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Exploring the Salish Sea

Have you dreamed of boating in the Pacific Northwest? An unparalleled cruising experience awaits sailors and powerboaters alike among hundreds of islands, bays, and estuaries.

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Boat Rankings

Rating the best boats, yachts, and boating gear.

The Best Yacht Magazines

The Top Magazine for Yachting

There’s a huge range of resources for boating and yachting information these days. One of the premium sources of cutting edge yachting news can be found in magazines. For many, yacht magazines have become the definitive source of information to stay updated on the world of yachting and superyachts.

So, in this post we’ll explore the top three magazines about yachting, including the highest rated magazine this year. Let’s get right to it!

The simply-named Yachting Magazine ( subscribe here ) is the top ranked yacht magazine in this year’s rankings. Started in 1907, this classic boating publication earned its way into the top spot with excellent marks in Popularity and Features.

Yachting Magazine crafts a great blend of yachting news, stories, and yacht reviews. The exceptional layouts are a primary draw, with yacht photography prominently featured. You can really “feel” the boating lifestyle oozing from every page.

Yachting Magazine is valuable because it provides highly in-depth material in a presentation that beginners and experts can both enjoy. We’ve found that it’s great for experienced yachties and a fun read for those who just want a glimpse of the yachting lifestyle. It’s a must-have to keep up with the yachting industry these days.

BOAT International ( subscribe here ) and Yachts International ( subscribe here ) are the other two yachting magazines to round out the Top 3. Both are similarly known for their exceptional marine industry photography and features on the latest in boats and superyachts.

Check out the Boat Rankings score breakdown below for more.

The Top Three Yacht Magazines

Best Yacht Magazines

• Yachting Magazine
• BOAT International
• Yachts International

@BoatRankings

Congratulations from Boat Rankings to the top three magazines! See the expanded list below for more on these products including where you can find them for your boating needs.

1) Yachting Magazine

2) BOAT International (US Edition)

3) Yachts International

What do you think about the rankings for these boating magazines? Add your comments below, and click the social media buttons to share this post.

Plus, remember to sign up for the Boat Rankings Newsletter .

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Yacht Way Magazine

Yacht Way Magazine is a highly respected, long-running magazine for the yachting industry.

Yacht Way Magazine, owned by Codavi International, is a reputable publication that offers luxury brands a platform to showcase their services or products. Yacht Way boasts a large readership among international business people and is written completely in English so it can be recognised by as large a demographic as possible.

Yacht industry content

Yacht Way offers a unique distribution network and prides itself on being a strong asset to the development of a client’s luxury brand. Its content blends exclusive information with an eye-catching design – paintings from an illustrator with a traditional style influenced by past centuries – to create a publication that appeals to Yacht Way’s primary target readership within the industry.

Codavi International within the yachting industry

Codavi International has strong links to the industry. It is the official media partner for many Yacht Shows and Events around the world. Codavi International provide services including:

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Codavi International is based in Europe since 2010 (open 9.00am - 6.00pm daily), having its headquarters within the region of the First Commercial Fleet of the World.

Contact Yacht Way Magazine today to discuss distribution or future involvement with the publication.

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Surveys predict that, 10 years from now, the average age of a superyacht buyer will be 35 to 40.

Kevin koenig, kevin koenig's most recent stories, ‘people don’t want to be inside’: how the outdoors became yachtmakers’ most coveted design element, azimut’s new 72-foot yacht has one of the largest flybridges in its class. we hopped onboard..

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Ten years from now, Millennials will have taken over the superyacht world. At least that’s the forecast by several experts who are seeing ages of yacht buyers trending younger.

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That trend is expected to continue, according to research from Italian yacht builder Rossinavi and the University of Monaco, with the average age of superyacht buyers decreasing 10 to 15 years over the next decade. That could make Millennials the primary buyers of superyachts.

The topic of younger buyers is a constant discussion in shipyard boardrooms and among designers looking to modify their designs to this changing market. It was also one of the topics at the recent Yachtmaster event in Key West, hosted by Benetti Yachts . Benetti sponsors Yachtmaster events twice a year (the European edition was in Budapest last month) to brief captains and other professionals on new trends in the superyacht industry.

“We have been doing this event for 24 years now,” Benetti Americas manager Nick Bischoff told Robb Report . “The intent is to continue to build relationships with influencers of our current and prospective owners. In the beginning that meant mostly captains, but it’s expanded to include surveyors and owners’ reps, too.” The ultimate goal, says Bischoff, is for participants not only to network, but “put their heads together to create an ever-improving onboard experience both for owners and crew.”

Many seminars focused on the concept of onboard lifestyle, which most brokers and shipyards see as a primary driver for purchasing a yacht. Benetti’s head of product, Sebastiano Vida, also spoke about how lifestyle influences new designs in the yachts.

But Jason Dunbar, a broker and appraisal surveyor with Vessel Value Survey, recommended tough love to the brokers. His discussion about managing expectations for newbie owners included advice about being “realistic” with owners who are flush with cash, but might be new to the superyacht world. If an owner wants a brand-new 120-footer with a crew of six, but has a budget of $8 million, the broker is the one who needs to break the bad news. “A good broker has to tell people ‘Listen, that’s just not going to happen,’” says Dunbar. “That will save a lot of headaches down the road and will hopefully keep a client in boating for the long term.”

A new buyer is often coming off a one-week charter that was magical: perfect weather, a well-oiled boat, and a crew looking forward to a little R&R after hustling all week for the charter guests. “It’s relatively easy to make things work like that one week at a time,” says Dunbar. “But a new owner who wants to use their boat for 10, 15, or 30 weeks, that’s a totally different thing. You may have to tell them they need to hire two crews and rotate them—which will be news to them.” He said that overworking the crew will “burn through humans.” The crew will be miserable, he says, which will make the boat not live up to the owners’ expectations. “The next thing you know these new owners will be long gone from yachting.”

Fraser Yachts CEO Anders Kurtén sees the new buyers as a boon for design creativity in an old-school industry. “It starts with a piece of paper,” he says. “We sit down and start designing these boats for younger clients and we see similar trends. Basically they all want to live their shore-based lives on a yacht.”

The segmented and often claustrophobic interiors of many current superyacht designs, says Dirand, just doesn’t float with the new generation. “Young owners’ preferences are honed by hospitality and a knowledge of architectural trends,” he says.

Because of that, wellness centers have become focal points of design. As moguls like Jeff Bezos and Mark Zuckerberg have made clear as of late, having six-pack abs in middle age is the new Lamborghini. These new owners expect their boats to be designed with beach clubs with gyms, saunas, massage areas that allow owners and guests to work out or relax, amidst warm sun rays and luscious sea breezes.

Kurtén also pointed to green tech as key for the new generation of clients. “We’ve hit a point where a 150-foot sailboat can go across the Atlantic without burning a drop of fuel. And motoryachts can function on battery-only mode, at least when they are close to port,” he says. “That’s important to these new clients—they want to be green. A few years ago that was something you said at a cocktail party, but today it’s a reality for a lot of buyers.”

Peter Selivanoff, senior yacht service manager for Fraser, also spoke about how owners are seeking highly specialized crews who can perform multiple functions across the yacht.

Navigating these new realities is an important part for the industry to future-proof itself in the competitive realm of ultra-luxury products. This is a place where youth may not spring eternal but, at least for now, it reigns supreme.

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Cruising the Moskva River: A short guide to boat trips in Russia’s capital

There’s hardly a better way to absorb Moscow’s atmosphere than on a ship sailing up and down the Moskva River. While complicated ticketing, loud music and chilling winds might dampen the anticipated fun, this checklist will help you to enjoy the scenic views and not fall into common tourist traps.

How to find the right boat?

There are plenty of boats and selecting the right one might be challenging. The size of the boat should be your main criteria.

Plenty of small boats cruise the Moskva River, and the most vivid one is this yellow Lay’s-branded boat. Everyone who has ever visited Moscow probably has seen it.

This option might leave a passenger disembarking partially deaf as the merciless Russian pop music blasts onboard. A free spirit, however, will find partying on such a vessel to be an unforgettable and authentic experience that’s almost a metaphor for life in modern Russia: too loud, and sometimes too welcoming. Tickets start at $13 (800 rubles) per person.

Bigger boats offer smoother sailing and tend to attract foreign visitors because of their distinct Soviet aura. Indeed, many of the older vessels must have seen better days. They are still afloat, however, and getting aboard is a unique ‘cultural’ experience. Sometimes the crew might offer lunch or dinner to passengers, but this option must be purchased with the ticket. Here is one such  option  offering dinner for $24 (1,490 rubles).

If you want to travel in style, consider Flotilla Radisson. These large, modern vessels are quite posh, with a cozy restaurant and an attentive crew at your service. Even though the selection of wines and food is modest, these vessels are still much better than other boats.

Surprisingly, the luxurious boats are priced rather modestly, and a single ticket goes for $17-$32 (1,100-2,000 rubles); also expect a reasonable restaurant bill on top.

How to buy tickets?

Women holding photos of ships promise huge discounts to “the young and beautiful,” and give personal invitations for river tours. They sound and look nice, but there’s a small catch: their ticket prices are usually more than those purchased online.

“We bought tickets from street hawkers for 900 rubles each, only to later discover that the other passengers bought their tickets twice as cheap!”  wrote  (in Russian) a disappointed Rostislav on a travel company website.

Nevertheless, buying from street hawkers has one considerable advantage: they personally escort you to the vessel so that you don’t waste time looking for the boat on your own.

Prices start at $13 (800 rubles) for one ride, and for an additional $6.5 (400 rubles) you can purchase an unlimited number of tours on the same boat on any given day.

Flotilla Radisson has official ticket offices at Gorky Park and Hotel Ukraine, but they’re often sold out.

Buying online is an option that might save some cash. Websites such as  this   offer considerable discounts for tickets sold online. On a busy Friday night an online purchase might be the only chance to get a ticket on a Flotilla Radisson boat.

This  website  (in Russian) offers multiple options for short river cruises in and around the city center, including offbeat options such as ‘disco cruises’ and ‘children cruises.’ This other  website  sells tickets online, but doesn’t have an English version. The interface is intuitive, however.

Buying tickets online has its bad points, however. The most common is confusing which pier you should go to and missing your river tour.

“I once bought tickets online to save with the discount that the website offered,” said Igor Shvarkin from Moscow. “The pier was initially marked as ‘Park Kultury,’ but when I arrived it wasn’t easy to find my boat because there were too many there. My guests had to walk a considerable distance before I finally found the vessel that accepted my tickets purchased online,” said the man.

There are two main boarding piers in the city center:  Hotel Ukraine  and  Park Kultury . Always take note of your particular berth when buying tickets online.

Where to sit onboard?

Even on a warm day, the headwind might be chilly for passengers on deck. Make sure you have warm clothes, or that the crew has blankets ready upon request.

The glass-encased hold makes the tour much more comfortable, but not at the expense of having an enjoyable experience.

Getting off the boat requires preparation as well. Ideally, you should be able to disembark on any pier along the way. In reality, passengers never know where the boat’s captain will make the next stop. Street hawkers often tell passengers in advance where they’ll be able to disembark. If you buy tickets online then you’ll have to research it yourself.

There’s a chance that the captain won’t make any stops at all and will take you back to where the tour began, which is the case with Flotilla Radisson. The safest option is to automatically expect that you’ll return to the pier where you started.

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Moscow Has a New Standard for Street Design

• Written by Strelka Magazine
• Published on August 25, 2016

Earlier this year the development of a new Street Design Standard for Moscow was completed under a large-scale urban renovation program entitled My Street , and represents the city's first document featuring a complex approach to ecology, retail, green space, transportation, and wider urban planning. The creators of the manual set themselves the goal of making the city safer and cleaner and, ultimately, improving the quality of life. In this exclusive interview, Strelka Magazine speaks to the Street Design Standard 's project manager and Strelka KB architect Yekaterina Maleeva about the infamous green fences of Moscow, how Leningradskoe Highway is being made suitable for people once again, and what the document itself means for the future of the Russian capital.

Strelka Magazine: What is the Street Design Standard and what does it include?

Yekaterina Maleeva: The Street Design Standard is a manual for street planning in Moscow . The Standard is divided into four books, each one of them covering particular aspects of street design. Many cities across the globe have developed their own standards and the concept has gained a lot of popularity over the last decade. The New York Street Design Manual is a famous example; the book has even been translated into Russian. However, Moscow streets have little in common with New York streets, for example; every city has its own unique urban typology and simply copying existing solutions from another manual is not a viable option.

When we started our work on the Standard , the first thing we did was study Moscow streets, their peculiarities and common features. The first volume of the Standard focuses on the typology and distinctive attributes of the streets of Moscow. We gathered data on more than 3,000 streets and processed the data. Despite the large sample size, we discovered certain similarities. We managed to identify ten of the most common street types, but some unique streets could not be categorized. For instance, Tverskaya Street, built in 19th century, originally fell under category "10C." But after it was widened in the 1930s, Tverskaya ended up in a unique place within the urban fabric of Moscow. Such objects as that require a case by case approach and an individual project.

What can be found in the other volumes?

After we identified these ten street types, we started working on defining the best way to approach the development of each. The second book describes what a street of each type must have. We developed a general profile and functional zoning for each type. The pavement is more than just a pedestrian lane: there is a buffer zone between the roadway and the walking lane where the parking posts, street lights and communication lines are located. It’s a mandatory utility zone that has to be paved in such a way that any section can be easily unpaved and replaced. There is also a pedestrian fast lane for people walking to their workplace and a promenade with benches and other objects. Building façades have a large impact on the street they are facing. Restaurants and shops are located in these buildings. Making the adjacent zone retail-friendly is important. Cafes and restaurants must be able to open street patios to attract customers without disrupting the pedestrian traffic. How to apply these concepts to each of the street types is thoroughly explained in the Standard .

The third book describes eleven groups of design elements, including surface materials, benches, trash bins and lights. This catalogue of elements contains no mention of suppliers. It does not promote any manufacturers; instead it describes the attributes which define a quality product. For instance, the third book explains which type of tree grates will serve the longest while causing no damage to the root system of a tree. Styles of grates, bins, benches and other elements may vary, but all the items must comply with the quality standard.

Finally, the fourth book focuses on the planning process: how to perform preliminary analysis, how to apply user opinions during the development and how to achieve quality implementation. Additionally, there is a special emphasis on the fact that street planning cannot be carried out without any regard for the context of the street. A street should be regarded as a part of an interconnected system of various public spaces, together with adjacent parks, garden squares, yards and plazas.

Does the Standard have an official status? Should it be considered a law or merely a guideline?

There are a number of state-level laws and regulations relevant to street design issued by the Moscow Government. They were taken into account during the development of the manual. These regulations ensure safety standards and must be complied with. While the existing legislation covers safety aspects, our books introduce comfort standards. The Standard is basically a non-binding, advisory guideline created with the goal of improving the urban environment everywhere across the capital and maintaining it at a high level.

What happens if a street does not fit any of the mentioned types (and is not as significant as Tverskaya)? For instance, what if a street located in the New Moscow territory has cottages on one side, apartment complexes on the other and an entrance to the Moscow Ring Road somewhere along the way?

A standard is not a ready-made solution. The streets share common features yet also retain their individual attributes at the same time. Applying a single standard profile to every street is impossible. Adjustments are always in order.

The Standard offers three sets of solutions for each type of street with a large potential for combining various elements. The manual basically offers a convenient database that a designer working with a new space could use. That does not mean that all the new projects will look exactly the same. Some solutions featured in the Standard are yet to be implemented anywhere in Moscow . For instance, our collaboration with Transsolar, a German company consulting us on environmental comfort, revealed that Moscow’s largest environmental problem was not in fact CO2, but small-particle dust produced by studded tyre traction. And a simple method to control this type of pollution already exists. Many busy streets outside the city center have a green buffer zone separating the roadway from the sidewalks. A 1.5m high ground elevation running along this zone could filter out up to 70% of the tyre dust, preventing it from spreading into the residential areas. Western countries have been successfully using this technology for many years. Now it is a part of Moscow Standard . By the way, a terrain elevation could also help reduce the level of road noise.

Does the Standard offer anything for the main roads? For example, nowadays Leningradskoye Highway basically splits the city into two disconnected parts; it’s a car dominion.

The Standard does not offer solutions for transportation problems. When we were defining our street typology, we relied on traffic load data calculated using Moscow ’s transportation model. We pursued a goal of only offering solutions that would not aggravate the current transport situation. Any planned sidewalk extension or addition of a bicycle lane or road crossing should first be approved by the Moscow Department of Transport.

As for the main roads, our research revealed that the streets with the highest traffic load also have the heaviest pedestrian traffic. One would think that it should be the other way around. However, the main roads have metro stations, which generate a lot of pedestrian traffic, which in turn draws retail. Treating main roads the same way as highways is impossible. The needs of both vehicle traffic and local residents must be taken into account, which creates a paradox.

These territories have every opportunity to become more comfortable. Some have relatively large green buffer zones that currently remain underused. The Standard proposes to augment these zones with additional functionality. On one hand, some of the main streets will gain attraction centers, especially near intersections connecting them to the adjacent residential areas. Weekend markets are one example of such centers. On the other hand, the Standard involves the creation of zones able to absorb extra precipitation flowing from the roads and filter it. There is a list with types of vegetation best fit to handle this task. The same zones could be used to store snow in the winter. The meltwater will be naturally absorbed by the soil, alleviating the need for moving the snow out to melt. This, however, would require decreasing the quantity of melting chemicals sprayed over the snow, as the plants underneath might be susceptible to their effects.

Can the new Standard rid us of green lawn fences, yellow curbs and other eternal eyesores?

The choice of yellow and green appears random, so we have no idea how to actually fight that. The Standard offers no colour schemes. As long as fences meet the set requirements, their colour does not matter. However, currently they seem to fail to comply. The Standard states that lawns do not require fencing. This is a waste of materials: people will not trample grass and bushes just for the sake of it, while dog owners will trespass anyway. There are many other options for protecting lawns from being trampled. For instance, a same-level pavement strip with a different texture could protect a lawn from accidental intruders just as well as a curb can.

Natural soil water absorption is currently largely ignored, with most  precipitation going down the storm drains. Meanwhile patches of open terrain on a street are able to absorb water. Employing these natural cycles in street layout could save resources.

Does the Standard provide any financial estimations? For instance, an approximate cost of renovating a street of a particular type?

No, as the Standard does not list any products of any particular brand, there are no prices to refer to. Nonetheless, the Standard was developed to fit three potential price ranges. Whether their estimated price is low or high, all the elements ensure that quality requirements are met. The same quality level must be maintained across the whole city and never drop below the set standard.

Let’s say a world-famous architect arrives to Moscow to design a street. He puts incredibly beautiful things into his project, which, unfortunately, contradict the Standard and are not guaranteed to work as intended. In that scenario, will the architect be told to stick to the Standard ?

This could happen and I think it would be a good thing. If an architect plans to place a sculpture on a 1.5 meter wide sidewalk, would that really be a good idea? Following the Standard ensures smooth movement. Its goal is to reinvigorate the streets. In Copenhagen, new design manuals helped increase average time spent by residents outside by 20% over 10 years. That was achieved through creating convenient and attractive public spaces. Moreover, implementation of the Standard enables the creation of professional documentation for architects, which excludes the possibility of any instructions that will later be unclear to the experts trying to work with them. Finally, the Standard also pursues the task of providing the opportunity for the development of street retail.

Isn’t retail a whole different story? How can retail be introduced in such places as Strogino District, where the ground floors are living floors and have security bars on windows? By reintroducing street vendors?

True, business has no direct relation to street renovation. However, there is a strong connection between them. In Strogino, building façades are mostly located far from the sidewalk. Moreover, facades are often concealed by shrubbery and trees, making local businesses even less noticeable. Another problem is that first floor apartments cannot be used for commercial purposes due to insufficient ceiling height (3 m compared to 3.5 m required minimum). Nonetheless, we discovered multiple examples of shop owners reconstructing apartments in residential districts to meet the requirements.

Our British consultant Phil Wren, a street retail expert, travelled Moscow ’s residential districts and studied the existing examples. He came up with a great idea: building an expansion connected to the façade and facing the sidewalk. This makes it possible both to achieve the required ceiling height and increase the visibility of the business to the passers-by. The part of the shop located in the apartment can be used as a utility room or a stockroom. This way the noise level is reduced, regulations are met and store space is increased. Our Russian consultants confirmed the viability of the proposed concept. And the Standard will ensure that any added expansions will look presentable.

Does the  Standard also regulate façade appearances, an architectural element? What should be expected from this? It is unlikely that all houses which fail to comply will be demolished once the Standard is implemented. 

Renovation works with what is given. Of course, façades cannot be changed. Central Moscow has a problem with mansions and many other buildings being fenced off, which prevents them from accommodating street retail. Central streets are also relatively narrow. The Standard proposes sidewalk expansion wherever the access to the first floors is open. Street renovation does not always involve planting trees. Some places require enhanced crossings so that people can quickly reach the other side of the street to get to a shop or a café. Those streets where the facades are windowless are a more suitable place to plant more vegetation.

Can an average person – not an architect, designer or construction worker – understand the new Standard , or is it a technical document which can only be interpreted by a professional?

Any person can. The Standard is written in a way that both professionals and common citizens are able to understand. The Standard contains multiple images, photos, infographics and diagrams and is written in plain language. We would love for more people to read it: the books contain many interesting solutions for our city that affect every pedestrian.

In late March it was revealed that Strelka KB would be developing a standard for recreational zones and public areas in Moscow . What differences will that document have from the Street Design Standard ?

The two standards will have a lot in common. The city currently faces a task of developing a connected system of public spaces. The first logical step was to work with the streets which actually connect areas of attraction and other public spaces. Now the work on all other public spaces takes off. Parks, garden squares, yards, water bank recreation areas, plazas near metro stations must all fall into place. Work with these territories will set a single quality standard. In addition, it will improve Moscow ’s quality of life and reduce air pollution. Simple solutions could improve airflow, increase biodiversity and reduce noise levels at the same time.

The renovation program is quite long and depends on numerous standards and documents. But when exactly will the endless repair works end? Are there any time estimations for when all these concepts will finally get implemented?

This is not an easy question. Full renovation may last decades. The Standard is the first step towards actually controlling the renovation process and its timeline. Until now renovation has been proceeding rather haphazardly. Now the city has decided that the way the streets are designed should be clarified. We understand that the Standard cannot last unchanged for eternity and should, just like any regulation, undergo periodical updates. The Standard uses flexible typology: a street of one type could transition to another within a few years under certain conditions, such as changes in its usage and its user categories. Everything must stay regularly updated according to the accumulated experience.

During our work on the Standard , we held regular roundtables joined by experts and ordinary citizens. One of our guests mentioned that he had recently started paying attention to Moscow ’s facades, their beauty and their drawbacks. He was able to do that because he no longer had to watch his step. So the process has already started and we already see some results.

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Supreme Court Opinion on Maritime Law Solidifies Insurer’s Choice-of-Law Clause

A dispute between an insurer and a yacht owner that went all the way to the U.S. Supreme Court resulted in a decision — the first of its kind on marine insurance in about 70 years — to clarify federal maritime law and state insurance law.

The highest court recently released a unanimous opinion that choice-of-law provisions in maritime contracts, governed by federal maritime law, are enforceable over state law. Maritime contracts include marine insurance policies.

The case at hand, Great Lakes Insurance v. Raiders Retreat Realty, goes back to 2019 when a yacht ran aground in Florida, sustaining hundreds of thousands of dollars in damage. Munich Re’s Great Lakes denied the claim and sued Raiders Retreat in Pennsylvania federal court after an investigation found that fire extinguishers on the boat did not meet required standards. Raiders Retreat then countersued, alleging breach of contract under Pennsylvania’s Unfair Trade Practices and Consumer Protection Law. The insurer won in U.S. District Court for the Eastern District of Pennsylvania — which found that federal choice-of-law provisions in the policy could be enforced.

Raiders appealed and, while the U.S. Court of Appeals recognized choice-of-law provisions in maritime contracts, it sent the case back to the district court to consider whether applying New York law would violate Pennsylvania’s policy regarding insurance. Insurers typically include choice-of-law provisions in contracts and declare that New York law applies when there is no federal precedent.

The American Institute of Marine Underwriters said the Supreme Court’s decision clarified the insurer’s choice-of-law clause in a policy and said it cannot be disregarded due to another state’s laws. There are narrow exceptions but none applied to this case, the court said. “The ruling adheres to the principles of uniformity and certainty in maritime law,” the AIMU said. Great Lakes was represented by AIMU member, The Goldman Maritime Law Group, and an amicus brief, cited several times in the opinion delivered by Justice Brett M. Kavanaugh, was written by member Wiggin and Dana on behalf of AIMU.

“As well stated in the court’s opinion, this decision will enable marine insurers to better assess risk,” said John Miklus, president of AIMU, in a statement. “By enforcing an insurance policy’s choice-of-law provisions in jurisdictions that are well developed, known, and regarded, the court recognizes that insurers can lower the price and expand the availability of marine insurance.”

Kavanaugh wrote that the presumption of enforceability of the provisions “facilitates maritime commerce by reducing uncertainty and lowering costs for maritime actors.”

“Maritime commerce traverses interstate and international boundaries, so when a maritime accident or dispute occurs, time-consuming and difficult questions can arise about which law governs,” he continued. “By identifying the governing law in advance, choice-of-law provisions allow parties to avoid later disputes — as well as ensuing litigation and its attendant costs.”

Pamela A. Palmer of the Clark Hill law firm said the high court opinion will help to “eliminate any confusion in the industry that marine insurance contracts are somehow different than or held to a different standard than general maritime contracts.”

“What strikes me in the decision is the court’s acknowledgment that choice-of-law provisions are important to reduce uncertainty and to lower costs for maritime entities but, more importantly in the context of marine insurers, knowing what law applies enables marine insurers to better assess risk and to price policies,” Palmer said. “This is a huge consideration for the marine insurance industry and had the court held otherwise the price and availability of insurance would be severely impacted — considerations that ironically would have harmed policyholders in the long run despite what would have felt like a short-term policyholder win in this case.”

Onlookers also waited to see if the Supreme Court would address a 1955 decision in Wilburn Boat Co. v. Fireman’s Insurance Co., another maritime insurance case in which the court ruled a court could apply state law if there is no established maritime law. However, Kavanaugh concluded Wilburn Boat did not need to be considered because it did not involve choice-of-law provisions.

“While it would have been an additional victory for proponents of maritime uniformity for the court to have overruled Wilburn Boat, Justice Kavanaugh did not take that additional step,” wrote Charlie McCammon, president of marine risk consulting, in a blog for WTW.

In a concurring opinion, Justice Clarence Thomas wrote separately about Wilburn Boat, saying it is “at odds with the fundamental precept of admiralty law.” “Wilburn Boat’s rationale is deeply flawed,” he added.

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Written By Chad Hemenway

Chad is National News Editor at Insurance Journal. He has been covering the insurance industry since 2007, reporting on trends and coverage in most lines of insurance as well as natural catastrophes, modeling, regulation, legislation, and litigation. Chad can be reached at [email protected]

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A Creative Way to Support Kids’ Emotional Well-Being

March 19, 2024    

O ver the past several years, the rates of depression, anxiety, and other behavioral health issues among today's youth, including children as young as three, have been steadily increasing. And for parents trying to navigate these emotional waters, it can be a choppy means to an end.

To help kids manage stress, anxiety, and other mental health issues, Allegheny Health Network, an integrated healthcare delivery system serving the greater Western Pennsylvania region, created Cai & Kate . This imaginative video series, available on YouTube and Instagram, focuses on the well-being of children ages three to six years old.

Featuring Cai, a chameleon puppet whose color changes depending on his emotions, and Kate, Cai's human friend who provides commentary on the various emotions portrayed in the show, the program aims to expand the ability of kids to identify and talk about emotions. Produced by Chill Project Productions, an initiative of the Allegheny Health Network Chill Project, Cai & Kate is offered through the organization's Psychiatry & Behavioral Health Institute.

In this episode of Beyond Profit , a podcast of the ANA Center for Brand Purpose , host Ken Beaulieu discusses the show at length with William Davies, founder and director of the AHN Chill Project, and Mike Baron, SVP and group creative director at the agency Mower.

The Beyond Profit Podcast airs Tuesdays at 10AM EST. For more information about the ANA Podcast Network, visit  www.ana.net/podcasts .

"A Creative Way to Support Kids' Emotional Well-Being." Beyond Profit Podcast, 3/19/24.

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I Used to Cringe at Self-Help Books. Until This One Changed My Life.

How a best-selling classic from 1992 helped me rediscover my creativity.

By Jillian Steinhauer

I have written about art my whole career. I find it and its creators endlessly fascinating, but I’ve always seen myself as something of a different kind — a journalist and critic, yes, but never an “artist,” with all the imaginative power that word conveys. Recently, though, I conducted a particularly poignant, intimate interview. The artist and I talked about childhood and the struggle of making oneself heard. There were tears. Afterward I had a thought: What would it be like if I were the one being interviewed? Could I be the artist, possessed of creative vision, like one of my subjects? The prospect was equally thrilling and terrifying.

These questions grew out of a long period in which I had been feeling alternately adrift and stuck. I regularly write about contemporary art for publications like this one, but for a while I’ve been in creative limbo. At first I wasn’t sure why, or even how, to describe it. Sometimes I said I felt disconnected from my voice; other times that my work and life, which was then filled with death and illness, seemed to have grown far apart.

I tried to address this through my usual methods: talking to friends, family, my therapist. When those didn’t work, I turned to a remedy several people had suggested: the 1992 book “The Artist’s Way,” by Julia Cameron. Structured as a 12-week course that leads the reader on a spiritual journey of “creative recovery,” the book began as a class and a collection of typed-up pages that Cameron photocopied and sold in bookstores, until she found a publisher willing to take it on. “We didn’t know where to put it on the shelves,” Joel Fotinos, who published the book at Penguin, said in a 2019 interview. “Eventually there was a category called ‘Creativity,’ and ‘The Artist’s Way’ launched it.” The book has sold more than five million copies since its publication, and Cameron has become a kind of guru.

I knew none of this when I ordered “The Artist’s Way,” only that it was some kind of woo-woo self-help book, and that it had popularized the phrase “morning pages” (which seemed like journaling, in the morning?). When I sat down to read, I almost immediately cringed. On the first page of the introduction, Cameron invokes “The Great Creator,” a.k.a. capital “G” God. That immediately set off my internal alarm; I underlined it wavily and wrote “Mmm” alongside. Turning the page, I realized to my horror that random inspirational quotes set in the margins were going to be a recurring feature. (An example: “I shut my eyes in order to see,” credited to Paul Gauguin.) The following chapters brought a bewildering jumble of metaphors.

I like to think I’m receptive, but I am also a critic — someone who prides herself on her discerning taste, at least in certain realms, including books. This was like a compendium of questionable taste. It took me back to the days of being a preteen, when I pored over the “Chicken Soup for the Soul” series and published my bad poetry in school magazines. That version of me was so earnest that in retrospect I found her a bit embarrassing. But I also envied her nerve. She seemed a lot less self-conscious than the person I had become.

As it turned out, the beauty of “The Artist’s Way” was in asking people like me to set aside matters of taste entirely. Instead, Cameron prompted me to turn inward. One of her two core practices is the morning pages, writing three longhand pages upon waking up, which Cameron says “get us to the other side: the other side of our fear, of our negativity, of our moods” by creating space to contend with them. The other is the “artist date,” a weekly solo excursion or activity meant to cultivate inspiration. I didn’t always manage to do these tasks, but I recognized their value. I had arranged to do “The Artist’s Way” with a small group of women, and as one of them put it in a meeting, the exercises offered a way of witnessing ourselves.

There was something refreshing about a text that didn’t need to be perfect, that came from a place of urgency.

Cameron’s writing encouraged that exploration. She spoke plainly and directly, without elaborate flourishes and conspicuous erudition. I came to appreciate the book’s many flaws: There was something refreshing about a text that didn’t need to be perfect, that came from a place of urgency. She said what needed to be said — and when she did, I often felt as if she were seeing and dragging me simultaneously. “Most blocked creatives have an active addiction to anxiety,” she wrote. “We prefer the low-grade pain and occasional heart-stopping panic attack to the drudgery of small and simple daily steps in the right direction.” “My god,” I responded in the margins.

Cameron seemed at home in her voice; her tutelage made me think about mine. I realized that after 17 years as a journalist and critic, the balance was off: I had allowed my professional taste-making — an inherently public concern — to obscure other interests and curiosities. I had honed my professional voice at the expense of my private one. Loving “The Artist’s Way” feels strangely embarrassing — because it’s less rational than it is sincere. But as Cameron knows, authenticity is the best place for an artist to begin.

Jillian Steinhauer is a critic and reporter who covers the politics of art and comics. She won a 2019 Andy Warhol Foundation Arts Writers grant and was previously a senior editor at Hyperallergic. More about Jillian Steinhauer