1-on-1 with DP – 93.7 The Ticket KNTK - Music is the ultimate story-teller - July 9th, 11:00am

Episode Date: July 9, 2026

Music is the ultimate story-teller - July 9th, 11:00amAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

It's time to go one-on-one with D.P. Sponsored by the Downtown Lincoln Foundation on 93-7 the ticket. Oh, so much better. Sir! I'd love that so much. So well done. Thank you for setting that up. That is a band called The Eccentrics, and it's a jam.

Like it's just folks who jam out. They used to play my bar in Virginia and would pack the place and they're just good folks in there. If you can play the guitar like that, you're going to pack a place. Yeah, they, you know, in great vocals and harmony and the whole day, they did, this band did. Still one of the best nights I've ever. It was an annual event where they would do a kiss tribute and they would do the full makeup and stage show. And it was actually, it was every Halloween for 14 years. Oh, my God.

It was so good. It was so good. So if you can, if you can, if you can rock out to kiss and do the full makeup and stage show with the elevated boot, the high boots and they each costume all with, but they, I'd be enough, all their hair was long enough. All their hair was long enough. I feel like everyone's hair back in that day. Yeah. That was in. Their hair was long enough that they would just, you know, get the hairspray and, you know, the aquedette and blow it up.

Who started the long hair trend or? Well, I mean, that's been, you got to remember that 60s. Okay. That's what it was. 60s long hair and long hair was relative because, I mean, people used to say that the Beatles had long hair in that era. That was a big deal. Like, you know, tell those Brits to cut their hair. You know, it was, it was touching their ears, you know.

You want you, you're, you're going crazy with the hair. I mean, that's just what happens. Like, we cycle through ears of long hair. And, and I mean, again, my high school, you know, in the late 70s, my high school coach had no idea what to do with a player who had an afro. He had no idea. Like, he had, he had set it up. you were, you know, off the ears for a very long time. And, and then cornrobes, braids and cornrows.

He didn't know what to do with that either. He was just like, he literally, we had to have a meeting over it. Like, what are we going to do with your hair? Because it was late 70s and, you know, he had enough to deal with the fact that I wanted to wear white cleats. All right. So he's doing in good faith. But he's like, we need to come to your conclusion. No, he just, like it was just, it was just, well, so there was busing, right?

that the integration part of it sent black kids into white schools. And a lot of those things, you didn't have to deal with Afros. So you really didn't know what the particular was and the style thing, right? You didn't understand what people were doing. So you can think 60s, 70s, if you ever want to get a real grasp, find a TV show called Room 222 from back in the day that was in the NBC Sunday Night staple, I think, where they kind of went through it, like the evolution of going from, you know, one way of living to, you know, everybody. Like, you know, they called them hippies and hippies with long hair and, you know, culturally, then women with long hair and different styles of hair, right?

So it was, it was a, it was a, yeah, my mailman says it's said, they sound like a 1980. Nintendo game. Yes, actually, they do. And guess what? I mean, so the guy Todd Wright was one of the producers. And you will find their music everywhere. You just don't know that it's these bands. But ultimately all the music that you hear in video games and et cetera, especially back then, where you actually paid somebody to create it and they would go in studio and actually make it. I think it's still true today. Yeah. Yeah, well, my guy,

Chris Noth, was in another band. He was in a band with my nephew called Weekend Excursion. And back then, the TV shows. So if you think Dawson's Creek, they were the music producers for Dawson's Creek. And several different TV shows. So they would call them and then they would go in studios.

As a matter of fact, he's been in studio with several of the American Idol winners to help them create their sound after they win the contest or after they go through the competition. So it's a big part of storytelling. Like interstallors. I still say one of the best movie soundtracks out there. That like is it the best music?

I don't know. But how it fits with that story is like it's so tied together and it sounds so good with that movie. Yeah. I mean it's it's important. All the great fighting movies, the Rocky movies. Well, I mean, yeah, to go through it, I mean, again, part of the NFL was John Fascenda and the orchestra that would create music, producers that would create music for NFL films.

And then that led to, I mean, the crossing over of for CBS, you know, today, like NFL today and Monday night football. You, it becomes the Olympics. It becomes part of the soundtrack. of the games. And then you just realize it's a, it's a tone setter that, oh, this is a thing. You know what it means when you hear the old Monday night football anthem. And then there's a difference. I mean, they changed it.

And there were people who didn't want to change it. Then you went to Monday night. You know, you went to Hank Williams. And then you went to Carrie Underwood and people, you know, kind of lost their minds over, you know, why are you changing? Well, it just evolves. And it's okay. Sometimes we need to. It's okay.

But I don't think we've ever replaced John Fascenda. And it's okay to say I love John Ficenda, but whatever's next I'm okay with. So the music part of it, you know, it's a big soul train, American band's it. You know what the party means. Most TV shows, I mean, Jefferson's. times. You know the songs, happy days. You know the songs. And the song set the, set the,

tempo and the vibration for it. So it's a, it is a wonderful thing. Um, song where says, that's my nephew's dream to create music for video games. Yeah. And, and the thing about it is, is really, so how Todd and Chris both got into it was just going in the lab and taking previous video games or video games that exist. and say, okay, here's what I would do with it. And then that triggers, okay, well, I've got this horror video that I want to do, or I want this action video, or I've got this fight video, right? And then you're creating rhythm and vibration to match the video game.

And sometimes the song is created before it's matched to the video game. And it's just kind of what happens. It's great part of storytelling. Yeah. Put a good track behind it. Yeah. It is big, right? And that's, you know, radio figured out a long time ago that the intro and the exits,

those set the table. Those let you know what's coming on it. It's the vibe. And generally you can choose it. And it used to be, you know, choosing it was simple that you would just go into any music and just pay. But now it becomes so complicated with streaming. Yeah, it's stickler.

They all have different rules. Most of the time, people would have never known that you were using music and doing this thing. But now it's all tracked digitally. So if any cord or thing is matched up, then they will send you the notice and say, hey, please. You pay us or stop using it. Bothers me because you would know this, especially on the rap. It's like so much of your stuff is just resampling stuff from the past. Are you paying those guys too or no?

No, you're paying the first guys. You're paying the first guys. You're paying the creator. You're paying the creator of it. You're not paying the person who made it popular. You're paying the creator. Okay. So that's where I know.

So the rights to it. The rights to music. Right. Stay with the original. Sometimes an artist will exchange it. So if you're an artist that actually creates your music, you own the rights until you sell the rights to the record company. And then the record company owns that the that strip of music, whatever thing that

was created, unless the artist negotiates to keep those rights over time. It just depends. And again, artists have gotten more creative and more knowledgeable in the laws. They don't give up your music, man. Don't give up your rights. Do not, you can sign over and say, hey, listen, I'll I'll give you rights to the song in full, to the song. Anytime the song is played in completion, not just the vocals, not just the music behind it, but as a whole.

But you do not own the rights to my voice. You do not own the rights to the music. And then sometimes they'll say, we want it all and we'll just pay you for it. Well, again, you find an artist who has a price. Yeah. You know, this is what we're going to do.

So the copyright infringement world is, it's a beast. It's a beast. But necessary because there are people who are being taken advantage of. I mean, look, the music business is in the copyrighted business is notorious for bad business. There are people who just, I mean, if you, again, if you're broke and you create something beautiful, you're going to pay less for it. It's why you go in the art world, you go to new artists rather than known artists. You go to new artists to get your art because they're going to charge you less for a great quality of work than somebody who has a name and a reputation. Right.

So, you know. It's fair game. I think we think copyright. We think of like, well, insert big name like Taylor Swift. Like is it really going to hurt her? And it's for the little guys. Yeah. I mean, at some point, Taylor Swift wasn't Taylor Swift.

Exactly. So what she agreed to work for when she first started is certainly not the number that she, that it is required to get her to work for you now. So and rightfully so. All of it. I mean, there are certain bands, REM, Hootie, who kept their copyright. Right? Because they said, listen, we were, we were, we made tapes and sold them out.

of cars. So we've proven we've proven we could do this on our own. We don't need the big factory behind us. And the moment the factory comes in and says, well, we're going to pay you a large chunk of money. Sometimes the people make the concession. Sometimes they don't. You just go, no, I don't want to do that. It's kind of what's happening with NIL now on the college scheme, is that what you could have gotten an athlete for five years ago, entirely different than what what the market is now. And sometimes the school will kind of push an athlete and a sponsor together, right? Because it just fits that more than being on the big board at Memorial Stadium.

But then the athlete now knows more. That, no, I have a higher value now. And I know I have a higher value. So when you come to me with Joe's barbecue, it still has to be the right number. It has to be the right number because you're more informed, you're better placed to deal with this sort of stuff. And you see that.

They're starting, I think, figure out, because it's called the Sports Commission, I think they've turned down about $90 million for that NID deals. Now they've allowed like over $300 plus million through, but they're figuring it out. Well, I mean, again, compliance and the clearinghouse. I mean, there's still $90 million worth of deals that have been rejected.

Because it just, there's no, you're just giving out money or giving out the promise of money without anything for it. And this is why, I mean, again, I love, somebody asked me, do I get frustrated about NIL and radio? And I'm like, no, my whole mission is to get people to do the right thing. And I know that the ticket dealing with athletes has pushed some universities and some programs to do better business with those people. Right. And it certainly opens the door for some businesses to figure out the value of having athletes in endorsement situations.

And that's what it's for. Like we put athletes out there that most businesses, wouldn't even know. And most college towns, you don't know the bowlers and swimmers. You don't. Matter of fact, in a lot of college towns,

you don't know the wrestlers. You have national champions walking around and you don't know who they are. Well, no, here in Lincoln, you know who the athletes are. You know who the coaches are. You know what the programs are doing.

And that's kind of the point. And I, listen, there are businesses to get frustrated that I push the needle. Like I'm like, good. Good. Because if you have a nickel and diamond,

you're probably in the wrong business. Like it's okay to not have enough money to deal with, you know, athletes and that sort of thing. But if you want to deal with it, here's some ideas. And what we provide is an opportunity for them, a place for them to do that and for them to set their value. And most of our athletes who do shows have a greater value because of it. Well, look, go look at Ridge, love it. Shout out to him. I know me and Eddie.

Rich, Caleb. One more time. Yep. Well, also Ridge and Brock Hardy and police. they're hosting a free wrestling camp too. I mean, just like great dude. So is that attached to you? You love that.

Well, and it's also the thing that we understand. And listen, not for nothing, but folks need to understand that I have a pretty good radar about whether somebody's good for this and this is good for them. And more often, there are more times for all the shows that we have, I've stopped and turned down more athlete shows. than the ones who actually get on air. They're ones that actually got on air that I stopped

because this is not for you. This is not for you and you are not for us. Like the moment, again, they'll play the card that, okay, let me see what it is. But then are you willing to be that consistently? And radio requires compliance and consistency. Right? Can't just be sometimes, can't be, be consistent

in what you believe. believe in what you say and who you are. Be consistent. And that's what this radio thing does. So it's been good along the way to watch the growth of it off. Speaking of shouting out Adam Cariker and the Cariker Chronicles Camp, a spectacular day yesterday. A great event, great kids. Listen, if you have kids or nieces and nephews, get them in the camp for next year. I'm just going to just going to say it. And then even if you're not there, you can support the camp. You can just make a donation to the camp.

Yep. To do that. And then, quite frankly, when you hear about next year's camp, just come hang out. Just come hang out. You had 40, some coaches, you know, most of them Huskers. Yeah. Right? I mean, the kids, you know, they all got pictures.

They got signed shirts. They got footballs. Like, it, listen. It was a full event. Yeah, I mean, they got fed well, and of course you get to hear from Coach Tom Osborne. Oh, yeah. Like for him to make the appearance and come out and talk to those kids,

I'm pretty sure that the conversations that took place after that event about who coach Tom Osborne is and how important it was and how great it was for those young people to be able to say, hey, I heard Coach Osborne speak, right? I got to listen Bravo Bravo and to character I mean to go through and go through everything that requires to put that thing together and to manage it and orchestrated

278 like right around pretty close to 300 kids yeah and then that's not counting adults coaches staff the Lincoln youth football crew out there as well yeah like a lot big operation a lot of folks a lot a lot of voices but good again again when you see you know Farley and will height out there running around with the kids and taking pictures. Bravo.

Bravo. It was just good stuff. I asked the question to Harrison before the show, and I really didn't know where to go with today's show because there were several things that were in play. But what I kept thinking about, you get the notice of it's too early for college basketball rankings. You get all the preseason conversations,

Of course, the Big 12 kicks it off with its media, football media days. Do you like the monster partnership? Like I understand where it comes from. But like, do you have any problems with it? Do you think that's just the road of football and we're just adjusting? I don't, I don't particularly care. Okay. Better answer.

Yeah, I don't. I don't particularly care. Here's my thing. They will set, I, it's not my job to tell the FCC, the Big 12, the Big 10. who they want to partner with. The member institutions can vote and say, we agree with this or not, right? If the big 10 says it's Adidas and you're a Nike school,

or if the big says Nike and you're in Adidas school, you have the right to vote that down. Now, if 10 of the 18 teams want to be a part of this thing, then you'll vote and let's see what it is. If you've got 15 member institutions, if they said we're a Coke conference, we're a Coca-Cola conference rather than Pepsi. But if you, the pockets of the country are Pepsi is king. So what do you do?

Right. You talk to your member institutions. Now, at some point, you'll have to deal with the players because when the conference sets a rule of, hey, we're monster, right? Then let's say Celsius comes along and says, well, we want in. and they go to half of the member institutions. Who overrides? Who gets the money?

Right? Just because the Big 12, and you're sharing revenue in the Big 12, but why would you share a percentage getting 10% or 5% of a big contract versus 100% of a smaller contract? if the numbers don't number, why would you not deal with Celsius?

Why would you keep that? And then what happens if, well, what if your star quarterback is a Gatorade guy? Yeah, you see that in the NBA. Right. Try to see Victor Woman Yama,

that they're comfortably if he's got Gatorade in front of him. Well, I mean, we've gone through it. And those are the things. Those are the Pandora's boxes that we're dealing with now.

Greed certainly plays into it. Priority plays into it. Yeah, I don't think Texas Tech voted for this one. There's like the payout wasn't super big. But I think the Big 12, some of the smaller, school, is it like we're needed to keep up here?

So that's why I'm not judging. Well, but each deal pays for a thing, if handled properly, the Adidas deal. Like, I know that Utah made the deal to go Adidas. And that was a big deal. And they were talking about it at their media day. That quite frankly, Adidas was athlete first. And to hear a university at the conference level,

at the conference media day say, we chose Adidas because Adida is better at dealing with athletes, which is the thing that we don't have to. It's a good standard to have, right? But if Adidas and Nebraska can have that conversation, right? Because not all programs, universities programs or athletes have the billboard that Harper Murray has or the exposure that Harper Murray has. Right?

We don't, we don't, we know that Dillard. Dylan Raola received a whole lot while he was here, a lot of opportunity, a lot of push. But now you get, this year's team doesn't have the star. But if you, if you have the star, I would imagine that Price Sanford in basketball season gets a little extra juice from, for the squeeze because of the kind of player he is, right? I would imagine that Antro Taylor starts, he and Christopher Mentot, right, we'll start. to get more push from Adidas. Maybe some Adidas wrestling shoes will go on and be highlighted and featured. But that's the business that we're doing now in college athletics.

It's what was always being done. But before it just went to the program. Then it went to the university. Then it went to the program. Then it went to the coaches. And now it's finally finding itself in the athletes. And the athletes are setting their own standard. and I'm glad for it.

I'm thrilled when an athlete gets, because of their hard work and their opportunity, they get better off for it. I think we all agree with that. It still bothers me. I think we take missteps, but it's because of adults in the room. Yeah, I mean, the missteps are,

it's when greed takes over. If you understand that you need to make sure every athlete has enough, all the athletes have. because the university has enough. The program has enough money to make sure the athletes are taking care. If you tell me that you don't have

enough money take care of the athletes, but you have a $9 million coach. No. No. No, because that's just $9 million. And that's an additional $9 million. If you're a power for coach, you're making $14,000 today.

Like based on the lowest, like if you're the lowest number. Yeah. The lowest number. And, and. Because $400,000. But also to think that there are, in most programs, you're talking anywhere from 30 to 70 staffers. Mm-hmm.

And coaches, 30 coaches or consultants who make high six figures. Yeah. And then the head coach, the best head coach of salaries are sniffing around $15 million. It is a year. Again, get your money. Get your money. Do your thing. the adults of the room have to be the adults in the room.

And you have to set the standard and go listen. Here's what we pay. If you're here for the money, then you're not here for the coaching. Yeah. And big money doesn't mean bad. Like, hey,

if you're making a lot of money, the players are taking care of, everyone's comfortable, you're having success, you're not stepping on toes. Great. I don't got a problem. I,

again, every part of me says in this, Like I could just take all the money and pay y'all nickels and say, handle it. It's not how I'm built. So I, but I can't tell other radio stations how to,

how to make the decisions. Like I can't. So, and I won't, which is a whole other, which is a whole other conversation. All right, well,

here's the question that I'm going to leave for you to ponder over the break and we'll get back to it when we come back. But what is the most interesting thing to talk about right now? Is it Nebraska football? Is it Nebraska basketball? Is it Nebraska volleyball? Is it Nebraska wrestling?

What is the most, is it Rhonda Ravel? Is it Woolbaugh? What is the most interesting thing to talk about right now? Text line, let me know. What's the most important thing? What's the most interesting thing to talk about right now? More one-on-one when we come back.