A slim newspaper has been circulating as part of promotions for Visual Communications’ 2017 Los Angeles Asian Pacific Film Festival (LAAPFF), portions of which will be screened at JANM. Titled Bronzeville News, it mimics some of the humble broadsheets that may have circulated during the Bronzeville years of Little Tokyo, when, in the absence of Japanese Americans who had been incarcerated in remote camps following the bombing of Pearl Harbor, African Americans moved into the neighborhood and made it their own, nicknaming it after a historic black neighborhood in Chicago.
The newspaper evokes another era at the same time that it announces and serves as the program for Bronzeville, Little Tokyo, a free, two-day LAAPFF event that delves into this brief but fascinating period in Little Tokyo’s history. Over the weekend of April 29–30, visitors will be able to take in an interactive media installation, a 360⁰ virtual reality presentation, and a live jazz performance. Presented by FORM follows FUNCTION and Visual Communications, Bronzeville, Little Tokyo will take place at JANM’s own Historic Building and the Union Center for the Arts courtyard, two historic neighborhood sites.
Bronzeville was a nexus in time that brought together several significant strands of Southern California history. Following the evacuation of persons of Japanese ancestry from the West Coast, Japanese enclaves quickly became ghost towns. Since Asians were legally barred from owning property at that time, this meant that a lot of white landlords found themselves without tenants. At the same time, African Americans from the Deep South started flooding into California to work in the war defense industry, which faced a labor shortage. The vacant buildings in places like Little Tokyo made for convenient housing for the laborers. The neighborhood soon became a hotbed for African American business, culture, and night life.
In addition to many intriguing vintage photographs and advertisements, the Bronzeville News contains a thoughtful essay by artist and project researcher/consultant Kathie Foley-Meyer, in which she considers the significance of Bronzeville in forging Los Angeles into the multicultural metropolis that it is today. Her quotation of a 1945 editorial on integration in California is eerily reminiscent of debates taking place today in the wake of new immigration policies from the current administration. Foley-Meyer runs her own creative project at projectbronzeville.com.
Founded in 2011, Kizuna is a nonprofit organization based in Little Tokyo whose mission is “to build a future for our community through the education, empowerment, and engagement of the next generation.” Through a variety of workshops, projects, and initiatives, Kizuna teaches leadership and community service skills as well as Japanese American values and cultural practices to Nikkei youth of all ages.
At the 2017 Oshogatsu Family Festival, JANM hosted Kizuna’s story time reading and signing of their recently published children’s book, Thank You Very Mochi (available for purchase at the JANM Store). We will also be partnering with them to present our next JANM Free Family Day on Saturday, April 8. The event will celebrate Japanese American history and Kizuna staff will be on hand to lead craft activities, a spam musubi workshop, and story time readings.
This week, we sat down with Kizuna director Craig Ishii via email to find out more about the organization and what it does.
JANM: You’ve been going strong now for six years. Please tell us the story of how and why Kizuna was founded.
Craig Ishii: Several of us had been working at different community-based nonprofits for some time—Little Tokyo Service Center, Japanese American Cultural and Community Center, Japanese American Citizens League, etc. During our tenures with those organizations, it became clear that the community was looking for involvement from the next generation, but there was a general lack of knowledge and practice on how to do this. So in 2011, we brought our heads together and created the organization. We were not experts in this arena, but we had the drive. We went through several names before we found the name “Kizuna.”
When we were first getting off the ground, we had no office and no resources, but we had our networks, a clear vision, and nonprofit building skills. In addition to our years of working in nonprofits, several of us also held master’s degrees in nonprofit management; I really believe that the technical knowledge we acquired in those programs had a huge impact on the success and growth of Kizuna. In our first year, we launched our programming, held our first fundraiser, and seeded the funds to hire our first staff member. Since then, we’ve been able to continuously grow our budget, staff, and programs each year.
JANM: What does the name “Kizuna” mean?
CI:Kizuna doesn’t have a direct English translation. Eiko, the very wise receptionist at JACCC, described it best when she told me that kizuna is the depth of your relationship with someone. So the bond between myself and my parents, that is our kizuna; or the bond between best friends, that’s kizuna. We chose this name for a couple of reasons: we’re hoping to create a deep relationship between our students and the community, but we’re also hoping to build a tightly knit next generation that is connected and networked.
JANM: Tell us about the book, Thank You Very Mochi. What inspired you to get into publishing, and is this the first of more children’s books to come?
CI: Our program manager, Paul Matsushima, held a workshop a couple years back where he had to manage more than 60 kids for a mochitsuki (mochi pounding) workshop. He knew that having 60 kids pound and knead mochi at once would be impossible, so he split them into various activity stations. One of those was a storytelling station that revolved around a family mochitsuki. Afterwards, one of the parents said to him, “Hey, that story is a cute idea, you should turn it into a children’s book.” So Paul, Sophie Wang (Kizuna’s development coordinator), and I co-authored Thank You Very Mochi. It’s been a great way to get our mission out to the community here in Southern California and beyond. I think this book is everyone’s favorite accomplishment to date and yes, we would like to publish more!
JANM: What are some of your other favorite accomplishments?
CI: I’m pretty sure we have the largest network of Japanese American summer camp programs in the nation now. We manage six separate locations working with around 350 elementary to middle school students per year (and that number grows each year). It’s our largest program but also our most creative. It’s my personal favorite because it allows Kizuna to build the culture of the next generation. When we have a student who attends for more than a couple of years, we can impart important understanding and behaviors that will help them be successful and give back to our community as they age.
JANM: It’s amazing that you offer a full range of programs for ages seven through young adulthood. Do your kids tend to come back to take on more advanced programs?
CI: Yes, definitely, there’s a high retention rate. For me, working with kids is the clearest and most direct representation of impermanence. On one hand, you want the kids to grow up and everything that you do is about their growth and development. But then, of course, as they do grow up, they become smarter and wiser, and they really don’t need you as much. Then at that point, they become the teachers, instructors, and mentors. It’s great to watch this, but sometimes it feels like it happens a little too quickly. I’m sure folks in my parents’ generation say the same thing about us!
This Thursday evening, JANM hosts the latest edition of East West Players’ A Writer’s Gallery Reading, a semi-annual series featuring new work by Asian and Pacific Islander American writers. June is the First Fall, written by Yilong Liu and directed by Jeff Liu, follows a Chinese American gay man who returns home to Hawai‘i after a painful breakup. He must confront his sister, his father, and himself about an unspeakable past that separated them, and a tender family history that held them together.
Born and raised in Chongqing, China, Yilong Liu has an MFA in Playwriting from the University of Hawai‘i and is the recipient of a 2016 playwriting scholarship from East West Players’ David Henry Hwang Writers Institute (DHHWI) in conjunction with Asian Pacific American Friends of the Theatre (APAFT). His work has been produced or developed at Kumu Kahua Theatre, New York International Fringe Festival, New York Indie Theatre One Minute Play Festival, Stella Adler Studio of Acting, and Queens Theatre. We sat down with him via email to talk about his new play, and what it’s like to be a gay Asian writer.
JANM: I’m intrigued that the inspiration for this play is a portrait of Afong Moy, the first Chinese woman to immigrate to America. Moy was “imported” from China by two enterprising traders, who put her on display as a publicity stunt to sell more exotic Chinese goods. The portrait shows her surrounded by said goods. What was it about this portrait that inspired you?
Yilong Liu: The first time I saw this picture, I was taking a seminar on Asian American theatre history in grad school. We were talking about the performative elements of her “exhibition” and how those were founded on exoticism. However, other than her being exploited and objectified, I myself as someone who was born and brought up in China, wondered how she was feeling personally as someone who also came to the US as a young adult, whose worldview had probably been largely shaped already in her home country. Because essentially, the immigration experience for someone who comes here at a younger age and those who are older can be very different. There is much complexity and nuance in the Asian and Pacific Islander identity spectrum that is often lost in the way outsiders look at us. The challenges faced by various APIA and API immigrant groups are not all the same, so it is important and necessary to encourage a deeper understanding.
On the other hand, I also find myself responding to this image on an emotional level. Having worked as a Chinese instructor in Hawai‘i, I was touched by many of my second-generation Chinese American students’ stories. Their fathers, or grandfathers, travelled great distances back to China to get married, then started the long journey of bringing their families to the US, but it would take years and years before they could reunite again. And when they did, unlike the kids, who would continue their education in American schools, the mothers usually stayed at home and weren’t able to speak any English. What was it like for them? What did they do when the rest of the family all went to school or work? What were they thinking, when they were sitting quietly in their rooms, just waiting for the ones who meant the whole world to them to get home? I kept thinking about Afong Moy when I thought about them.
JANM: LGBTQ stories are a major focus of your work. Were you out when you lived in China, and if so, what was that like? How would you compare the LGBTQ scene in China with the experiences you’ve had since you’ve been in the States?
YL: I was out to my friends and some of my cousins back in China. Being in a tight-knit society and a whole generation of only children have definitely complicated the coming out process for LGBTQ youth back home. More often than not, the kids’ coming out of closets are likely to put their parents into “closets” instead. The parents will go through the stages of confusion, anger, and fear, and eventually struggle with whether they should and if so how to “come out” to their own extended family members, friends, and colleagues, because of the way Chinese and most Asian societies function. Therefore, many kids don’t want to inflict the same kind of pain they have gone through on their parents. In June is the First Fall, although coming out is not an issue, we can still feel how the father, influenced by Chinese and American culture at the same time, is dealing with his mixed feelings about his son’s sexuality.
JANM: I read in an article that you have already been made aware of the paucity of representation of Asian and Pacific Islander Americans in American media/arts—for the APIA LGBTQ community, even more so. What kind of reception are you experiencing to your work, which is a very rare foregrounding of issues faced by these communities?
YL: Coming from China, where LGBTQ people as a marginalized group strive for visibility, understanding, and acceptance, I understand the significance of positive representations in arts/media. When I was a teenager, the only gay characters allowed on screens were almost always demonized, exaggerated, cartoonish, and heavily stereotypical. I found that distressing. The lack of representation—and the level of misrepresentation—make it even more difficult for people struggling with their sexuality, and will lead to unavoidable feelings of alienation and self-denial. I can only imagine when the situation is complicated by races, cultures, and politics.
So far, I think audiences have responded well and warmly to what I have to share. Being a bilingual writer, and brought up in the southwest of China, I find it specifically challenging but just as equally fun and rewarding when writing. I feel this urge, this responsibility, and this deep desire to write the stories I am telling, about queer people caught in between worlds, not only because it’s a way of empowerment, or that it’s even more needed in light of the recent political climate, but also because the stories are so beautiful and so heartbreaking that they deserve to be told. I feel audiences really respond to the perspective I bring in and the journey I am going through. They make me feel that my voice, although different and still raw, is appreciated and needed, and for that I am very grateful.
Join us for a reading of June is the First Fall this Thursday, March 23, at 7:30 p.m. Admission is free.
On Wednesday night, the Little Tokyo community was invited to a grand re-opening party for the Mikado Hotel, located on First Street in the historic heart of the neighborhood. This was no ordinary re-opening—the Mikado Hotel is a historic piece of architecture, built in 1914, and it has essentially lain dormant since the end of World War II. Capital Foresight finally purchased the building in 2014, and got to work on a restoration that would be faithful to the building’s history while updating it with contemporary touches. The result is quite remarkable.
The building’s façade has been restored to look the way it did in 1932. Visitors must first walk down a long corridor to reach the stairs and elevator at the back of the building; the corridor is decorated with a collage work and text panels recounting the history of Little Tokyo. The second and third floors are where the guest rooms, now called “micro-suites,” are located. On the second floor is a beautiful new open-air courtyard; the builders created this space by reducing the sizes of the individual rooms. In the past, the rooms were larger, but the space between them was practically nonexistent. The micro-suites continue on the third floor.
The suites are indeed microscopic—each one is about the size of a small bedroom. However, care has been taken to furnish them with all the necessary conveniences, including a kitchenette, full private bathroom (the original hotel had shared bathrooms), and storage cupboards. The style is decidedly hip and modern. A total of 42 suites will be available to rent starting in a few weeks, with leases that can run from one day up to one year. The price range is expected to be $1,160 to $1,500 per month.
Also new and hip is a rooftop lounge, featuring two comfortable seating areas. Guests can look down on the courtyard and balconies from here. The original hotel was enclosed, so the open-air effect is a welcome new addition, adding vibrancy to a small space.
The building was designed as a hotel by the California architect Alfred F. Priest. It is said to be typical of the commercial architecture that populated American main streets of the early 20th century, with its glazed white brick entrance and buff brick upper stories. Prior to World War II, it was known as the Mikado Hotel. While the Japanese American community was incarcerated, Little Tokyo became an African American enclave known as Bronzeville, and the Mikado morphed into the Shreveport Hotel, featuring a well-known soul food restaurant.
Gentrification is a contentious subject throughout Los Angeles, and Little Tokyo has not been immune to its effects. Critics bemoan the appearance of soulless condominiums, constructed quickly in the interest of profits, with no regard for the area’s history. A project like the Mikado Hotel seems to strike the right balance, respecting the lineage of the property while making it appealing to new audiences.
The 2017 Oscar nominations came out this week, and much was made about how diverse the nominees were. Out of the 20 acting nominees, seven are people of color; six of African descent and one of Indian descent. While this is encouraging, it is clear that much work still needs to be done to promote the visibility of Asian and Pacific Islander American (APIA) talent. As this blog has argued in the past, APIA talent is not in short supply, but opportunities for them often seem to be.
This February, JANM will host live tapings of a new series aimed at providing a platform for exciting APIA comedic talent. Comedy InvAsian presents six APIA actors and comedians doing one-hour standup sets in front of a live audience. Each set will be professionally filmed for later digital television broadcast.
The series will kick off on Friday evening, February 10, at 9 p.m. with a set from Paul “PK” Kim, a regular at Hollywood’s Laugh Factory and founder of the APIA networking group Kollaboration. It will end on Sunday, February 26, at 7:30 p.m. with a performance by Amy Hill, a longtime film and television actress known for her roles on 50 First Dates, Seinfeld, All-American Girl, King of the Hill, Crazy Ex-Girlfriend, and Amazon Studio’s Just Add Magic, among many other credits. For a complete schedule, with links to purchase tickets, visit this page.
Comedy InvAsian was founded by writers/directors Quentin Lee and Koji Steven Sakai (the latter was also formerly JANM’s Vice President of Programs). As the two state on their website: “In our filmmaking career, we have met and become friends with so many talented comedians of color, from producing Dwayne Perkins in Take Note to directing Randall Park in The People I’ve Slept With to working with Paul Kim in the Comedy Ninja Film Festival to directing Amy Hill in White Frog and The Unbidden. Comedy InvAsian will celebrate the talent and comedy of a group of select and diverse Asian American comedians which should prove to be just the tip of the iceberg.”
The two already have a distributor, Viva Pictures, and are vying to get on a popular digital platform like Amazon, Hulu, or Netflix. The latter recently produced Ali Wong: Baby Cobra, which became an enormous hit for the longtime comedy writer and standup artist. Lee and Sakai hope that Comedy InvAsian will also become a hit, so that they can continue to spotlight the many great APIA comedians that they know. Come support them by attending a live taping at JANM in February!
The recent election has brought many social and political issues to the forefront of American consciousness. Stoked by sensationalistic news coverage, debates and statements have often been heated and not always productive. To counteract this phenomenon, we at the Japanese American National Museum thought we would try a different tactic. Thus, to begin this new year, we invite you to join us in connecting with other museum visitors in a search for “common ground.”
Beginning on January 12, JANM will present a four-week series of public conversations taking place in the galleries of our core exhibition, Common Ground: The Heart of Community. Elements of the exhibition, which chronicles 130 years of Japanese American history through hundreds of objects, documents, and photographs, will serve as jumping-off points to start each week’s conversation. Sessions will take place on consecutive Thursday evenings from 7 p.m. to 7:30 p.m., and each one will focus on a different topic. Staff members from the museum’s education department will lead and facilitate the discussions.
Following are the topics for each conversation:
January 12: Compassion
January 19: Transparency
January 26: Speaking out
February 2: Solidarity
Our hope is that Common Ground Conversations will generate meaningful dialogue centered on each week’s topic, using Japanese American history to delve into contemporary issues and current concerns. No tickets or RSVPs are required. Common Ground Conversations coincide with JANM’s free admission on Thursdays starting at 5 p.m.
Every week, hundreds of visitors view JANM’s core exhibition, Common Ground: The Heart of Community. While the story resonates strongly with Japanese American visitors, who can see their own family histories in it, the importance of community is something that can be felt and understood by visitors from all different backgrounds. The exhibition begins with an introductory panel, which sets the stage for a story of immigrants:
Community is not just where you live.
Community is also about who you are.
Immigration is central not only to the Japanese American experience, but that of all Americans:
We are on common ground with all Americans,
with all people.
The exhibition traces Japanese American history through the struggles of immigrant mothers and fathers, the trauma of World War II and the concentration camps, and the ongoing quest to find a place in this country. Through it all, the importance and fluidity of the concept of community is explored; it is both an ideal to aspire to, and a source of comfort during trying times. Common Ground closes with a look to the future:
in the stories we tell each other,
in the stories we tell others.
As we reinvent America,
from monolithic to multicultural,
to include all of us
in all our magnificent diversity,
we forever re-vision the American experience.
Visitors of all ages, ethnicities, and cultures are invited to explore their own history and appreciate the differences among us while also remembering our similarities. By doing so, we reflect on and create what it really means to be American.
Just announced! JANM presents Common Ground Conversations, a four-week series of themed public conversations inspired by Common Ground: The Heart of Community. Read our press release for complete information.
Come to JANM this Saturday for a taste of Samoa! To celebrate our exhibition, Tatau: Marks of Polynesia, the latest JANM Free Family Day will feature a variety of crafts and cultural activities that celebrate Polynesian culture and the art of tattoos. Included will be performances and workshops spotlighting the traditional dances of Samoa. Guests will have a chance to learn the basic steps of fa’ataupati (slap dance), siva (traditional dance), and the fire knife dance with trained performers. (Note: actual fire and knives will NOT be used.)
To give you a sense of what these dances are like, we’ve assembled a collection of YouTube videos below. Enjoy and see you Saturday!
On Friday and Saturday, November 11 and 12, JANM will be hosting the second annual Kollaboration EMPOWER Conference. Launched in 2015 by Kollaboration, a nonprofit organization dedicated to supporting Asian and Pacific Islander Americans in creative industries, the EMPOWER conference offers a weekend of panel discussions, mentoring sessions, interactive workshops, and networking opportunities aimed at bringing together aspiring young artists and more established professionals. The conference’s goal is to bridge communities, generations, industries, and innovative minds.
To learn more about the conference and its origins, we interviewed Christine Minji Chang, Executive Director of Kollaboration.
JANM: Why the name “Kollaboration”?
Christine Minji Chang: Kollaboration has its roots in the Korean American community—it was founded by standup comedian Paul “PK” Kim in 2000 as a platform for aspiring Korean American artists to share their talents. (Fun fact—Ben Chung of the Kinjaz, formerly the Jabbawockeez, performance group was the one who coined our name.)
Over time, we expanded the organization and the movement to represent the pan-Asian American Pacific Islander community, but the name stuck. It still speaks on a larger level to what we stand for: empowering the AAPI community and improving diversity in media by working together—whether that’s across ethnicity, geographical region, cultural background, or artistic genre.
JANM: How did the EMPOWER Conference come about?
CMC: This conference was a long time coming and a very collective manifestation of ideas that grew over time through conversations between Kollaboration volunteers and artists. I personally started volunteering with Kollaboration San Francisco in 2009, and I remember dreaming out loud with my colleagues about creating an event where we could get advice from entertainment professionals—both for the artists that we supported in our shows and for ourselves as creative leaders who might not want to perform on a stage.
I had long dreamed of pursuing acting, but the whole idea had always been so daunting and obscure. How do I start? What do I prioritize? How do I talk to my family and friends about it? The media industry has always been an unknown universe for most AAPIs—it’s not explored or encouraged as much as medicine, law, or engineering.
So through multiple conversations, brainstorming sessions, and networking, our amazing Kollaboration Los Angeles team took the plunge in 2015 to pilot our first EMPOWER Conference. We got 40 entertainment professionals to volunteer to share their wisdom and insight with a small but passionate audience. I was completely blown away and humbled to see this idea come to life right before my eyes. It was an amazing team effort, and I’m very proud of what we’ve started for the AAPI community.
JANM: Describe the people that you feel should come to this conference.
CMC: I think this conference is accessible for almost all AAPIs who are just starting out and/or curious about working in the entertainment industry. They can get ground-zero insights into various aspects of different industries, and how to best pursue different paths. The conversations will range from how to utilize various programs and resources, to how to navigate emotional and mental journeys in a tough industry that’s just starting to prioritize diverse stories.
EMPOWER is also a place where seasoned professionals can come to network and get up to date on trends and technology in the entertainment and media industries, which are constantly evolving. We want this conference to be a gathering place for ambitious and creative minds to meet, build relationships, and expand their skill sets. We also want folks to be open to learning new things, not just from industry panels but from hands-on workshops that will make them jump out of their comfort zones and build confidence in public speaking, improv comedy, auditioning, and more.
JANM: Can you give us a few highlights or favorite moments from last year’s inaugural conference?
CMC: One highlight was having Bing Chen as our keynote speaker. He is extremely smart and charismatic and has been a force of nature not only for the AAPI creative community, but for the millennial generation as a whole. He founded the YouTube Partner Program, which revolutionized artistic expression and visibility for AAPI artists. Without that, who knows how long AAPIs would have continued to create art in obscurity or struggled to find outlets for their voices. Bing got up on stage and spoke candidly and passionately, holding nothing back; it was a great moment of inspiration for everyone present.
A favorite moment of mine came from Tamlyn Tomita during our keynote panel. Tamlyn has been navigating Hollywood for decades, and is a hero of mine for being such a talented actress who’s made a name for herself in an industry and society that has been neither kind nor concerned about her representation. She was very vulnerable and fiery, encouraging everyone in the audience to face their personal fears of rejection and challenge definitions of success. She spoke so strongly that she was brought to tears, and so was I. The emotion was palpable in the room, and we felt empowered by her belief in us.
There were so many great moments! Another occurred during our writing panel, which I wasn’t present for the entire time. Mike Golamco, then a writer for NBC, shared with me how a young woman confided in him that after hearing him speak that day, she finally dared to call herself a writer. I could see how much that meant to Mike, and it was very clear to both of us that there was a lot more that we could do with this event. I’m so excited for this second conference and to be honest, I’m already planning our third!
The second annual Kollaboration EMPOWER Conference will take place at JANM Friday–Saturday, November 11–12. For more information and to register, visit empower.kollaboration.org. For more information about the organization, visit kollaboration.org.
Telling spooky stories around Halloween is starting to become a JANM tradition. Following the successful debut last year of the Members Only event JANM Ghost Stories, actor Rodney Kageyama hosted another evening of frightening tales this past weekend, told in the darkness of the Tateuchi Democracy Forum. His guests this time were ABC7 News anchor David Ono and producer Jeff MacIntyre, who shared three riveting stories that they had produced over the years as human interest segments for ABC7 News. All three segments were screened for the audience, preceded and followed by extensive commentary from Ono and MacIntyre.
The first was a debunking of the popular myth that vampires originated in Romania. In fact, the first documented vampire, Petar Blagojević, is known to be buried in a remote mountain village in Serbia. Ono and MacIntyre traveled to Serbia for this segment, uncovering the village and speaking with its residents with the help of James Lyon, historian, native Serbian speaker, and author of the Balkan vampire novel Kiss of the Butterfly. Through beautifully shot footage, we see them exploring the ancient, overgrown cemetery where the vampire is thought to be buried and examining an abandoned water mill thought to be the home of another legendary vampire, Sava Savanović.
The second video looked at Japan’s Aokigahara Forest, also known as the infamous Suicide Forest, nestled at the base of Mount Fuji. In old Japan, suicide was considered an honorable way to die and avoid bringing shame or being a burden to one’s family; thus, the forest has served as the final refuge for people in dire situations, or old people whose families could no longer care for them. Even today, when suicide is no longer condoned in Japan, the forest continues to attract a substantial number of despondent souls every year. Ono described it as an eerily quiet and tranquil place, with absolutely no wildlife. Tree roots jut out of the ground and curl, unable to penetrate the forest bottom, which is made of volcanic rock.
The last video was the favorite of the two producers: it investigated a house in the Glassell Park neighborhood of Los Angeles where spirits communicate through Polaroid photos. After experiencing an unusual level of paranormal activity (doors opening and closing by themselves, cold spots, etc.), the home’s two owners began taking Polaroids, which seemed to reveal ghostly presences. They began asking questions such as “Are you here?” before taking the Polaroids, which subsequently seemed to bear answers written in ghostly script: “Yes.”
Thousands of these pictures, with increasingly clear words visible in them, were produced over a period of more than 20 years, many times with friends present to witness the event. Professionals from Kodak and Polaroid even came with their own equipment to try to debunk the phenomenon, only to find the same writing appearing on their prints.
The spookiest story of all, however, was a personal one told by Ono. It happened to him following another paranormal investigation at Hollywood Forever Cemetery. The medium he was working with warned him to tell the spirits not to follow him home from the cemetery. He completely forgot to do so, and… to hear this story, you’ll have to visit JANM’s YouTube channel… if you dare.