Underwriting Insurance Quotes

But I had fallen among pirates and life insurance underwriters.

Private ownerships of a ...slave chip is illegal in many polities. It tends to be a government monopoly, much like other forms of violence. But I had fallen among pirates and life insurance underwriters.

The vaccines are so risky that the insurance industry has refused to underwrite them,154 and the manufacturers refuse to produce them without blanket immunity from liability.155 Bill Gates, who is the principal investor in many of these new COVID vaccines, stipulated that their risk is so great that he would not provide them to people unless every government shielded him from lawsuits.156

The Forty-barrel-bull schools are larger than the harem schools. Like a mob of young collegians, they are full of fight, fun, and wickedness, tumbling round the world at such a reckless, rollicking rate, that no prudent underwriter would insure them any more than he would a riotous lad at Yale or Harvard. They soon relinquish this turbulence though, and when about three-fourths grown, break up, and separately go about in quest of settlements, that is, harems.

There is a close logical connection between the concept of a safety margin and the principle of diversification. One is correlative with the other. Even with a margin in the investor’s favor, an individual security may work out badly. For the margin guarantees only that he has a better chance for profit than for loss—not that loss is impossible. But as the number of such commitments is increased the more certain does it become that the aggregate of the profits will exceed the aggregate of the losses. That is the simple basis of the insurance-underwriting business.

The vaccines are so risky that the insurance industry has refused to underwrite them,154 and the manufacturers refuse to produce them without blanket immunity from liability.

In London, Lloyd’s underwriters settled $2,500,000 in insurance liability. In the end the Ward Line collected $4,188,999 in insurance. The line sold the Morro Castle to Union Shipbuilding of Baltimore for $33,605 as scrap iron.

University scholars Carl Benedikt Frey and Michael Osborne ranked about seven hundred occupations on their likelihood of being disrupted by the early 2030s.[14] At a 99 percent likelihood of being able to be automated were such job categories as telemarketers, insurance underwriters, and tax preparers.[15] More than half of all occupations had a greater than 50 percent likelihood of being automatable.

The pressure on life businesses and the capital fears prompted by the 2008 crisis have prompted the industry to build bigger capital cushions and cut costs. This has left insurers in a relatively good position. Investors have enjoyed decent dividends with payouts increasing by a cumulative 70% since 2009, according to FactSet. For shareholders, the risks to returns from life insurance have, so far, been balanced by earnings from nonlife insurance and asset management. Germany’s Allianz has U.S. bond house Pacific Investment Management Co. and nonlife insurance businesses, like property and casualty cover, around the world. Pimco has done well as interest rates declined and bond prices rose, but is expected to suffer once rates rise again—especially since founder Bill Gross walked out. France’s Axa similarly has global nonlife businesses and a large investment manager. However, these businesses ultimately will suffer from low investment returns. In nonlife, insurers can combat this with tougher underwriting standards. But demand for property-type insurance also suffers in a slower economy. Allianz has the lowest financial leverage of the big-three eurozone life insurers, and so has more flexibility to look for higher returns abroad. It also has a substantial general insurance business in the U.S., where rates should head higher sooner, and a higher expected dividend yield than France’s Axa or Italy’s Generali for this year and next.

The Economics of Property-Casualty Insurance With the acquisition of General Re — and with GEICO’s business mushrooming — it becomes more important than ever that you understand how to evaluate an insurance company. The key determinants are: (1) the amount of float that the business generates; (2) its cost; and (3) most important of all, the long-term outlook for both of these factors. To begin with, float is money we hold but don't own. In an insurance operation, float arises because premiums are received before losses are paid, an interval that sometimes extends over many years. During that time, the insurer invests the money. Typically, this pleasant activity carries with it a downside: The premiums that an insurer takes in usually do not cover the losses and expenses it eventually must pay. That leaves it running an "underwriting loss," which is the cost of float. An insurance business has value if its cost of float over time is less than the cost the company would otherwise incur to obtain funds. But the business is a lemon if its cost of float is higher than market rates for money. A caution is appropriate here: Because loss costs must be estimated, insurers have enormous latitude in figuring their underwriting results, and that makes it very difficult for investors to calculate a company's true cost of float. Errors of estimation, usually innocent but sometimes not, can be huge. The consequences of these miscalculations flow directly into earnings. An experienced observer can usually detect large-scale errors in reserving, but the general public can typically do no more than accept what's presented, and at times I have been amazed by the numbers that big-name auditors have implicitly blessed. As for Berkshire, Charlie and I attempt to be conservative in presenting its underwriting results to you, because we have found that virtually all surprises in insurance are unpleasant ones. The table that follows shows the float generated by Berkshire’s insurance operations since we entered the business 32 years ago. The data are for every fifth year and also the last, which includes General Re’s huge float. For the table we have calculated our float — which we generate in large amounts relative to our premium volume — by adding net loss reserves, loss adjustment reserves, funds held under reinsurance assumed and unearned premium reserves, and then subtracting agents balances, prepaid acquisition costs, prepaid taxes and deferred charges applicable to assumed reinsurance. (Got that?)

Your committee is satisfied from the proofs submitted ... that there is an established and well defined identity and community of interest between a few leaders of finance ... which has resulted in great and rapidly growing concentration of the control of money and credit in the hands of these few men.... Under our system of issuing and distributing corporate securities the investing public does not buy directly from the corporation. The securities travel from the issuing house through middlemen to the investor. It is only the great banks or bankers with access to the mainsprings of the concentrated resources made up of other people's money, in the banks, trust companies, and life insurance companies, and with control of the machinery for creating markets and distributing securities, who have had the power to underwrite or guarantee the sale of large-scale security issues. The men who through their control over the funds of our railroad and industrial companies are able to direct where such funds shall be kept, and thus to create these great reservoirs of the people's money are the ones who are in a position to tap those reservoirs for the ventures in which they are interested and to prevent their being tapped for purposes which they do not approve.... When we consider, also, in this connection that into these reservoirs of money and credit there flow a large part of the reserves of the banks of the country, that they are also the agents and correspondents of the out-of-town banks in the loaning of their surplus funds in the only public money market of the country, and that a small group of men and their partners and associates have now further strengthened their hold upon the resources of these institutions by acquiring large stock holdings therein, by representation on their boards and through valuable patronage, we begin to realize something of the extent to which this practical and effective domination and control over our greatest financial, railroad and industrial corporations has developed, largely within the past five years, and that it is fraught with peril to the welfare of the country.3 Such was the nature of the wealth and power represented by those six men who gathered in secret that night and travelled in the luxury of Senator Aldrich's private car.

He convinced John Stainton to agree that there would be no CGI (computer-generated imagery) wildlife in the movie. We didn’t want to pretend to react to an animal in front of a green screen, and then have computer graphic technicians complete the shot later. That was how Hollywood would normally have done it, but that wasn’t an option for Steve. “All the animals have to be real,” he insisted to the executives at MGM. “I’m doing all of my own stunts. Otherwise, I am not interested.” I always believed that Steve would excel at anything he put his mind to, and a movie would be no different. The camera loved him. As talks ground on at MGM, we came up with a title: Crocodile Hunter: Collision Course. But mostly we had phone calls and meetings. The main sticking point was that no insurance company would touch us. No underwriter would write a policy for a project that required Steve to be working with real live crocodiles. As negotiations seemed to be grinding to a halt, we were all feeling frustrated. Steve looked around at John, Judi, and the others. He could see that everybody had gotten a bit stretched on all our various projects. He decided we needed a break. He didn’t lead us into the bush this time. Instead, Steve said a magic word. “Samoa.” “Sea snakes?” I asked. “Surfing,” he said.

Along with John and Judi, we took a big risk and started filming on the movie before we had a contract signed with MGM. There didn’t seem to be any choice. I imagined all the insurance underwriters across the world reacting to the phrase “live crocodiles.” Those two words would be enough to blow them right out of their cubicles. So we began shooting with our zoo crocodiles, but without signatures on the dotted line for the movie. A particular scene in the script--and a good example of an insurance man’s nightmare--had a crocodile trying to lunge into a boat. Only Steve’s expertise could make this happen, since the action called for Steve and me to be in the boat at the time. If the lunging crocodile happened to hook his head over the edge of the boat, he would tip us both into the water. That would be a one-way trip. “How are you going to work it?” I asked Steve. “Get the crocs accustomed to the dinghy first,” he said. “Then I’ll see if I can get them interacting with me while I’m in the boat.” First he tried Agro, one of our biggest male crocs. Agro was too wary of the boat. He’s a smart crocodile. I think he remembered back when he was captured. He didn’t want any of it. We decided to try with our friend Charlie. Charlie had been very close to ending up at a farm, his skin turned into boots, bags, and belts. He definitely had attitude. He spent a lot of his time trying to kill everything within range. Steve felt good about the possibility of Charlie having a go. Because he was filming a movie and not shooting a documentary, John had a more complex setup than usual, utilizing three thirty-five-millimeter cameras. Each one would film in staggered succession, so that the film magazine changes would never happen all at once. There would never be a time when film was not rolling. We couldn’t very well ask a crocodile to wait while a fresh mag was loaded into a camera. “You need to be careful to stay out of Charlie’s line of sight,” Steve said to me. “I want Charlie focusing only on me. If he changes focus and starts attacking you, it’s going to be too difficult for me to control the situation.” Right. Steve got no argument from me. Getting anywhere near those bone-crushing jaws was the furthest thing from my mind. I wasn’t keen on being down on the water with a huge saltwater crocodile trying to get me. I would have to totally rely on Steve to keep me safe.

You need to be careful to stay out of Charlie’s line of sight,” Steve said to me. “I want Charlie focusing only on me. If he changes focus and starts attacking you, it’s going to be too difficult for me to control the situation.” Right. Steve got no argument from me. Getting anywhere near those bone-crushing jaws was the furthest thing from my mind. I wasn’t keen on being down on the water with a huge saltwater crocodile trying to get me. I would have to totally rely on Steve to keep me safe. We stepped into the dinghy, which was moored in Charlie’s enclosure, secured front and back with ropes. Charlie came over immediately to investigate. It didn’t take much to encourage him to have a go at Steve. Steve grabbed a top-jaw rope. He worked on roping Charlie while the cameras rolled. Time and time again, Charlie hurled himself straight at Steve, a half ton of reptile flesh exploding up out of the water a few feet away from me. I tried to hang on precariously and keep the boat counterbalanced. I didn’t want Steve to lose his footing and topple in. Charlie was one angry crocodile. He would have loved nothing more than to get his teeth into Steve. As Charlie used his powerful tail to propel himself out of the water, he arched his neck and opened his jaws wide, whipping his head back and forth, snapping and gnashing. Steve carefully threw the top-jaw rope, but he didn’t actually want to snag Charlie. Then he would have had to get the rope off without stressing the croc, and that would have been tricky. The cameras rolled. Charlie lunged. I cowered. Steve continued to deftly toss the rope. Then, all of a sudden, Charlie swung at the rope instead of Steve, and the rope went right over Charlie’s top jaw. A perfect toss, provided that had been what Steve was trying to do. But it wasn’t. We had a roped croc on our hands that we really didn’t want. Steve immediately let the rope go slack. Charlie had it snagged in his teeth. Because of Steve’s quick thinking and prompt maneuvering, the rope came clear. We breathed a collective sigh of relief. Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element. With the live-croc footage behind us, the insurance people came on board, and we were finally able to sign a contract with MGM. We were to start filming in earnest. First stop: the Simpson Desert, with perentie lizards and fierce snakes.

Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element.

Cheap immortagens, out-of-control personality adjuvants, and a new formal theory of uncertainty have knocked the bottom out of the insurance and underwriting industries. Gambling on a continuation of the worst aspects of the human condition—disease, senescence, and death—looks like a good way to lose money, and a deflationary spiral lasting almost fifty hours has taken down huge swaths of the global stock market.

After years of frustrating delays, the Churches at last moved to New York in May 1797. John Barker Church soon established himself as a personage of staggering wealth and New York’s foremost insurance underwriter. “His equipage and style of living are several degrees beyond those of any other man amongst us,” Robert Troup marveled.14 Angelica began to throw extravagant parties at which guests dined on plates of polished silver. She usually glittered with diamonds and captivated many socialites.

The word “underwrite” first came into use in the insurance industry in the 1700s, when the insured person or company representative would literally write his name under the description of the item being insured.

To solve the inability of middle-class renters to purchase single-family homes for the first time, Congress and President Roosevelt created the Federal Housing Administration in 1934. The FHA insured bank mortgages that covered 80 percent of purchase prices, had terms of twenty years, and were fully amortized. To be eligible for such insurance, the FHA insisted on doing its own appraisal of the property to make certain that the loan had a low risk of default. Because the FHA's appraisal standards included a whites-only requirement, racial segregation now became an official requirement of the federal mortgage insurance program. The FHA judged that properties would probably be too risky for insurance if they were in racially mixed neighborhoods or even in white neighborhoods near black ones that might possibly integrate in the future. When a bank applied to the FHA for insurance on a prospective loan, the agency conducted a property appraisal, which was also likely performed by a local real estate agent hired by the agency. as the volume of applications increased, the agency hired its own appraisers, usually from the ranks of the private real estate agents who had previously been working as contractors for the FHA. To guide their work, the FHA provided them with an Underwriting Manual. The first, issued in 1935, gave this instruction: 'If a neighborhood is to retain stability it is necessary that properties shall continue to be occupied by the same social and racial classes. A change in social or racial occupancy generally leads to instability and a reduction in values.' Appraisers were told to give higher ratings where '[p]rotection against some adverse influences is obtained,' and that '[i]mportant among adverse influences . . . are infiltration of inharmonious racial or nationality groups.' The manual concluded that '[a]ll mortgages on properties protected against [such] unfavorable influences, to the extent such protection is possible, will obtain a high rating.' The FHA discouraged banks from making any loans at all in urban neighborhoods rather than newly built suburbs; according to the Underwriting Manual, 'older properties . . . have a tendency to accelerate the rate of transition to lower class occupancy.' The FHA favored mortgages in areas where boulevards or highways served to separate African American families from whites, stating that '[n]atural or artificially established barriers will prove effective in protecting a neighborhood and the locations within it from adverse influences, . . . includ[ing] prevention of the infiltration of . . . lower class occupancy, and inharmonious racial groups.

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