Sunday, January 31, 2016

"A Career Well Crafted" - and article from Canadian Lawyer InHouse

I recently had the privilege of being interviewed by Jennifer Brown, editor of Canadian Lawyer InHouse.  The article she wrote can be found here  , and is also reprinted below:

A career well crafted

  • George Bass, first general counsel at Wawanesa, retiring this spring.
Written by  Posted Date: January 25, 2016
Wawanesa Insurance general counsel is retiring after 20 years serving in in-house roles.
Wawanesa Insurance general counsel is retiring after 20 years serving in in-house roles.
When asked what his plans are for retirement, George Bass pauses and is somewhat at a loss for words.

“I will do what I want, when I want,” he says with a laugh. “I really enjoy art exhibits and cooking . . . . I would also like to get involved with some corporate and charity boards.”

At the end of April, Bass will retire after 40 years in the legal profession, the last 17 in-house as vice president, general counsel, and secretary of the Wawanesa Mutual Insurance Company, the Wawanesa Life Insurance Company, and Wawanesa General Insurance Company (USA), which operates in Canada, California, and Oregon.

A life bencher with the Law Society of Manitoba, he has served on all major committees of the Law Society as well as a number of working groups and committees in the insurance industry.

Bass first arrived in-house in 1996 as general counsel of the Pan American Games when it was held in Winnipeg. It was a considerable change in direction having spent 19 years in general private practice in Neepawa and Brandon, primarily in the areas of real estate, wills and estates, litigation, and corporate law.

He had been looking to move from rural Manitoba where he had been in private practice and saw the Pan Am opportunity as a great way to move forward. Little did he know he was entering a realm of law that was largely still in its infancy — the in-house bar.

“It was being at the right place at the right time,” says Bass. “It was a great opportunity. With the Pan Am Games, you’re starting from zero and have to build everything — your processes, bylaws, the corporate secretarial function. The other part is you have an absolute deadline by which everything has to be done.”

In the early 1990s, Bass recalls becoming a general counsel was looked at as a way for a corporate lawyer to ease into retirement.

“It wasn’t looked at as a position where one was going to be active or proactive,” says Bass. “I think the growth in-house has been healthy. I think corporations and society in general have been well served by more counsel being in-house so they can gain knowledge and experience in terms of how the business is carried on.”

Bass has been part of a generation of in-house pioneers who changed the view of the role corporate counsel can play in the business.

“It became a very vibrant position,” he says. “It was expected that as general counsel you would have a seat at the business table and take part in those corporate discussions that took place and to do a lot more than what a lawyer in private practice would generally do for a client.”

Following the Pan Am Games role, Bass became Wawanesa’s first in-house lawyer. During the three years he worked on the Games, the president of Wawanesa, Gregg Hanson, was one of the directors of the Games and chairman of the finance committee. Unbeknown to Bass, Hanson was watching and the experience turned into a three-year job interview of sorts. Toward the end of 1999 Hanson told Bass if he was looking for his next position to consider a job in-house with Wawanesa.

“With the way regulatory matters were changing in the insurance business, he wanted to have a general counsel in the company. He said, ‘You’re the sort of person I would like to have, so please come and talk to me before you make any decisions.’ It’s quite amazing considering the company had been around for 103 years and was tremendously successful but hadn’t had in-house counsel and had not used external counsel that much,” says Bass.

For the first eight years, Bass was a legal department of one at Wawanesa, but it soon became difficult to handle the workload. He now has a department of four lawyers and one paralegal reporting to him. The team includes an associate GC at the company’s subsidiary in California who has been in the position for the last 16 months.

“During the first year, every six weeks I spent three days with her just so that I could talk with her and get her to understand the culture of the parent company so we could have consistent decision-making in terms of the legal decisions and the advice we give. It has been a good investment and I’m already seeing the dividends in terms of the work she’s doing,” he says.

Bass has also observed a broader evolution of the role of general counsel within Wawanesa and other insurance companies. “We moved from doing traditional corporate law only and started to work in areas that have really evolved such as regulatory and compliance, and for those of us who are also the corporate secretary, there has been a huge change in corporate governance issues,” he says.

Bass adds that involvement in the areas of strategic planning and risk management has also increased.

“It’s been very satisfying from the perspective of wanting to be involved from an intricate level with the business of the corporation,” he says.

In terms of a career highlight, he says it’s been about developing a department that has been accepted by the business side and how legal has been able to assist the business.

Over the years, Bass has also watched as the ongoing dialogue around legal fees and value billing has bubbled up. He acknowledges the need to look at new models, but he isn’t convinced that what is being tried right now is the solution either.

“I think there is still a lot of trial and error. I think it’s a really good idea and I understand the principles behind it, but I think as a profession — both in-house and external — we are struggling to find ways to make that work. I think we have these projects going on where we are trying different things, but I don’t think anyone has found the magic bullet yet. I think there are gong to be continued changes in billing approaches and it will become more value-based.”

Bass argues there are a lot of intangibles that go into the practice of law and understanding the values and culture of the company and the business, and not having to continually teach external counsel what the business is about has really been beneficial for corporations.

“There’s a balance point between in-house counsel and the cost of external counsel and where the sweet point is for organizations,” he says. “One of the other benefits internal counsel can bring is a provision of ethical considerations to business decisions. I think for the most part the in-house bar is there, but we keep hearing about these corporate scandals and we ask the question of where was the board in that sort of thing? Where were the lawyers? Where were the ethical considerations at the business table? I’d like to think to the extent in-house counsel are available and involved in that sort of thing they would bring a different perspective to some of the scandalous decisions made.”

His advice to lawyers who are new to the in-house role is to keep in tune with what’s changing, get business experience, and watch what is changing in terms of methodology. He points to programs such as the Canadian Corporate Counsel Association’s Certified In-House Counsel – Canada program.

“There is no way in today’s climate that someone could become a general counsel without having that understanding of the business side,” he says. “One of my reports here in Winnipeg has gone through the CIC.C program and our associate general counsel is just completing her MBA — they need to have that sort of knowledge,” he says.

Jennifer Brown

Jennifer Brown is the editor of Canadian Lawyer InHouse.

Saturday, December 20, 2014

Clever, Thoughtful, Well Performed Play with Stimulating, Challenging Social Issues

One often hears about the big Broadway shows but little about the cleverly written thoughtful plays that appeal to the mind. "When We Were Young and Unafraid" (by Sarah Treem) , is one of those rare breed of great drama that challenges the intellect and soul - in a contemplative, gentle manner. It played this past summer in New York City. 

I saw this play July 23, 2014, at the Manhattan Theatre Club. Full house. I had learned of it from a recent review of two feminist plays in the Sunday NYTimes. The play was tremendously well done and written, with a nice balance of drama,tragedy and comic relief (in the form of lines). It is set in 1972 in a bed and breakfast on an island off the coast of Seattle. There were many social issues including wife abuse, abortion, coming of age through teenage years, gender inequality in college admission, and the imbalance of power between the sexes in many relationships. The playwright, Sarah Treem, did a fantastic job. She has written and produced the HBO series "In Treatment", HBO series "How to Make it in America" and (the only one of these 3 that I've seen) the Netflix series "House of Cards" (which I have to say is a favourite of mine). The lead actor was Cherry Jones, who provided a wonderful performance as a nurse who had lost her accreditation on account of performing abortions and is now on an island off Seattle running a b&b, but also a safe haven for abused wives. She also gives them the benefit of her knowledge as to how they can break out of the cycle of their abusive relationships. Some do, others end up back in it, and some end up dead. In any event, she's won 2 Tonys and an Emmy - the quality of her acting was most apparent. Some of the audience really knew her - some applause when she first appeared on stage. I don't think I've seen any of her previous work. The teenage "daughter" was Morgan Saylor. She superbly acted the passion of a Grade 12 teenager, who was struggling with boys, sex, and applying to Yale. At intermission I was reading her bio and realized that I've seen her work in the Showtime series 'Homeland'. She was Brodie's daughter. What quality in this play and cast! Who would have thought that there was this sort of gem tucked away in the depths of NYC. I expect there's a lot of that; you just have to seek it out through the layers of stuff/busyness/commercialism/crap that appeals to the general masses.

Two zingers from the play: Both were said by Hannah, the feminista (revolutionary feminist) of the characters:

"Lesbians are the only true feminists."

and later

"We'll never be equal with men if we keep sleeping with them."

Wonderful performance; most worth seeing!

Sunday, August 3, 2014

Amazing Post Modern Performance Art - Fuerza Bruta, Wayra, New York City

Last night's (July 27, 2014; New York City) performance of Fuerza Bruta: Wayra was over the top fantastic.  It was in a small theatre at Union Square.  It lasted 1.5 hours, and you were standing the whole time - there were no seats.  It was an entertaining performance of loud, rave like music, with high energy, fast paced movement by the performers, accompanied by fantastic lighting and theatrical fog.  It felt like art - abstract expressionism.  The music resonated in my heart - literally vibrating in my chest cavity.  The performance spaces moved at times into the audience space, and there was a crew to move the audience around out of the way - no problems with this.   The title translates to "brute force" and it was - power of the throbbing music, intensity of the multi-coloured lighting, high speed wind machines, energy of the performers.  It was sensory overload - in a good way.  Like what I would imagine feeling if in a vortex.

At times members of the audience were invited to take part.  At the end of one overhead scene the performers descended to the audience floor and selected a consenting person to be secured into them, and then hoisted up above the audience to the plastic sheet that separated the space overhead the audience from the ceiling and that upper area where the performers were performing.  

The NY Times had described this performance some months ago and I was intrigued by it and got the tickets. I was hooked.  A few weeks ago NYT published their review and basically said this was not theatre and gave it a poor review.  But clearly not the reviewers cup of tea.  I was not disappointed to enjoy it by letting my feelings go, not necessarily look for meaning, and just enjoy what washed over my senses.  The crowd was mostly 20s, but a few from each age group.

At one point a  transparent bubble inflated covering the entire audience, and the performers moved on the top of this surface.  

In another scene, in the middle of the audience (we were moved back out of the way) there was a foil coloured, two sided, circular surface which was perpendicular to the ground.  It had handles on it that the performers could climb around as it was spun three dimensionally.  There was a performer on each side of the surface.  They were each trying to desperately connect with the other - calling out - but all to no avail as they were in separate worlds.

In another scene there is a transparent plastic sheet unfurled over the heads of the audience, and then supported by air pressure, and the performers move around above you by walking on this sheet.  At the very end there is dancing in the audience, and those in the centre have the rain machine turned on them.  There were actually a lot of people who enjoyed the feeling of getting soaked as they let go of their feelings to the beat of the feral music.  

A number of scenes had a treadmill moved into the middle of the audience, mostly with one character running on it.  No matter what he had to deal with - being shot, having to run through a wall, etc he kept moving on.  A fitting allegory for life (minus the shooting part)!  

I really enjoyed the extended scene when they had a pool about 25 feet above the entire audience space, clear bottom and filled it with some water.  The performers moved around it like water nymphs.  It felt very ethereal.  The initial positions looked embryonic. The performer appeared to be looking down, as if through a portal, at our mortal life below.  See the photos below - keep in mind that this is all in a temporary pool suspended a short ways above the audience's heads.

One scene on the treadmill had the guy blasting through a wall of white boxes each containing styrofoam and small paper pieces.  As he passed through the wall, the boxes exploded and the wind machines blew bits of styrofoam and paper all over the crowd.  the music continued. the platform with the treadmill eased away and the performance continued at one end of the audience space.  The performers were hitting each other over their heads with squares, which shattered spraying the same styrofoam and small paper pieces, to be blown by the wind.  Then they came into the crowd and were dancing with the audience, which had mostly become a pulsing throng.  One performer came near and she danced with me.  The beat intensified; our dancing matched the tempo. We were jumping as if doing some primal, tribal ritual.  She motioned me to take off my glasses.  Then she smashed one of the white squares over my heard.  There was styrofoam and small pieces of paper everywhere.  I opened my arms inviting her to hug. She sprang, with the intensity of going to jump through me, up into my arms, wrapping her legs around my waist.  It was like embracing a sphere of throbing energy.  And then with the flow of the music she glided through the crowd and back onto the stage as quickly as she had appeared.  I want to live this way all the time - energized, sensory feelings exploding!  Alas we live in a collection of moments which are mostly planned - but should remember to take advantage of serendipity - whatever opportunities come our way, however fleeting, as they are of the moment, not to be repeated, but often pleasurable - that of which great memories are made.

At most times it felt dream like - a suspension of reality, but with a stream of consciousness - and also an allegory of life. A full-on, multi-sensory, completely immersive experience. It truly was a feast for the senses - sight, sound, touch.  I highly recommend seeing this if you ever get the opportunity.