John was one of twenty-two contributors of articles to the BBG's 1976 Bonsai For Indoors handbook, which was edited by Constance T. Derderian.  "Pruning Can Make the Difference" (pp. 26-29) includes nine line drawings by Naka. 
       The official dedication ceremonies took place in Washington, D.C. for the bicentennial gift of 53 bonsai from Japan to the U.S.  During the July BCI Convention which was held in conjunction with this, John Naka styled a buttonwood bonsai.   July 29 through August 1 in Philadelphia, PA John headlined the ABS Symposium.
       On November 20, a display was held at the Museum of Modern Art in Caracas, Venezuela put on by the Club Venezolano de Bonsai.  John Naka and Jorge Lucero  demonstrated.  Over three thousand people visited the first day.  The display was also covered by live TV. 19

      The National Bonsai Collection Guidebook was edited by John and Yuji Yoshimura in 1977.
John opened and closed the BCI Convention in Chicago with lecture/demonstrations on July 6-10.

        At the BCI Convention the next year from July 19 to 23 "Bonsai Country" in Portland, OR, Toshio Saburomaru and John were the guest artists.

        John was elected president of Crane Products, a Pico Rivera, CA importer of Kaneshin hand-crafted bonsai tools from Japan.
        At the joint 1979 BCI-ABS Convention from July 4 to 8 in New York City, Yuji Yoshimura, John Naka, and retiring Frank Okamura of the Brooklyn Botanic garden were the guest artists.  The proceedings included a number of programs for Spanish-speaking attendees from Central and South America, and an "Open House" at the BBG and the Japanese garden there.
        The year saw John's collaboration with Richard K. Ota and Japan's Keko Rokkaku to present Bonsai Techniques For Satsuki.

         "Bonsai -- A Bridge to International Friendship" was the theme of the 1980 BCI Convention in Honolulu.  Japanese grand master Saburo Kato headlined with John. 

        John visited the bonsai nurseries in China in 1981, noting the larger general size of the trees (because of display in larger gardens, shrines and courtyards), the less defined shapes and styles (due to a lack of knowledgeable teachers), and the beautiful, well-designed antique pots "just as I dreamed they would be." 20
        John also visited India that year, teaching there.
        With Yuji Yoshimura, John headlined for the Atlanta, GA ABS Symposium July 9 through 12.
        And the Golden State Bonsai Federation Convention in San Diego from Nov. 13 through 15 saw John as the principal artist.

        John's Bonsai Techniques II  was published in 1982.  (This one and the first would see translation into four other languages by the end of the decade.)  The 442 pages and 1,005 b&w photos and line drawings made this required reading in the practice of the art of bonsai.  Most of the earlier books in English leaned more towards basic horticultural knowledge and techniques for keeping the trees alive.  In time, this material shifted towards explaining the aesthetics involved in styling and shaping.21
        In April, the California Bonsai Society, Inc. and California Museum of Science and Industry Silver Anniversary Exhibition was held.
        John was one of the featured teachers at the ABS Symposium in College Park, MD (June 24 - 26), and then July 7 through 11 for BCI in Cleveland. 22

        For the twentieth anniversary symposium of the Bonsai Society of Greater New York in April 1983, Yuji Yoshimura and John Naka were the principal lecturer/demonstrators.  They then headlined July 6 through 10 for the BCI Convention in Orlando, FL 
        John was one of four leading teachers who participated in a series of Master's Design articles for International Bonsai magazine.  Each artist was allowed to discuss his own particular design for the given style.  This year's was Informal Upright, 1984 would have the Cascade, 1985 would be Slanting, and 1986 would see the Formal Upright.  Each artist was allocated 100 points to divide among the designated elements pertinent to his bonsai design, and each supplied sketches which were then rendered into a standard format. 23

        After displaying it at the Philadelphia Flower Show, John presented his masterpiece juniper forest Goshin to the National Bonsai Collection in Washington, D.C. in March, 1984.  The composition was the first resident of the new American Bonsai Pavilion and the largest bonsai at the National Arboretum.  It was slightly taller than the 49" high, single trunk Japanese red pine (Pinus densiflora) donated by the Imperial Household in 1976.  At the reception honoring John, Goshin was dramatically displayed against a golden screen, and was the only bonsai in the room. 
        On April 28-29, the Second European International Bonsai Symposium was held in Mannheim.  Nineteen countries and thirty-three bonsai clubs in Germany were represented.  Symposium registration was six hundred persons.  Hundreds of bonsai -- many very old, and all refined and sparkling with beauty -- were on display and for sale.  John Naka was the guest artist, and he demonstrated by cutting down three 8-foot tall trees to do an eighteen-inch planting with jin.  A second planting was in the bunjin-style.  Four television monitors relayed the demonstration, which was also conveyed by a German interpreter.
        During the joint BCI/ABS Convention in Seattle, WA, some 480 attendees were taught by the likes of John, Shinji Ogasawara, Haruo Kaneshiro, and ten others.  "Gems of the Pacific Rim -- Bonsai and the Emerald City" was held from July 4 through 8.
        A b&w photo of Goshin was on the cover of the Summer issue of ABS's Bonsai Journal.
        A large Dwarf Japanese garden juniper was pruned and wired into the literati cascade style by John on September 8-9 at the International Bonsai Arboretum's symposium in Rochester, New York.
        In October, the First International South African Bonsai Convention in Johannesburg included a bonsai and suiseki exhibition, and demonstrations by John and Japan's Shigeo Kato.  The theme was "Bonsai -- Beauty and Harmony."
        (By 1990 John had visited and taught in South Africa on four separate occasions.) 24

        In 1985 John Naka came to the Philippines with a tour group of mainly Americans.  He held a one-day lecture which included the restyling of a few trees.  The event is considered the turning point for bonsai in that country.  Naka was the first sensei to speak on the subject there and the members of the Philippine Bonsai Society, Inc. (formally organized in 1975) attended the lecture in full force.  His advocacy for "the rules" was easily accepted.  After that visit, his second book became available and it became the bonsai bible there, too.  Subsequently, nearly every tree was restyled and judged in shows in accordance with the "the rules."
       The first color cover of the American Bonsai Society's Bonsai Journal was a photograph of John's California Juniper Tora.  (Pictures of the tree had by this time also appeared in the Time-Life Book Miniatures and Bonsai (1979) and two publications of the Japan Bonsai Association.)  The first in a series of "Ask the Masters" interviews also was in that issue and, of course, was with John, who by this time is listed as having travelled to 34 states and 18 foreign countries.  25
        On November 3, Emperor Hirohito of Japan bestowed upon John the most prestigious award for a non-Japanese citizen, The Fifth Class of the Order of the Rising Sun.  Five days later John and England's Dan Barton headlined in Palm Springs,CA for the GSBF Convention. 26

        A color photograph of Goshin graced the May/June 1986 cover of BCI's Bonsai.
        A joint BCI-ABS convention was held July 9 through 13 in Washington, D.C.  There were over 500 attendees from twelve countries celebrating the tenth anniversary of the National Bonsai Collection.  Headliners included John Naka (California juniper) and Hawaii's Haruo "Papa" Kaneshiro (Chinese banyan).
        The year also saw John and Japan's Shinji Ogasawara make a demonstration tour of Barcelona and Valencia, Spain.  And John visited his old school in Kurume, Japan, donating copies of his two books to his instructor and principal who were still living there.
       Volume 2 of a new series of Masters Bonsai Techniques videos featured John carving and refining the dead wood on trunks and branches.  The high quality 40 minute tape was produced in Japan, has English narration, and is available through the Internalional Bonsai Arboretum in New York.  (On September 6-7, John demonstrated the informal upright design using a Japanese black pine before 200 registrants at the Arboretum's symposium.) 27

        John headlined for the ABS Symposium in Nashville, TN June 25 - 27, 1987, and then was one of the international teachers June 30 - July 4 at the BCI Convention in Minneapolis,/St. Paul, MN.
        Nina S. Ragle's compilation of 287 proverbs presented in both Japanese and English from John Naka, Even Monkeys Fall Out of Trees, was published.  The title refers to the little recognized fact that, yes, even bonsai masters can make a mistake.  Nine line drawings by John and sixteen by Jamie Lee Sugarman illustrate this book covering the philosophy behind many of the techniques.
        The GSBF Convention in Anaheim from Nov. 5 through 8 was the site of Masahiko Kimura's first appearance outside of Japan.  Knicknamed the "The Magical Technician"  Kimura accomplishes fantastic and sometimes unbelievable bonsai designs with the use of power tools.  For his demonstrations he used two different junipers.  During these and his workshop for ten students, Kimura assisted each student in his quiet, empathetic manner while John Naka translated. 28
        John was featured in an episode of the PBS series "The Victory Garden" which was aired on November 28.

        John Naka conducted a demonstration and workshop on April 23 and 24, 1988 for the fifth annual Mid-Atlantic Bonsai Festival held in Willow Grove, PA, before a gathering of a dozen clubs.
        Volume 1 of the Masterworks of Bonsai© video tape series became available.  Twenty-three magnificent trees from John's collection were showcased on this educational and entertaining broadcast quality program.
        July 6 through 10 saw John as one of the featured artists at the ABS Symposium in Montréal.  Three days later John was with Yuji Yoshimura at the BCI Convention in San Antonio, TX.
         From Oct. 20 through 23, John and Ben Oki were the headliners at the 16th Annual Bonsai Societies of Florida Convention in Miami Beach.  And four days later John taught at the GSBF Convention in Santa Rosa, CA.

        The first World Bonsai Convention was held in Omiya, Japan -- the center of the world's bonsai art for most of this century -- between April 6 and 9, 1989.  Its theme was "World Peace Through Bonsai."  Almost thirteen hundred enthusiasts from twenty-eight countries gathered for the event at which three dozen Japanese masters gave lectures and demonstrations.
        The program included an exhibition of twenty-two representative trees from the designated group of three hundred which are known as Important Bonsai Masterpieces and are maintained by the Japanese government as part of the Imperial household.  These bonsai represent the highest level of artistic, scientific and historical value and are usually only on display inside the Palace grounds -- not often seen by the general public.  The trees are displayed with dignity and grace in valuable antique bonsai containers.  They are the work of generations of artists and are truly a national cultural heritage.
        The formal inaugural meeting of the World Bonsai Friendship Federation (WBFF) was also held now.  In planning since 1980, the WBFF was organized as an international non-profit organization to be governed by nine directors -- John Naka was elected Vice Chairman of the Board -- representing nine world bonsai regional federations.  Its purpose is to encourage a deep friendship and mutual understanding through the peaceful shared art of bonsai. 
         Also in 1989, one of John's trees was transferred to the Pacific Rim Bonsai Collection in Federal Way, Washington state.  The Weyerhaeuser Company opened the collection in the autumn.  This particular tree was a 29 inch tall Oriental sweetgum (Liquidamber orientalis), a "textbook perfect" -- of course -- formal upright broom style in training since 1965.  The unusual Bizenware container John selected for this bonsai was estimated to be over a century old.  Its nearly black color contrasts delightfully with the golden oranges of the masterpiece's fall leaves. 29

        At the 1990 ABS Symposium in Columbus, OH, John was the lead artist (June 27 - July1).  Three days later for the BCI convention in Honolulu, Japanese grand master Saburo Kato was the headliner with Shinji Ogasawara and John.
        On October 1, almost two years after its groundbreaking. the John Y. Naka Pavilion was dedicated, as was the National Collection of North American Bonsai (NCNAB) which would be housed in that Pavilion.  This was a milestone in a collaborative effort by the National Bonsai Foundation and the U.S. National Arboretum to present bonsai to the public as a fine art.  The Japanese Bonsai and Chinese Penjing Collections by this time were the most popular displays at the Arboretum.
        Approximately one thousand people representing bonsai organizations throughout the United States and Japan gathered for the dedication with officials from the U.S. Dept. of Agriculture, which operates the Arboretum.  Saburo Kato (Chairman of the World Bonsai Friendship Foundation and Representative Director of the Nippon Bonsai Association) presented the deed of the Naka Pavilion and the deed of the NCNAB to John.  After a moving speech, John presented both deeds to U.S.D.A.
        The National Bonsai Foundation was organized as a non-profit corporation in Washington, D.C.  John Naka, Yuji Yoshimura, and former Arboretum Director Dr. John L. Creech were elected as honorary advisors to the Foundation.
       The initial trees included a Blue cedar (Cedrus atlantica 'Glauca') from John and a Japanese grey bark elm (Zelkova serrata) from Yuji Yoshimura, as well as fine specimens by several of their students who were now respected teachers in their own right.
        The Naka Pavilion is the second building of the Museum.  It houses the NCNAB, the curator's office, and the Harry Hirao Reception Center, named after one of John's students, the respected California bonsai and suiseki artist and collector.  Connected to the Naka Pavilion is the Yoshimura Center housing a lecture and workshop room named after the "Father of Popular Bonsai in the Non-Oriental World."
        In his congratulatory speech, Fredric Ballard, president of the NBF, conferred upon John the name "Patron Saint of Bonsai."  While experiencing achievements which would fill fifty computer printout pages, John Naka has remained a fun loving, unassuming person, ever ready to come forth with a witticism and a chuckle.  His pupils' favorite saying of his is "Leave Room For The Birds To Fly Through" the branches of your bonsai.
        And although he has made many trips to Japan, that country is still the one place in which this international teacher refuses to hold classes.  "They want me to teach, and I tell them it's like trying to preach to Buddha." 30

        On February 21, 1991, in the city of Cali, Columbia the Latin-American Bonsai Federation (LABF) was formally organized.  The meeting coincided with the celebration of "Cali-Bonsai-10 Years."   Among the impressive co-signers of the Constitutive Act was WBFF Vice President, John Yoshio Naka.
        The International Bonsai Congress in Birmingham, England ran from July 26 to 28.  There were over 600 participants from twenty-two countries.  Nine teachers from four nations were among the lecturers and demonstrators at the event.  John Naka designed an oversized Japanese black pine.  This convention also included a bonsai exhibition of the finest trees from the thirty participating British clubs. A European tour after the Convention included stops to nurseries in Germany, Switzerland, and Holland.
        Oct. 31 through Nov. 3 saw John in San Diego, CA as part of the GSBF "Bonsai Fiesta" Convention. 31

        The IBC'92 Convention, "Magic in Memphis," took place from May 21 to 25 in Memphis, TN with Masahiko Kimura and John Naka as the guest artists.  The aforementioned LABF held its first formal meeting here. 32
        And in 1992 John was chosen as one of thirteen honorees to receive a National Heritage Fellowship.  A one-time grant of $5,000 is awarded to each of the exemplary master folk artists and artisans who have been nominated by their peers.  The nomination criteria are authenticity, excellence and significance within a particular artistic tradition.  Those nominated must be actively participating in their art form, have a record of on-going artistic accomplishment, and be worthy of national recognition. 33

        The 2nd World Bonsai Convention of the World Bonsai Friendship Federation (WBFF), "New Horizons," was held in Orlando, FL from May 27 to 31, 1993.  This was in conjunction with the BCI and ABS conventions. Saburo Kato, Yuji Yoshimura, and John were the headliners for the over seven hundred delegates who attended.
        "A Bonsai Jamboree" in Irvine, CA saw John as one of the headliners for the GSBF Convention Nov. 4 through 7.

        From November 3 to 6, 1994 a joint BCI/GSBF convention took place in San Jose, CA.  Guests of honor were John Naka, Toshio Saburomaru, and Yuji Yoshimura.  Enthusiasts attending from outside this country hailed from Canada, Mexico, Guatemala, Puerto Rico, Brazil, the Netherlands, Italy, Australia, and Japan.  The GSBF was seeking to establish permanent masterpiece bonsai collections in two different areas of the state.  The Huntington Library and Gardens would have Collection-South.  34

        From Aug. 30 through Sept. 3, 1996 John was the headliner for the Bonsai Societies of Florida 24th annual state convention held in Fort Lauderdale.  This convention was one of the most successful for the state in many years.  Having John was the highlight for the more than 250 attendees who came from all over the U.S., the Carribbean and South America.  Nine other artists and teachers were there, also, but it was the appearance of Naka-san that drew these people from so far away.  John performed a master workshop for ten of the lucky attendees who were fortunate enough and fast enough to sign up and take advantage of his expertise.  He did a special ten tree critique of the exhibit, as well as generously spending a multitude of hours signing his books. 35

        March 20-24, 1997 was the 40th Anniversary Show of the California Bonsai Society.  It featured a two part "retirement" demonstration by John Naka, ably assisted by the likes of Ben Oki, Mel Ikeda, Ernie Kuo, and similar star pupils of the grand master.  Roy Nagatoshi was the emcee.  Spry and entertaining at age 82, Naka-san could still deftly wield a medium-sized chain saw to sculpt a large California juniper, requesting various tools from his senior students in Japanese.  Notable bits of Naka-san's philosophy heard there include:

        This convention also included fifteen workshops, benefit drawings, vendors, banquet, and the Exhibition of Bonsai: Treasures of the Heart at the Huntington Botanical Gardens.  Here, the permanent Collection-South was officially inaugurated with a few dozen of the local artists' best compositions, some truly magnificent examples of this hobby.  Most if not all of these specimens owe some of their shaping to John's teachings.

        From May 21 through 24 John, Marybel Balendonck and Melba Tucker were at the National Bonsai and Penjing Museum in Washington, D.C.  They visited for the opening of the Bamboo Exhibit there and also to spruce up many of the trees in the collection. 36

        John was in Seoul, Korea as part of the 3rd World Bonsai Convention of the WBFF (Oct. 24 - 28).

        From June 12 - 17, John was the guest of honor in Pisa, Italy of the European Bonsai and Suiseki Convention 1998.

        In April, 1999 John went to the National Arboretum for three days to direct work done on Goshin.  He worked on a number of other trees as well.
       A few years ago John slightly shifted his creative gears.  When he was a young adult he had been painting in oils and styling bonsai.  As the latter came to the forefront, he realized he could not properly dedicate himself to both disciplines.  So, John put away his paints and continued that form of expression through his sketches made prior to designing dwarfed trees.  Now in his golden but still very active years, the master keeps his collection of bonsai in show shape and still teaches three classes, albeit not as often as he used to.  And he has started taking classes to resume his acquaintance with oil painting.  Lamenting and exaggerating his decline -- "I can't see, I can't hear, my wrist hurts," etc. -- he does acknowledge that his mouth is in perfect working order, so his ability to express himself and enlighten others with the flair of an entertainer has not been affected with the passage of time.
       During the Nov. 11-14, 1999 Golden State Bonsai Federation convention in Anaheim, CA was a guest appearance by John for both a ten-tree workshop and a demonstration in which he created what is being called Goshin Two.  This time he did not do a sketch prior to the demonstration so that he wouldn't be locked into a design.  He would rather have a healthy forest planting than a dead copy of Goshin.  In addition to his Nanpukai students, John was joined by his grandson, Mike Naka, who has studied bonsai with his grandfather for several years. 37
       John will be honored at the Forty Fifth Anniversary Exhibition and Convention of the California Bonsai Society, March 21 through 24, 2002.

       Thus, an accompanying sheet might read:
 

       Please mail copies of original John Naka drawings on an 8-1/2" x 11" sheet of paper to:

       A mailed photocopy is the preferred format for collecting the drawings.  As an alternative to photocopying, a drawing may be scanned in GRAYSCALE and .JPG and forwarded to Chris Cochrane at the e-mail address sashai@erols.com .

       Thank you for your contributions to this effort.

         Please note that scheduled for release in the year 2002 is a new publication by the National Bonsai Foundation, The Drawings of John Naka by Jack Billet. 38
 

2    BT by JYN, pg. 257 and color Plate 7 (photo of cedar taken in 1972), Plate 9 (kengai juniper photo taken in May 1972), and Plate 2 (curved trunk juniper photo taken in 1973);  Alice Naka's article, pg. 22;  Ragle, pp. 7-8; "John Naka at the Atlanta Bonsai Congress '73," by Ann Getman, Bonsai, BCI, Vol. XIII, No. 6, July/August 1974, pg. 28; per Khan Komai to Ernesta D. Ballard in Bonsai Journal, ABS, Vol. 3, No. 1, Spring 1969, "It was formed in 1950 by a group of South-land Japanese and 'a few Caucasians'."; Bonsai in California, No. 1 (1967), pg. 1; Young's article, pp. 93-94, also pg. 82; International Bonsai, IBA, 1986/No. 2, pg. 12;  Golden Statements, GSBF, September/October 1994, pg. 20, which gives 1955 as the founding date and has the fourth friend's name as Yamashito; Beauty Behind Barbed Wire by Allen H. Eaton, New York: Harper & Brothers Publishers, 1952, which also states that there were more than 90 bonkei (dry miniature landscape) makers at Amache, only one of whom had ever practiced before.  Pictures from the camp art exhibition of these are on pp. 17, 19, and 89; personal correspondance with Tania Rizzo, Archivist, Pasadena Historical Museum, Sept. 23, 1999; "History of California Bonsai Society" by Khan Komai, Bonsai in California, Vol. 3, 1969, pg. 38.

3    Komai's article, pg. 38.

4    BT by JYN, pp. 257, 258, color Plate 8 (photo of azalea taken in June 1962); Komai's article, pp. 38-39; "Birds & Butterflies Space" by William J. McCann, Bonsai in California, Vol. 5, 1971, pg. 38;  states that the shows started in 1957; "Celebrating 35 Years of Progress" by Dorothy Land, Bonsai, BCI, Vol. XXXII, No. 4, July/August 1993, pg. 28; Young's article, pg. 94; IB Digest Bicentennial, pg. 33;  Pasco's article, pg. D2.

5    Bonsai, BCI, Vol. XXII, No. 4, May, 1983, pg. 115;  "I.B.C. '83 Bonsai Horizon Headliners" by Jean Smith, Bonsai, BCI, Vol. XXII, No. 5, June 1983, pg. 161; Golden Statements, GSBF, May/June 1995, pg. 31.; BT by JYN, color Plate 5 (photo of wisteria taken in March 1966) and 15 (photo of elm taken in 1971).

6    Komai's article, pg. 39.

7    Komai's article, pg. 39; "About the Cover," Bonsai Journal, ABS, Vol. 19, No. 2, Summer, 1985, pg. 1; BT by JYN, color Plate 3 (photo of silverberry taken in 1969), 4 (cypress photo taken in 1971), 6 (oak photo taken in April 1971), 10 ("Tora" photo taken in 1970), and 11 ("Ryu" photo taken in 1973); Kokufu tale per JYN at Demonstration, March 1997, California Bonsai Society 40th Anniversary show.

8    BT by JYN, Color Plate 13, Fig. 420; Bonsai, BCI, Vol. VIII, No. 1, February 1969, cover and pg. 2, which states that "His tall, main tree was chosen first in the spring of 1957" and that the group was created "in 1964 or 1965.".

9    BT by JYN, pg. 258.

10    Komai's article, pg. 39; Bonsai Journal, ABS, Vol. 2, No. 2, Summer 1968, pg. 14; International Bonsai, IBA, 1983/No. 3, pp. 12, 14; Bonsai in California, Vol. 3, 1969, Goshin is Fig. 10 on pg. 8.  John also has "A Photographic Bonsai Demonstration" with 16 b&w illustrations on pp. 40-42 of that same issue, and b&w Fig. 78 on pg. 35 of a Kuzuya Ishi, a thatched hut-shaped viewing stone.

11    Conversation with Leroy Fujii of Phoenix Bonsai Society.  The same story was told at other times to other members.

12    BT by JYN, pg. 258;  Bonsai, BCI, Vol. VIII, No. 2, February 1969, cover and pg. 2; Bonsai Journal, ABS, Vol. 2, No. 2, Summer 1968, pg. 2; Bonsai Journal, ABS, Vol. 3, No. 1, Spring 1969, pp. 2, 14; http://us.imdb.com/Name?Shimada,+Teru.

13    Land's article, pg. 29; Golden Statements, GSBF, September/October 1994, pg. 20.

14    Bonsai Journal, ABS, Vol. 4, No. 1, pg. 10, by George F. Hull with 7 b&w photos by the author; Bonsai Journal, ABS, Vol. 5, No. 3, pp. 2, 46-47, by George F. Hull with 6 b&w photos by the author, and the note that ABS was preparing a color slide set of the demonstration; BT by JYN, pg. 258.

15    Various advertisements in the specialty magazines for Naka-led tours;  conversations with Leroy Fujii of Phoenix Bonsai Society who was on the 1977 trip; Bonsai, BCI, Vol. X, No. 1, February 1971, pg. 2.  The entries continued only through October 1971, with another for February 1972.  Page 2 of other issues did include haiku by recent and past poets. 

16    Bonsai, BCI, December 1971, pg. 4; Bonsai, BCI, July/August 1978, pg. 197, with two b&w photos of John at home with his trees.

17    "John Naka at the Atlanta Bonsai Congress '73" by Ann Getman, Bonsai, BCI, Vol. XIII, No. 6, July/August 1974, pp. 28-29; BT by JYN, pg. 258, Color Plates 12 and 13, and Figs. 420 and 421; "'Goshin' -- The Making of a Masterpiece" by Dorothy S. Young, Bonsai Journal, ABS, Vol. 18, No. 2, Summer 1984, pg. 27 states that the increase was done in 1972.

18    BT by JYN, "Author's Words"; Bonsai, BCI, Vol. XIV, No. 1, January/February 1975, pg. 25; "A Great Bonsai Event - Slow as Bonsai Taking Shape" by Susanne Barrymore, Bonsai, BCI, Vol. XV, No. 3, April 1976, pp. 72-73.

19    "Bonsai in South America" in Bonsai, BCI, Vol. XVI, No. 7, September 1977, pg. 228.

20    Full double-page display ad for Crane Products, Bonsai, BCI, Vol. XVIII, No. 4, May 1979, pp. 126-127; "An Interview With John Naka" by Georga Flaherty, Bonsai, BCI, Vol. XXI, No. 1, January/February 1982, pp. 21-25.

21    Pasco's article, pg. D2.

22    "A Bonsai Portrait of Shinji Ogasawara" by Ted T. Tsukiyama, Bonsai, BCI, Vol. XXIX, No. 3, May/June 1990, pg. 24.

23     International Bonsai, IBA, 1983/No. 3, John's design on pp. 12, 14-15; 1984/No. 2, pp. 11-15; 1985/No. 2, pp. 10-13; 1986/No. 2, pp. 12, 14-15, standardized darwings by Harvey B. Carapella.

24     From an autographed souvenir photo of the presentation given to Elsie Andrade of the Phoenix Bonsai Society; Bonsai, BCI, Vol. XXIII, No. 1, January/February 1984, pg. 10; Bonsai Journal, ABS, Vol. 18, No. 2, Summer 1984, cover photo and on pg. 27 by Luther Young, Dorothy S. Young's article on pg. 27, and "Reception Held For John Naka At The National Arboretum" by Janet Lanman on pp. 28-29; International Bonsai, IBA, 1985/No. 3, pg. 23.

25    "Taking a Quantum Leap: Bonsai in the Philippines, Part Two" by Poncevic "Vic" Ceballos, Bonsai, BCI, Vol. XXXVIII, No. 5, September/October 1999, pp. 40-41; "About the Cover," Bonsai Journal, ABS, Vol. 19, No. 2, Summer, 1985, pg. 1, and small b&w pg. 10 with the caption "John Naka and Chase Rosade preparing the cover tree for the Journal's Fall [sic] issue." "Ask the Masters," pp. 2-4; BT by JYN, color Plate 10. "Photo taken 1970.".

26     BT by JYN, pg. 262, with b&w photo; Golden Statements, GSBF, September/October 1994, pg. 21.

27    Bonsai, BCI, Vol. XXV, No. 3, May/June 1986, cover and pg. 2, photograph by Peter Bloomer, courtesy of U.S. National Arboretum; Ragle, pg. 4; International Bonsai, IBA, 1987/No. 1, pp. 28-29.

28    "The World of Masahiko Kimura" by Kay Urbanski, Bonsai Journal, ABS, Winter 1991, pp. 12-13.

29    Ad in Bonsai, BCI, Vol. XXVII, No. 4, July/August 1988, pg. 17; Golden Statements, GSBF, September/October 1994, pg. 21; "Oriental Sweetgum," International Bonsai, IBA, 1989/No. 3, pp. 26-27.

30    BT by JYN, pg. 261, with b&w photo; Golden Statements, GSBF, September/October 1994, pp. 20-21, 22;  Pasco's article, pg. D2; A variation of John's saying, per International Bonsai, IBA, 1987/No. 1, pg. 29, is "For an ideal bonsai, 'you should be able to hear birds sing, wind blowing through and butterflies flying through'."

31    Bonsai Today, No. 11, pp. 4, 65;  "International Bonsai Without Boundaries" by Martin Mann, Bonsai, BCI, Vol. XXX, No. 6, November/December 1991, pp. 3-9.

32    Bonsai, BCI, Vol. XXVI, No. 1, January/February 1987, pg. 12, and No. 5, September/October, pg. 31;  "The Second Visit of Ben Oki to Columbia, S.A." by Maria Elena de Duran, Bonsai, BCI, Vol. XXVI, No. 1, January/February 1987, pg. 18;  "Latin-American Bonsai Federation Organized" by Jose R. Santisteban, Bonsai, BCI, Vol. XXXI, No. 4, July/August 1992, pg. 15.

33    Bonsai, BCI, Vol. XXXI, No. 4, July/August 1992, pg. 21.

34    Golden Statements, GSBF, November/December 1994, pg. 5;  "Federation's Prodigious Undertaking Was a Bonafide Success, IBC'94/GSBF XVII, A Day by Day Account" by Dorothy Land, Golden Statements, GSBF, January/February 1995, pg. 19.

35    Personal e-mail correspondence 10 Jun 1999 from Mike Sullivan, President, Gold Coast Bonsai Society, Fort Lauderdale, Florida.

36    Per JYN as noted by RJB at Demonstration, March 1997, California Bonsai Society 40th Anniversary show; short article and three color photos by Peter Bloomer can be found on pg. 48 of Bonsai, BCI, Vol. 36, No. 4, July/August 1997; NBF Bulletin, Summer/Fall 1997, Vol. VII, No. 1, p. 1. 

37    "What's Up John?" by Cheryl Manning, Bonsai, BCI, Vol. XXXVIII, No. 5, September/October 1999, pp. 9-11.  See "Goshin II, A Photo Essay" by David Gulick, Bonsai Today, No. 69, pp. 58-61, with 16 color photos; and "Goshin Two: John's Swan Song" by Cheryl Manning, Bonsai, BCI, Vol. XXXIX, No. 4, July/August 2000, pp. 30-33, with six color photos, and a b&w sketch of G2 after the fact.

38     "Collecting Naka Drawings" by Chris Cochrane, NBF Bulletin, Summer 2000, Vol XI, No. 1, p. 4; personal e-mail correspondence 29 Jun 2000 from Chris Cochrane.  Forthcoming book per insert in the Winter 2001 issue of NBF Bulletin, Vol. XII, No. 2.