Bøger af Rob King

COMES WITH DISPUTE LETTER SYSTEM PRO'S USE Are you saying right now DAMM THOSE (Bleeping) CREDIT BUREAU'S? Are those Credit Bureaus stopping you from getting: AN APARTMENT: Sorry here is your damage deposit back your credit application was not approved but thanks for the $30.00 credit application fee. EMPLOYMENT: Sorry you are qualified and we really liked your interview, but after seeing your credit report we will be going a different route. AUTOMOBILE: Well we did get you approved but unfortunately the down payment we talked about will be significantly more. Your monthly payment will also be $168 more a month. We understand that's not financially possible for you but if things change let us know. Thanks for coming in and help yourself to a cup of coffee on your way out. HOUSE: You seem like a nice couple and it's great you are expecting your first child soon but unfortunately we can't get you the mortgage we advertised everywhere. You might want to try those companies online that charge insane interest rates and want a huge deposit as well as your first born child. Thanks for coming in and would you mind filling out a survey online about how well we served you today? A good friend of mine is a divorce attorney. He knows what I do so whenever we get together the subject always seems to go to credit. He told me he's shocked at how much "spouse has bad credit" comes up during a divorce. He says it's always an issue woman have. We have deducted that woman love to nest. They want security (I guess we didn't have to be rocket scientist to figure that out). So anyway STOP RIGHT NOW AND SCROLL TO THE TOP OF THE PAGE AND BUY THIS BOOK SO WE CAN GET STARTED. Is that being forward enough? Seriously we are talking about the cost of a cup of Starbucks coffee. By the way Starbucks in no way endorses my book lol. Howard Schultz the chairman and CEO of Starbucks I'm sure doesn't have credit issues. So if you are still here you might need some more convincing I guess. Good for you... due diligence. My name is John D. Harris I could go on and on here about my experience working as a credit bureau manager but I won't bore you with all the details. THIS REALLY IS NOT ABOUT ME ANYWAYS. IT'S ABOUT YOU AND YOUR CREDIT. Even though your credit affects your whole life experience you probably know very little about real credit repair. Most of the books I have read online about credit repair are out of date or more often than not don't really have a clue what is going on. Let's face it all are lives are on a clock that is always ticking. Tick Tock Tick Tock. THIS IS NOT A PRACTICE RUN. This is your one life. Every day with bad credit is a day you are not experiencing your full life experience. Imagine knowing you have great credit. You know when you talk to the guy in the suit that you have great credit. You know you will be approved for anything. You can shop around for the best rates. You have the best property and pay less than the guy with the dumpy property. You drive the best car for less than the poor guy driving the seven-year-old vehicle. You might start flipping property. You might buy a business on credit. People respect you because you are the baller, you can get things done because you have access to CREDIT. You can take advantage of great deals because you have CREDIT. My bet is that you know more about cooking a turkey, changing your oil, what's on Netflix, Geography, Donald Trump, Words of a different language, Facebook, etc. THAN YOU DO ABOUT REAL CREDIT REPAIR. I guarantee you can have GREAT credit PS: I am a real person, with my book I include my phone number and email.

Robotic Process Automation (RPA) has grown from a relatively obscure technology that few recognised to significantly disrupting the workforce in just a few short years. Analysts predict the growth will continue exponentially.But what is the truth? How do you distinguish between the hype and the myths that now surround this topic? Whether it's Bill Gates suggesting RPA should be taxed, or predictions of massive job losses, there is a lot of confusion about what RPA really is and what impact it will have.Whatever industry sector you find yourself in, no matter how large or small, you will find that RPA will become the backbone of your future workforce if you are to continue to meet the changing customer demands. There is a need to act quickly and transform your business now or risk being disrupted by those who have already set out on their automation journey.But then we find that between 30%-50% of automation pilots fail! Statements made by vendors how easy it is to implement RPA are somewhat overstated. However, there are some basic lessons learned that can help you find the right path for your organisation. In this book, I will explain the different types of Robotic Process Automation and how to align your business needs to the solutions available and then start and scale your automation journey. This is not a sheep-dip approach but a carefully considered approach that helps you to align your specific business needs to the right solution and the right business model.Implementing RPA is not easy, but neither should it be too difficult if you follow a well-considered approach.

Sales needs a rebrand in the creative industry. The creative pound contributes £13M every hour to the UK economy - our creative sector is truly world beating. Yet so many creative businesses and agencies still struggle to find consistent sales and growth. How can creatives rapidly grow their business?The book helps creatives shift their mindset from viewing sales as an afterthought to a fundamental part of their business strategy and provides them with the tools and strategies they need to grow and scale their business.This book is the lessons learned and experience of twenty-five years Selling Creativity. Creatives often have a problem with growth and sales. It needn't be like this.There is a new way for new business.

Cornell Woolrich and Transmedia Noir uses the oeuvre of famed mystery writer Cornell Woolrich (1903-1968) as an optic into the media networks of American pulp fiction and the "weird tales" (in the parlance of the time) that were a seedbed of noir. Woolrich's fiction was widely published in thriller magazines like Argosy and Black Mask, and his work was a frequent source for radio anthologies, television series, and film adaptations. Tracking the transmedia circulation of Woolrich's stories and their various adaptations allows a rethinking of film noir as part of a broader "noir mediascape" during this era. The book is the first scholarly collection of essays on Woolrich It includes two recently discovered Woolrich short stories, one of which has never been published. It features contributions from scholars working on a range of different media, as well as a short piece on the rediscovered shorts by Woolrich's biographer, Francis M. Nevins. Rob King is a professor of film and media studies at Columbia University's School of the Arts. He is the author of Hokum! The Early Sound Slapstick Short and Depression-Era Mass Culture (2017) and the award-winning The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture (2009). He is currently working on a study of adult filmmaker Radley Metzger and is coediting, with Charlie Keil, the Oxford Handbook of Silent Cinema.

In what ways has your expectation of the Christian life differed from your experience of living the Christian life? Are you hungry for more? Pastors Rob King and Eric Ferris explore how you can be more comfortable, capable, and joyful in your relationship with God by experiencing an ongoing, renewable, increasing relationship with the Holy Spirit within.

Takes a comprehensive view of short-subject slapstick comedy in the early sound era. Challenging the received wisdom that sound destroyed the slapstick tradition, the author explores the slapstick short's Depression-era development against a backdrop of changes in film industry practice, comedic tastes, and moviegoing culture.

Even as Keystone Film Company brought 'lowbrow' comic traditions to the screen, the studio played a key role in reformulating those traditions for a new, cross-class audience. This book explores the dimensions of that process, arguing for a fresh understanding of working-class cultural practices within early cinematic mass culture.