On February 14, 2013, Rita Crundwell, former comptroller for the city of Dixon, IL was sentenced to 19½ years in prison for stealing more than $53 million from Dixon. Crundwell’s crime went on record as the largest municipal fraud in U.S. history. Just as shocking as the amount stolen from this small Illinois town, was the fact that Crundwell engaged in her scheme to pillage Dixon for 20 years before being discovered.
Crundwell’s fraud shines an unflattering spotlight on the accounting profession and the role of the audit. The relevance of the audit has been in question since the uncovering of massive corporate frauds dating back to Worldcom and Enron. Subsequent to Crundwell’s conviction, the city of Dixon sued its auditors, accountants, and bank, settling their claim against them for $40 million.
After viewing the video and reviewing the related resources, please submit a 3-4 paragraph initial post, addressing the following:
Describe the fraud scheme committed by Rita Crundwell, including how she concealed the fraud.
How did Rita Crundwell steal over $37,000 each day from a town with an annual budget of around $6 million?
Discuss the application of the fraud triangle and other fraud theories we have covered as they apply to this case study.
How could this fraud have been prevented? In your discussion, be sure to explain the controls that were missing at City Hall.
How could such embezzlement go undetected in annual audits by two independent accounting firms and in annual audit reviews by state regulators? How was this fraud continued for so many years? What red flags did the auditors miss?
How did residents not become suspicious of Crundwell’s extravagant wealth and frivolous spending?
How was the fraud finally detected? Explain the legal side of the case
gallery is hosted by multiple ecologies existing alongside one another. This strikes a respectful balance and mutual relationship by nurturing and cultivating the environment in return for an appropriate space to situate sculptures. Contemporary museology can expand notions of what a museum space is, in facilitating environments for audiences, participants and curators to thrive and coexist. Similarly The Eden Project also cares for its ecology as an educational charity and social enterprise that is a leading example of how to present, conserve, and understand environments with extensive living collections. Their Mediterranean and Rainforest Biomes are spaces based on Buckminster Fuller’s notion of a geodesic system alongside biomimicry to create such unique spaces. The Eden Project do not describe themselves as a museum, but arguably are somewhat – in that alongside education and discovery, this site acquires, conserves and presents plants. Natural methods are used to protect plants, in that chemical pesticides and insecticides are replaced by animals, birds or insects, who are introduced into the ecosystem as predators. Through this symbiotic relationship with millions of creatures being welcome and invited to inhabit and exist within this space – a win-win situation. Even though human actors orchestrate these interventions, this is interesting to consider how museums can incorporate nonhuman entities as participants responsible for the care of the collection. Both these museum spaces exemplify methods that mutually benefit humans and nonhumans, when museum spaces are treated as whole ecologies with multiple intra-actions. This really embodies Gurian’s notions of many conflicting and diverse elements within museums, alongside how Massey’s global thinking and treatment of local spaces have the potential to operate within museological spaces. From few selected examples, museum spaces within contemporary practices are for not just humans, but a whole host of other nonhuman actors within various capacities, as both audiences and participants. However physical museum spaces limit scope of ‘who museums are for?’ when considering a posthum>GET ANSWER