Home » News » NatWest to face criminal proceedings over alleged money laundering lapse previous nextRegulation & LawNatWest to face criminal proceedings over alleged money laundering lapseThe bank, which is used by thousands of agents, is being taken to court by the FCA after a business customer deposited millions in cash.Nigel Lewis16th March 202102,966 Views Estate agencies large and small who have business accounts with NatWest will be shocked to discover that the bank is to face criminal proceedings over an alleged lapse in its Anti Money Laundering (AML) procedures,The Financial Conduct Authority (FCA) has made the announcement, alleging that the bank failed to adhere to several parts of the Money Laundering Regulations (MLR) 2007.This is the first criminal prosecution under the MLR 2007 by the FCA and the first prosecution under the MLR against a bank.Like any estate agency, regulations require NatWest to complete due diligence on its relationships with customers to prevent money laundering.The FCA says the case arises from from the handling of funds deposited into accounts operated by a UK business customer of NatWest.The financial industry regulator alleges that increasingly large cash deposits were made into the customer’s accounts.Monitoring failureIt is alleged that around £365 million was paid into the accounts, of which around £264 million was in cash and that NatWest’s systems and controls failed to adequately monitor and scrutinise this activity.No individuals are being prosecuted and NatWest itself is scheduled to appear at Westminster Magistrates’ Court on 14 April 2021.Hundreds of estate agencies have been fined for AML breaches in recent years, with many of them being NatWest customers themselves.The FCA’s announcement comes just seven months after NatWest was heavily criticised for closing or suspending some business accounts without notice after firms applied for government Covid Bounce Back business loans via the bank.NatWest comment“The Financial Conduct Authority has notified NatWest Group plc that it has commenced criminal proceedings against National Westminster Bank Plc for offences under regulation 45(1) of the Money Laundering Regulations 2007 for alleged failures to comply with regulations 8(1), 8(3) and 14(1) of the MLR 2007 between 11 November 2011 and 19 October 2016, arising from the handling of the accounts of a UK incorporated customer,” a spokesperson says.“Since being notified of this investigation in July 2017, NatWest Group has disclosed that the FCA was undertaking an investigation into NatWest Group’s compliance with the MLR 2007. NatWest Group has been co-operating with the FCA’s investigation to date.“NatWest Group takes extremely seriously its responsibility to seek to prevent money laundering by third parties and accordingly has made significant, multi-year investments in its financial crime systems and controls.”Read more about AML.MLR 2007 NatWest AML anti money laundering March 16, 2021Nigel LewisWhat’s your opinion? Cancel replyYou must be logged in to post a comment.Please note: This is a site for professional discussion. Comments will carry your full name and company.This site uses Akismet to reduce spam. Learn how your comment data is processed.Related articles BREAKING: Evictions paperwork must now include ‘breathing space’ scheme details30th April 2021 City dwellers most satisfied with where they live30th April 2021 Hong Kong remains most expensive city to rent with London in 4th place30th April 2021
Optimists for the future of British theatre have recently had little tosmile at owing to the plethora of articles by smug Fleet Streetjournalists who prophesise the imminent downfall of British theatre.However, they should seek solace in the unforeseen boom in West Endticket sales, triggered by an influx of Hollywood A-List talent eagerto tread the boards of the London stage. Indeed statistics reveal that2004 was the West End’s most successful year in terms of revenue sincerecords began, with smash hits such as Mel Brooks’ The Producers andCameron Mackintosh’s Mary Poppins playing to full houses nightly.However, the West End is only a small part of a much wider picture inwhich British theatre faces a lack of financial support and distinct audience apathy. Away from the glamour of London’s WestEnd, with its swarms of tourists and big-budget productions, what isthe true state of affairs for Britain’s everyday theatres in theirperpetual struggle just to stay open?The average local theatre is disadvantaged not only by a lack of funding but also by an unengaged public, whichremains oblivious to the often stimulating range of cultural events onoffer. This ignorance is based on the common misperception of theatreas an archaic medium, obsessed with Shakespeare and rooted deeply inelitist high culture. This impression creates an intimidating aurasurrounding the theatre, which prevents a wider understanding of both the value and the joy of the theatrical experience.Herein lies the responsibility of the theatre company to promote itswork in such a way that it will engage the attention of a distractedpotential audience; in particular the younger generation, whom one musttarget to ensure the theatre’s survival as a popular art form. It is an unfortunate coincidence that the future of the theatre mayrest on the shoulders of this generation, the generation that has beenmost resistant to its call. The reasons for this are many and varied,but principally stem from those previously mentioned concepts: misconception andignorance. As Oxford students it is easy to remain unaware of thiscrisis, as our intellectual student community takes advantage of a wide range of theatre. However this is far fromtypical, as local theatres rarely receive this level of support fromthe younger generation. Pre-conceived notions of the theatre as boringor uncool form a barrier against its integration into youth culture, aswell as the idea that it is an expensive hobby requiring effort todress appropriately and engage in higher culture. These concerns areoften ungrounded, with student tickets generally being reasonablypriced, with a wide range of plays on offer. Perhaps what is missing isthe promotion of theatre as the exciting, engaging medium that it is.The innovative, challenging work of experimental companies oftenremains practically unadvertised or doesn’t reach thesmaller theatres. The quality of work presented at theatres such as theNational – fresh and stimulating pieces – must find their way to localtheatre, to reach younger people and expose the theatre’s potential asa platform for artistic creation.One of the most overwhelming setbacks for the theatre must surely beits competition in the form of cinema and television. Sixteenth andseventeenth century theatre was a social event, well attended by abroad spectrum of people whose only chance of escapism was to see aplay. Moreover the theatre itself was a meeting point, actors oftenstruggling to perform over the clamouring rabble of audience members getting drunkand looking for prostitutes. Although the theatre has thankfully gainedmore respect in recent years, it has lost its status as a pillar ofsociety, a major form of entertainment to be experienced by all.Ironically, it has been theatre’s social rise that has prompted itsdemise, the move from popular to high culture bringing with it notionsof elitism and the reputation for being expensive.It is a common argument that theatre is flagging because of its failure to compete with the technologicalwizardry now prominent in film and television. However this is clearlya flawed assertion, with blockbuster films being reliant on plot detailand acting ability, as opposed to camera trickery. Even if this were tobe a fair criticism, those involved in theatre must surely strive topreserve its artistic integrity, since to sacrifice this in favour of gimmicks to attract anew audience would serve only to corrupt the theatre and to lose theremaining audience that is has.It is telling of British culture that it has taken the arrival ofHollywood stars to boost the West End theatre scene. As a society, ourobsession with the celebrity informs us that a production endorsed by a familiar name must be worth seeing, the glamour ofHollywood blinding our critical eye. Many of these actors have littleexperience of live acting and are less adept than most of London’sdrama school graduates, winning parts based on the director’s knowledgeof the relationship between celebrity and ticket sales. This is surelya dangerous observation, to note the shift from an emphasis on talentto reputation. Must the theatre degrade itself to survive?Controversially, it is perhaps necessary for the West End, in order totruly progress, to reject some of the Hollywood help it is receiving.The underlying reason for this is that it is rare to find a publicfigure (such as Kevin Spacey, artistic director of The Old Vic since2004), who aims to use their status to resurrect theatre, rather thanusing theatre to resurrect their own career.Alongside the problems involved with attracting audiences is the lackof sufficient funding for British theatres. Critics will always arguethat in the face of global warming and terrorist threat, money shouldnot be spent on frivolous pastimes such as the theatre. This, however,is an obstinate and poorly constructed argument, based on anarrow-minded outlook on life. Theatre is an integral part of oursociety’s culture, something that is worth fighting for with thepotential to entertain, broaden horizons and even to educate.Despite the problems it faces, there is still hope for British theatre.Enthusiasm for theatre still exists as does the desire to promote thislive, challenging and engaging medium. Lack of funding and dwindlingaudience numbers mean that the theatre is facing an uphill struggle tomaintain itself as a popular art form, but despite problems there isstill time for a revival. However, it will take more than a fewAmerican celebrities to breathe new life into the British stage.ARCHIVE: 2nd week MT 2005
Katherine Eve sheds light on Donnelly’s multimedia exhibitionDespite Donnelly’s strong reputation within the art community, she is little known in the public domain, so perhaps it is best to introduce her work with a quote from Art Review. “Donnelly’s works exist at the threshold of possible experience or understanding and require, if not optimism, at least suspension of disbelief.” To this end, she is a multi-media artist, taking her own typewritten texts as a starting point for works ranging from meticulously executed, disciplined drawings through to large-scale installation pieces. Together these are combined with organic elements, audio-stimuli and performance pieces, termed ‘demonstrations’, to form a novel reality. Links between the pieces are intangible, but this is by no means a criticism; the great thing about Donnelly’s work is that it makes no attempt to provide a profound metaphor for us to take away without challenge. The work persists, nagging, in one’s mind, demanding time to settle and evolve. The ephemeral and incidental play an integral role in Donnelly’s work. Her opening-night ‘demonstration’ (recalling WWII planes experiencing a brief uplift before crashing to the ground, and urging observers to experience it through an audio-encapsulation of the phenomenon) was not recorded or documented in any way. In this way, it can only be transmitted to a wider public, if at all, by verbal description or word-of-mouth, subject to inevitable gaps in memory, distortions, exaggerations, and everything else in the space between experience and narration. This aspect of her exhibitions achieves perfectly her aim that the viewer invests something of themselves in the work, and establishes a dialogue with the audience that places them in an elevated position. The viewer’s thoughts are challenged and become lucid and fragmented. This is not necessarily for us to tap into her own wavelength, but to bring our own history, intuition, experience and culture to the experience. Consequently, the impact of her art is unique and the corpus of her work timeless.This particular exhibition was reasearched by Donnelly in several advance visits to the space. Those familiar with Modern Art Oxford may appreciate how the configuration of the three adjoining galleries, along with with the movement of acoustics through them, has evoked Donnelly’s interpretation of it as two heads (the front, ‘The Ballroom,’ and rear, ‘L.D.’, galleries) connected by a spine (‘The Arc’). Gallery space evolves with each and every exhibition staged, and Donnelly has exploited this to extremes. She has modified the middle gallery somewhat: windows not usually seen have been unmasked and the side room has been concealed and converted into a corridor to house replacement conifer branches used in the exhibition. These architectural changes not only enhance the light quality, but also, through the minimalist approach, enhance the sound and the dramatic progression as onlookers walk through. Bunches of fresh roses and a ‘form of the Oxford branch’ (cut conifer) are replaced at regular intervals regardless of their rate of ageing. And 1920/30s big-band music is played on a loop, which serves various artistic purposes. Rhythmic cycles interact so that each viewer’s encounter with the work is shaded differently; the ageing cycle of living elements provides a tension; objects associated with home and familiarity are placed out of context leaving us insecure. Such blurring of boundaries continues. It isn’t initially clear whether the hum in “The Arc” derives from the exhibition or external noise. (In another interpretation of boundaries, she’s exploring how the cultural and social backgrounds we arrived with inform our viewing). Gallery attendants have been informed they can alter the position of two vertical ‘cross-Arizona plus China’ branches on impulse. Of course we could do the same, but are unaware, so the staff are in a unique and privileged position.The curation of the exhibition, undoubtedly directed in close collaboration with Donnelly, complements her themes perfectly. Lack of titles, unframed drawings and photographs pinned to walls shows that o single element is unduly important but all regarded as a whole. Our own being is even drawn into the installation as we become a mirror between the two ‘Pressures’ (near mirror-image photographs on opposing walls) in L.D. In the spirit of her work I haven’t, and nor would I wish to, summarise the exhibition for the reader, but I hope that discussing a few of my personal reflections will whet appetites to embrace this extraordinary reality. Approach it with fresh eyes and no preconceptions.
88, of Bayonne passed away on April 25, 2017. Born in San Vito, Italy, Maria immigrated here in 1949 and was the wife to the late Joseph and mother to Frank (the late Patricia), Vito (Pattie), Mary Perri (Carl) & Louise Alagna (Dean). She was grandmother to Carl Perri Jr. (Jennifer), David Perri (Allison), Jonathan Polera (Jessica), Julie Polera, Deana Alagna, DJ Alagna, Frankie Polera, Lisa Whealon (Spencer) & Mark Polera as well as being great grandmother to Joseph, Julianna, Jake, David & Daniel. Maria was pre-deceased by her siblings Peppino & Francesca and surviving her are her siblings Fernando Polera (Maria), Frank Polera (Teresa), Dora Aiello (Joseph) & Caterina Polera and a host of nieces, nephews, cousins, in-laws and friends. In lieu of flowers, memorial donation to Haven Hospice will be accepted at www.MigliaccioFuneralHome.com. Funeral arrangements by MIGLIACCIO Funeral Home, 851 Kennedy Blvd.
Visit http://www.gov.uk/fakemeds for tips on buying medicines safely online and how to avoid unscrupulous sites. During office hours: 020 3080 7651 (08:30 – 17:00) Out of office hours: 07770 446 189 (17:00 – 08:30) Office hours are Monday to Friday, 8:30am to 5pm. For real-time updates including the latest press releases and news statements, see our Twitter channel at https://www.twitter.com/mhragovuk Email [email protected] News centreMHRA10 South ColonnadeLondonE14 4PU Medicines purchased outside the regulated supply chain can be dangerous, and there is no assurance of quality and standards. There can be devastating consequences to your health. Following an investigation by the Medicines and Healthcare products Regulatory Agency (MHRA), two million doses of potent drugs were seized, the Agency’s largest ever seizure at the time.Both Gaffar and Patel pleaded guilty to multiple counts of conspiracy to sell potent anxiety pills, cancer drugs and powerful painkillers such as tramadol. London-based Patel was assisted by Gaffar who made regular trips from Leicester to transport unlicensed medicines and help Patel with his illegal business.During a 2015 operation, an undercover operative instructed by MHRA, met with Gaffar, who claimed he had ‘a present from India’ and as he passed over the parcel of unlicensed medicines, exclaimed “with me you get better stuff”.Gaffar and Patel received 21 months and 3 years immediate custody respectively.Alastair Jeffrey, MHRA Head of Enforcement said: We are cracking down on perpetrators to make sure this type of crime does not pay.MHRA is currently running the #FakeMeds campaign to warn people against buying potentially dangerous or useless unlicensed medicines sold by illegal online suppliers. Media enquiries
There’s no better way to wrap up an amazing week of music during the New Orleans Jazz & Heritage Festival than to catch a late night show at the legendary Tipitina’s. And who better to wrap up JazzFest and put in the dumpsta than NOLA’s own, Dumpstaphunk.It was a special night at Tipitina’s, not just because it was the final Sunday night of JazzFest, but because of all the special guests that joined Dumpstaphunk on stage for their late night set.Those who were lucky enough to make it into the SOLD OUT late night show were treated to an incredible sit in by Brandon “Taz” Niederauer performing The Band’s “Don’t Do It,” with some incredible solos from the 13-year-old guitar phenom. While Taz might only stand as tall has his Gibson Les Paul, his skills as a player are right up there with the veterans he shared the stage with that night. A true prodigy!Next up was Lukas Nelson, son of Willie Nelson, and whose band Promise of the Real has backed up Neil Young on tour of late, including a set headlining on the Acura Stage.Former Dumpstaphunk and current Nth Power drummer Nikki Glaspie sat in for several songs with her former bandmates, and the group was even joined by a tie dye jacket clad Cyril Neville on a couple tunes.A weekend plagued by severe rain and thunderstorms that still couldn’t stop die hard music lovers from venturing out into the muck to see their favorite artists perform on the final Sunday of JazzFest. New Orleans holds a special place in the hearts of all other music lovers who travelled from all over the world. Til next year! Happy JazzFest Y’all!Check out a full gallery of photos from the night, courtesy of Sam Shinault Photography: Load remaining images
Harvard University students have launched the first collegiate Sarah Jane Brain Club, to explore issues surrounding pediatric traumatic brain injury, at the Harvard Graduate School of Education.“We at Harvard are privileged to launch the first Sarah Jane Brain Club at a university, which will help spread the message and improve the treatment of people with brain damage,” said Professor Kurt Fischer, director of the Mind, Brain, and Education Program at HGSE.The club is bringing together students and faculty across Harvard to focus on advancing knowledge of the brain, and supporting the millions of families around the country dealing with brain injuries.Launched by Patrick Donahue, a father of a child suffering from Pediatric Traumatic Brain Injury, the Sarah Jane Brain Project focuses on creating a model system for research, rehabilitation, and development of children suffering from brain injuries. Brain injury is the leading cause of death and disability in people from birth to age 25 in the United States. The new Harvard club is open to all students throughout the university.— Jill AndersonIf you have an item for Around the Schools, please e-mail your write-up (150-200 words) to [email protected]
His illustrious stage career also included directing The Apple Tree, Streamers, Hurlyburly and the recent revival of Betrayal on Broadway, in addition to taking on the role of producer for many of those productions and more (including the Tony-winning Annie and The Real Thing) as head of Icarus Productions. His equally renowned calling as screen director included helming films inspired by theater, including Closer, The Birdcage and Biloxi Blues, in addition to such movies as Catch-22, Carnal Knowledge, Silkwood, Working Girl and Postcards from the Edge. He had been tapped to direct Meryl Streep in an HBO adaptation of Master Class. Practically seamlessly, Nichols continued to direct on both Broadway and Hollywood. He took home Tonys for directing Plaza Suite, The Prisoner of Second Avenue, The Real Thing, Spamalot and the 2012 revival of Death of a Salesman. All the while, he received Oscar nominations for directing Silkwood and Working Girl and received Emmy Awards for his small screen adaptations of Wit (completing his EGOT) and Angels in America. Nichols, born Mikhail Igor Peschkowsky on November 6, 1931, moved to the United States from Germany at the age of seven with his younger brother. The two joined their father in the states, who had fled months earlier from the rise of the Nazi regime. Once their mother joined them two years later, the family moved to New York. He attended New York University before dropping out to study pre-med at the University of Chicago. It was there that he awakened his passion for comedy and theater. View Comments Moving from stage to screen, though still sticking to his theatrical roots, Nichols began his successful career as film director with the 1966 adaptation of Who’s Afraid of Virginia Woolf?. Nichols was nominated for an Academy Award. While he lost to Fred Zinnemann for another adaptation of a play, A Man for All Seasons, his film took home five awards out of its 13 nominations. He would take home the trophy the following year for The Graduate. While in Chicago, he joined the improv group Compass Players with Elaine May, and the two soon formed their eponymous comedy duo Nichols and May. Though Nichols would later have nearly 30 Broadway credits to his name as director or producer, he got his start on the Great White Way in 1960 performing opposite May in An Evening with Mike Nichols and Elaine May. The recording of their Broadway debut earned the pair a Grammy Award for Best Comedic Performance—the first award toward Nichols’ EGOT achievement. Celebrated director of stage and screen Mike Nichols died on Wednesday, November 19. His death was announced in a statement by James Goldston, President of ABC News. The Emmy, Grammy, Oscar and Tony winner was 83 years old. Following Nichols and May’s professional split, he made his Broadway directorial debut with Neil Simon’s Barefoot in the Park in 1963. The following year, the production earned him his first of nine Tony Awards, six of which were for Best Direction of a Play—more than any other individual in that category. He took home the award again two years later, being recognized for helming both Luv and The Odd Couple. Nichols wed ABC New Anchor Diane Sawyer in 1988. In addition to his wife, he is survived by his three children, Daisy, Max and Jenny, as well as four grandchildren.
Ynes Ortega is a key addition to the University of Georgiaresearch team at the Griffin, Ga., Center for Food Safety andQuality Enhancement. Ortega is one of a handful of researchersin the world studying parasites on food.”We’re extremely excited about the new dimension of foodsafety expertise Dr. Ortega brings to our center,” said CFSQEdirector Michael Doyle. “Her research into this emergingarea of foodparasitology is certain to have tremendous impacton understanding the behavior, control and elimination of food-borneparasites.”Either bacteria or parasites usually cause food-borne illnesses.E. coli O157:H7, Salmonella and Camplyobacter are among the bacteriathat cause these illnesses.E. coli’s Not the Only Bad GuyOrtega’s research, though, focuses on parasites in food andwater. In 1993, she was part of a team of scientists that firstidentified Cyclospora, a parasite linked to outbreaks in raspberries, basil and lettuce.The parasite was falsely linked to strawberries in a 1995 Texasoutbreak. “The strawberries were blamed,” Ortega said,”and strawberry growers lost $20 million in one week.”At the time, no one knew what was causing the illnesses. “Theoutbreak happened in Texas, but the whole world got involved,”she said. “Researchers from universities, the CDC (Centersfor Disease Control and Prevention), FDA (Food and Drug Administration)and health officials were all working together.”Though strawberries were being blamed, the team’s researchdidn’t support the speculations. “Later, the outbreak wasepidemiologically linked to raspberry consumption,” Ortegasaid.Parasites Need Humans to SurviveUnlike bacteria, parasites need human hosts to survive andmultiply. This makes the work of researchers like Ortega muchharder.”We can’t multiply Cyclospora in the lab to study them,”she said. “We have to take samples from sick people. It’shard to study a parasite you can’t reproduce.”On the positive side, parasites seem easier to kill in humans.”Bacterial outbreaks are fast, and they kill fast,”Ortega said. “On the other hand, parasites need time to multiply.So the process takes longer.”Medication isn’t required to get rid of some parasites. “Ourbodies fight them with our immune systems,” she said.Other parasites require medications, which aren’t always effective.”Basically, you have to live with two to four weeks of diarrheaif the medication doesn’t work,” she said.A Strong Immune System is Your Best DefenseAs with food-borne illnesses caused by bacteria, parasite illnesseshit those with low immune systems harder.”Currently, there is no efficient treatment for Cryptosporidiuminfections,” she said. “And they can be life threatening.The best defense you can have against parasites is a strong immunesystem.”In her UGA lab, Ortega is studying the biology of these parasites.She’s trying to find how to isolate them and detect them on food.”The water industry has some experience and methods ofdetecting parasites,” she said. “But the food industrydoesn’t.”By training, Ortega is a medical parasitologist. She is workingto adapt detection methods used in the medical field. “Wehave to find out how to detect them and how to stop them,”she said.
This summer, seven University of Georgia students have embarked on the opportunity of a lifetime, serving as UGA Congressional Agricultural Fellows in Washington, D.C. The offices of Georgia Senators David Perdue and Johnny Isakson and Representatives Sanford Bishop, Doug Collins, Buddy Carter, Rick Allen and Austin Scott are hosting the students during the 12-week fellowship in the nation’s capital. The students, who attend UGA’s College of Agricultural and Environmental Sciences (CAES), prepare briefs, attend committee hearings and conduct food- and agriculture-related research. In addition, they have the option of earning credit hours towards graduation. “Ag Fellows are full-time employees of the congressional offices and serve as apprentice staff members,” said Josef Broder, CAES associate dean for academic affairs and the fellowship program coordinator. “Many will be asked to serve as mentors to other student interns.” Students representing the University of Georgia as 2015 Congressional Agricultural Fellows include Dowdy White, of Cordele, Georgia; Matthew Pace, of Lyerly, Georgia; Nicole Holden, of Greensboro, Georgia; Casey Chastain, of Helen, Georgia; Kelsie Bickett, of Chickamauga, Georgia; Katelin Benkoski, of Madison, Georgia; and Ethan Perkins, of Brooklet, Georgia. Matthew Pace, a senior studying agricultural and applied economics, will be working in Sen. Johnny Isakson’s office. Matthew is the son of Wayne and Kari Pace. Nicole Holden, a senior studying agribusiness with a certificate in agrosecurity, will be working in Rep. Austin Scott’s office. Nicole is the daughter of Don and Andrea Holden. Kelsie Bickett, a senior studying agricultural communication, will be working in Sen. David Perdue’s office. Kelsie is the daughter of Todd and Alisa Bickett. Katelin Benkoski, a senior studying animal science and agribusiness, will be working in Rep. Buddy Carter’s office. Katelin is the daughter of John and Julie Benkoski. Dowdy White, a senior studying agricultural communication, will be working in Rep. Sanford Bishop’s office. Dowdy is the son of Billy and Gwen White. Casey Chastain, a junior studying agricultural communication and education, will be working in Rep. Doug Collins’ office. Casey is the daughter of Brad and Lori Chastain. Ethan Perkins, a junior studying agricultural communication, will be working in Rep. Rick Allen’s office. Ethan is the son of Emory and Kristie Perkins. The Congressional Agricultural Fellowship is made available through the UGA College of Agricultural and Environmental Sciences Deans’ Promise program. A collection of enrichment opportunities ranging from internships to study abroad opportunities, the Deans’ Promise program encourages CAES students to take advantage of unique, out-of-the-classroom opportunities during their time in college. For more information on the College of Agricultural and Environmental Sciences, the Deans’ Promise or other opportunities available to UGA students, visit caes.uga.edu.