Managing Knock Your Socks Off Service

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In our increasingly connected world, customer service can make or break a business. Companies that excel keep customers coming back-and those who don't soon discover that word spreads fast. The difference is in how managers train, coach, and support frontline employees. Extensively revised with today's empowered, web-savvy consumer in mind, Managing Knock Your Socks Off Service shows managers and supervisors how to: * Find and retain service-oriented people * Understand customer needs, expectations and desires * Build a service vision * Design a user-friendly service delivery process * Involve and inspire employees * Recognize and reward good performance The third edition features new chapters on: learning from lost customers; inciting passion and incentivizing service; fostering trust; and delivering great customer experiences online. In short, everything readers need to ensure their frontline employees become their company's biggest asset.
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About the author

CHIP R. BELL is the founder of The Chip Bell Group and author of many popular books including Wired and Dangerous. His work has been featured in The Wall Street Journal, Fortune, USA Today, Fast Company, Business Week and other major media.

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Additional Information

Publisher
AMACOM
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Published on
May 1, 2013
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Pages
256
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ISBN
9780814432051
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Features
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Language
English
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Genres
Business & Economics / Consumer Behavior
Business & Economics / Customer Relations
Business & Economics / General
Business & Economics / Mentoring & Coaching
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Content Protection
This content is DRM protected.
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Eligible for Family Library

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Our Musicals, Ourselves is the first full-scale social history of the American musical theater from the imported Gilbert and Sullivan comic operas of the late nineteenth century to such recent musicals as The Producers and Urinetown. While many aficionados of the Broadway musical associate it with wonderful, diversionary shows like The Music Man or My Fair Lady, John Bush Jones instead selects musicals for their social relevance and the extent to which they engage, directly or metaphorically, contemporary politics and culture. Organized chronologically, with some liberties taken to keep together similarly themed musicals, Jones examines dozens of Broadway shows from the beginning of the twentieth century to the present that demonstrate numerous links between what played on Broadway and what played on newspapersÕ front pages across our nation. He reviews the productions, lyrics, staging, and casts from the lesser-known early musicals (the ÒgunboatÓ musicals of the Teddy Roosevelt era and the ÒCinderella showsÓ and Òleisure time musicalsÓ of the 1920s) and continues his analysis with better-known shows including Showboat, Porgy and Bess, Oklahoma, South Pacific, West Side Story, Cabaret, Hair, Company, A Chorus Line, and many others. While most examinations of the American musical focus on specific shows or emphasize the development of the musical as an art form, JonesÕs book uses musicals as a way of illuminating broader social and cultural themes of the times. With six appendixes detailing the long-running diversionary musicals and a foreword by Sheldon Harnick, the lyricist of Fiddler on the Roof, JonesÕs comprehensive social history will appeal to both students and fans of Broadway.
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