How to Gamble Like a Banker


 


WPCNR QUILL & EYESHADE. News & Comment by Don Hughes. October 5, 2008: Personally I believe in free markets and limited government regulation. However, as the following discussion – which is based on The $55 Trillion Question in the 13 October 2008 FORTUNE and How to Burn the Speculators in the September/October 2008 Mother Jones – shows, there is a significant difference between ‘limited’ and ‘no’.


 



 


 After 1933 and the passage of the Glass-Steagall Act much of the commercial banking industry was regulated. The 1933 laws were in response to the mixing of commercial and investment banking that started in the 1920s and which had led to significant opportunities for fraud and conflicts of interest.


 


And while the regulations almost guaranteed small but steady profits, they limited the opportunities for spectacular profits. Historically, local banks took in deposits and then used that money to make loans. There were strict requirements on how much cash a bank needed to keep on-hand and on the ratio of their assets to their capital. However because of the anemic US savings rate, the demand for loans exceeded large bank’s ability to attract deposits and thus to make loans and to make profits. Some banks turned to other sources of income such as credit cards and checking accounts and their seemingly unlimited opportunities to impose new fees.


 


Enter Derivatives


 


In the financial world there are instruments called derivatives – things that have no intrinsic value themselves, but derive their value from some underlying asset. Banks made use derivatives called’mortgage-backed securities’. They repackaged their loans as MBS and then sold these ‘securities’ toother institutions. Since the banks technically no longer owned these loans, it allowed them to avoid the regulations on the ratio of assets to capital which then allowed them to make additional loans and to create huge financial empires on fairly modest foundations.


 


A private firm called the Federal National Mortgage Association or Fannie Mae which started as a governmental agency in 1938 and another firm call the Federal Home Loan Mortgage Corporation or Freddie Mac created in 1970 arose to provide a secondary market for these MBS. As of last month, both are now wards of the government.


 


License to Derive


 


In 1999 the Gramm-Leach-Bliley Act repealed parts of the Glass-Steagall Act and allowed many new players into the mortgage market. Perhaps 80% of mortgage loans are now made by non-banks. At this point, the people making the loans had only a passing interest if the loans were ever repaid. They made their money initiating the loans and passed the risk on to others.


 


And they were largely unregulated. Predictably, they started making loans to people who were worse and worse credit risks (the subprime market). A number used deceptive advertising and empty promises to attract these new borrowers — practices that would have landed their regulated predecessors in jail.


 


The Motivation Changes


 


To review: if you make your money on the difference between the interest you receive from mortgages and the interest that you pay depositors, you are going to want  to protect your interest income by only making loans to people that you are fairly certain will pay you back.


 


However, if you make your money from the loan origination fees, processing fees, and late fees, you are more interested in just making as many loans as possible. You may actually make more money in fees from people with poor credit than from people with excellent credit.


 


It is easy to blame the borrowers for getting in over their heads, but all of us make decisions based on information that we assume to be correct. We buy milk assuming that it is milk and not water mixedwith melanine, we buy fire insurance assuming that if we have a fire that we will get paid, and we buy plane tickets assuming that the planes will not crash into each other in the air.


 


Government regulation is what make these reasonable assumptions.


 


Betting on Your Assets–No House Manager.


 


The financial institutions realized their own risks, and just like homeowners purchase mortgage insurance, they purchased a different kind of derivative called ‘Credit Default Swaps’.


 


A CDS is a contract where the buyer pays the seller an amount suspiciously like a premium and in return the seller agrees to make a payment if a particular event, such a a loan default, occurs. Used in moderation, these can be very useful instruments.


 


But there is a reason that the markets pushed CDS instead of insurance.The insurance industry is regulated, CDS are not. In fact, Congress went out of its way to insure the they were not. As reported in the FORTUNE article:


 


“in 2000, Congress with the support of Greenspan and Treasury Secretary Lawrence Summers, passed a bill prohibiting all federal and most state regulation of CDS and other derivatives. In a press release at the time, co-sponsor Senator Phil Gramm – most recently in the news when he stepped down as John McCain’s campaign co-chair this summer after calling people who talk about a recession “whiners” — crowed that the new law “protects financial institutions from over-regulation … and it guarantees that the United States will maintain its global dominance of the financial markets.” (The authors of the legislation were so bent on warding off regulation that they had the bill specify that it would “supersede and preempt the application of any state or local law that prohibits gaming …”) Not everyone was a sanguine as Gramm. In 2003, Warren Buffett famously called derivatives “financial weapons of mass destruction.””


 


Instant Money


 


Because they are simple contracts rather than securities or insurance, CDS  (Credit Default Swaps) are very easy to create — deals can be done in a one-minute phone conversation.


 


The response of Wall Street to the opportunity to make deals that can be quickly struck, require little or no cash investment, involve almost no paperwork, can cover anything, and are not subject to any regulation, was predictable – the volume of CDS exploded to a recent peak of $62 trillion. Compare that to the total corporate debt estimated at $6.2 trillion, or the estimated $10 trillion of asset-backed debt. That’s $50 trillion or so of nothing more than smoke and mirrors.


 


One of the interesting aspects of CDS is that you don’t have to own, or even have any interest in, an item to buy a CDS against it – anyone can place a bet on whether a loan will fail. Indeed the majority of CDS now consists of bets on other people’s debt. Again from the FORTUNE article:


 


“It’s sort of like I think you’re a bad driver and you’re going to crash your car,” says Greenberger, formerly of the CFTC. “So I go to an insurance company and get collision insurance on your car because I think it’ll crash and I’ll collect on it.” John Paulson of Paulson & Co., for example, made $15 billion in 2007, largely by using CDS to bet that other investor’s subprime mortgages bonds would default. So what started out as a vehicle for hedging risk ended up giving investors a cheap, easy way to wager on almost any event in the credit markets. In effect, credit default swaps became the world’s largest casino.


 


A Ponzi Scheme. Gambling Safer.


 


 I hope that you noticed the word ‘gaming’ in the 2000 legislation mentioned several paragraphs back.


 


It was no accident. But there is a big difference between gambling and trading CDS (Credit Default Swaps). The casinos are regulated and you can be pretty sure that if you win, you will get paid. The CDS market offers no such assurances.


 


Many of the firms playing in the CDS market are only slightly more solvent than your neighborhood minimart. Wachovia and CitiGroup are in court with a hedge fund located in the Channel Islands over two $10 million credit default swaps that represent over 40% of the fund’s capital. The likely outcome is that the fund will simply declare bankruptcy and Wachovia and CitiGroup will never see a dime of their money.


 


Just like any other Ponzi scheme, as long as the bubble keeps expanding and nobody looks too closely, you can convince yourself that things are different this time. Many of the loans were made with teaser rates – 0% INTEREST!!! $0 DOWN!!! NO PAYMENTS FOR TWO YEARS!!! — you have seen the ads.


 


Rising Interest Rates Burst Bubble 


 


 Well the two years went by and the fine print kicked in and the interest rates adjusted to market-plus. Suddenly people were unable to make their payments and started defaulting on their loans. Owning mortgage-backed securities was no longer a smart move and the firms originating the loans were no longer able to pass them downstream and they started running out of funds to make new loans and keep the pyramid inflated.


 


Large firms such as Wachovia with huge portfolios of mortgage-backed securities and who thought that they had protected themselves with CDS discovered otherwise when they tried to unwind their positions. And since the CDS sellers were unregulated, the firms had little recourse for recovering their money.  If  the mortgages were worthless,  then their cost and their ‘insurance’ was just worthless. The value of  their assets plummeted and soon were below even the minimal capital requirements imposed by the remaining limited regulations.


 


Rising Tide Overruns Assets


 


Large financial institutions such as Wachovia continually borrow the funds they need on a daily basis from other major lenders in the form of short term liabilities. When their creditworthiness deteriorated, they were unable to borrow the money they needed to stay in business. They were bankrupt.


 


Energy Speculation Rears


 


But CDS (Credit Default Swaps) are not just about mortgages. As reported by Mother Jones, CDS (Credit Default Swaps)  provide an enormous back  door into the commodities markets basically permitting speculators making bets in the commodities exchanges to be treated as “commercial interests” and avoid limits normally applied to financial institutions on the size of their bets.


 


 In Senate testimony in May, Michael Masters testified that the speculative demand for Texas oil futures is now five times the actual 2003 baseline stockpile. He attributes this to the jump of index speculation investments from $13 to $250 billion since 2003.


 


Again as reported by Mother Jones: The 2000 legislation mentioned above also allowed energy futures to escape all federal and state regulation. [And] in a separate bit of absurdity, in January 2006, the Intercontinental Exchange (ICE) of Atlanta, which trades bench mark US oil futures came to be treated by the CFTC as a British market so that US regulators do not even track what is going on.


 


So the US market for US oil futures traded in the US is not regulated or even monitored by US regulators.


 


Manipulated Prices?


 


Now consider the situation: huge firms with no regulation placing tremendous bets on certain outcomes. Is it too much to expect that they will put exceptional effort into seeing that those outcomes come to pass? What drove the cost of crude to $145/bbl had little to do with increased demand from China, hurricanes in the Gulf, or the lack of offshore drilling, but everything to do with the fact that about 70% of the oil futures now traded are purchased by speculators who are not subject to any regulation. And according to Attorney General Michael Mukasey, significant positions are controlled by international organized criminals.


 


The bottom line is that in order to increase their profits, financial institution found creative ways to skirt existing regulations. A compliant Congress enabled their deception in the name of free markets.


 


The banks rolled the dice and the taxpayers lost. We need to restore reasonable regulation – but not go overboard as Congress did with overreaching Sarbanes-Oxley laws passed after the last financial crises.


 


It is noteworthy that the New York State’s insurance commissioner, Eric Dinallo, announced new regulations that would essentially treat sellers of some CDS as insurance entities, thereby forcing them to set aside reserves and otherwise follow state insurance law.

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Council Resolves Ritz Affrdbl Hsng Gap. Cappelli Rents Apts to Fill Shortfall

WPCNR COMMON COUNCIL CHRONICLE-EXAMINER. By John F. Bailey. October 4, 2008 UPDATED 10:35 A.M. EDT: The Common Council resolved its dispute with Cappelli Enterprises over occupancy of the Ritz-Carlton second condominium tower before affordable housing owed on the project was completed by voting 7-0 Friday afternoon to accept a compromise.


In the agreement approved, 4 of the 24 completed units  built in the City Center garage will be “allocated and credited” to the City Center project, and 20 affordable units allocated and credited to the 221 Main project.


To complete Mr. Cappelli’s obligation remaining from the City Center project, the council has allowed him to rent  13 similar apartments across the city, in apartment complexes such as Avalon, Bank Street Commons and elsewhere, thus resolving the dispute.


The upshot is that Mr. Cappelli can now receive certificates of occupancy without impediments as he opens the second condominium tower.


Commissioner of Planning Susan Habel advised the media after the vote that the Cappelli organization still owes 13 units to fulfill its obligation of affordable units connected to the City Center project. The organization had owed 16 previously.


By assigning 20 of the 24 units built in the City Center garage to the Ritz affordable housing requirement, 4 units were subtracted from what Mr. Cappelli owes from the City Center project, leaving 12 units to go to fulfill the City Center requirement. She said Cappelli has agreed to build one more, leaving 13 units he must provide. Until those units are built, she said, Mr. Cappelli has agreed to rent comparable amenitied apartments within the city.


Ms. Habel in post vote statement said that the council acted Friday, rather than at Monday evening’s scheduled Council meeting, because the Planning Department wanted to begin renting the 24 units now complete in the City Center garage to the waiting list of 400 persons. She advised that persons interested in applying for affordable apartments should contact the White Plains Planning Department, because all renters of the apartments were subject to approval by landlords based on review of their financial qualifications. It became necessary, Ms. Habel, said to allocate the affordable units.


Under questioning by Keith Eddings of the Journal News, as to why the issue had been negotiated in executive sessions, Paul Wood, City Executive officer, said that  the issue of litigation came up in negotiations over the issue.


The agreement approved Friday evening, perpetuates the affordable housing units should the Cappelli organization eventually sell the City Center garage apartments.


Commissioner Habel said where the 13 units would eventually be built by the Cappelli organization within the city was not known. Asked where the 240 Main Street project stood, where it was presumed previously that the Cappelli organization would build theaffordable housing, Ms. Habel said the possibility of the building ever being constructed has been complicated by a bankruptcy of the Rotundi organization which is in dispute with Ginsburg Development Corporation, its former partner, and the litigation continues, blocking construction until that is resolved.

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Trillion Dollar Bailout Bill Passes. President Signs It. “Quick Action” promised

WPCNR QUILL & EYESHADE. From news reports. October 3, 2008: The House of Representatives in the Nation’s Capitol voted 263 to 171 today to approve the Trillion Dollar Bailout Bill conceived to support the recovery of the nation’s financial markets, credit operations and attempt to arrest deteriorating economic conditions across the country. President George W. Bush signed the bill into law. Secretary of the Treasury Henry Paulson promised “quick action.”

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Bright Shining Moment Shines Again. Facets of Bdwy Jewel Gleam at WPPAC

WPCNR  GOES TO THE THEATRE. By John F. Bailey. October 2: There are many bright shining moments, buffed, polished and gleaming once more in  the new Lerner & Loewe’s Camelot, the first revival of the 1961 icon of a show — first course delicacy on White Plains Performing Arts Center theatrical buffet this season, as WPPAC continues its performing course in great musical theatre.



The Eternal Triangle Begins, Rendered by Robert Cuccioli,  (seated) “The Official Leading Man of New York,” as the troubled, hesitant, heroic King Arthur, Her Majesty, the regal Juli Robbins as Queen Guenevere, looking on in disapproval at the boasting Greg Goodbrod as Sir Lancelot  when they first meet in WPPAC’s debut production of Camelot, Friday through Sunday.  Photos, Courtesy White Plains Performing Arts Center


Camelot  could not come to White Plains at a better  time. The show  with its clever, amusing and intelligent book and songs depicting the ambiguities and resiliency of the best mankind has to give will inspire with the hope it instills. That’s the reason it was a hit the last time people believed in a Presidency, 1961 (when the Camelotian Kennedy administration governed two-1/2 years). You still have three days left to see it, Friday night, Saturday and Sunday this weekend at the WPPAC.


WPPAC engages the imagination by transforming the ever versatile WPPAC stage into King Arthur’s Great Hall, where the audience appears actually in the great hall with banners festooned about the sides of the hall. Through the magic of Thom Weaver’s lighting it turns into enchanted woods, a jousting tournament, castle battlements, and singer-performers who can deliver emotion without crossing into melodrama.



The WPPAC company,  developing its reputation as a repertory company attracted about ¾ of a full house for Sunday’s matinee, showing its strategy bringing back tried and true classics of the Broadway past is connecting with a taste for time travel. Theatregoers saw why a great show is always a great show because it stands the test of the times, delivering, as I have written before, timeless truisms that inspire any era.


Camelot is the story of a love triangle between “The Official Leading Man of  New York,”  Robert Cuccioli, the Tony Nominated (Jekyll & Hyde) star who gave WPPAC hope last season with his house-buster Man of La Mancha;  the exquisite regal flame-haired Juli Robbins as Guenevere with a voice as articulated and commanding as fine crystal, and Gregg Goodbrod growing into the role of Lancelot.


The attraction between Ms. Robbins and Goodbrod is apparent and subtlely developed as a real romance is. How the attraction develops, though somewhat preposterous, through Guen or “Jenny” as she is called by Arthur and Lance, detests Lancelot’s conceit when she first meets him. Lancelot performs a divine miracle through some kind of hands-on CPR, that proves to Guenevere he is not all ego.


Goodbrood’s first big moment comes with his hilarious singing resume, “C’est Moi!” , a testimony to his abilities. He bonds with the audience delivering a hearable, comprehensive delivery with gesture and savoirfaire  bringing great laughs . At the beginning of Act II he delivers the song that made Robert Goulet a star in the original production.


As he professes he can no longer stand to live in Camelot with Guenevere out of reach, he stops himself and delivers If Ever I Would Leave You with a sweep, an emotion, an intricately sewn tapestry of  range that delivers more meaning than Goulet ever put into singing this song. The songs in this show – all of them are not sung in the belt-and-shout style .  


While Goulet just belted it, Goodbrood gives the sensitivity, the reality, the pain, and yes, the j’n sais quoi that  somehow makes the audience understand why  a man would rather be around a woman who inspires him whom he cannot have than not have her in his life at all. In this writer’s opinion the Goulet style simply blasted the song (especially in the hit recording), rather than deliver the intense finesse the song is given in this show.



It takes a great deal for you to  take your eye off the regal queen Juli Robbins – here charming knights in The Lusty Month of May. Ms. Robbins  intense mesmerzing gaze and Dove Beauty Bar complexion – casts her appreciation on Lancelot demurely, with class and manners, giving plenty of evidence of the smoldering fire for Lancelot within. Here is an actress who plays a queen who is queenly and sings like her namesake with a stately commanding style.


Taking the signature Julie Andrews role (Guenevere was Ms. Andrews follow-up star turn to her never-to-be-forgotten Liza Doolittle in My Fair Lady, acclaimed the greatest musical of all-time), Ms. Robbins  has that very British royal inflection in word and song, articulating superbly.


 Long experienced on the Camelot National Tour, Ms.Robbins is the radiant sun this production revolves around.



It’s Lonely, Confusing, and Tough to Be the King: Robert Cuccioli captures the king’s confusion and anxiety over loss of queen and pursuit of his ideas with a performance evoking compassion and inspiration.


Guenevere’s King Mr. Cuccioli negotiates the intricate nuances of loving two persons, his wife and his friend Lancelot, channeling his jealousy, and attempting to preserve his idealistic dream for the roundtable. He is a leader trying to do right in a world filled with self-interest (the knights). (Does that sound anything like today’s political scene?) The triangle dynamics work superbly.


Mr. C shows another side here – a committed dedicated powerful Quixote in Man of La Mancha, here he is a confused, diffident King in doubt until the end, but loyal to his two friends and his obligations to his ideas that sometimes as we find in life are always in conflict with what makes us happy. Is that timeless or what?


His first meeting with Guenevere, he carries off brilliantly taking advantage of Ms. Robbins’ not knowing he is the king she is to marry.  This banter between them is brilliantly acted by both. He sets the tone with the title song Camelot. Robbins plays a young and lamenting nervous bride singing The Simple Joys of Maidenhood.


Lancelot is introduced to Guenevere by Arthur and Guenevere’s contempt for Lancelot’s self-confidence, to say the least is another throroughly amusing scene highlight by the company’s The Lusty Month of May, and Guenevere’s attempt to take Lancelot down a peg by urging knights of the roudtable to joust him are the beginning of the Lancelot-Guenevere romance. Robbins cajoling of the knights with her rendition of Take Me to the Fair is splendidly timed with appropriate raised eyebrows and wide eyes – any knight would oblige.


The Jousts scene – right out of the Races scene in My Fair Lady – is another suspension of belief carried out by the WPPAC production team.


ACT II things go bad for our conflicted King, Queen and Knight errant.



The evil Mordred, Arthur’s illegitimate son arrives and plots to take over the court. Played by  Saum Eskandani, (center, third from left), who played the scheming nephew in How to Succeed In Business Without Really Trying on this very same stage. This guy is very good at playing evil, scheming, slimy guys and making them hated and entertaining simultaneously, his Mordred singing  The Seven Deadly Virtues is hysterical, followed up by Fie on Goodness when he converts the Knights of the Roundtable above, who reminisce about their looting and whacking, is just great stuff. Mr. Eskandani deserves a sitcom.


In the denoument, Cuccioli and Ms. Robbins deliver a wonderful duet, What Do the Simple Folk Do? In which with each verse, the passion that once was between them almost rises to the surface, but because of outside forces has been forever mooted,  an all too familiar theme in everyone’s lives.


But this is not a sad show, even Ms. Robbins lovely farewell to Lancelot after Mordred’s plot exposes their  romance, is a positive and uplifting adieu.  Her I Loved You Once in Silence warms the heart and tears you up the way Ms. Robbins styles it, in her silky soprano so precise with control  and courage and emotion.


Robert Cuccioli’s role Arthur, (played by the tortured Richard Burton in the original), gives brooding and angst worthy of the Burden persona, but  more lovable.  He is central, moving Arthur through his various stages of shrinking from responsibility, dealing with it, pushing for an ideal, being the “big person” in a situation. His dialogues are  soliloquys of doubt, perfectly realisticly rendered.


His How to Handle a Woman is handled just right, completely  in keeping with Arthur’s realization he has lost Guenevere but still loves her.


The songs in this show are so encompassing in the way they facet every shade of emotion. Each song is not just entertainment but philosophy, wisdom, truth, all those good things artists try for years (most of them anyway) to portray – crystallizing human existence. (O.K., so I’m a sentimentalist.)


Kudos to the comic relief of  Ronald Brown as Merlin and Pellinore – magician and mentor, and errant knight, providing excellent comic relief.


Music is reminiscent of  Ferrante & Teicher  — the two pianist stars of the 50s — whose style is perfectly matched by two elevated pianos keyboarded by  James Bassi and Steven Gross who impeccably lay a splendid “bed” of melody under the voices. I really loved their style and the two should record this sound track – a bold concept in staging by the Musical Director Gross, and an economical one at that, and it works.


Sidney J. Bourgoyne, the director weaves the interaction sensitively. The staging especially the rescue of Guenevere scene with lighting high drama. The costumes use authentic armor. As Brenda Starr, yours truly’s companion remarked, she appreciates minimalist productions because you can concentrate on the performances, not the pyrotechnics.


Another  spectator advantage of seeing the classics at WPPAC is that every seat is a box seat. The actors have to act better, they are not saved by distance, and the vibrance and reality or lack thereof is instantly discernable. It is like a private command performance for royalty.The acoustics are impeccable.


Camelot is not sad,  ending with a vibrance that send us all out to be “a few great shining drops in the ocean.”


It inspires us to leave the theatre and strive for our own bright and shining moments which is why it is a classic.


Tickets are still available, so go see a classic – it’s always guaranteed at White Plains Performing Arts Center. Tickets, 328-1600 or visit the theatre’s website, and select your seats at  www.wppac.com. There are limited seats still available for shows at 8 Friday, 8 Saturday, Sunday at 2 and Sunday at 7.

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