermined the streetcar and bus systems in order to sell more vehicles. I’ve always been curious about that, but I’ve never really been able to find any concrete evidence of it.”

The short answer

In 1949, General Motors and the Firestone Tire company, among others, were convicted of conspiring to monopolize the sale of buses and products to National City Lines, which had taken control of dozens of transit systems. But GM, Firestone and the others were acquitted of trying to, in effect, monopolize the transit industry. And experts say automakers could not run over Detroit’s streetcars, because the city itself owned the system.

Riding the rails all around the town

Imagine traveling back to Detroit in the 1920s and ’30s, when streetcar tracks split the middle of Woodward Avenue.

Riders who once strolled past horse-drawn carriages to get onboard the Department of Street Railways system, known as the DSR, now had to dodge vehicles going 30 miles an hour or more.

The DSR touted the system’s widespread use. It noted that at peak periods of the day as many as 1,000 streetcars crisscrossed the city, “carrying Detroit’s industrial army.”

It was also a different animal from some other municipalities, because in 1922 the city itself had bought out the streetcar system, ostensibly to operate it more efficiently.

“Every time a bus or a trolley car rolls down the street, there’s a stockholder’s meeting in motion,” the DSR proclaimed.

Iowa State University Professor Robert Pfaff did his dissertation at the University of Michigan on the history of Detroit’s streetcars. He says it was the largest publicly-owned transit system in the U.S. at the time.

And Pfaff contends Detroit’s burgeoning auto industry viewed rail cars as a necessity.

“They recognized that this was the way that most of their workers actually got to work,” he said.

The takeover of transit

Over those decades, a company called National City Lines (NCL) and its subsidiaries, backed by a consortium that included General Motors and Firestone, took control of dozens of transit systems.

The moves caught the interest of the U.S. Justice Department.

In 1949, GM, Firestone and others in the consortium were convicted of a conspiracy to monopolize the sale of buses, fuel and similar products to National City Lines. They were fined a token few thousand dollars each. But the companies were acquitted of trying to take over the systems owned by NCL in order to, in effect, form a transit monopoly.

Still, the idea of automakers sabotaging streetcars gained increasing traction in the public imagination, even serving as the plot for numerous books and movies.

For instance, the 1988 animated film “Who Framed Roger Rabbit?” features the villainous Judge Doom buying up the Red Car rail line, preparing for a new freeway with “wonderful billboards reaching as far as the eye can see.”

When a character tells him no one will use the freeway since they can take the streetcar for 5 cents, Doom replies, “Oh they’ll drive. They’ll have to. You see, I bought the Red Car so I could dismantle it!”

Buses take the lead

Pfaff hits the brakes on any takeover of streetcars in Detroit, however, since the city itself owned the system.

“That automatically prevented other private investors from trying to come in and disrupt that space. We are the ones to blame for dismantling that system. We don’t have some private company that swept in with some grand scheme, we have to look inwardly at ourselves,” Pfaff said.

In the mid-20th Century, the American Dream was paved with highways crossing the country. Pfaff says metro Detroit transit officials wanted to be on the cutting edge of it all.

“The super-modern thing were these nice, fast, rubber-tired diesel buses that operate on the streets. And they decided if they’re gonna serve the modern region with more suburban residential areas, they couldn’t do electrification and tracks. The easy way to do it was with buses.”

The transit system that is

About three-quarters of a century later, Metro Detroit’s transit system unfolds along streets like Gratiot Avenue.

Detroiter Charles Green stands at a bus stop on Gratiot near 12 mile in Macomb County. Green says he grew up riding buses with his father.

He calls newer routes, like the suburban SMART system’s Fast Gratiot line into the city, a definite upgrade. Mostly.

“I like the bus. It’s eco-friendly and convenient. But the frequency of the bus just ain’t right,” Green lamented. “I work at a bar and man, every bar over there is closing after midnight. So at that point I gotta pay $20 for an Uber just to get home.”

Detroit’s DDOT bus system wants to significantly increase its number of drivers and cut wait times for customers. But at a bus shelter further along Gratiot, Detroiter Shina Harps says she’s part of the roughly 25–33% of the city’s residents who don’t have their own vehicle.

In the car capitol of the world, Harps says that quickly becomes a badge of shame.

“I do get that a lot, ‘Oh you take the bus,’” Harps said in a disparaging tone. “That’s my life. I’m living in my truth.”

‘Does Detroit really want public transit?’

Detroit transit also carried a stigma among some in the federal government.

The Vice President of Rock, billionaire Dan Gilbert’s family of companies, is Jared Fleisher. He previously worked as a Washington, D.C.-based attorney who helped a Detroit nonprofit group develop what they hoped would be both a catalyst and a part of improved public transit in the region – the QLINE streetcar system.

“Going back to the Carter administration, Washington never saw metro Detroit really be able to get its act together around transit,” Fleisher said. “They did not take us very seriously or send money our way. (The QLINE) was meant to show Washington that we were serious, we were working together around transit in a different way.”

In 2012, before the QLINE even broke ground, officials formed an actual Regional Transit Authority for southeast Michigan, the same kind of transportation agency the federal government worked with in other municipalities.

But Fleisher says a four-county millage to fund inter-connected public transit in metro Detroit ran into a roadblock in 2016.

Rural voters came out in force to support then-GOP presidential candidate Donald Trump. Fleisher believes it was an electorate that saw little value in paying extra taxes for a transit system they likely would hardly use.

“It went to the ballot and lost by half a percent. And nine years later, we still have not solved the issue of regional rapid transit.”

A magnet for young talent

What exists alongside bus service, along with Detroit’s elevated People Mover system, is a 3.3 mile stretch of railway on Woodward Avenue punctuated by the clanging bell of the QLINE streetcar.

It’s a reminder of what could be in Detroit, especially for younger travelers.

Onboard the QLINE, Wayne State student Sara Jaloul notes she has her own car. But she says using the streetcar for even a few miles helps her save both gas money and the environment.

“I think the less cars we have on the street is probably a lot less pollution, so that’s really important to me. As much public transportation as possible should be best,” Jaloul said.

Catering to that smog-free desire is a key selling point for many younger workers, says the head of the metro area’s Regional Transit Authority, Ben Stupka. And he says no one wants to grow the transit system more now than Detroit’s automakers.

“The Big Three and those that support them in that ecosystem have a laser-focused understanding that transit is part of the brew, if you will, that keeps and attracts talent to this region,” Stupka said. “And that is what they need to survive and thrive.”

Whether that eventually leads to metro Detroit public transportation that legitimately competes with other regions across the country though, remains a question for down the road.

Meet the listener

Jennifer Kulczycki is the Director of External Affairs and Communications at The Kresge Foundation. She lives in Sterling Heights. She came to metro Detroit from western New York state fresh out of college to work in the automotive industry.

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?
• What’s the story behind metro Detroit’s mile roads?
• What is on Boblo Island today? And what happened to the Boblo boats?

Want more stories like this? Sign up for WDET’s free weekly newsletter and never miss a curiosity uncovered.

D.L. Holmes was the athletic director, track and cross-country coach at Wayne State University from 1917 to 1958. In a time when segregation in sports was the norm, Holmes coached athletes of all races, a radical act. He coached three Olympians, one gold medalist and 11 All-Americans.

Holmes, a beloved mentor known for nurturing hidden talent, was instrumental in nine national championship wins and four world record holders.

In his new book, “Coach of Champions,” Troy author Keith D. Wunderlich tells the story of Coach Holmes through team member interviews and “historically informed narratives.” Wunderlich is Holmes’ grandson and a former sprinter.

He joined The Metro to talk about the book and Holmes’ legacy in Detroit and beyond.

Use the media player above to hear the full conversation.

Listen to The Metro weekdays from 10 a.m. to noon ET on 101.9 FM and streaming on-demand.

More stories from The Metro

It’s no secret that the city of Detroit has a rich music history. But when most people think of the city’s most famous labels, Motown is usually the first — or only— one that comes to mind. 

But there are many other lesser known labels that contributed to the city’s thriving music scene and deserve more recognition. 

Fortune Records is definitely among them, and yet somehow the influential mom and pop label has largely faded into obscurity.

Detroit author and music historian Michael Hurtt aims to change that with his book “Mind Over Matter,” which he co-wrote with his longtime friend Billy Miller.

The book offers a comprehensive history of Fortune and the many “myths and mysteries” associated with the label.

Hurtt spoke with WDET’s Jenny Sherman and Natalie Albrecht about the label for the latest episode of CuriosiD, and he joined The Metro on Thursday to share more.

Use the media player above to hear the full conversation.

Listen to The Metro weekdays from 10 a.m. to noon ET on 101.9 FM and streaming on-demand.

More stories from The Metro

Belle Isle’s James Scott Memorial Fountain will undergo an 18-month, $6 million renovation beginning this weekend. 

Subscribe to the Detroit Evening Report on Apple Podcasts, Spotify, NPR.org or wherever you get your podcasts.

The Michigan Department of Natural Resources is working quickly to use the remaining American Rescue Plan Act funding allocated to the park to replace the bowl of the fountain. 

DNR spokesperson Tim Bissett said this year marks the centennial anniversary for the iconic fountain. 

“It’s unfortunate that we can’t run it during that anniversary,” he said. “But obviously the time constraints to be able to do that preclude us from being able to run it this year and then wait, we have that very strict guideline and that timeline that we have to stick by in order to get the project done.” 

The DNR is replacing the bowl and foundation beams of the fountain. 

The department expects the renovations to be completed by the end of next year, with plans to restart the fountain in 2027. 

Other headlines for Tuesday, May 13, 2025: 

• Free enrollment for Pre-K is now open for all families across Michigan, regardless of income for the 2025-26 school year.
• Michigan State Rep. Joe Tate (D-Detroit) launched his campaign for U.S. Senate on Sunday.
• The Detroit Public Library is hosting free estate planning workshops through the spring and summer seasons, with the first one taking place on May 17. The workshop will cover planning tools such as wills, deeds, and trust agreements.
• The Coleman A. Young Recreation Center reopened over the weekend after an $11 million renovation and a five-year closure. Improvements include parking lot repairs, EV charging stations, new exterior windows, gym floor refinishing, pool system enhancements and updated HVAC and electrical systems.

Do you have a community story we should tell? Let us know in an email at detroiteveningreport@wdet.org.

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?

Want more stories like this? Sign up for WDET’s weekly newsletter and never miss a curiosity uncovered.

In 1938, two young Jewish kids decided they wanted to tell a story of an invincible man, who could move faster than bullets and was a hero to all. 

Superman took flight that year, first appearing in America Action Comics #1. Kal-El, Clark Kent or Superman was representation needed during the rise of fascism in Germany. 

The superhero was created to defeat The Third Reich and Nazi’s plot to take over the world. In American culture, comic books have been a way for readers of all ages to see themselves, in one way or another, as superhuman. 

From the friendly neighborhood Spiderman to the Green Hornet — which was a Detroit Radio program before appearing in comics — these stories told the hardships, joys and sorrows of life through the lens of these fantastical characters.

William Wallwinkel is the lead curator of “Heroes vs. Villains: Detroit’s Comic Book Story,” opening at Detroit Historical Museum on Saturday, May 3, which is also Free Comic Book Day. He joined The Metro along with Vault of Midnight owner Curtis Sullivan to talk about comic book culture here in Detroit and southeast Michigan. 

Use the media player above to hear the full conversation.

Listen to The Metro weekdays from 10 a.m. to noon ET on 101.9 FM and streaming on-demand.

More stories from The Metro