John R. Bender

John Reinhold "Chief" Bender (May 14, 1882 – July 24, 1928) was an American football player and coach of football, basketball and baseball. He served as the head football coach at Washington State University (1906–1907, 1912–1914), Haskell Indian Nations University (1908–1909), St. Louis University (1910–1911), Kansas State University (1915), and the University of Tennessee (1916–1920), compiling a career record of 65–31–7. He is one of the few college football head coaches to have non-consecutive tenure at the same school. Bender was also the head basketball coach at Washington State (1907–1908) and Tennessee (1916–1917, 1919–1921), and the head baseball coach at Washington State (1907–1908, 1913–1915) and Tennessee (1917, 1920).

Playing career

A native of Sutton, Nebraska, Bender played college football at the University of Nebraska from 1900 to 1904. Due to loose eligibility standards at the time, he played five seasons for Nebraska. Bender starred at halfback for undefeated teams in 1902 and 1903, served as captain of the 1903 team, and graduated as the leading scorer in Nebraska history. However, tarnishing his image, one story recounts that he refused to play against the national powerhouse Minnesota until Nebraska paid him an acceptable amount of money.

John R.

John R. (born John Richbourg, August 20, 1910, Manning, South Carolina; died February 15, 1986, Nashville, Tennessee) was an American radio disc jockey who attained fame in the 1950s and 1960s for playing rhythm and blues music on Nashville radio station WLAC. He was also a notable record producer and artist manager.

Richbourg was arguably the most popular and charismatic of the four announcers at WLAC who showcased popular African-American music in nightly programs from the late 1940s to the early 1970s. (The other three were Gene Nobles, Herman Grizzard, and Bill "Hoss" Allen.) Later rock music disc jockeys such as Alan Freed, Wolfman Jack, and others mimicked Richbourg's practice of using speech that simulated African-American street language of the mid-twentieth century.

Richbourg's highly stylized approach to on-air presentation of both music and advertising earned him popularity, but it also created identity confusion. Because Richbourg and fellow disc jockey Allen used African-American speech patterns, many listeners thought that both announcers were actually African-Americans. The disc jockeys used the mystique to their commercial and personal advantages until the mid-1960s, when their racial identities as Euro-Americans became public knowledge.