John R. Curtis

John R. Curtis (born 1960, in Salt Lake City, Utah) is mayor of Provo, Utah.

Curtis attended high school at Skyline High School (Utah), where he met his future wife, Sue Snarr. He attended Brigham Young University and graduated with a degree in Business Management. He worked for OC Tanner and the Citizen Watch Company before taking a position as the COO of a Provo-based company, Action Target in 2000.

Political career

John ran successfully for Mayor Provo City in 2009 defeating former legislator, Stephen Clark, with 53% of the vote and took office on January 5, 2010 on a platform of Safety, Prosperity, and Unity. Since taking office he's been focused on Economic Development, revitalization of Downtown Provo, and getting a beach down at Utah Lake. John was re-elected for a second four-year term in 2013 with 86.49% of the vote.

Personal life

He is a member of The Church of Jesus Christ of Latter-day Saints and served a two-year mission in Taiwan. John and Sue have six children together.

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.