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Photo: The Nature Conservancy
In a race against time, the “Brigade” works to save Mexico’s coral reefs and to spread the word on a new funding idea — a hurricane insurance policy.

I’ve been reading a compelling fantasy novel about travel to different worlds that, like other fantasies I’ve read recently, underscores something important about the real world. We are destroying it.

A New York Times article by Catrin Einhorn and Christopher Flavelle focuses on a group in Mexico saving one beautiful piece of our planet, using a different way of funding the work. It’s controversial, but see what you think.

“When Hurricane Delta hit Puerto Morelos, Mexico, in October, a team known as the Brigade waited anxiously for the sea to quiet. The group, an assortment of tour guides, diving instructors, park rangers, fishermen and researchers, needed to get in the water as soon as possible. The coral reef that protects their town — an undersea forest of living limestone branches that blunted the storm’s destructive power — had taken a beating. Now it was their turn to help the reef, and they didn’t have much time.

“ ‘We’re like paramedics,’ said María del Carmen García Rivas, director of the national park that manages the reef and a leader of the Brigade. When broken corals roll around and get buried in the sand, they soon die. But pieces can be saved if they are fastened back onto the reef. …

“The race to repair the reef is more than an ecological fight; it’s also a radical experiment in finance. The reef could be the first natural structure in the world with its own insurance policy, according to environmental groups and insurance companies. And Hurricane Delta’s force triggered the first payout — about $850,000 to be used for the reef’s repairs. …

“When the Brigade laid eyes on their reef, which runs 28 kilometers south of Cancún and is home to critically endangered elkhorn coral, it looked ransacked. Structures the size of bathtubs were flipped upside down. Coral stalks lay like felled trees. Countless smaller fragments of broken coral coated the seafloor.

“On the boat, cement mixers prepared a special paste that snorkelers ferried down to divers who spent hours underwater carefully fastening pieces back on the reef. They used inflatable bags to turn over large formations rolled by the storm and collected fragments to seed new colonies. …

“Back in 2015, Kathy Baughman McLeod, who was then director of climate risk and resilience at the Nature Conservancy, asked a profound question: Could you design an insurance policy for a coral reef?

“On its face, the idea might have seemed absurd. For starters, nobody owns a reef, so who would even buy the policy? And it’s not easy assessing the damage to something that’s underwater.

“But Ms. Baughman McLeod, along with Alex Kaplan, then a senior executive at Swiss Re, a leading insurance company, came up with workarounds. First, the policy could be purchased by those who benefit from the reef — in this case, the state of Quintana Roo, which is also home to Cancún and Tulum and has a tourism economy estimated at more than $9 billion. …

“Second, rather than basing the payout on reef damage, it could be triggered by something far easier to measure: The storm’s wind speed. The stronger the wind, the worse the assumed damage to the reef.

“The idea of putting a dollar value on a reef or ecosystem by identifying a ‘service’ that it provides has become increasingly popular. For example, coastal salt marshes protect from flooding — offering economic benefits on top of environmental ones. Peat bogs store vast amounts of carbon, keeping it out of the atmosphere where it would worsen global warming. And coral reefs reduce the energy of waves by 97 percent, protecting coastal properties.

“But this notion of ‘ecosystem services’ is controversial in some circles.

“ ‘It’s a popular concept because it commodifies nature and it allows people to put a dollar value on nature,’ said Terry Hughes, who directs a center for coral reef studies at James Cook University in Australia. ‘But it’s very anthropocentric and it’s certainly not about protecting nature for nature’s worth. It’s almost kind of selfish.’

If you look at it from the reef’s perspective, Dr. Hughes said, hurricanes are the least of its problems. Climate change, coastal pollution and overfishing are far greater threats.

“But given the scale of the planet’s intertwined environmental emergencies — not only climate change but the collapse in biodiversity — conservationists say they must be pragmatic. More than a million species are at risk of extinction, including many coral species.

“And in Puerto Morelos, monetizing the reef had the almost ironic consequence of helping some in the community understand that it is actually invaluable. ‘My experience with the Brigade has changed my thinking so much,’ said Alejandro Chan, who takes tourists sport fishing and snorkeling. ‘I have to help the reef.’ …

“ ‘If the insurance money had been available in a timely manner,’ said Claudia Padilla, a researcher at the National Fisheries and Aquaculture Institute in Mexico, which developed the Brigade’s hurricane response protocols and trained its members, ‘the results of the rescue effort could have been greatly multiplied.’

“Still, the money will be put to its intended purpose of restoration, funding longer-term projects like seeding of new colonies and replenishment of reef biodiversity. And Mr. Secaira of the Nature Conservancy believes that the rest of the world will use Quintana Roo as proof of concept.

“Indeed, as the Brigade was at work in Puerto Morelos, a bill in Guam’s Legislature sought to evaluate insuring a reef there. Training is underway in other locations in Mexico, Belize and Honduras.”

Hat tip: Hannah. More at the New York Times, here.

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Photo: Peter J. Thompson/National Post/File
The Royal George Theatre in Niagara-On-The-Lake, Canada, is home to the annual George Bernard Shaw Festival. The National Post reported in July, “Shaw’s are among the only actors, musicians, and theatre workers in the world who still have jobs.”

When Suzanne was a toddler and John about 6, we made the pilgrimage from our home near Rochester, New York, to the famed Shaw Festival at Niagara-on-the-Lake. Curiously, although it’s a June event, I think of the festival every year in December when I hang Christmas tree ornaments that I bought in Niagara-on-the-Lake.

The main focus of the festival is the oeuvre of playwright George Bernard Shaw, but there are other offerings. We took turns babysitting, and I went to see the British concert comedienne Anna Russell (1911-2006), always hilarious.

But I digress. Today’s post is about the Shaw Festival, but not about the performances.

Calum Marsh writes at Canada’s National Post, “About three-and-a-half years ago, Tim Jennings, the executive director and CEO of the Shaw Festival in Niagara-on-the-Lake, decided to undertake some risk analysis alongside his CFO. He looked at potential problem areas, and at concerns that might arise throughout the course of an ordinary season of theatre, and came to a shrewd conclusion: The festival should take out an insurance policy against the threat of a pandemic.

“The policy covered the interruption of planned performances by communicable disease. As a consequence of that remarkable foresight, the Shaw Festival has been able to do the basically impossible …

In an industry that has been universally devastated, the festival has kept its more than 500 employees on the payroll full-time.

“Almost everyone in the field of arts and entertainment has been out of work since the beginning of the lockdown, when live performances became a logistical impossibility. But thanks to the coverage, Shaw’s are among the only actors, musicians, and theatre workers in the world who still have jobs. …

“Given how few people were prepared for such an incredible turn of events — and how many businesses, including major corporations, failed to anticipate such a contingency — the Shaw’s insurance policy doesn’t look merely fortuitous. It looks downright prophetic. Jennings insists he is no Nostradamus. He was simply planning ahead.

‘People keep telling me it was genius,’ Jennings says, reflecting on this extraordinary stroke of luck. ‘It wasn’t actually genius. It wasn’t about this pandemic at all — it was about communicable disease.’

“In his time working in theatre Jennings has seen a minor stomach bug waylay productions on countless occasions. Shaw employs a rotating repertory ensemble; if one of his actors got the flu, ten of them could, and that might stall a show. ‘We took it out for the whole season, thinking that if six actors got ill and we had to shut down for two weeks, we might lose two million bucks,’ he explains. ‘But the policy also very clearly covered a pandemic. That was really a useful piece of good fortune.’

“No insurance policy is perfect, of course, and the Shaw Festival, Jennings points out, is ‘still running into money issues, as one would expect.’ But it is nevertheless the only organization of its kind to have managed to keep so many people employed and working when the actual work they do isn’t feasible.

“The festival has also taken advantage of the CEWS [Canada Emergency Wage Subsidy] to offset the cost of paying its people — including the many actors and musicians who aren’t technically eligible, as independent contractors, thanks to another canny move. ‘Our actors rehearsed on Zoom from March through May, waiting to get back on stage,’ he says. ‘When it became clear that it wasn’t going to happen, we pivoted.’

“Jennings terminated their contracts, instead hiring them on as employees, under the title Education and Community Outreach Specialists.

“[They] made calls to donors, taught choreography to students over Zoom, and performed for the ill in hospice. ‘I was able to rehire all of the artists, actors, and musicians, plus about ten more. All of these artists are able to get back to work.’ ”

Such a nice story! Read more here.

Hat tip: ArtsJournal.com

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Photo from FBI site: An empty frame in the Dutch Room of the Gardner Museum, where Rembrandt’s The Storm on the Sea of Galilee and A Lady and Gentleman in Black once hung.

The agent overseeing the FBI investigation into the 1990 Isabella Stewart Gardner Museum heist spoke at my workplace today (a real perk of my job).

I learned a lot. Did you know, for example, that because Mrs. Gardner’s will specified that no art was to be moved, sold, or replaced, the paintings had no insurance? They were not be replaced. The agent said that the usual scenario is that stolen art is held for ransom from the insurance company. The thieves probably didn’t dream that there was no insurance on Rembrandts and Vermeers.

Our speaker was quite entertaining (for example, showing a slide from the Simpsons cartoon in which Vermeer’s The Concert is found in Montgomery Burns’s mansion ). He answered many questions and punted others as the investigation is ongoing.

As you may have seen recently, the FBI announced that they knew who had stolen the art and at least two of the places it had been seen. They have not announced the names of the thieves but may do so once they work through all the leads the latest announcement has brought. The statute of limitations ran out on the theft after five years (Mass. Senator Ted Kennedy subsequently pushed through a federal law extending the limit to 20 years), but possession of stolen art is a crime not subject to time limits.

I learned that the museum had good security. As most locals know, the guards let the thieves in believing they were cops. When you have a Trojan Horse inside, security doesn’t help, the agent said. Nowadays guards in different museums call each other every 20 minutes just to check.

Extensive research has shown there has never been a museum theft like this, where the thieves stole so much of value and also so much of little value and took a leisurely 81 minutes to do so.

And perhaps there has never been a crime at a major museum where the paintings were not insured.

The agent believes the art will be recovered one day. Read the FBI dedicated site, here.

Photo: Simpsons

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In last week’s Boston Globe, Bella English had a sad-happy story about a nonprofit that reaches out to families impoverished by their children’s cancer, Family Reach Foundation.

English writes that Carla Tardif once promised a friend who died of cancer that she would help families who were struggling with a child’s treatment. In searching for the best way to do that, she ended up at Family Reach, which helps families get back on their feet. The stories she hears are heartbreaking.

“ ‘On top of watching your child suffer, people get threatening eviction notices, calls from collection agencies, or they can’t make a car payment so they lose the car and can’t get their child to treatment,’ says Tardif.

“Medical hardship is one of the leading causes of personal bankruptcy in the nation,” writes the Globe‘s English. “According to a Harvard University study, more than 62 percent of bankruptcies are caused by overwhelming medical expenses — and cancer is the most costly. ‘It’s because a parent needs to stop working to take care of the child,’ says Tardif. ‘The average cancer treatment without complications is two years.’ …

“ ‘What I’ve learned is that it’s about so much more than money,’ Tardif says [of her work]. ‘That someone cares and gets it, has a really profound effect on families.’

“Just ask Raquel Rohlfing, who at fund-raisers tells her story. Homeless, with a son [Mikalo] who had undergone a bone marrow transplant, she got a call from Tardif, who arranged payment for a year’s rent on a Winchester apartment, not far from her own house.”

In Rohlfing’s case, Tardif really went the extra mile.

English writes, “Tardif’s husband, a builder, put in a new kitchen and floors, and fixed the bathroom in the apartment. But Tardif wasn’t finished. She is also executive director of Music Drives Us, the nonprofit founded by car magnate Ernie Boch Jr. Rohlfing needed a job, and Tardif needed help, so she hired her at Boch’s foundation.”

Read more.

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As long as health insurance is out of reach for so many, creative approaches to coverage are likely to keep sprouting up.

I knew a doctor 30 years ago who took care of elderly single people for life — and inherited their houses. He ended up with a lot of houses.

More recently, CBSNewYork/AP reported that “a new program lets uninsured New York City artists exchange their art for medical services.

“Tony-Award winning actor Lin-Manuel Miranda and rapper and radio personality Roxanne Shante helped launch the ‘Lincoln Art Exchange’ at Lincoln Hospital in the Bronx” early this year.

“Under the program, artists will earn ‘health credits’ for every creative service they perform. In exchange they’ll be able to obtain doctor’s visits, laboratory tests, hospitalization, emergency care, dental care and prescriptions at Lincoln.” Read more at CBS Local.

I would be interested in other unusual examples of how people are accessing care today.

Photograph: nyc.gov

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My sister is a poet, among other things, and she sent me this story about a famous poet and his association with the not-always-poetic city of Hartford, where he worked for insurance industry. (Which just goes to show that poetry blossoms where it will.)

Jeff Gordinier writes in the NY Times about taking a Wallace Stevens walking tour that was, “like Hartford itself, quite modest. …  Along the walk there are pale slabs of Connecticut granite engraved with verses from one of Wallace Stevens’s most indelible poems, ‘Thirteen Ways of Looking at a Blackbird.’ That’s about it.

“Nevertheless, I found the walk to be deeply moving,” writes Gordinier, “After all, how often do we get to explore the cranial machinery of a literary titan by slipping into the groove of his daily commute?

“Stevens never learned to drive. Even though many of his neighbors had no idea what he was up to, he would amble along Asylum Avenue methodically measuring the pace of his steps and murmuring phrases to himself …

“ ‘It seems as though Stevens composed poems in his head, and then wrote them down, often after he arrived at the office,’ Prof. Helen Vendler, Harvard’s grande dame of poetry and the author of Wallace Stevens: Words Chosen Out of Desire, explained to me in an e-mail. ‘As for his commute, he enjoyed it profoundly. It was his only time out of doors, alone, thinking, receptive to the influx of nature into all the senses.’ …

“Evidence suggests that he rather liked his peaceful routine in Hartford — his backyard garden, his wine cellar, even his job at the insurance company.

“ ‘Stevens enjoyed his work very much,’ said James Longenbach, a poet, a professor at the University of Rochester, and the author of Wallace Stevens: The Plain Sense of Things. ‘It was crucial to his achievement. He turned down an offer to be the Norton Professor of Poetry at Harvard because he didn’t want to leave his work. He continued to go to the office even when he was beyond the mandatory age of retirement. He never showed that he felt any conflict or tension between what might appear to be the different aspects of his life.’ …

“What moved me about the walk, in the end, was that he had chosen to walk at all. In a car-mad country that prides itself in being perpetually in motion, the poet made a clear and conscious decision to stop, to slow down, to burrow into his imagination. And walking had opened his eyes and ears to a place that was full of surprises. As Stevens himself put it in a poem:

“ ‘It is like a region full of intonings./It is Hartford seen in a purple light.’ ” Read more.

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