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Mehdi Hasan: Time to downgrade the downgraders

Standard and Poor's decision to downgrade the United States's credit rating is outrageous and undemocratic.

Prior to September 2008 and the near-meltdown of the global financial system, who had ever heard of the credit rating agencies? Who could name the so-called big three (Standard and Poor's, Moody's and Fitch), which exerted such huge power and influence over the global economy?

That's all changed now. The decision by Standard and Poor's (S&P) to downgrade the United States's creditworthiness, from top-notch AAA status to AA+, dominates today's news headlines and may finally force ordinary people across the world -- and, in particular, in the US -- to sit up and take notice of these unelected, unregulated, politicised private firms, with horrific track records and excessive power over democratic governments.

As I wrote in today's Guardian (prior to the downgrade decision by S&P, I hasten to add!):

In recent weeks, we have witnessed elected leaders in the world's most powerful nation dancing to the tune of David Beers. He's the moustachioed, chain-smoking head of sovereign credit ratings for S&P, the largest and arguably most influential member of the big three.

"You may have never heard of David Beers but every finance minister in the world knows of him," noted Reuters in a recent - and rare - profile of the analyst, who doesn't even have a Wikipedia page. It is Beers who recently downgraded Greece's credit rating to near-junk status, thereby making the EU's proposed rescue plan much more difficult. And it is Beers who now demands the US reduce its long-term budget deficit by $4tn - rather than the congressionally approved $2.4tn - and threatens to impose the first-ever US government downgrade, from AAA to AA. It isn't just the Tea Party holding the US to ransom.

Three questions come to mind. First, who elected David Beers or his Moody's and Fitch counterparts? By what right do they decide on the fate of governments, economies, debts and peoples?

Second, why should we care what Beers thinks? What credibility do he and his ilk have? The bipartisan Financial Crisis Inquiry Commission in the US has described the big three as "key enablers of the financial meltdown". The commission's January 2011 report concluded: "The mortgage-related securities at the heart of the crisis could not have been marketed and sold without their seal of approval. Investors relied on them, often blindly ... Their ratings helped the market soar and their downgrades through 2007 and 2008 wreaked havoc across markets and firms."

Third, would a downgrade in the US's credit rating really be that apocalyptic? Or could the world's biggest economy survive such a blow? Politicians and, in particular, finance ministers have fetishised the triple-A rating, and conventional wisdom says that a country's interest rates will rise sharply on a downgrade. But a study by JPMorgan Chase last week showed only a slight increase in lending rates for countries that lost their AAA rating. In May 1998, S&P marked down Belgium, Italy and Spain from AAA to AA, but 10-year rates barely moved in response. In some cases, rates fall. In Ireland, for instance, 10-year rates fell 0.18 percentage points a week after S&P took away the republic's triple-A rating in March 2009.

You can read the whole piece here.

You can read Reuter's fascinating profile of David Beers here.

Mehdi Hasan is a contributing writer for the New Statesman and the co-author of Ed: The Milibands and the Making of a Labour Leader. He was the New Statesman's senior editor (politics) from 2009-12.

Photo: National Theatre
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I hate musicals. Apart from Guys and Dolls, South Pacific, Follies – oh, wait

Every second is designed to be pleasing, so that by the end my face aches from all the smiling.

I always thought I hated musicals. Showy, flamboyant, and minutely choreographed, they seemed to be the antithesis of the minimalist indie scene I grew up in, where a ramshackle DIY ethos prevailed, where it wasn’t cool to be too professional, too slick, too stagey. My immersion in that world coincided with the heady days of Andrew Lloyd Webber’s triumphs in the West End – Evita in 1978, Cats in 1981 – neither of which I saw, being full of scorn for such shows.

From then on I convinced myself that musicals were not for me, conveniently forgetting my childhood love of West Side Story (for which I’d bought the piano music, bashing out “I Feel Pretty” over and over again in the privacy of the dining room, on the small upright that was wedged in behind the door).

I was also conveniently forgetting Meet Me In St Louis and A Star is Born, as well as An American in Paris, which I’d been to see with a boy I was actually in a band with – he somehow finding it possible to combine a love of The Clash with a love of Gene Kelly. And I was pretending that Saturday Night Fever wasn’t really a musical, and neither was Cabaret – because that would mean my two favourite films of all time were musicals, and I didn’t like musicals.

Maybe what I meant was stage musicals? Yes, that was probably it. They were awful. I mean, not Funny Girl obviously. When people ask “If you could go back in time, what gig would you most like to have attended?” two of my answers are: “Judy Garland at Carnegie Hall, and Barbra Streisand in the original 1964 Broadway production of Funny Girl.” I would, of course, also make an exception for Guys and Dolls, and South Pacific, and My Fair Lady, and… oh God, what was I talking about? I’d always loved musicals, I just stopped remembering.

Then one of our teens took me to see Les Misérables. She’d become obsessed with it, loving the show so much she then went and read the Victor Hugo book – and loving that so much, she then re-read it in the original French. I know! Never tell me today’s young people are lazy and lacking in commitment. So I went with her to see the long-running stage version with my sceptical face on, one eyebrow fully arched, and by the time of Éponine’s death and “A Little Fall of Rain” I had practically wept both raised eyebrows off my face. Call me converted. Call me reminded.

I was late to Sondheim because of those years of prejudice, and I’ve been trying to catch up ever since, keeping my eyes open for London productions. Assassins at the Menier Chocolate Factory was stunning, and Imelda Staunton in Gypsy (yes, I know he only wrote the lyrics) was a revelation. Here she is again tonight in Follies at the National Theatre, the show that is in part a homage to the era of the Ziegfeld Follies, that period between the wars that some think of as the Golden Age of Musicals.

Although, as Sondheim writes in his extraordinary book, Finishing The Hat, (which contains his lyrics plus his comments on them and on everything else): “There are others who think of the Golden Age of Musicals as the 1950s, but then every generation thinks the Golden Age was the previous one.” How I would have loved to have seen those shows in the 1970s, when they were new and startling.

They still are, of course, and this production of Follies is a delight from start to finish. A masterclass in lyrics – Sondheim’s skill in writing for older women is unmatched – it is also sumptuously beautiful, full of emotion and sardonic wit, switching between the two in the blink of an eye, in a way that appears effortless.

And I realise that what I love about musicals is their utter commitment to the audience’s pleasure. Every second is designed to be pleasing, so that by the end my face aches from all the smiling, and my mascara has somehow become smudged from having something in my eye, and I have already booked tickets to go again. So sue me.

Tracey Thorn is a musician and writer, best known as one half of Everything but the Girl. She writes the fortnightly “Off the Record” column for the New Statesman. Her latest book is Naked at the Albert Hall.

This article first appeared in the 21 September 2017 issue of the New Statesman, The revenge of the left