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2018 Upland CA
10/9/2018 Control Panel Upland, CA Results Advanced ~ Solo ~ 8 & Under PLACE ROUTINE STUDIO NAME CATEGORY SOLOIST NAME 1ST WHAT'S MY NAME? The Dance Spot Jazz HAYDEN YU 2ND GIMMIE GIMMIE The Dance Spot Character LEAH SANTOS 3RD MY DESTINY The Dance Spot Lyrical LEAH HUTT 4TH BABY MINE The Dance Spot Lyrical LAURYN BAKH 5TH I GOT LOVE Mather Dance Company Open BELLA BLANDING 6TH FIELDS OF GOLD Mather Dance Company Lyrical MYLIE MURILLO Advanced ~ Solo ~ 911 PLACE ROUTINE STUDIO NAME CATEGORY SOLOIST NAME 1ST NICEST THINGS Mather Dance Company Lyrical PEYTON LESSARD 2ND KITRI'S VARIATION The Dance Spot Ballet ALANA ALVARADO 3RD ON MY OWN The Dance Spot Lyrical AVA KO 4TH I'M A LADY Mather Dance Company Jazz ZOEY GARCIA 5TH PAPER SKIN The Dance Spot Lyrical HANNAH NATONIEWSKI 6TH PRAYING The Dance Spot Open ELIANA SWINDLE 7TH EXPENSIVE The Dance Spot Jazz SAMANTHA CHIN 8TH DREAM A LITTLE DREAM The Dance Spot Character SOFIA BORROMEO 9TH FEEL IT STILL Mather Dance Company Jazz ASHLIE MURILLO file:///Users/owner/Downloads/Believe%202018%20Upland%20.htm 1/19 10/9/2018 Control Panel Advanced ~ Solo ~ 1214 PLACE ROUTINE STUDIO NAME CATEGORY SOLOIST NAME 1ST BROTSJO'R The Dance Spot Ballet MALLORY MCKENNA 2ND YOURS The Dance Spot Lyrical BREANNA MEZA 3RD BROWN EYED GIRL The Dance Spot Lyrical HAILEY GUTIERREZ 4TH LOVE SO SOFT The Dance Spot Jazz MARIAH ALVARADO 5TH GIVE IT TO ME RIGHT The Dance Spot Open KRYSTAL SMALL 6TH KEEP BREATHING The Dance Spot Lyrical LEIA ALVARADO 7TH MADNESS Mather Dance Company Contemporary KATIE MURILLO 8TH GOOD TO -
In Dispute 30:2 Contract Formation
CHAPTER 30 CONTRACTS Introductory Note A. CONTRACT FORMATION 30:1 Contract Formation ― In Dispute 30:2 Contract Formation ― Need Not Be in Writing 30:3 Contract Formation ― Offer 30:4 Contract Formation ― Revocation of Offer 30:5 Contract Formation ― Counteroffer 30:6 Contract Formation ― Acceptance 30:7 Contract Formation ― Consideration 30:8 Contract Formation ― Modification 30:9 Contract Formation ― Third-Party Beneficiary B. CONTRACT PERFORMANCE 30:10 Contract Performance — Breach of Contract — Elements of Liability 30:11 Contract Performance — Breach of Contract Defined 30:12 Contract Performance — Substantial Performance 30:13 Contract Performance — Anticipatory Breach 30:14 Contract Performance — Time of Performance 30:15 Contract Performance — Conditions Precedent 30:16 Contract Performance — Implied Duty of Good Faith and Fair Dealing — Non-Insurance Contract 30:17 Contract Performance — Assignment C. DEFENSES Introductory Note 30:18 Defense — Fraud in the Inducement 30:19 Defense — Undue Influence 30:20 Defense — Duress 30:21 Defense — Minority 30:22 Defense — Mental Incapacity 30:23 Defense — Impossibility of Performance 30:24 Defense — Inducing a Breach by Words or Conduct 30:25 Defense — Waiver 30:26 Defense — Statute of Limitations 30:27 Defense — Cancellation by Agreement 30:28 Defense — Accord and Satisfaction (Later Contract) 30:29 Defense — Novation D. CONTRACT INTERPRETATION Introductory Note 30:30 Contract Interpretation — Disputed Term 30:31 Contract Interpretation — Parties’ Intent 30:32 Contract Interpretation — -
Who Needs That Recital of Consideration?
DraftingDrafting aa newnew dayday Who needs that ‘recital of consideration’? By Kenneth A. Adams t’s hardly a shocking notion that are hereby acknowledged, the parties Farnsworth, Farnsworth on Contracts any given contract could contain hereto covenant and agree as follows. 150 (2d. ed. 1998).) It follows that Ione or more provisions that reflect Recitals of consideration raise a using instead the vague language of a an inaccurate or outdated view of con- number of issues of legal usage. For traditional recital of consideration tract law. What’s more noteworthy is example, NOW, THEREFORE is archa- would be equally ineffective. the fact one such provision — the tra- ic, while in consideration of the premises Similarly, a false recital of consider- ditional recital of consideration — is simply an obscure way of saying ation cannot create consideration appears in most corporate agreements. “therefore” and is superfluous given where there was none. If, in the con- In this article, I explain why that the preceding “therefore.” And refer- tract between Acme and Roe, Acme traditional recital of consideration ences to the value or sufficiency of recites falsely that the payment to Roe fails to serve its intended purpose and consideration are outdated: With the was in consideration of future services why omitting it could only improve a rise of the “bargain test of considera- and Acme subsequently refuses to pay contract. tion” reflected in the Restatement (Sec- the bonus, Acme should prevail in any The ostensible function of a recital ond) of Contracts, the focus of judges action brought by Roe if it succeeds in of consideration is to render enforce- has shifted from the substance of the proving that the recital was false. -
“Supply for Consideration”? Presented by Tony Van Der Westhuysen BA; LLB; H
12/05/2017 Just what is a “Supply for consideration”? Presented by Tony van der Westhuysen BA; LLB; H. Dip Tax Law; MBA; Cert IV TAA 1 12/05/2017 Legislative Background Section 9-5 You make a taxable supply if: (a) you make the supply for consideration; and (b) the supply is made in the course or furtherance of an enterprise that you carry on; and (c) the supply is connected with the indirect tax zone; and (d) you are registered, or required to be registered. However, the supply is not a taxable supply to the extent that it is GST- free or input taxed. 2 12/05/2017 Section 9-10 Meaning of ‘supply’ • A supply of goods or services; • The provision of advice or information; • A grant, assignment or surrender of real property; • The creation, grant, transfer, assignment or surrender of any right; • Includes financial supplies Continued…. Section 9-10 (continued) Includes • an entry into an obligation or • release from an obligation • to do anything • to refrain from an act • to tolerate an act or situation 3 12/05/2017 What is not a supply? “Supply” does not include a supply of money, unless the money is provided as consideration for a supply that is a supply of money. (s9-10(4)) Section 9-15 Meaning of ‘consideration’ “Consideration” Includes: • any payment or any act or forbearance • in connection with, • in response to or • for the inducement of • a supply of anything 4 12/05/2017 Case law • Reliance Carpet Company Pty Ltd v FCT AAT (yes) FFC (no) HC (yes) • COT v Qantas Airways Ltd AAT (yes) FFC (no) HC (yes) GSTR 2006/9 The meaning of “Supply” 5 12/05/2017 The Propositions Sixteen in total Proposition 4 • A transaction may involve two or more supplies • Non-monetary consideration • GST-inclusive market value 12 6 12/05/2017 Proposition 5 • To 'make a supply' an entity must do something • The ordinary meaning of 'supply' requires a positive act by the supplier • Compulsory acquisitions? Re Hornsby Shire Council v. -
Stand up Participate Program Year I Evaluation Report
STAND UP PARTICIPATE PROGRAM YEAR I ASIAN MEDIA ACCESS EVALUATION REPORT Prepared by: Rodolfo Gutierrez Eric Armacanqui Yue Zhang November 2015 STAND UP PARTICIPATE (SUP) PROGRAM Year I (09.2014-08.2015) Evaluation Report a Prepared by: HACER with collaboration with Ange Hwang (AMA) HACER HACER’s mission is to provide the Minnesota This report is not copyright protected. Latino community the ability to create and However, HACER must grant permission for the control information about itself in order to affect reproduction of all or part of the enclosed critical institutional decision-making and public material, upon request, information reprinted policy. General support for HACER is provided with permission from other sources, would not by the Center for Urban and Regional Affairs be reproduced. HACER would appreciate (CURA) and Minnesota-based philanthropic acknowledgement, however, as well as two organizations. copies of any material thus reproduced. The content of this report is solely the responsibility of HACER and does not necessarily represent the views of our Executive Director: Rodolfo Gutierrez partners. We are grateful to all who contributed to the making of this report: HACER Thank you to all of those who offered support and 2314 University Ave SE, Apt. 101 expertise for this project, especially Asian Media St. Paul, Minnesota 55114 Access and all SUP program partners (651) 288-1141 www.hacer-mn.org 1 Table of Contents Table of Contents 1 Executive Summary 2 Overview of SUP Program 4 Context Analysis 4 Goal and Objectivities -
The Symbolic Role of Animals in the Plains Indian Sun Dance Elizabeth
17 The Symbolic Role of Animals in the Plains Indian Sun Dance 1 Elizabeth Atwood Lawrence TUFTS UNIVERSITY For many tribes of Plains Indians whose bison-hunting culture flourished during the 18th and 19th centuries, the sun dance was the major communal religious ceremony. Generally held in late spring or early summer, the rite celebrates renewal-the spiritual rebirth of participants and their relatives as well as the regeneration of the living earth with all its components. The sun dance reflects relationships with nature that are characteristic of the Plains ethos, and includes symbolic representations of various animal species, particularly the eagle and the buffalo, that once played vital roles in the lives of the people and are still endowed with sacredness and special powers. The ritual, involving sacrifice and supplication to insure harmony between all living beings, continues to be practiced by many contemporary native Americans. For many tribes of Plains Indians whose buffalo-hunting culture flowered during the 18th and 19th centuries, the sun dance was the major communal religious ceremony. Although details of the event differed in various groups, certain elements were common to most tribal traditions. Generally, the annual ceremony was held in late spring or early summer when people from different bands gathered together again following the dispersal that customarily took place in winter. The sun dance, a ritual of sacrifice performed by virtually all of the High Plains peoples, has been described among the Arapaho, Arikara, Assiniboin, Bannock, Blackfeet, Blood, Cheyenne, Plains Cree, Crow, Gros Ventre, Hidatsa, Kiowa, Mandans, Ojibway, Omaha, Ponca, Sarsi, Shoshone, Sioux (Dakota), and Ute (Spier, 1921, p. -
Lesser Known Breach of Contract Defenses
LESSER KNOWN BREACH OF CONTRACT DEFENSES Jack A. Walters, III Cooper & Scully, P.C. Founders Square 900 Jackson Street, Suite 100 Dallas, Texas 75202 (214) 712-9500 (214) 712-9540 fax www.cooperscully.com [email protected] 3rd Annual Construction Symposium January 25, 2008 TABLE OF CONTENTS I. INTRODUCTION...............................................................................................................1 II. BACKGROUND ON CONSTRUCTION CONTRACTS..................................................1 A. Contract Documents...............................................................................................1 B. Checklist of Issues Covered in a Contract..............................................................1 C. Definitions..............................................................................................................2 III. CONTRACT DEFENSES...................................................................................................3 A. Limitations (Statute of Limitations & Statute of Repose)......................................3 B. Standing/Privity......................................................................................................5 C. Failure of consideration / Lack of consideration....................................................6 D. Mistake 7 E. Ratification.............................................................................................................8 F. Waiver 9 G. Plaintiff's Prior Material Breach.............................................................................9 -
Considering Fraud in a Financial Statement Audit : Practical Guidance for Applying SAS No
University of Mississippi eGrove American Institute of Certified Public Accountants Guides, Handbooks and Manuals (AICPA) Historical Collection 1997 Considering fraud in a financial statement audit : practical guidance for applying SAS no. 82; Michael J. Ramos Anita M. Lyons American Institute of Certified Public Accountants Follow this and additional works at: https://egrove.olemiss.edu/aicpa_guides Part of the Accounting Commons, and the Taxation Commons Recommended Citation Ramos, Michael J.; Lyons, Anita M.; and American Institute of Certified Public Accountants, "Considering fraud in a financial statement audit : practical guidance for applying SAS no. 82;" (1997). Guides, Handbooks and Manuals. 33. https://egrove.olemiss.edu/aicpa_guides/33 This Book is brought to you for free and open access by the American Institute of Certified Public Accountants (AICPA) Historical Collection at eGrove. It has been accepted for inclusion in Guides, Handbooks and Manuals by an authorized administrator of eGrove. For more information, please contact [email protected]. Considering Fraud in a Financial Statement Audit; Practical Guidance lor Applying SAS No. 82 No. SAS Applying lor Guidance Practical Audit; Statement Financial a in Fraud Considering Considering Fraud in a Financial Statement Audit: Practical Guidance for Applying SAS No. 82 AICPA NOTICE TO READERS Considering Fraud in a Financial Statement Audit: Practical Guidance for Applying SAS No. 82 presents the views of the author and others who helped in its development. This publication has not been approved, disapproved, or otherwise acted upon by any senior technical committees of the American Institute of Certified Public Accountants. Therefore, the contents of this publication, including recommendations and suggestions, have no official or authoritative status. -
A Segment of a Song That Lasts for 8 Counts. Most Songs Are Made up of Many 8-Counts Strung Together
8-COUNT (noun) A segment of a song that lasts for 8 counts. Most songs are made up of many 8-counts strung together. The class danced freestyle for six 8-counts. BEAT (noun) The regular, rhythmic aspect of music that can be counted and felt in order to coordinate movement. Also, one of the single moments of emphasis in the music that, together, make up the overall beat. Anne moved side to side with the song’s beat as she danced. BOUNCE (verb) To move in a way that imitates an object bouncing (moving quickly back or away from a surface after hitting it). Chloe placed her hands on her knees and bounced them to the rhythm of the song. CALL (noun) A specific instruction to be performed immediately within a dance. The teacher spoke the calls of the dance so the class would know which movements to perform. CALLER (noun) A person who speaks specific instructions during a dance in order to provide guidance to the dancers. Bobby did a great job of being the caller for the dance because he had all the instructions memorized perfectly. CHARGE (verb) To rush forward forcefully. Anthony charged forward, acting like a football player trying to break through the defense. CHOREOGRAPHY (noun) The set and sequence of movements that make up a dance when they are performed. Tasfia remembered all the choreography and performed the dance perfectly. CLOCKWISE (adverb) Movement in the same direction as the way the hands of a clock move around. The class walked clockwise in a circle during the Fjaskern dance. -
Unit 6 – Contracts
Unit 6 – Contracts I. Definition A contract is a voluntary agreement between two or more parties that a court will enforce. The rights and obligations created by a contract apply only to the parties to the contract (i.e., those who agreed to them) and not to anyone else. II. Elements In order for a contract to be valid, certain elements must exist: (A) Competent parties. In order for a contract to be enforceable, the parties must have legal capacity. Even though most people can enter into binding agreements, there are some who must be protected from deception. The parties must be over the age of majority (18 under most state laws) and have sufficient mental capacity to understand the significance of the contract. Regarding the age requirement, if a minor enters a contract, that agreement can be voided by the minor but is binding on the other party, with some exceptions. (Contracts that a minor makes for necessaries such as food, clothing, shelter or transportation are generally enforceable.) This is called a voidable contract, which means that it will be valid (if all other elements are present) unless the minor wants to terminate it. The consequences of a minor avoiding a contract may be harsh to the other party. The minor need only return the subject matter of the contract to avoid the contract. if the subject matter of the contract is damaged the loss belongs to the nonavoiding party, not the minor. Regarding the mental capacity requirement, if the mental capacity of a party is so diminished that he cannot understand the nature and the consequences of the transaction, then that contract is also voidable (he can void it but the other party can not). -
Delay As a Bar to Rescission John M
Cornell Law Review Volume 26 Article 7 Issue 3 April 1941 Delay as a Bar to Rescission John M. Friedman Follow this and additional works at: http://scholarship.law.cornell.edu/clr Part of the Law Commons Recommended Citation John M. Friedman, Delay as a Bar to Rescission, 26 Cornell L. Rev. 426 (1940) Available at: http://scholarship.law.cornell.edu/clr/vol26/iss3/7 This Article is brought to you for free and open access by the Journals at Scholarship@Cornell Law: A Digital Repository. It has been accepted for inclusion in Cornell Law Review by an authorized administrator of Scholarship@Cornell Law: A Digital Repository. For more information, please contact [email protected]. DELAY AS A BAR TO RESCISSION JOHN M. FRIEDMAN The remedy of rescission has enjoyed great popularity during the last few years. The frequency with which it has been invoked is probably trace- able not only to the increase in number of business transactions, but also to the economic stress of the times. Contracts made in the flush days of the 1920's have turned out to be not as desirable as planned. Promisors are unable to perform and promisees seek the return of specific consideration given, instead of resorting to a suit for damages against a defendant of doubt- ful responsibility. Purchasers discover that sellers' statements which induced sales were vastly exaggerated and, with worthless purchases on their hands, seek the return of the considerations paid. But just as the desirability of a rescission becomes manifest slowly to a would-be rescinder over a period of continued depression, so also the restora- tion by the defending party of the consideration given in the same measure becomes more difficult. -
An Overview of Indemnification and the Duty to Defend
AN OVERVIEW OF INDEMNIFICATION AND THE DUTY TO DEFEND Indemnification & Duty to Defend Subcommittee, ACEC Risk Management Committee Subcommittee Chair Theodore D. Levin, P.E., Attorney Morris Polich & Purdy LLP Subcommittee Members Karen Erger, Vice President, Director of Practice Risk Management Lockton Companies, Inc. Albert Rabasca, Director of Industry Relations XL Specialty Insurance Company Homer Sandridge, Underwriting Director, Professional Liability Travelers Insurance Creighton Sebra, Attorney Morris Polich & Purdy, LLP Principles and History One of the most basic principles of tort law is that every person should be responsible for damage that they have caused. Many states have reduced this concept to statute, each stating almost word for word that “Indemnity is a contract by which one engages to save another from a legal consequence of the conduct of one of the parties, or of some other person.”1 In many lawsuits, a plaintiff’s damages are caused by the convergence of several contributing factors originating from several different sources. To give one common example, a plaintiff homeowner alleging property damages resulting from construction defects may assert claims in one lawsuit against any of the diverse parties that contributed various scopes of work to the project, including the general contractor, subcontractors and trades that contributed to the defective work, as well as design professionals such as civil engineers, architects, and structural engineers. To put it even more bluntly, the owner files one suit against everyone in sight. In practice, however, the plaintiff more often merely sues the party or parties with whom he or she contracted, and lets the named defendant(s) do the legwork to identify and sue other parties that may also be responsible.