Bay Area

IN MEMORIAM: Honoring Henry Fuhrmann, Self-described “Hyphen Killer.”

Henry Fuhrmann was an Asian American son of a German Danish Navy corpsman and a Japanese mother, born on a U.S. hospital ship in Japan. He probably saw hyphens all his life and knew why they should be eliminated.

Published

4 years ago

September 26, 2022

Oakland Post

Emil Guillermo is a journalist and commentator. He does a talk show on www.amok.com

Emil Guillermo is a veteran journalist and commentator. See him at www.amok.com

By Emil Guillermo

Are you African American? Or African-American?

Filipino American? Or a Filipino-American?

Asian American? Or Asian-American?

What’s the difference?

That line between words. You either like it, or you despise it. Henry Fuhrmann despised it.

It might as well have been a royal scepter.

This week, when most of the world was still thinking about Queen Elizabeth II, I was thinking about Henry.

Perhaps you could tell, I wasn’t much for the media’s hagiography. Since her death, I took to criticizing the repressive colonial misdeeds of the British Empire to balance out the steady stream of adulation.

When you hear someone say ‘queen,’ remember Kenya. Or Kowloon. Or Burma.

I wouldn’t have bothered to watch the funeral. But then my friend Henry died last week from esophageal cancer. He was just 65. And that put me in a somber mood.

I mean, what did the queen ever do for us? Compared to her, Henry was a king. Or deserved to be.

Henry Fuhrmann liberated us from our hyphens. I will use none here.

Henry was an Asian American son of a German Danish Navy corpsman and a Japanese mother, born on a U.S. hospital ship in Japan. He probably saw hyphens all his life and knew why they should be eliminated.

But deleting the hyphen would take more than a keystroke.

Henry was a copy editor who retired in 2015 as an assistant managing editor at the Los Angeles Times. An Asian American Journalist Association buddy of mine, we’d see each other at professional events, and re-tweet each other from afar.

Henry’s passion was that demon hyphen. He wanted to expose it for what it was and get rid of its use. In that simple dash, the parallel line that posed as a connector, Henry saw a dividing line, an “othering” tool that did us more harm than good.

“Asian-American?”

Uh, no. Nope, Henry said. Just write Asian American. Or Filipino American. Or Mexican American. Or African American.

The hyphen was a grammatical prosthetic that didn’t help matters. It made us less than.

Henry made his case professionally to journalism’s high court of wordsmithing, the keepers of the Associated Press Style book, known as AP Style.

In an essay Henry wrote in 2018 he cited the Oakland writer Maxine Hong Kingston, who expressed how she felt being called ‘Chinese-American’ in her 1982 piece “Cultural Mis-Readings by American Reviewers.”

“I have been thinking that we ought to leave out the hyphen in ‘Chinese-American,’ because the hyphen gives the word on either side equal weight, as if linking two nouns,” wrote Hong Kingston. “Without the hyphen, ‘Chinese’ is an adjective and ‘American’ a noun; a Chinese American is a type of American.”

Wouldn’t that be better?

From that, Henry attacked the hyphen and pushed for change.

A year later, AP eliminated the hyphen in Asian American, and mentioned Henry’s essay as a driving force. In 2021, the New York Times changed its usage.

Since media organizations can adopt their own style books, you’ll still see the hyphen used. And you’ll still see ‘black’ uncapitalized. But you surely won’t see “oriental.” It’s used to describe rugs. Just not people.

Normally, editors act as conservative gatekeepers of so-called standards. They’re not my favorite people. Unless they’re like Henry. Freedom fighters for a changing language in a changing world.

It’s always a matter of clarity.

Were Japanese Americans placed in internment camps? Was what happened to them “internment” or were they more truthfully incarcerated?

More and more are saying the truth — incarceration. That was Henry’s influence on the AP Stylebook as well.

It shouldn’t be so hard to tell the truth in mainstream journalism. But look at how big-time journalists pull their punches in calling Trump a liar. Or a racist. Or a fascist. Did you see his rally in Ohio? The facts are there.

Or look how cautious people are about calling Florida Gov. Ron DeSantis a racist for his inhumane and possibly illegal relocating of migrants to Martha’s Vineyard.

That’s why I mourn Henry’s passing. He was against editing the truth.

He’s the reason you are an African American. Not an African-American.

And I am a Filipino American.

We deleted that line, the dash, the minus sign, and became whole. At least in print.

If words matter, if the truth matters, then remember Henry Fuhrmann, the ‘word nerd’ who unchained all people of color from the hyphen and liberated us all.

Emil Guillermo is a veteran journalist and commentator. See him at www.amok.com

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Activism

At the event, 16 entities signed the EIP pledge, vowing to take steps to increase public contracting opportunities in their spheres for small and historically underutilized businesses. The pledge signees included Hub International, the Port of San Francisco, the San Francisco Public Utilities Commission, California High-Speed Rail Authority, the Port of Oakland, Robert Graham of Webcor Builders, Holder Construction, the Weitz Company, Sky Blue Builders, Hornblower, Swinerton, Luster National, Talson Solutions, Center for Community Wealth Building, and the Construction Contractors Alliance.

Published

5 days ago

June 24, 2026

Oakland Post

Toks Omishakin, secretary of the California State Transportation Agency, was one of the speakers at the event. Photo by Shellee Fisher Photography and Design.

By Calvin Naito, Special to The Post

On June 4, a national nonprofit named the Equity in Infrastructure Project (EIP) – which aims to increase public construction contracting opportunities for small and historically underutilized businesses – held a day-long event in downtown San Francisco to rally supporters and build momentum to its cause.

It was attended by more than 100 individuals from public agencies, private firms, and other organizations committed to increasing contracting opportunities with governmental agencies, thereby creating more competition and lowering public costs.

The EIP event was held the Hyatt Regency San Francisco in conjunction with BuildIT, which aims to increase contracting opportunities for LGBT-owned businesses.

At the event, 16 entities signed the EIP pledge, vowing to take steps to increase public contracting opportunities in their spheres for small and historically underutilized businesses.

The pledge signees included Hub International, the Port of San Francisco, the San Francisco Public Utilities Commission, California High-Speed Rail Authority, the Port of Oakland, Robert Graham of Webcor Builders, Holder Construction, the Weitz Company, Sky Blue Builders, Hornblower, Swinerton, Luster National, Talson Solutions, Center for Community Wealth Building, and the Construction Contractors Alliance.

Following the workshop, BuildIT hosted a VIP evening reception honoring EIP, whose principals – Phil Washington, John Procari, and Rick Jacobs – accepted the award.

The event also set in motion the coalition’s efforts to implement recommendations from EIP’s “Procurement for Prosperity: A Playbook.”

The Playbook is a practical guide for public agency leaders and procurement and contracting practitioners to grow the capacity of small and first-time contractors, strengthen competition, and deliver better value for taxpayers.

Toks Omishakin, Secretary of the California State Transportation Agency (CalSTA), a long-time EIP supporter, also told attendees, “This is about commitment. This has been a life’s work. This is a tailwind moment.”

The event’s presenting sponsor was Hub International, one of the largest insurance brokerages in the nation, which was joined by partners Travelers Insurance and the State Compensation Insurance Fund.

After the pledge-signing ceremony, attendees participated in a workshop in which they examined the policies, practices, and programs needed to meet EIP goals, learned from practitioners, and identified next steps toward utilizing the Playbook.

Ingrid Meriwether, formerly of Merriwether & Williams Insurance Services (MWIS) and current president of Hub International’s Aligned Risk Management, MWIS, described the hard-fought lessons she and her MWIS team have learned over the last three decades administering contractor development programs (CDPs) for the City and County of San Francisco, Alameda County, City of Los Angeles, LA Metro, and other municipalities.

The CDPs help small and local construction firms win public infrastructure contracts with these government agencies. The program provides bonding assistance, contract financing, technical support, training, and other services to underrepresented businesses funded by public agencies who seek greater contracting participation with these firms.

Merriwether said programs like these “break down systemic barriers, create greater fairness, and save taxpayers money by enabling more competition. The contractor development programs have, cumulatively, over two decades, helped contractors access over $1 billion in bonding, supporting over $380 million in awarded contracts, and maintaining a loss ratio 250 times lower than the industry average – while saving participating municipalities more than $27 million in contracting costs as a result of enabling more competition.”

Rick Jacobs, EIP co-founder and co-chair urged attendees make plans to meet again in the near future “to continue building on this work, share progress on organizational commitments, and discuss how we can collectively advance the goals of the EIP pledge.”

For more information on the EIP and to access a copy of the Playbook, go online to https://equityininfrastructure.org/

Calvin Naito is communications manager for Equity in Infrastructure Project.

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Oakland Museum Presents Landmark Retrospective Celebrating Beloved Bay Area Artist Mildred Howard

“Poetics of Memory” coincides with a year of major recognition for Howard. In 2026, she received the California Arts Council’s 50th Anniversary Award, honoring artists whose work has shaped California’s cultural and civic life, as well as the Museum of the African Diaspora’s Artist Impact Award. In 2025, she was awarded a prestigious Guggenheim Fellowship in recognition of her transformative contributions to American cultural life.

Published

5 days ago

June 24, 2026

Oakland Post

Mildred Howard. Photo by Christine Cueto for the Oakland Museum of California, 2025.

Special to The Post

The Oakland Museum of California (OMCA) opened “Mildred Howard: Poetics of Memory,” the first major museum survey of Bay Area artist Mildred Howard, on June 12.

The exhibition spans five decades of Howard’s influential work, bringing together immersive installations, found-object sculptures, archival materials, and new commissions that explore memory, identity, and power in American life.

Howard was born in San Francisco in 1945 and raised in the East Bay, where she went on to study Afro-Haitian dance, make and sell clothing, and experiment with collage and sculpture.

Her multimedia art practice emerged from these experiences, later becoming associated with West Coast conceptual art, San Francisco funk, and a vibrant community of artists like Oliver Jackson, Betye Saar, and Raymond Saunders. Since the 1970s, she has used found materials and family stories to explore memory—both individual and collective.

At OMCA, visitors enter “Poetics of Memory” through a series of intimate galleries featuring Howard’s early mixed-media pieces and sculptures, along with a large video projection of a number of her public artworks.

Together, they emphasize Howard’s interest in everyday objects as powerful carriers of individual and shared stories. Highlights include collages that remix images of the artist herself; found-object sculptures like The History of the United States with a few Parts Missing (2007) that address omissions in dominant narratives; and public works like “Locks and Keys for Harry Bridges” (2001) that transform urban space into a meditation on access and labor.

This culminates in a richly detailed “studio” environment, where works in progress, archival exhibition flyers, historic photographs of Howard and her community, postcards from fellow artists, and other materials offer insight into her creative process and daily life.

The exhibition then opens into a high-ceilinged, dramatically lit space that brings together Howard’s signature immersive installations. On one end, “Crossings” (1997/2026) – a field of hundreds of ceramic eggs leading to an ornate mirror – suggests cycles of birth, motherhood, and transition, while drawing on the emotional echoes of the Middle Passage. On the other end, “Blackbird in a Red Sky” (a.k.a. “Fall of the Blood House”) (2002) – a red glass shack bordered by a pond – also uses reflection and transparency to draw viewers into the work and prompt consideration of themes of identity and home.

Howard’s newest video installation, “Moving Stills” (2026), repurposes never-before-seen family footage she took as a teenager on a train trip to the American South. Projected onto cascading layers of translucent fabric that stretch across an entire gallery wall, the piece immerses viewers in a layered meditation on memory, migration, and time.

The “Mildred Howard: Poetics of Memory” exhibit will be on display through Oct. 11 at the Oakland Museum of California, 1000 Oak St., Oakland, CA 94612. Museum hours are Wednesday through Sunday, 11 a.m. to 5 p.m., with extended hours on Fridays to 9 p.m.

This story is sourced from the Oakland Museum of California press office.

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Alameda County

Ferry Fares to Increase July 1 as Ridership Hits Record Highs

The Oakland and Alameda routes will increase from $4.90 to $5.10, the South San Francisco route will go up from $7.40 to $7.60, and the Vallejo route will increase from $9.90 to $10.

Published

5 days ago

June 24, 2026

Oakland Post

Courtesy photo.

By Mike Aldax, The Richmond Standard

Starting July 1, the standard adult fare for the San Francisco Bay Ferry route between Richmond and San Francisco will increase to $5.20, up from the current $4.90.

Discounted fares for eligible passengers, including youth, seniors, people with disabilities, and Clipper START users, will rise to $2.60 from the current $2.40. Children under 5 will continue to ride for free.

The Oakland and Alameda routes will increase from $4.90 to $5.10, the South San Francisco route will go up from $7.40 to $7.60, and the Vallejo route will increase from $9.90 to $10.

The adjustments are part of a systemwide fare update approved by the agency’s Board of Directors, which is moving away from a flat 3% annual increase to route-specific pricing for the 2027 and 2028 fiscal years.

This fare update arrives as San Francisco Bay Ferry celebrates a historic May, transporting 301,270 passengers. The record-breaking figure represents an 8% increase over May 2025 and marks the third consecutive month of record-setting ridership.

Furthermore, it is the sixth month in a row that passenger numbers have exceeded pre-pandemic levels. Weekend travel has been a primary driver of this growth, with average weekend ridership seeing a 56% increase compared to pre-pandemic trends.

The agency states that the fare adjustments are necessary to ensure the long-term fiscal sustainability of public ferry services. By shifting to route-specific adjustments, the agency aims to offset rising operating costs while maintaining the high levels of service frequency and reliability.