Popular music manager Ricky Stein bares all in a commemorative interview with TNG’s TheNewsGuru.com, discussing his almost 60 years in the music industry, Afrobeats Numerino, his time managing Fela Anikulapo Kuti, the influence of African music, and the world’s We talked extensively about landmarks. A snippet of his inspiration behind Nigeria, his beautifully written new memoir ‘Moving Music’ and other developments.
Hear his voice:
You’ve toured all over the world with some of the most iconic musicians. What do you look for in an artist before moving into artist management?
It’s music, always music, followed immediately by lyrical content. For more than a century, we’ve been inundated with stories of “getting our feet wet.” “My baby left me”, “I love you” etc. Enough! When I meet someone who has something meaningful to say about the human condition, I find it refreshing and inspiring.
What inspired you to write your memoir, Moving Music, and why did you choose 2024 as the year of publication?
Yes, that’s what I’ve dedicated my life to: spreading music across the planet. Sometimes up to 70 hardy souls make their way. Let me tell you, they might drive me crazy! All possible dramas, situations, and sometimes even house fire problems need to be expelled, extinguished, quelled, and otherwise resolved. But eventually we get them on stage, we go to the mixing desk, and the show starts. Once I was satisfied that the sound was correct, I walked around the venue getting a feel for how the sound coming from the stage was being received. What I’m looking for is sparkling eyes, a look of joy, shaking the head, raising the arms, and shaking the hips (to the music). When I see a lot of this all around me, I look up at the stage and forgive those motherfuckers for their last rant of the day! In other words, I was impressed. The second reason I titled my memoir “Moving Music.” This is the quality of music that I have always been drawn to. It is life-enriching, socially relevant, and transcendent. Exciting music that makes your heart happy. This passion has led me to a life full of adventure that is challenging and uplifting.
Over the past 10 years, I’ve made various efforts to document my career, and while I felt like it was a story worth telling, work always got in the way. Writing requires dedication and time, at least for me, and that just wasn’t possible. Then, the coronavirus outbreak occurred, and most of my work came to a halt. I’m always happiest when I’m passionate about something. And now in lockdown along with everyone else, I quickly realized that this was the perfect, uninterrupted opportunity to write the story of my life. My dear friend Fela Kuti used to say, “Even bad things can be good.” This is a perfect example of that adage, given the suffering caused around the world by this pandemic.
What was it like working for Afrobeats star Fela Anikulapo Kuti?
A constant joy. I met Fela in the late 70’s and we quickly became friends. I had no intention of managing him, I just wanted to meet the person responsible for creating this extraordinary music. Anyway, he already had a manager named Francis Kertekian. For managers, when someone like me shows up, alarm bells go off. I could tell from his expression, “Who is this man and what does he want?” Something that went through Francis’ mind, especially when he saw how well Fela and I got along. But as we spent time together, we also developed a friendship. It lasted 35 years until Francisco passed away in 2016.
In the early 80’s, as our friendship deepened, I was invited to join Francis as Fela’s co-manager. Our journeys and adventures over the next 15 years until Fela’s sad death were probably made easier by the fact that we were already friends. You can say more or less anything to your friends. Well, more or less. Sometimes Fela’s decision to do or not do something would create anxiety among the people affected and they would come to me for my opinion. I just shrugged. The reason I was clearly indifferent is because I have come to understand what motivated Fela to reach that particular conclusion. That was a concern to his core supporters. Every time Fela worked on a new song during an afternoon rehearsal at the Shrine, hundreds of people would sit quietly and listen. They were real blowjob lovers. I knew that before Fela made a decision, he would ask himself, “What would they think if I did this?” Even if the answer is “They won’t like it,” he simply won’t do it. Even if the answer wasn’t completely clear, I don’t know what they would think, but he still didn’t do it. They were the basis of all his motives. Therefore, I casually shrugged.
What drives your role in preserving and reinvigorating the work of late Afrobeats star Fela Anikulapo Kuti?
Years of banging one’s head against a glass ceiling stemming from the music industry’s outspoken bias in trying to compartmentalize non-Western music into increasingly narrow geographic categories under the overarching banner of world music. It could have been painful and frustrating. But my continued advocacy for these outstanding artists (Fela in particular) to earn their rightful place in the pantheon of the most iconic actors of the 20th century has led to this ludicrous virtual construct. A satisfyingly deep crack formed. Evidence of this loosening of constraints can be seen in the current global success of Afrobeats (a term used to categorize music that has precious little connection to its hard-earned original title). Although it’s frustrating to add!) Despite the musical results, the lyrical content remains in the “leg-over” category, which is a source of ongoing annoyance.
Having worked with Afrobeats stars for decades, what do you say to young artists, primarily from Africa, who want to make a positive impact like the artists you have mentored? Would you like some advice?
Please tell me something! Please realize the power of music. For thousands of years, we have recognized the need to gather in large groups to celebrate life, and the focus of those gatherings has been music. Perhaps some of my most memorable experiences in life involve my interactions with the talented artists I have had the privilege of representing. The standout moments are when their performances, fueled and encouraged by an enthusiastic audience, go far beyond the ordinary and enter the realm of transcendence. This could be in front of a large crowd at a 300-person club or festival. Something wonderful will happen. Call it joy when the music, the musicians, and the audience become one wonderful, magical experience for everyone there. What Fela called “an underground spiritual game.”
What happens in those glorious events strengthens and reveals the goodness of our people. It goes far beyond entertainment and into the realm of raising consciousness, living fully in the present moment, and affirming that no matter where in the world we go, we are essentially the same. We have the same joys, fears, sorrows, aspirations and, sadly, the same stupidities and prejudices. But these special moments allow us to transcend our conditioning and reveal our humanity in all its glory as one indivisible being.
Fear, insecurity, envy, jealousy, and the various social distortions that divide us are set aside and we come together to celebrate life itself, unconditionally.
Having been able to experience so many such moments in so many different places on Earth, and realizing that most, if not all, cultures share these experiences, makes me realize that humanity will ultimately were able to develop confidence in their ultimate ability to overcome foolishness and unite. Sure, we might blow ourselves to smithereens, but even if we can’t, I’m sure humanity’s success is ultimately inevitable.
But to reach that great moment, you have to work hard, over and over again, not only in the studio, but in front of an audience, playing together and listening to each other’s music. That’s the only way, short of a miracle, to achieve the kind of magic I’m talking about here.
Do you have any exciting new projects in the works, especially now that your memoir has been published?
Now, once you publish your book, it doesn’t end there! You should spend time on exercises like this and make sure that you are known to those who might read your book and gain insight from it. Besides this, I’m still working on the Fela catalogue, especially some exciting projects. We will let you know the news later.
What challenges have you encountered managing some of the world’s most iconic musicians and groups? How did you overcome them?
The devil is in the details. The challenge is always to recognize this and ensure that every detail is considered and allowed before taking action. The smallest thing missing – a saxophone lead, bass strings, a broken drum pedal, a lost boarding pass, a missing bassist (!) – can jeopardize a huge event with 5,000 people lining up around the block waiting to get in. may be exposed to. This kind of attention to detail defines a great manager and ensures the success of their company.
Looking back over the past 60 years, what are some of the milestones you have achieved?
At 82 years old, I am still able to maintain my sanity, still dance when music appeals to me, reflect on a fulfilling life, and feel lucky to have worked with some great people. I think bakers get the same satisfaction from stocking shelves with crispy bread. The bootmaker certainly sees a path to the salvation of the world where we all have a good pair of boots. Hundreds of thousands of people carrying some of the world’s most talented and celebrated artists whose best implicit interest is to utilize thousands of hours of practice for the passage of potentially life-changing moments. Delivered over many miles to bring you as close to perfection as possible. You can achieve it. That’s how I spent my life, with the support and assistance of many sound and lighting engineers, roadies, stage managers, tour managers, bus and truck drivers, agents, promoters, publicists, and staff. I have helped moments happen on Earth. Publishers, record producers, record companies. We must not forget the final participants, our valued audience. Without their gratitude and support, none of this would mean anything or even be possible.
Has your work promoted and influenced the music management business over the past few years?
I certainly hope so!
Do you think you have been able to define the music scene throughout your career?
I think it was more about the music scene that defined me.
As a seasoned music manager, how do you define success?
The revenue generated from record sales, streaming, publishing, and ticket sales makes this vast industry work, provides employment for thousands of countless artists, and allows them to create and present their best work. You will have access to the tools and talent you need. I love my job.
