For those with a sturdy sense of humor, I publish an online periodical titled THE DAILY DISASTER which is neither daily, nor recommended for the faint of heart. Our motto: "Irreverence is our only Sacred Cow." If you wish to try it out, request to be added to the email list. It is not nearly as offensive as South Park. Your name will be happily deleted upon request.  
Williams College BA 1964, Yale University Doctorate of Musical Arts 1978, first year Master of Architecture program at Harvard Graduate School of Design 1975 -1976, organist in Adolphus Busch Hall at Harvard University 1971-1991, AGO, ASCAP, Who’s Who in America

James Johnson received early musical training in the Columbus Boychoir School and later won the full-tuition Stetson Scholarship to attend Williams College, where he concentrated in music, English literature, and art history. At the Yale School of Music he twice won the Sherman Prize for best student organist, and also audited several courses at the Yale Drama School. His keyboard teachers have included Montserrat Torrent. He has released eight CD albums (one with the Eastman Brass), and has concertized extensively in the US, western Europe and Scandinavia, New Zealand, Australia and Japan.
During his years at Harvard University, the series of weekly concerts on the famed Flentrop Organ in Adolphus Busch Hall grew into an ambitious format. Many of the performances in the 1980s were recorded live by WGBH-FM Boston for national syndication in a program titled The Classical Organ. He was music director of First Church in Cambridge (UCC) in the 1970s, where
he created and directed the Cambridge Concert Series which presented a wide range of classical repertoire ranging from Gregorian chant to fully staged presentations, such as a still-remembered production of Britten's Noye's Fludde in 1974 which he conducted to much critical acclaim. Later he organized The James Johnson Chorale which performed in the Boston area for several years,
including two First Night concerts in Trinity Church with brass ensembles.
His many compositions include orchestral and concert organ works, sacred and secular choral and vocal pieces. As a composer he was twice honored, as a Fellow and later a finalist, by the Massachusetts Artists Foundation. He has won an ASCAP composer's award for fifteen consecutive years, and his career has also been supported by the American Academy of Arts and Letters. 

His magnum opus is a full-length musical comedy, Isle of Iniquity, which he created in its entirety (story, book, lyrics and music), and which was presented in a very successful preview in New York on April 6, 2013. The performance was recorded by old friends from WGBH Boston and edited into a DVD available to interested producers. Google: "ISLE OF INIQUITY YouTube" to bring up nine clips from the April 6 performance. 

In addition to his musical interests, he completed the first year of the Master of Architecture program at the Harvard Graduate School of Design, 1975-1976. He has contributed occasional articles and letters to newspapers and magazines. In an essay titled Digital Playing Actions in Pipe Organs, published by The American Organist in January 2006, he predicted a system even then being patented by the Canadian company NovelOrg - The system has already been used with great success in a large new organ recently completed in Houston by Martin Pasi - and another large new instrument for the Paris Radio by Gerhard Grenzing. 
GRAZ: Phenomenal, with what virtuosic facility James Johnson commands the King of Instruments. Under the title "Lord of the Dance" he presented to a wide range of listeners a multi-colored roundelay of most interesting works, through whose interpretation every subtlety was revealed, and offered thereby an hour of pure delight. In a magnificent finale, (Bach's) Passacaglia
and Fugue extended in an arch from delicate ripples to an impressively monumental close, after which the artist rose calm and collected from the organ bench."
----JHZ, KLEINE ZEITUNG, July 30, 1996