Financial statements and accounting Essay Example | Topics and Well Written Essays - 1500 words

Financial statements and accounting - Essay Example Financial statements and accounting Firms may also prepare other types of statements such as the statement of retained earnings. Financial statements are required to be audited by authorized government agencies so as to ensure the accuracy maintained in the statements for tax purposes. Auditing helps to estimate whether the table revenue has been correctly been identified by the firms. Audited financial statements are also referred by different other firms, banks and individuals for taking decisions regarding investments. It is important that organizations follow all existing norms are regulations established by the regulatory authorities while preparing such statements. The financial statements are prepared by referring the detailed records maintained in the journal, ledger, trail balance and other books and statements of primary and secondary entry. These records are then presented in the financial statements in a summarized manner. Entries which have earlier not been passed in the primary and secondary books of acco unts are recorded in the final statements by preparing an adjusted journal proper. Such entries have their impact upon both in the income statements as well as the balance sheet. Accounting statements are generally prepared using the U.S. Generally Accepted Accounting Principles (GAAP) in most nations across the world. Many nations are also seen to follow the IFRS principles. More and more nations across the worlds are adopting the IFRS principles. At present, approximately 110 nations of the world adhere to the IFRS principles.

Homework Essay Example | Topics and Well Written Essays - 500 words - 31

Homework - Essay Example To start with, I have found incorporation of technology in my studies to be very useful because of the readily available information in the internet. According to Educause, technology provides access to vast amount of information trough use of tools such as internet and online data bases (n.d). This is true because personally I do not encounter unsolvable academic problems considering the fact that I have easy access to internet tools at home and at the school library. For instance, whenever I need clarification on certain topics during my personal revision, I look up in the internet where there is virtually an answer to every kind of question. Secondly, incorporation of technology in training by our lectures has helped to grasp the ideas put forward easily. This is because technological presentations enable the lecturers to point out the key information easily and at ease. According to Nacada, use of good presentations can impact the success of students in their studies (2011). Considering how technological presentations are made, students are attracted to the method of presentation hence making them to pay full attention to the tutors. This is arguably true because presentations made through incorporation of technology, for instance PowerPoint presentation, appeal greatly to learners. Lastly, incorporation of technology in education has helped me to improve my academic performance by enabling my lecturers to have individual based supervision. The use of computers by students facilitates flexible training by lecturers because every student can submit their own work at their convenient time. Further, use of computers enables the lecturers to identify students with weakness on particular topics and attend to them individually as opposed to training the whole class at once. This is the reason for my improved academic performance because I have received

Developing a Business Model Essay Example | Topics and Well Written Essays - 500 words

Developing a Business Model - Essay Example The company should allocate at least 50 percent of future American capacity to small and medium-size cars, so that it can adapt to what is turning out to be a permanent transition to a smaller and more gas-efficient cars. The company should also develop and incorporate flexible body shops in all its American assembly plants to facilitate quick response to evolving consumer needs (Trompenaars and Coebergh, 2014:47). In addition, it should make its entire engine and transmission plants flexible and able to manufacture different combinations of engine and transmission series. Between 2009 and 2011 Ford announced 4 more plant closures as well as its intent to sell or close 4 ACH plants that were remaining. It is imperative for the company to aggressively align its manufacturing capacity to actual demand. Regarding suppliers, the firm should work very hard to boost its US based supply operations, which represent eighty percent of its North American acquisitions. The firm should implement several business practices with its suppliers, aimed at maximising collaboration, supporting data transparency and expanding the capacity of business with desired suppliers, while enhancing its business model to make it m ore sustainable (Schein, 2012:53). The company should also be able to lower the total number of its production suppliers who qualify for significant sourcing, with more reductions to take place in the future. The company should pay special attention to enhancing its women and minority suppliers – which currently represent roughly $4 billion of its yearly $35 billion of acquisitions from American supplier bases. So far, consolidation initiatives have led to, and will lead to, more business for its chief suppliers which will maximise their financial strength. Regarding dealers, Ford currently has too many at its current and forecasted future market share. The

To Kill a Mockingbird Essay Example for Free

To Kill a Mockingbird Essay ‘Jem’s growing up now and you are too,’ She said to me. ‘we decided to have some feminine influence! ’ (I. ch. 13) In To Kill a Mockingbird, the protagonist is Atticus Finch, a father of two children named Jem and Jean Louis â€Å"Scout† Finch. His wife died when his children were very young. Atticus is quite an old, wise, white man. The book was set in the early 1930’s and it was very common for white men and women to be very racist towards others who aren’t the same race as them. But, Atticus was not like most of the white men and women. He was very kind to everyone not matter what their race was. It seemed as if he didn’t believe in racism. In the book, Atticus was a lawyer for a black man named, Tom Robinson, who was falsely accused of raping Mayella Ewell. He did everything he could to win that trial. But, deep down Atticus knew he would not win because Tom Robinson wasn’t a white man. After the trial ended, he still had to stay strong for his children even though he was worn out. Above all, Atticus was a widower and he was taking care of two growing children on his own. Although, he was a single father, he did raise his children correctly. He taught them not to be racist to others; he always knew exactly what to say. His children were growing up quickly and they needed a feminine figure in their life and that’s not something Atticus could on his own. That’s probably something Atticus will always struggle with. No matter what, children will always need a mother and a father in their life. Atticus was full of knowledge and whenever his children had a question, he would always answer perfectly. In chapter 28, Jem and Scout got attacked by Bob Ewell. Jem got knocked unconscious and Atticus stayed by his bedside until morning. I’m sure he didn’t even sleep. He’s willing to sacrifice his sleep for his children because that’s how good of a father he is. I’m sure he stayed there to make sure Jem wasn’t in pain or he wanted to be there right when Jem woke up. In conclusion, Atticus being a single father really will affect him and his children. Although, his children try not to show it, it is hard growing up without a mother. It just doesn’t balance correctly. Atticus taking care of his children by himself could affect his health at a great deal because he’s not so young, and taking of his children is very, very tiring.

Daughters of the Dust and Mama Day :: Julie Dash Gloria Naylor Literature Essays

Daughters of the Dust and Mama Day Although their plots are divergent, Julie Dash’s â€Å"Daughters of the Dust† and Gloria Naylor’s Mama Day possess strikingly similar elements: their setting in the islands off the coast of South Carolina and Georgia, their cantankerous-but-lovable matriarchs who are both traditional healers, and stories of migration, whether it be to the mainland or back home again. The themes of the film and the book are different but at the same time not dissimilar: Dash’s film emphasizes the importance of retaining connections to the ancestral past, while Naylor’s novel focuses more on love, loss, and reconciliation with the past that is part of the present and will continue into the future. Were Dash’s audience to return to the South Sea islands eighty years after â€Å"Daughters of the Dust† they might find the Gullah people and their lives similar to those of the Willow Springs of Naylor’s novel. Although nearly a century spans between them, these two people nevertheless share many traits. Many of the residents of Willow Springs answer to a nickname given them as a child; similarly, Viola Peazant reminisces about the nicknames given to children in Ibo Landing. Members of both communities, generations from Africa and steeped in â€Å"modernity,† still come to the traditional herbalist for help in matters of the body and spirit: Eula uses Nana’s medicine to contact the soul of her deceased mother; Bernice and Ambush come to Mama Day to heal Bernice when she becomes ill, and later for help in conceiving a child. Both Nana Peazant and Mama Day draw their knowledge from a life lived on their respective islands and their strength from their ancestors, whom they visit and tend at the village graveyards. And like Nana Peazant, Mama Day struggles to maintain a tie with her family members who have left the island and immersed themselves in the mainstream culture. Cocoa, however, is difficult to reconcile with just one character in â€Å"Daughters of the Dust.† Perhaps she is mostly like Yellow Mary, who has left Ibo Landing but returns in the â€Å"now† of the film. It is unclear, though, why Yellow Mary returns; unlike Cocoa, she is not in the habit of paying visits to her family, and she is hardly welcomed with the same enthusiasm as is Cocoa. Also, it seems that although both Mary and Cocoa share a closeness to their elder female relatives, Cocoa clashes more with Mama Day than Mary does with Nana.

Film Sense Shot Essay

The development of formalist film theory was deeply connected with the formation of cinematograph as the autonomous art. The specific character of this theory, hence, should be understood in terms of theoretical and practical elaboration of film production instruments and thorny path of mastering various means for delivering cinematographic ideas and content to spectators. It should be noted that the basic elements of formalist film theory, such as montage, lighting, scoring, shooting etc. became generally accepted technical means in cinematograph, which were used irrespectively of theoretical approaches preached by a given director. However, it should be noted, that notwithstanding universal spread of major theoretical and technical findings of formalist theory, it has its own unique historical features, represented by the work of such notable contributors as S. Eisenstein and R. Arnheim. Generally speaking, formalist film theory may be described as the totality of views, which claim the centrality of technical and formal means of film production to maintaining its inherently artistic and cultural nature. Eisenstein, the pioneer of formalist theory, in his major works Film Form and Film Sense Shot claimed that montage is the central practice to film-making, because it covers its both technical and artistic aspects (Beyond the Shot, p. 13). The utilization of technical approaches to montage and shooting is essentially linked with general objectives of film production, as it is understood in formalist film theory, that is, creating meanings and artistic ideas through copulation/combination of images, shots and sound elements. Basic features and premises of the formalist film theory Formalist film theory is premised on the dialectical understanding of relations between form and content in film production. Technical means, including montage, shooting, lighting, sound are not neutral vis-a-vis artistic content of a given film. In contrast, their collision or sequence, help realize artistic ideas. Based on this theoretical underpinnings Eisenstein developed several approaches to montage, which should be utilized depending on specific goals director pursues. Eisenstein defines five basic approaches to montage such as metric, rhythmic, tonal, overtonal and intellectual (Eisenstein 1949 72-79). All these approaches are premised on the complexity of artistic ideas, which director delivers to spectators. The dialectical relations between shots in these types of montage are based on conflicts between volume, rhythm, scale, speed etc. Metric montage may be described as the control of time sequence of different episodes and images, irrespectively of their intellectual content. These include various formal transitions and interruptions in the visual sequence of shots. Rhythmic montage includes metric elements, but pays specific attention to the visual composition and content of shots, which is made to deliver complex meaning. One of the notable examples of this type of montage, developed by Eisenstein and practiced by his colleagues such L. Kuleshov and D. Vertov, is a famous scene from Eisenstein’s masterpiece Battleship Potemkin, often referred to as ‘Odessa Steps’. This scene portrays the massacre of protesters (including women and children) in Odessa by Imperial Cossack Forces. Metric and rhythmic approaches to montage are extensively used to portray the ugliness and brutality of Tsarist regime and its servants and the sufferings of ordinary people. To achieve this effect, Eisenstein ‘copulates’ shots of soldiers’ boots, marching down the steps with shots of baby carriage with a child in it, moving downstairs. Besides this, Eisenstein uses close images of people, who were killed and massive flight, caused by the gunfire. Temporal metric transitions, hence, are copulated with rhythmic elements, delivering emotional content (Eisenstein 1925). Tonal montage ranks the next stage in complexity of emotional appeal. It uses entire image to create certain emotional effects in spectator. Using specific lighting, sound techniques or special effects, a director creates certain aesthetic atmosphere, which communicates new artistic meanings to visual dimension of the episode. The next type of montage, which Eisenstein calls overtonal, represents combination of tonal, metric and rhythmic elements to produce complex psychological impact on the viewers. The characteristic features of each type of the montage are used in complex to capitalize on the volume, rhythm, scale and speed. And, finally, the most complex type of montage is intellectual montage, which does not only affect feelings, but imbues thinking and reflection. Objectives of formalist film theory Hence, the main objective of formalist film theory, as Eisenstein constantly repeats, is creating artistic effects and meanings, which are communicated to spectators. Eisenstein vividly showed this opportunity, provided by montage, referring to Japanese hieroglyphs, which create new meanings by adding new elements to already existing (Eisenstein, Beyond the Shot 14). Formalist theory’s basic objective may be described as creating conditions for artistic representation of reality in film production. According to Eisenstein and Arnheim, using technical means is not neutral vis-a-vis objective representation of reality. Inability to master technical means results in negative implications for films artistic content and precludes ‘intellectual’ perception of reality. Therefore, formalist film theory, seeks to overcome mere reproduction of reality, peculiar to commercial movie projects. Besides this, representatives of formalist theory hold that spectators should be influenced emotionally and intellectually in order to give them proper understanding of director’s ideas and subjective goals. This goal has its real historical reasons, because the formalist theory developed within a tradition of revolutionary propaganda films, such as Battleship Potemkin and Alexander Nevsky by S. Eisenstein. Arnheim, who is another important representative of the formalist film theory, showed that representation of reality peculiar to cinema, essentially differs from physical contours of reality. Hence, according to Arnheim, formal elements of film-making have great significance for creating emotional and intellectual effects (Arnheim 323). Arnheim gives vivid examples of unique modes of reality perception, generated by films. As he states, film images can not be reduced to physical dimensions. Neither a position of shooting, nor its objects can not be defined mathematically, because they are premised on artistic taste and understanding of reality. Moreover, as Arnheim states, film and visual realities significantly differ in depth, as films are ‘neither absolutely two-dimensional, nor three-dimensional, but something in between†(Arnheim 324) For instance, in Ruttmann’s film Berlin, the director creates interesting juxtaposition of two physical dimensions, depicting trains moving in the opposite directions (Arnheim 324). Tensions and Contradictions within Formalist Film Theory Notwithstanding positive elements, inherent in the formalist film theory, it has certain contradictions and inner tensions, which are often mentioned by the representatives of opposing film theories. For instance, Andre Bazin, one of the most prominent representatives of realist film theory, claimed that formalist understanding of form and technique of film production is manipulative and precludes genuine communication between spectators and artistic subjects (Bazin 48). Besides this, it should be noted that heavy emphasis of formalist film theory on formal and technical means prevents directors from focusing on objective cognition of reality and its representation, making it (reality) a hostage of subjective manipulation with it. However formalist film theory claims that it provides the tools for objective representation of reality, in fact, it is one of the most subjective approaches, even more subjective than auteurship film theory. According to Bazin, formalist film theory breaks world into many small separate pieces, which are then linked to produce structured, but subjective worldview (Bazin 48). Advantages of formalist film theory and its relation to other film theories Formalist film theory has its unique advantages, which are proved by the widespread utilization of its theoretical findings and innovations by film currents, which theoretically contradict its main premises. The importance of montage and other technical procedures was recognized by the majority of directors, who worked after S. Eisenstein. Today, we can not imagine any film, which does not use montage to produce certain artistic affects. Even documentary films, which represent a separate genre, essentially focus on montage. Besides this, deep connections are obvious between formalist film theory and auteur theory, which both put significant emphasis on the role of subjective artistic appeals and aims, which are necessary to maintain cinematograph as a genuine form of art. Both auteur and formalist film theories oppose neutral and quasiobjective film production, which is prone to standardization of techniques and approaches to achieve certain commercial results. In such kind of film production standard genre elements, ideological prejudices and common sense significantly erode the instance of auteurship, transforming films into faceless (without auteur) products of cinema conveyer. It should be noted, however, that formalist film theory is characterized by excessive emphasis on such elements of film production, which often have negative effect on the quality and artistic value. The parasitizing on formal elements and conscious manipulation, as it was noted, is harshly criticized by representatives of realist film theory. It seems that this critique has proper theoretical grounds. Realist film theory, represented by Bazin, calls upon to following the continuity of real images and events and finding artistic meanings in their mere existence. In this view artistic truths should be found in difficult relations between time and space, which entails montage, having subordinate function. Moreover, unlike realist film theory, formalism leaves practically no room for the freedom of interpretation and understanding, aggressively imposing already designed meanings and interpretations on spectators. Such important elements used in realist film theory as deep shot and focus, which help meet its theoretic goals, are ignored in formalist film theory. Failing to master these tools leads to losing visual integrity of reality, which is, according to Bazin, is even more important than montage (Bazin 49). Formalism in Hitchcock’s Spellbound We have already mentioned the use of formalist theory of montage in Eisenstein’s film Battleship Potemkin. However, it should be noted that crucial aspects of formalist film theory may be found in films, directed by people, who are not openly associated with this tradition. This is, for instance, the case with Hitchcock, who based his techniques of film production on Expressionist approach. Hitchcock’s film is based on psychoanalytic and surrealist subjects, which may be proved by its plot and extensive use of Dali’s designs in the Brown’s mysterious dream. One of the major characteristics of Spellbound, which links it with formalist film theory, is that it distorts normal physical perception of time and space in reality. As we remember, Arnheim’s main requirement for film production referred to its creative approach to time and space, designed to break false continuity and present artistic sequence. Hitchcock pays primarily attention to the characterization of different protagonists and objects, but not on their appearances and actions, which is so characteristic of mainstream thrillers. The characters of Constance, false Dr. Edwards, Dr. Murchison are developed in a coherent way, following strict formal structure of plot development. Besides this, Hitchcock utilizes other techniques of formalist film theory, such as fragmentary editing, psychological collision of shots, various lighting effects, and extreme angles. Moreover, Hitchcock uses different approaches to montage, elaborated by Eisenstein. Rhythmic and tonal types of montage are extensively used in scenes, designed to produce strong emotional effects on the spectators. Rhythmic montage is used in the scene depicting Ballantine/Brown/false Edwards phobia of seeing black lines on white things, when these objects are juxtaposed with protagonists’ scared look. Another example includes Constance reading false Edward’s book on the guilt complex and notices that Dr. Edward’s signature differs from that of the man who is the author of the book (real Dr. Edwards). Intellectual type of montage, developed by Eisenstein is evident in surrealist dream scene, when false Dr. Edwards looks at the wall covered with eyes. The same episode includes rhythmic juxtaposition of the close-up shots of Constance and Brown, looking at each other, as well as purely technical tool of shots’ imposition, which creates flexible and vague atmosphere of surrealist dream. Another episode including this type of montage is when Constance, while recollecting Brown’s dream, realizes that the real murderer is Dr. Murchison. In this scene, her recollection of the dream is juxtaposed with her thinking process and eventual discovery. To sum it up, we have analyzed basic characteristics of formalist film theory, its objectives, positive and negative aspects and relation to other film theories. Practical realization of formalist film theory was researched based on the examples of Eisenstein’s Battleship of Potemkin and Hitchcock’s Spellbound. Works Cited Arnheim, Rudolf. Film as Art. University of California Press,1957. Bazin, Andre. What is cinema? Vol. 1 & 2 (Hugh Gray, Trans. , Ed. ). Berkeley, University of California Press, 1967-71. Eisenstein, Sergei, Film Form: Essays in Film Theory, New York, Hartcourt. Trans. Jay Leyda, 1949. Eisenstein, Sergei. dir. Battleship Potemkin, 1925, USSR. Hitchcock, Alfred. dir. Spellbound. 1945, USA, Vanguard Films. Ð °

Magic Springs

Khiana Carr Professor Ansbro ENGL 1010 16 November 2012 Magic Springs Many family and friends love to visit and enjoy the many attractions and fun from amusements parks. Every state and city has at least one good loveable memory about it. The hot and enjoyable attraction in Hot Springs, Arkansas is the awesome water and amusement park Magic Springs and Crystal Falls. There are many activities to do in Hot Springs like the following: shopping area, cite seeing in the mountains, the spa, and more. Most people go to enjoy the exciting attractions of Magic Springs, a place the entire family could enjoy.Magic Springs and Crystal Falls, Magic Springs for short, is a combination of an amusement park and water park all in one. Magic springs have everything for the family entertainment, including an Amphitheater for a variety of musical events and more. The park is open weekends from April through October and daily late-May through mid-August. The owner has really put in a lot of work to make the park what it is today. One can learn the history of Magic Springs, the many rides and thrilling descriptions there are, and many reviews from satisfied visitors.For those who love Six Flags and Disney World would also love Magic Springs. Magic Springs opened around 1978 in July in Hot Springs, Arkansas. In the beginning the park was going through a quite bit of financial problems. The park was sold in the mid 1980 to a businessman by the name of Melvin Bell. Soon after the inventors had landed into a huge pile debt, then Bell was forced to close down the park in 1995. The park was up for sale in an auction and reopened in 2000 as Magic Springs and Crystal Falls.The new management by CNL Lifestyle Properties and operation by Amusement Management Partners, LLC turned the park into an ongoing attraction for many. Ever since, Magic Springs has gotten innumerous visits from people all the country. Magic Springs is an amusement park offering a lot of attractions for the whole family, from fearless daredevil to the gentlest cat. There is a total of 20 rides throughout the park including the water rides. For the thrill seekers there are a good select few one would love to take for a ride. The top three amazing thrilling rides are the Gauntlet, the Hawk, and the Arkansas Twister.The Gauntlet is a â€Å"eight-story drop into a whirling dervish of inverted loops and mind-blowing bends† (Magic Springs), it is a 2,2000 feet 50 mph ride that will for sure take anyone on the ride of their lives. The Hawk is a 70feet 13 rpm speed exciting twirling machine that will take a person to new heights. The ride has many loops and turns and even rotates360 degrees clockwise and counter-clockwise throughout the ride it might even stop, while you hanging upside down! The Arkansas Twister is a wild 50 mph 3,300 feet heart pounding thrill.It is a 90 feel drop rollercoaster with all the heart racing effects, â€Å"to experience Magic Springs, one must experience the Arkansas T wister† (Magic Springs). With accommodating all the thrill seekers of the world Magic Springs have rides for little children as well. The two most enjoyable kiddie rides are the Li’l Leapin’ Lizard and Looney Ballooney. The Li’l Leapin’ Lizard zooms into the air and gently returns to the ground, just enough excitement for the little ones. A ride that reaches the sky and beyond is what all the kids want to go on, all the kids love being in the spinning hot air balloon Looney Ballooney.The park has many separate rides that ignite the fun in every member of the family, but there are a couple family rides everyone can enjoy together. The number one family favorite is the Old No. 2 Logging Company Log Flume. The ride takes off as it twists and turns into a water maze that ends with a splash of cooling water. Last but not least, the many water rides and pools. All the rides are loveable for every family member, which is what keeps the satisfied visitors c oming back for more. The park has had many reviews and has been rated A+ by the BBB business review and more.The happy visitors left wonderful reviews of Magic Springs. On satisfied customer said, â€Å"Me and my family enjoyed the water and the gospel concert held at the park that day. I plan to get the season family passes next year we had so much fun† (Trip advisor). â€Å"I live not too far from Hot Springs and have heard how cool it is to go, but finally made my way there with other friends and family. It was an awesome experience. There are plenty of areas for small children and plenty of rides adults are able to enjoy. My personal favorite was the Gaunlet, so much so I rode it twice. † (Trip advisor).The Gaunlet is the number one favorite of all rides at Magic Springs. â€Å"The park was VERY clean, the workers we encountered were friendly overall, and there were NO lines. We rode every ride that we wanted to at least once and many of them twice with no waiting . Every ride was up and running. We went to Crystal Falls after that to cool off and stayed until it closed at 6 pm. It was wonderful as well. Not crowded at all and a great variety of play/pool areas for all ages† (Trip advisor). â€Å"Love the rides, the music, the water and the water rides! Lots to do here. You can spends days and never get bored! (Trip advisor), it is very self-explanatory that the Magic Springs is a very enjoyable place for fun in the sun. In conclusion, Magic Springs and Crystal Falls have been recognized for family entertainment they have attracted people all over the country. Hot Springs have plenty of activities for any family member. Magic Springs have gotten a lot of good reviews and awards from the public. The water park is extraordinary the rides are full thrilling fun; the park is really a lot of fun in the sun. Including the Amphitheater, the amusement park has a lot of famous concert performances.The new owners of Magic Springs and Crystal Fal ls have really turned out the new park for the best. All the heart racing roller coaster to the gentle carousel does well accommodating to the entire family. The many reviews and increasing number of visitors show that the Magic Springs will not be losing any business any time soon. Works Cited â€Å"Magic Springs and Crystal Falls – Hot Springs, Arkansas – combination family amusementpark and water park. † www. city-data. com. 2012. 06 Nov. 2012. www. citydata. com/articles/Magic-Springs-and-Crystal-Falls-Hot. html â€Å"Magic Springs & Crystal Falls. Magic Springs & Crystal Falls. Web. Np. Nd. 06 Nov. 2012http://www. magicsprings. com â€Å"Magic Springs Water and Theme Park. † – Hot Springs. Web. Np. Nd. 06 Nov. 2012http://www. arkansas. com/attractions/detail. aspx? id=23423. Magic Springs & Crystal Falls, Hot Springs. † Magic Springs & Crystal Falls. N. p, n. d. Web. 15 Nov. 2012. http://www. tripadvisor. com/Attraction_Review-g60856-d2 74499Reviews-Magic_Spr ings_Crystal_Falls-Hot_Springs_Arkansas. html Going up up away Ready to ride. People in front ready for the Arkansas Twister to take off! my sister ready to swim. On the way tooooMagic Springs!!