Today we’d like to introduce you to Richard Johnson.
Hi Richard, we’re thrilled to have a chance to learn your story today. So, before we get into specifics, maybe you can briefly walk us through how you got to where you are today?
I grew up in a small town in Kentucky called Madisonville, and have been loving and making music since I can remember, grew up in a musical household (my mom sang in the church choir and insisted I receive a musical education, and my dad, while he made his living as an engineer, loved and played the trumpet in community bands until in his final years he had to stop because as a diabetic it made his eyes bleed), singing in children’s, youth, and college choirs, playing piano, guitar, trombone, harmonica, accordion, and studying music theory and the history of classical and popular music. Some of my favorite early memories are of learning and singing classic American popular songs, like those of Stephen Foster, with John Horace Cox, a brilliant Episcopal church organist who was my sixth grade music, art, and history teacher, singing the sublime and mysterious Faure Requiem with my college choir under the leadership of John Cornell and the late Larry Cave, meditating on the sacred music written by my composer friends, hearing friends and relatives play and sing traditional bluegrass and country music, listening to my dad’s Louis Armstrong and the Hot Five records, becoming obsessed by the Beatles, and collecting and listening rock records and attending rock concerts with my friends, including the Baron Scott von Clay, my musical partner, producer, and bandmate in our rock band, Captain Badass. So I do believe the music is in my blood and I feel it in the depths of my soul.
While I have always loved and wanted to compose, sing, and play music, I did not at first consider it to be a viable career path, and I also had several other interests, chiefly in science, spirituality, and the history of ideas, so I studied mathematics, physics, and philosophy from St. John’s College (Santa Fe), the wonderful Great Books school that has no electives and has been ranked as the most rigorous college in the United States. That is where I got to know my intellectual heroes, Homer, Socrates, Plato, Aristotle, Euclid, Archimedes, Apollonius, Ptolemy, Plotinus, Augustine, Dionysius the Areopagite, Boethius, Aquinas, Dante, Galileo, Kepler, Newton, Kant, Hegel, Kierkegaard, Nietzsche, Dostoevsky, Kafka, Faraday, Maxwell, Einstein, and others, as well as (on the musical front) Palestrina, Monteverdi, Bach, Mozart, Beethoven, Wagner, Verdi, Debussy, and Schoenberg. After college, I was very idealistic and enthusiastic about the value and power of education, so I decided to teach math and science in inner-city high schools in the Los Angeles Unified School District, which I did for four years, developing in the process a special syllabus based on the St. John’s lab program, and incorporating the stoichiometry and physics word problem skills I had picked up in High School. While I soon transitioned to a second career, I have continued to value education. In fact, one of my biggest dreams at this point is to found a boarding school for foster children (the most underserved demographic in our society) with a St. John’s-based classical curriculum, including music and athletics, and to present it as a pilot project, a first step and paradigm of a civilization-wide educational restoration movement, which I call “The Old School” (a labor of love to which I have given years of thought and prayer, plan to promote and publicize via my musical work in Captain Badass, and hope devote considerable time and resources in the future)–more about that later I hope.
In the late 1990s, after the first of my three children was born, I was anxious to provide for my family by pursuing a practical career path but did not know what to specialize in (and still did not yet grasp [let alone accept] the fact that I am most fundamentally a creative artist, author, and musical composer). So I attended UCLA School of Law and started a long and successful career as a business litigation attorney, In fact, I still earn my living primarily as an attorney, and I am proud of my professional accomplishments, having been involved in some major cases and having played an active role the making of new and significant law in state and federal courts. In addition, my legal career provided me with the resources to build what has now become a 15,000-volume academic research library (one of the best in private hands I am told), containing the most important classics of every genre and discipline–poetry, philosophy, psychology, science, history, religion, and magick, from every country, language, era, and civilization of human history. While I work for a major law firm, I do my legal work (other than court appearances) in my library, where I spend almost every waking hour when I am not in the studio with my band. In addition to my legal work, I am working on my forthcoming Spiritual Autobiography of the Human Race, as well as the Old School Manifesto, and a number of other forthcoming scholarly books, some of which I am working on with my philosophy partner, Bob “the Philosopher” Magaw (a fellow polymath with whom I founded the fledgling San Gabriel Valley Platonist Society). My philosophical and theological work is an important part of my religious and spiritual practice. I have been an Anglican Acolyte for decades and have devoted a great deal of time and thought to the church, and learned much from many important conversations with bishops, priests, monks, spiritual directors, and mystics. On a related note, my spiritual practices and studies have led me into a number of mystical and visionary experiences, including a descent into the underworld, a near-deathlike experience that literally changed my life and brought me back into this world, ready to be myself to the fullest, to create my art, and to live out and instantiate in this world my mystical visions–including by means of what I call my shamanic practice (the esoteric and occult wisdom of the Hermetic art having insinuated itself deeply into my imaginal universe).
But now back to the music: It just so happens that another critical step in my musical journey which the resources from my legal career (along with the advent of the mp3, and the guidance of a dear childhood friend who had been collecting records all his life) enabled me to take was a years-long detailed and serious study of the history of rock music–particularly hard and heavy psychedelic music, blues, blues-rock, alternative country-rock, Brit Pop, Lo-Fi, and Indy, grunge, and alternative metal (all of which I find particularly moving and inspiring). During the decade from 2000 to 2010 (after having lost touch somewhat during my years away from the radio in the 1990s), I was thus able to fill in various gaps in my rock music education and get back up to speed–just in time for the arrival in Los Angeles in 2010 of my old friend and musical collaborator, Scott Clay (or the “Baron,” as I call him). (Scott and I first got to know each other back in the Summer of 1987, before I left for St. John’s, when we went on a road trip together from our native Kentucky, to see a wonderful performance of The Cure at the Cleveland Opera House, and the amazing Paul Klee exhibit at the Cleveland Museum of Art. From there, we kept driving north, as far the roads went, deep into northern Ontario, where we got on a train and went all the way to the James Bay, at which point we had to turn back having run out of money, and looked so rough when we reentered the USA that we were actually detained and strip-searched at the border before they realized that we were just dirty kids and let us go. During that entire pilgrimage, Scott (who is now the drummer of Captain Badass, as well as the producer and sound engineer) played the drums on the steering wheel as we worked our way through our favorite albums from Echo & the Bunnymen and so many others. Apart from a brief visit or two back in Kentucky at the holidays, we did not really keep in touch or see each other until he came to Los Angeles about 24 years later to work for Rockit Cargo [the guys who transport the rock, pop, and country acts and their crews and equipment from venue to venue], after a brilliant and successful career in international logistics.)
True to form as the logistics guru he is, Scott showed up in Los Angeles and my life “just in time.” I had just completed my comprehensive study of rock music and learned exactly what I liked, and recently returned from my fateful descent to Hades, a new man (like Ebenezer Scrooge on Christmas morning), fully alive and fully committed to pursuing my true path (and just on the verge of a very painful and difficult divorce which [on the bright side] helped to clear the decks in my life and get me thinking more about who I am and what I’m all about). Soon after Scott arrived and my ex-wife moved out, he had set up his drums in my living room and we were playing Oasis and Coldplay covers. We also wrote our first song that year, our defiant anthem of unapologetic self-awareness, “Sorry,” which appears on our first album. While I’d like to be able say the rest is history, our work as a band was soon put on a lengthy hold as I became enmeshed in a dramatic series of serious and exciting, but ultimately spectacularly failed, amorous engagements with two very interesting, beautiful, and talented female artists (one an actress/filmmaker, and the other a painter/fashion designer, both smart and successful) whom, as a gentleman, I won’t identify by name–particularly given the scorched-earth terms on which we parted–but from whom I learned many valuable lessons (some painful) about art and creativity, life and love, beauty, truth, and who and what I am. During my ridiculous five-year erotic detour from 2013 to 2018, Scott kept working on music, set up an amazing recording studio in Culver City (at first called Scratch Paper Studios, and then later called Captain Badass Studios West), and started managing, producing, recording, and filming an existing Venice rock band called Trees, with some of the members of which he then started a new band called Scratch Paper.
Finally in 2018, I decided to make a commitment to my music and started working with Scott in earnest. So I cashed out my retirement savings early and built myself a recording studio (Captain Badass Studios East, in San Gabriel [not far from Phil Spector’s place]), which was a copy of Scott’s studio, and purchased recording and mixing equipment, microphones, and musical instruments. Right away, I started working with Scott on a regular basis, several nights a week in our two studios, practicing, jamming, improvising, and writing new songs), and soon I was getting up in the middle of the night to write songs and lyrics on my guitar or at my piano. We named our band “Captain Badass,” after a song by one of my musical heroes, the late Jason Molina of Songs Ohia and Magnolia Electric Company. Our first public performance together as Captain Badass was at an open mic in a cool little club in Tarzana called Petie’s Place in September of 2018.
Then we released our first album, “The Gospel According to Captain Badass,” a collection of ten original songs (which is available from Amazon, Apple Music, Youtube, Spotify, and all other major streaming and download services), in April of 2019. While the band at that point only consisted of Scott and me, we were able to enlist the talents of some great musicians, including; (1) our now-lead guitarist Tombstone T Wade (Tyler Wade Anderson, a brilliant composer and musician and disciple of David Gilmour, formerly of the Venice bands, Trees, Scratch Paper, and Flyin’ Lion), (2) Scott’s son Will Clay (the professional skateboarder, who is also an incredibly talented guitarist and songwriter and who got his acting start as a child star on Nickelodeon, and who has been successful as a solo artist and a member of the very cool band, Truck Box), (3) our childhood friend, the southern rock-style guitar wizard Matthew Sternstein (a visionary painter who did much of the art features in our liner notes and bad merch), (4) the intriguing Brazilian bassist Vinny Mauger (also from Trees and Scratch Paper), (5) the amazingly talented Grammy-winning saxophonist Ulises Bella (a founder of the celebrated East LA band, Ozomatli), (6) the incredibly musical and creative Mexico City-born Mariachi violinist and songwriter Lita Newman, (7) the amazing jazz trumpeter Bruce Friedman and (8) the mystical cellist Michael Intriere (both from the avant garde jazz band Coldwater Trio), (9) the thoughtful and quirky French horn player Rich West (one of my bookdealers [the Battery Books and Music], the second drummer for Camper Van Beethoven and the author of some brilliant records) with (10) his daughter Daisy West also on trumpet, and (11) that simply indescribable one-of-a-kind chanteuse Lexi Baker. I really love the album, which I consider part of my shamanic message of mercy to this world from across the River Styx, and which incorporates many aspects of my mystical vision in a series of strange little musical vignettes illustrating the beauty and the pathos of the human condition). It is my fervent hope that one day these songs will be included in the immortal repertoire of traditional American music built over these last two centuries by our great musical forebears. While Apple Music classified our first album as “country” and our second album as “rock,” we call our special genre “alternative traditional American music” (although some have started referring to our style of music by the nickname, “Rummage,” given that it is quilted together of so many traditional Anglo-American musical odds and ends, handed down from of old). Our first album was well-received, finding fans online throughout North America and Europe (although it remains somewhat obscure).
We were soon performing live at the Lincoln in Santa Monica (which invited us to become a regular act) and looking forward to gigs across Venice and on the Sunset Strip, when the covid-19 pandemic hit in early 2020, and all the musical venues were shut down. We did not let that stop us, however, but kept making music, rehearsing together as a band several nights a week, producing a live action music video for a song from our first album, “A Little Number (666),” recording a beautiful new single, “Inhumanity,” producing a timely and thought-provoking animated video for our song, “The Decline and Fall of the West,” and wrote the songs for, recorded, and released our second studio album, “Flying Blind,” a collection of 13 original tracks, which was released in December of 2020. While I really love our first album, the second album is miles above and beyond the first and shows an incredible amount of musical growth. Scott and I were joined by a smaller group of musicians on the second album: Tombstone T Wade on lead and rhythm guitar and bass, Will Clay on lead guitar, Vinny Mauger on classical guitar, the amazing Harlan Goldman-Belsma (also of Truck Box) on lead guitar, our childhood friend D.G. Rodgers (a successful attorney, talented songwriter, and badass mountaineer who has climbed and summited the highest mountains in every continent, including Everest) on guitar and banjo.
Finally, in 2021, we opened a second studio in music city, Nashville, Tennessee, the new Captain Badass Studios East (our old San Gabriel studio now becoming the new Captain Badass Studios West), and have started playing venues and building an audience there as well (since more music venues are currently open there). It has always been a dream of ours to play at the Grand Ole Opry and the Ryman Auditorium and to usher in a new golden age of traditional American music, given our Kentucky Roots. We are currently working on a number of projects, including: (1) a concert this fall at the Palace Theatre in Gallatin, Tennessee (the oldest silent movie theater in the state–apparently haunted and featured in a television series on paranormal phenomena), which we hope will involve a live radio broadcast, a triple-vinyl live album, a concert film; (2) our third studio album; (3) a riverboat tour on the Tennessee, Cumberland, and Ohio Rivers; and, (4) a feature-length wide-release documentary about the band (which we envisage as a sort of real-life “This Is Spinal Tap”). We also plan to start performing again in Los Angeles this winter, as soon as the venues reopen, and play the Whisky a Go Go, the Viper Room, other venues on the Westside and in the Pasadena area, and (of course) our original home base at the Lincoln. Our band currently consists of Scott on drums, percussion, keyboards, and vocals, Tombstone T Wade on guitar and backing vocals, the talented young Colton Bradford Wilkenson on bass, and me on lead vocals and keyboards.
While I am also continuing to practice law full-time, am joining a new firm in August, and getting ready for a major jury trial in Delaware in September, and continuing to work on my philosophy books, shamanic practice, and The Old School project, I am incredibly hopeful and energized about this exciting new phase of Captain Badass, now based in both Los Angeles and Nashville, and will be dividing my time equally between both cities for the foreseeable future. I really don’t know how I’ve been able to keep so many irons in the fire and accomplish so much on so many fronts simultaneously, but somehow it is happening, and I have never felt so alive. My life now feels like I am flying in a dream, and I am grateful to Scott and my other bandmates, to my parents, and to the Almighty for this blessing., and grateful to you for letting me share my story.
I’m sure you wouldn’t say it’s been obstacle free, but so far would you say the journey have been a fairly smooth road?
Great question, and one I reflect on daily. It has not been a smooth road, and yet when I look back it all seems (no matter how unlikely and unexpected) to have led providentially to where I am now, which is a place in which I am free to be my truest self to the fullest and to find out exactly what that means, so I do not regret it. You know, we are moving backward into the future, and all we can ever see clearly and distinctly is the past away from which we keep moving into the unknown future. And while all we can really see is our memories (and perhaps, if we are lucky, dreams extrapolated out of the same), it is nevertheless possible by means of the proper spiritual practices and philosophical outlook, to live in this eternal present, which is the Kingdom of Heaven. “Consider the lilies,” as the Master said, “how they neither toil or spin, and yet Solomon in all his glory was never so finely arrayed.”
But as to the struggles: I would say that the biggest struggle of all for me personally has been getting enough sleep. Given how many complex and difficult projects I am working on daily and fully committed to seeing through (any one of which could easily consume every waking hour, particularly the Law, which I have been warned and can confirm is indeed a jealous mistress), I have often preferred staying awake to going to sleep. At one point in late 2018, when we were recording our first album and I was just starting vocal lessons with one of my favorite vocal coaches (the multi-gold record artist, Stephanie Spruill, who has worked with many of the greats, including Elvis Presley, Glen Campbell, David Bowie, Julio Iglesias, and the Jacksons), I found myself unable to fall asleep and stayed awake for almost two weeks (something I can assure you could easily drive a man insane, and which left me so manic that I felt as if I was standing on top of the mountain, as the clouds swirled around me, and could finally understand the mystery of all things). Luckily, I consulted a physician and was soon able to learn how to set my projects aside and fall asleep without using any medication, and sleep is now an indispensable cornerstone of my routine, although I would still rather be awake working on my projects and I wake up every morning excited to get back to work (and still sometimes wake up in the middle of the night with a song in my head and go to the piano and get it recorded).
Another struggle is loneliness and a feeling of alienation. We are all pilgrims and strangers in this world, and the life of the visionary artist is particularly lonely. Sometimes it feels as if most of the people who know me do not really like me, and most of the people who like me do not really know. I have come to terms with that, however, and feel confident that I am being my true self and that is good enough for the one who made me and so it is good enough for me. I am grateful for the gift of my true self, which is not what I have or do or what others think of me, but what I really am, which is His beloved, and I do feel loved by Him, if not always by my people here in the world. Once I was more interested in becoming something rather than being what I really am, perhaps because I was afraid. But since my descent into Hades and return into this world, I am not afraid anymore. While I once felt myself a passive observer, somehow a few feet and above and behind myself and not connected to let alone invested in my life, now I am right up in front, fully alive, and grateful for it.
Still, the thing that hurts the most is those loved ones with whom I have parted, ex-wife, ex-lovers, estranged relatives and friends, and my sometimes haunting reveries about what went wrong and what else I could or should have done. The divorce (which was dramatic and contentious, involved significant parental alienation, and was traumatic for my children, me, and everyone in my family) was particularly hard on me, as was one of my subsequent engagements, which ended with me taking out a restraining order against a violent and mentally disturbed grifter. My late father told me shortly before he died (another very painful blow) that if half the things that had happened to me had happened to him, he would have lost his mind. If I did lose it, I have regained it in spades. I cannot emphasize enough how much I have learned from my struggles, with lost lovers and with myself, and how much the pain has informed my lyrics, which vividly illustrate some colorful and illuminating extremes of the human experience, and which I understand have been inspiring to others, as they have been helpful to me in my lifelong ongoing recovery from my birth into this tragic world.
As I said in a very personal song from my first album, “when I came into this world, I came in through a dark, dark hole, and when I leave this world, I’ll be leaving through a dark, dark hole; that’s really all there is, is this dark, dark hole; we’re passing through, and from, and to, this dark, dark hole.” I am so grateful finally to be a working creative recording artist, writing and performing music and lyrics that mean something. I feel as if I might, through this music, be able to justify the resources devoted my education, give something back, and pay something forward. And I find that this is enough to make it worthwhile to me to get out of bed, keep living, and walk this lonely road–but still it can be lonely. Still, I think the solitude is good for me and for my art, and, while I was raised to be an extreme extrovert and often prefer to spend my time in the company of others, I am becoming more content with solitude as I watch my introversion start to bear fruit.
Another struggle has been getting along with my fellow artists and staying on course through anxieties, moods, setbacks, and personal conflicts. Artists can be difficult people (for others and for themselves), often deeply unhappy, with very particular ideas and commitments, pains and dreams, and not always willing or able to compromise. I have often found it very difficult to collaborate and compromise and have sometimes been dissatisfied with changes to my music proposed by others, but I do have faith in Scott as my producer and in my bandmates and have derived a real and palpable joy from sharing with them in our mutual creative endeavors, and ultimately have been very satisfied by the results of our collaboration. Still, work in a band and in the studio can make for close quarters that can sometimes erupt into intense conflict between strong, difficult, and dramatic personalities, and it can sometimes be difficult to figure out the real source of the conflict. Some days, it can seem like we’re nearing the end of the road, but I keep showing up and am fully committed.
Another big struggle that continues to emerge as I become more actively engaged in Captain Badass, my law practice, the Old School project, my philosophy studies, and all of my various creative endeavors is to stay focused on and true to my vision and to consistently put in adequate time to practice, improve, and perfect my skills on a daily basis (particularly as a vocalist, which is challenging for me given my very unique voice and unusual vocal style). Balancing so many simultaneous careers is quite a challenge, particularly when the one that pays the bills and makes all the other projects possible is as difficult, time-consuming, and unaccommodating of other commitments as high-stakes business litigation.
The newest challenge is living in two places at once, which is not only expensive but also exhausting. Still, it is completely worth it, and I am finding myself as happy to live in the Nashville studio house with the band collaborating on the music as I am spending quality time alone in my library, pondering the spiritual autobiography of the human race, I find that prayer and meditation help to keep me fresh and focused on the tasks at hand, but I think that the miraculous gift of bilocation (like that practiced by the seventeenth-century mystic, Blessed Sister Mary of Agreda (who could reportedly appear simultaneously in both Spain and Peru), would be even more helpful.
Thanks – so what else should our readers know about your work and what you’re currently focused on?
I am the frontman, lead vocalist, songwriter, and lyricist for the Los Angeles- and Nashville-based rock band, Captain Badass, which has to date released two studio LPs (“The Gospel According to Captain Badass” from 2019 and “Flying Blind” from 2020), one single *(“Inhumanity” from 2020), and two music videos.
While some have compared us to Pink Floyd, the Doors, Captain Beefheart, and Wilco (among others), I think we are a truly unique, genre-bending acts, unlike anything that has come before,
One of the most distinctive things about our band is my scratchy baritone voice, which has been compared to Tom Waits, Dr. John, Leslie West, Eric Burdon, Joe Cocker, Iggy Pop, and Lou Rawls, all of whom are great inspirations to me.
Another thing that really sets us apart is the quality of our lyrics, which are dark and mystical, and yet heartfelt and relatable, and address fundamental human problems in thought-provoking and spiritually uplifting ways. I am very proud of our lyrics, which are registered with BMI, and which provide a little window into my strange inner world. While I have not yet completed by dreamed-of tomes of crystalline philosophy, I take some comfort in the fact that my songs, if reflected on and unfolded in thought, could take the audience to same esoteric wonderland of love and beauty.
I am also very proud of the guitar heroics displayed on our albums by the truly brilliant Tombstone T Wade and Will Clay, as well as the great guitar work by some of our guest musicians including Harlan Goldman-Belsma, Vinny Mauger, D.G. Rodgers, and Matthew Sternstein. While the world may not recognize it yet, I am confident that we might one day be considered the best combination of guitar genius in a single band since Eric Clapton, Jeff Beck, and Jimmy Page played together in the Yardbirds.
I should also point out that that the extremely high level of recording, engineering, and production prowess displayed on the records by our producer, Scott Clay, is palpable and has been positively commented on by many discerning critics. I am really lucky to have him in my corner, making the best record possible of our artistic adventures.
Between the singing, the lyrics, the music, and the production, I am very proud of 0ur records, confident that there are several songs on the albums that should be interesting and pleasing to most listeners, and hopeful that our work will stand the test of time artistically. I love our songs and believe you probably will, too. I would say that some bands, like the Kinks, are more about the lyrics, and some other bands, like Led Zeppelin, are more about the music, and that yet other bands, like the Beatles, are about both in equal measure. While I’ll have to leave it to others to judge how close we come to those heights, I believe that Captain Badass is one of those bands that have both great lyrics and great music, and I trust that, if we stick to the path and continue down this same artistic road, we will leave our mark on musical history.
Can you tell us more about what you were like growing up?
I was a pretty strange little kid, full of wonder and curiosity, always ready for mischief and adventure, extremely friendly, open, and talkative to all sorts of people, and liable to say some of the strangest things.
Adopted at three weeks old, and not really like anyone else I knew, and treated somewhat like a prodigy by very supportive adoptive parents, I felt as if I had fallen out of the heavens, like some strange visitor from another world, and felt some sense of responsibility and ambassadorship accordingly.
I was incredibly bookish, often in the library (when not in the woods), and read voraciously (especially historical atlases, classics, and the scriptures of various religions), and loved my teachers and my studies, and liked to visit my grandparents, and lots of other octogenarians in my community and ask them questions about the world wars, the great depression, and their childhoods in the nineteenth century…
I was active and athletic (on the swim team), but not a very serious disciplined athlete, and smart, scholarly, well-read, academic, and articulate (academic decathlon, debate team, national merit scholar, great at tests), but not always a very serious or disciplined student. I was also very into art (painting, drama, puppeteering) and music and politics and religion, but here again not very serious or disciplined at any of it. I was also really interested in scouting, the outdoors, and military and martial arts, but here again was not serious or disciplined enough to get my Eagle Scout. While I thought of myself as something of a philosopher, adventurer, and tough guy, I was thought of rather as a strange and funny bird and was elected class clown (somewhat to my chagrin, but I acknowledge that I earned it, always being into some trouble to some authority figure’s exasperation).
I grew to love learning about many subjects and have spent my whole life trying to build all of the knowledge assembled from the various discipline into a single system of thought. I was also a big believer in oracles and mysteries and extremely devout, spiritual, ghostly, and religious (but no goody two shoes, thank you very much). Somehow, through it all, I became a philosopher, a mystic, and a cat who walks by himself.
I was also (as I mentioned above) always involved in studying, making, and listening to music of all kinds, but I didn’t really dare to dream at that age that I would one day be writing published songs and recording albums. I had a strong work ethic, always had a job since I started mowing lawns at nine years old, and always assumed that I would become a lawyer, which I did.
I was never really very comfortable with myself but have become increasingly so since the return from my life-changing descent into Hades about ten years ago.
Contact Info:
- Email: [email protected]
- Website: http://www.captainbadass.info/
- Instagram: https://instagram.com/captainbadassinfo?utm_medium=copy_link
- Facebook: https://www.facebook.com/Captain-Badass-104909024555275
- Youtube: https://www.youtube.com/channel/UC7fHm1ZxuLEPfS7CCI_QOGA
- SoundCloud: https://soundcloud.com/user-394383828
- Other: https://www.reverbnation.com/captainbadass
Image Credits:
All photographs and cover art by by Richard Johnson; the painting, “The Best is Yet to Come” by Matthew Sternstein, is used by permission and photographed by Richard Johnson.
