Bonanza Back Office

    back office

  • The IT and infrastructure support services for a company, separate from the public face of the business
  • The departments and processes related to the settlement of financial transactions.
  • An office or center in which the administrative work of a business is carried out, as opposed to its dealings with customers
  • A back office is a part of most corporations where tasks dedicated to running the company itself take place.


  • an especially rich vein of precious ore
  • boom: a sudden happening that brings good fortune (as a sudden opportunity to make money); “the demand for testing has created a boom for those unregulated laboratories where boxes of specimen jars are processed like an assembly line”
  • A situation or event that creates a sudden increase in wealth, good fortune, or profits
  • A large amount of something desirable
  • Bonanza is an American western television series that ran on NBC from September 12, 1959 to January 16, 1973.

bonanza back office

bonanza back office – Motorola KRZR

Motorola KRZR K1M (Black) with 1.3 Megapixel- Camera – Bluetooth Capable – 1XEVDO CDMA 2000 for Verizon Network
Motorola KRZR K1M (Black) with 1.3 Megapixel- Camera - Bluetooth Capable - 1XEVDO CDMA 2000 for Verizon Network
The Motorola KRZR K1m meets and surpasses the RAZR standard for slimness, with more than a centimeter shaved off its width. Showcasing a multi-dimensional, metallic gloss finish for visual depth, the KRZR K1m exhibits subtle elegance through magnesium, polished chrome and hardened glass. The solid piece of glass on the front of the phone – a technological first for a large volume mobile – results in a high-gloss luster balancing the velvet-like soft touch finish on the back. Offering an integrated music players and expandable memory up to 1 GB, the KRZR K1m’s beats to a slightly different drum boasting touch-sensitive music controls, advanced EV-DO data services and location-based services capabilities

Greer Garson 1903 – 1996

Greer Garson 1903 - 1996
Greer Garson was one generation’s idea of a great screen actress. It’s a view hard to sustain but, in the 1940s, the noble emoting of Garson or Joan Crawford was thought superior to the more subtle truths of, say, Ann Sothern or Judy Garland. Unlike Crawford, Garson did reveal a lively sense of humour and she could be captivating on occasion. The key to her career was that she was in the right place at the right time. If she was lucky, then so was MGM.

She was a successful stage actress when the head of MGM, Louis B. Mayer, went to a West End play called Old Music (1937) on the (mistaken) assumption that it was a musical. Her performance impressed him enough to offer a contract, but his studio did not know what to do with a broad-faced, university-educated thirtyish British actress; so, this being the era of typecasting, they saw her as another Binnie Barnes, whose forte was to chase after men, money or both.

Illness prevented Garson from following this path (the film was called Dramatic School) and she languished till Sam Wood cast her in Goodbye Mr Chips (1939), which he was to direct in Britain. She did not relish the role, since she was due to die only screen minutes after marrying and humanising the dry schoolteacher Mr Chipping. Robert Donat collected a popular Oscar for playing him, but Garson’s brief contribution was equally vital. C.A. Lejeune, the film critic of the Observer, spoke of her "vivid grace" and Graham Greene admired "the short-lived wife [who] lifts the whole picture into – we are tempted to call it reality – common sense and tenderness, a sense of happiness too good to last".

On her return to Hollywood she was forced into the studio’s chosen image – a New York sophisticate, jagged with sophistication in huge hats – squabbling and making up with Robert Taylor in Remember? But her Mrs Chipping was uppermost in executive minds when casting Pride and Prejudice (1940), based on a stage version which had been bought for Norma Shearer and Clark Gable. Garson and Olivier were much more sensible choices, even if Olivier later observed: "Dear Greer seemed to me all wrong as Elizabeth . . . she was the only down-to-earth sister but Greer played her as the most affected and silly of the lot". However, Bosley Crowther of the New York Times wrote that she had "stepped out of the book, or rather out of one’s fondest imagination: poised, graceful, self-contained, witty, spasmodically stubborn and as lovely as a woman can be." Nevertheless those who tend to Olivier’s view sighed for her presence during the recent BBC adaptation, in which Jennifer Ehle completely missed Lizzie’s sense of self-mockery.

Garson’s performance reversed MGM’s concept of her, and she replaced Shearer in the title role of Mrs Miniver (1942) when that actress refused to play the mother of a grown-up son. He was played by Richard Ney, who was actually years younger than Garson: 14, in fact, though at the time it seemed less, since MGM’s publicists had lopped years off her age. She obliged them by waiting till the film had gone its rounds before making him her second husband, but as far as the studio was concerned the film had made her the biggest star on the lot.

It was a movie showered with Oscars, including Best Film, Best Actress (Garson) and Best Director (William Wyler). Garson made cinema history by making an acceptance speech that lasted 45 minutes: new rules were brought in to stop this happening thereafter. The story of an "ordinary" British family through Dunkirk and the Blitz, it struck a particular chord with the Americans, who had just entered the war.

Winston Churchill told Parliament that it had done more for the British war effort than a flotilla of destroyers. Yes, and Garson epitomised the courageous British housewife, the domestic ideal, partnering the equally sunny Walter Pidgeon, with whom she was to make eight films in all; but what with Mrs M rounding up a German paratrooper in the garden and no mention of rationing it was hardly realistic. Wyler, when he arrived in Britain with the Army, admitted that he would have made a very different picture if he had been here first.

Better altogether was Random Harvest since, as adapted by the same four writers, including James Hilton (who had written the original novel as well as Goodbye Mr Chips), it aspired only to romantic melodrama. Ronald Colman was the amnesiac officer who meets and falls in love with a music- hall star played by Garson on Armistice Day 1918 and marries her; and who later doesn’t recognise her when she becomes his secretary. Accompanied by some publicity about the lady’s short stage kilt and tights, the film was a second box-office bonanza (at a time when few New York cinemas showed their films for more than a week, these ran for 10 and 11 weeks respectively at Radio City Music Hall).

MGM had forced Shearer into retirement and had let Myrna Loy, "the perfect wife" go; Garbo ha

truckin' past the democrat

truckin' past the democrat
A log truck hauling from a burn sale idles past what is now the Union Democrat (newspaper) Building.

Back in 1967 when the building housed the Bank of America, a loaded ten-wheel dump truck sank slowly through the roadway immediately to the rear of where the log dolly is pictured. The truck’s back wheels sank all the way to the bottom of the tunnel under the street that runs the length of the town.

The tunnel used to connect the "Big Bonanza Mine", located where the high school now stands, with what is now the "Lime Kiln". A couple of vertical shafts from Big Bonanza used to exit in our back yard, but they have long since been filled in with reenforced concrete plugs.

bonanza back office

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