Docuartist DeVon Cunningham--a Detroit Art Treasure--has Left this Vale of Tears

DeVon Cunningham and his partner Rose Johnson

Born in Tuscaloosa, Alabama on February 21, 1935, DeVon Cunningham began his art training at the tender age of eleven when he won a scholarship to the John Herron Art Institute in Indianapolis, Indiana. Part of his training was a two-week, all expenses paid seminar to study in Italy.

He continued his art training at the Detroit Center for Creative Studies and the Birmingham Bloomfield Art Center. Cunningham went on to complete a bachelor's degree from the Detroit Institute of Technology and a master's degree from Wayne State University.

While he was working as a community outreach and public relations executive for Detroit Edison, DeVon was painting. Over his long career, DeVon's paintings have appeared in many galleries including eleven one-man shows, and his work hangs in many private and public art collections. His work is digitally archived and indexed in the catalog for the National Portrait Gallery of the Smithsonian Institute.

In 1969, DeVon Cunningham achieved national recognition when he painted the mural of the Black Christ on the dome of St. Cecelia Catholic church at Livernois and Burlingame in Detroit. This work featured a twenty-four-foot, brown-skinned image of Jesus with six multiethnic angels beside him serving high mass. The church's parishioners were mostly African Americans from the neighborhood. The mural was a welcomed addition to this French Romanesque church built in 1930 before the ethnicity of the neighborhood changed.

A national controversy erupted when the mural appeared on the cover of Ebony magazine in March 1969. Twenty-five years later on December 25th, 1994, the mural once again became the topic of controversy when the New York Times featured the church mural on Christmas Day. Reverend Raymond Ellis, rector of St. Cecelia's, responded to the criticism in a Detroit Free Press interview.

"Black parishioners have a legitimate complaint when they walk into a church to worship and everything is white. Christianity forces people to accept Western European culture.

"The historical Christ was Hebrew, a Jew from the Middle East. He might have had dark skin; he might have been fair. But Christ is the head of the church, he is God, and he is any color people want him to be."

Cunningham's commissioned portraits of prominent Detroit community leaders include Martha Jean "The Queen" Steinberg, a WCHB radio personality active in Detroit's African American community; Coleman Young, the city's first black mayor; Abe Burnstein, Detroit's reputed Purple Gang boss during Prohibition; and many others.

The most mysterious portrait Cunningham has painted is of Motown founder Berry Gordy Jr. It was unveiled at Gordy's Boston-Edison mansion as a birthday present from his sister Anna Gordy Gaye--the wife of singer Marvin Gaye. Berry was quite moved and lauded the painting of him dressed up like Napoleon. Somewhere along the line, someone suggested that it might not be a compliment to be compared to Napoleon, and the painting disappeared. (More on that story appears in the link at the end of this post.)

Cunningham's portraits gave way to what he calls docuart that informs, instructs, and involves the viewer. His work combines symbolism with cultural iconography that leaves the viewer with a montage of images to ponder. DeVon's art not only appeals to the eye but also to the mind.

DeVon's jazz musician series typifies much of his later work. Historically, Detroit was instrumental in the 1920s through the 1950s for providing African American jazz and blues musicians venues to perform and make a living through their music. To document the historic relationship of Jews and African Americans, Cunningham painted legendary performers like Theolonius Monk, Louie Armstrong, Billie Holiday, and Miles Davis, who performed in Detroit's legendary nightclubs owned by Jewish impresarios who hired Black acts when other venue bookers would not.

Billie Holiday docuart

 

DeVon Cunningham has produced significant art that remains relevant in our changing times. The Spill the Honey foundation commissioned a series of paintings that emphasizes the shared legacy of Jewish people and African Americans seeking historical truth and social justice through educational and artistic programs. The theme of Cunningham's last body of work deals with the environment and the pollinators--both endangered.

Mr. Cunningham passed away at 1:00 am Monday morning, July 31st at the age of eighty-eight after complications from a prolonged illness. Only two weeks before, DeVon and Rose Johnson went to Cafe D'Mongo's in downtown Detroit for his last outing where he enjoyed meeting with some of his fans, my wife Sue and I among them.

Berry Gordy's Lost Portrait

 

Eddie Wingate: Black Detroit's Big Daddy

Eddie Wingate

One of the economic Titans in Detroit's African American community of the 1950s through the late 1970s was Eddie Wingate. Wingate was born in Moultrie, Georgia, on February 13, 1919, the oldest of six boys. Young Eddie quit school in his adolescence to work on a nearby farm to help support his family on two dollars a day. During the Great Depression, his $10-$12 weekly earnings went a long way, but he had ambition to do better.

Eddie kept hearing the old folks talk about the economic promised land of Detroit where Blacks were making good money working in the auto plants and steel mills. In the late 1930s, Wingate scraped together all the funds he could and drove to Detroit in his rundown Model T to seek his fortune. 

At the age of nineteen, Wingate got a job with the Ford Motor Company. It is in the Ford plant that he became acquainted with the illegal numbers racket, called the Policy Racket by government prosecutors. He soon became involved with the business end of the operation.

After almost a decade of working on the assembly line and saving his money, Wingate quit his factory job and became the silent, majority owner of a restaurant named The 20 Grand Supper Club. He was also the sole owner of The 20 Grand Hotel next door where he ran his numbers empire and hosted Detroit's African American cafe society.

By 1961, Eddie Wingate was wealthy enough to pursue his passion for music. Along with his inamorata Joanne Jackson Bratton, they founded Golden World Records (GWR) that made waves in Detroit's pop music scene. Together, they established GWR, Ric-Tic Records, Wingate Records, and J&W Records, Inc. They built their own state of the art studio using the best musical equipment money could buy.

Wingate and Bratton developed their talent roster and used The Driftwood Lounge in the 20 Grand Supper Club, owned on paper by Bill Kabbus and Marty Eisner, as a performance venue for Edwin Starr, The Parliaments, the Manhattans, Laura Lee, and The Funkadelics. The popular venue was a good place to showcase their talent and build an audience to help sell records. 

Wingate's personal friend Berry Gordy also used the Driftwood Lounge to break in his growing list of future Motown headliners like The Supremes, Little Stevie Wonder, The Temptations, and The Miracles to gain experience before sending them out on the "chitlin circuit" to hone their performance skills.

In 1968, Wingate and Bratton sold their record labels, their studio and production facilities, and their artists' contracts to Berry Gordy for one million dollars. Herion and cocaine were flooding the Black community and Wingate's adopted son became a junkie. Disgusted, Wingate turned his back on the hustlers in the music industry. The record business became more trouble than it was worth to him.

The 20 Grand Hotel at 2100 W. Warren Road next to the Supper Club  was where Wingate ran his numbers empire from rooms called "The Hole." A Michigan State Police informant testified to a federal grand jury that Wingate's numbers operation included a professional sports book which took bets on football and baseball games ranging from $1,000 to $2,500 over the phone from all over the country . The undercover surveillance occured from June to November of 1976 and relied heavily on wiretapping transcripts.

Early in 1977, the FBI arrested the top operators of the massive inner city bookmaking and numbers running operation. Along with Eddie Wingate, other operators Clarence Williams, John White, Walter Simmons, and Burrell "Junior" Pace were indicted. The men pleaded nolo contendere and paid heavy fines but were never convicted.

The federal government was more interested in the organization's kingpins. In March 1977, a federal grand jury brought indictments against mafioso brothers Anthony and Vito Giacalone for tax evasion. Wingate sold his business interests and left Detroit for Florida. The weather was better there, as were his chances for survival. He left his family operation in the capable hands of his younger brothers.

As a side note, playing the numbers today survives in all fifty states as government run and controlled lotteries used as revenue producing vehicles. Government knew a good thing when it saw it. The odds of winning contemporary govenment lotto games are many thousands or millions of times higher than the classic street game which used only three numbers chosen from 000 to 999, rather than five or six numbers including double digits. It is ironic how laws and attitudes change. What people once went to jail for is now advertised on television and in every convienence and liquor store in the nation.

Modern Michigan Lotto Slip

What is lesser known about Wingate outside of Detroit's Black community is that he and other numbers associates helped many Detroiters buy their first homes despite real estate covenants enshrining racial segregation. Entire White neighborhoods were redlined and off-limits to Blacks who could otherwise afford a conventional mortgage. They were routinely denied mainstream bank loans in desirable Detroit neighborhoods. 

Wingate recognized opportunity when he saw it, so he went into the residential real estate business, financed by his gambling profits which were considerable. Authorities would say that he and his associates were loansharking and laundering money, but their clients had steady jobs and most could pay off their monthly mortgage payments on time.

Because of men like Eddie Wingate, Blacks in Detroit had a higher percentage of home ownership in the 1950s and 1960s than any other urban center in the country. To many Detroit residents, Eddie Wingate became a local folk hero despite his underworld activities and connections.

Wingate was sole owner of several commercial buildings which were essentially number and money drops where people from the community were employed as money counters and accountants to keep his game running smoothly. It has been estimated that every dollar spent on the numbers circulated as many as five times in the neighborhoods where the game was played. 

Wingate also mentored, influenced, and helped finance many Black entrepreneurs to get started in businesses providing employment and services to city residents. In many respects, Wingate was a rainmaker who brought prosperity to many people enduring hard times. 

Eddie Wingate died in Las Vegas on May 5, 2006, at the age of 86. His body was taken back to Detroit for a funeral service at New Bethel Baptist Church on Saturday, May 13th. Wingate's body was interred at Roseland Park Cemetery on Woodward Avenue in Berkley, Michigan.

Mr. Don Davis, chairman of the First Independence Bank in Detroit, wrote in Wingate's online funeral guestbook, "He was the go-to guy (in Detroit) to get anything done of any magnitude if you were Black. The guy held the community together."

Detroit's Numbers Racket 

Berry Gordy's Lost Portrait

Rare, faded photo of DeVon Cunningham's portrait of Berry Gordy
--washed out from a flashbulb.

Berry Gordy and Motown Records did for popular music what Henry Ford and his company did for the automobile business--they changed American culture. Coincidently as a young man, Gordy worked on Ford's assembly line and learned lessons he would apply to his music empire allowing Motown to crank out an unprecedented number of hits enriching the American songbook--bringing what was once labeled "race music" into the era of "rhythm & blues." While Henry Ford made automobiles available to the masses, Berry Gordy brought his Motown sound to a national and international audience crossing racial barriers once thought impassible.

In the late 1960s, Anna Gordy Gaye--sister of Berry and wife of Motown performer Marvin Gaye--commissioned Detroit artist DeVon Cunningham to paint a portrait of her mogul brother. The first two attempts with Berry in a shirt and tie were cast aside because Anna felt they didn't capture Berry's "spirit." When Marvin Gaye complained after losing an argument with Gordy about a creative issue, he said, "That man is a fierce warrior." That image resonated with Anna. She showed a portrait of Napoleon to Cunningham which evolved into a portrait of Berry Gordy.

Napoleon Before St. Helene by Paul Delaroche

Anna presented the portrait to her brother on October 4, 1969, at the annual Loucye Gordy Wakefield Scholarship fund raiser, enabling twenty-six inner-city high school graduates to attend college. The fundraiser was held at Gordy's Boston-Edison, tile-roofed Renaissance estate.

Mrs. Gaye maneuvered the guests into a large parlor where the huge painting hung. Artist DeVon Cunningham unveiled the four by six foot portrait before the assembled guests--including many of Detroit's glitterati. There it was, Berry Gordy with an imperious look of command on his face as a Black Napoleon. Berry took one incredulous look and broke into laughter. Cunningham remembers him saying, "Damn, I like it."

Gordy displayed the portrait in his Detroit mansion for years before moving to Beverly Hills, California to expand Motown into the movie business. When the National Portrait Gallery of the Smithsonian Institute sought to locate the painting to verify its condition and ownership for their catalog of important American portraits, Berry Gordy could not be reached for comment, but his publicist stonewalled the researchers about the whereabouts of the portrait.

"The Smithsonian has been searching for almost two years," said Bethany Bentley--National Portrait Gallery spokesperson. "Getting on the list can lead to art museums requesting pieces for exhibits." The National Portrait Gallery gave up searching for the portrait but listed it anyway marking its location as "unknown."

Artist DeVon Cunningham talking about his "docu-art" in 2017

Artist DeVon Cunningham hasn't seen the portrait since he painted it. When interviewed by the Detroit News, Cunningham said he spoke to several of Gordy's associates who told him someone put it in Berry's head that it's not a compliment to be shown as Napoleon. After several books came out critical of Gordy and his Motown hit factory, he was concerned with his legacy and may have had the portrait destroyed.

If true, Cunningham was deprived of the public exposure and acclaim the National Portrait Gallery listing would have surely brought him. 

DeVon Cunningham speaks about his art

Hitsville USA 

Motown Memories

The Supremes, Martha and the Vandellas, The Temptations, and The Miracles in 1965 beginning their twenty-one city tour of the United Kingdom tuning the British ear to the Motown sound.

One of the must-see attractions in Detroit is Hitsville USA--the Motown Museum on West Grand Boulevard--also named Berry Gordy, Jr. Boulevard. The museum was opened in 1985 by Berry's sister Esther Edwards and has been going strong ever since.

Everyone knows the Motown music and the legendary performers, but the thing that fascinated me most about the guided tour was Berry Gordy's story and his original business model.

When I went to Hitsville USA, I heard the story of how Berry got started in the music business. From a modest $800 Gordy family business loan and a two-story frame house, he built a music empire that shaped the history and direction of pop music and helped integrate American culture.

Musical magic was born in a converted garage called Studio A, while the Gordy family lived in the second floor flat. I went upstairs and saw the small apartment where Motown records was born. The kitchen table where the family ate, often found Berry Gordy with his friend Smokey Robinson stuffing newly pressed warm vinyl into record jackets and rushing them off to local Detroit DJs and record stores. Gordy's first big hit was "Money." Motown's business was literally built from the ground up. Not bad for what started as a
cottage industry that developed into a corporate colossus.

One of Gordy's early jobs was on the assembly-line at Ford's Lincoln-Mercury plant, wrestling with automobile upholstery. He would get ahead on his production quota to create small pockets of time to compose songs and develop melodies in his head. If Berry liked what popped into his mind, he wrote it down in a spiral notebook he kept in his back pocket. Once the mind-numbing repetition of the assembly-line became second-nature, his mind was free to create and dream about creating a music factory that brings in raw talent at one end and produces a seasoned performer at the other end. Motown was not so much an assembly-line as a hit factory of skilled craftsmen and women turning out a consistently high-quality product known the world over as the Motown Sound.

Berry Gordy outside Hitsville USA--2648 W. Grand Boulevard.

For anyone who is a Motown fan, the documentary "Standing in the Shadows of Motown" tells the behind the scenes story of the Funk Brothers from their first-hand accounts like nothing else can. This small band of studio musicians played on all of the Motown hits. The documentary won four film awards and two Emmys in 2002.


Here is a recent link to Motown song writer Lamont Dozier reminiscing about writing some of the greatest Motown hits ever recorded: https://youtu.be/AUx86C-xOuI