12 Very Special 'Very Special Episodes'

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Getty Images

Some TV shows are custom-made for Very Special Episodes. With all those girls on the cusp of adulthood at the Eastland Academy on The Facts of Life, it was inevitable that at least one of them would lose their virginity before graduation, leading to a poignant, thought-provoking episode. But plenty of other hot-button issues were used as plot devices. From the creepy bicycle man on Diff'rent Strokes to Alex Keaton's alcoholic uncle, here are some of TV's most memorable teachable moments.

1. Diff’rent Strokes: “The Bicycle Man”

This episode was considered disturbing enough for Conrad Bain to present a parental warning at the beginning. Even the narrator who catches us up on the action from Part One of this two-parter sounds kinda creepy, setting the appropriately dark tone for Gordon Jump (loveable, bumbling “Big Guy” Mr. Carlson from WKRP in Cincinnati) to portray a bicycle store-owning pedophile.

Mr. Horton lures young boys to his store with free accessories for their rides as well as free pizza, ice cream and … wine. (Cue the ominous music.) Arnold and his friend Dudley fall prey to his tactics and soon they’re shirtless, playing Tarzan, and posing for Polaroids. No amount of “whatchoo talkin’ ‘bout” could lighten up the slimy feel of this episode, but at least Mr. Drummond called the cops on the creep.

2. All in the Family: “Edith’s 50th Birthday”

All in the Family certainly never shied away from controversial issues, but did we really need to see sweet, naïve Edith Bunker get sexually assaulted in her living room?

The writers had actually already covered this topic in Season 3, when Gloria was attacked while walking home from work. But that assault wasn’t shown, just talked about, which was disturbing enough. In this episode Edith is home alone one afternoon while Archie is next door at Mike and Gloria’s house preparing for Edith’s surprise birthday party. Edith answers the door and allows the man who identifies himself as a detective to enter. Unfortunately, the rapist he is searching the neighborhood for (whom he describes in detail as he advances on Edith) is actually himself. After a lengthy and excruciating exchange of banter during which Edith tries her best to discourage him they both smell smoke and run to the kitchen. The cake she had in the oven was burning. A seemingly hysterical Edith removes it from the stove and then shoves it square in her attacker’s face, which prompted deafening cheers from the studio audience.

Some 20 years after this episode aired, David Dukes, the respected Broadway actor who’d played the attacker, was regularly recognized (and demonized) on the street as “the man who tried to rape Edith Bunker!”

3. Family Ties: “Give Uncle Arthur a Kiss”

Arthur was an uncle by virtue of friendship rather than kin; he worked with Steven at the TV station and was a Keaton family friend. One day when 15-year-old Mallory is helping out at WKS, Arthur corners her while she’s alone and comments on how grown-up she’s becoming (always a skeevy red flag when it comes to “funny” uncles). He embraces her but the hug is a little too tight for Mallory’s liking, and when he pats her on the backside she is definitely uncomfortable, but unsure if Good Ol’ Uncle Arthur actually did anything wrong … or if she just misinterpreted his camaraderie?

There’s no confusion, though, the next day when—after apologizing for frightening her that way—he pulls her close for an open-mouthed kiss. Even more unsettling is that once Mallory clues her parents in on what’s going on, all they do is give Arthur a severe talking-to, threatening to involve the police only if he ever does something like that again.

4. Punky Brewster: “Cherie Lifesaver”

Henry, Punky’s guardian, is forced to discard his WWII-era refrigerator when it finally conks out for good. He sets it out in the backyard, but a sudden light snowfall prompts him to delay removing the door until later. The snow doesn’t deter Punky and her pals from playing hide-and-seek, and Cherie chooses the ancient fridge as her hiding spot. When Henry finds her later, of course she is unconscious and not breathing. Luckily that very day Punky’s class had been taught CPR at school, so Cherie is revived in the nick of time.

(Of course, by law in the U.S. all refrigerators sold after October 30, 1958 have been required to be open-able from the inside to prevent such a tragedy, but thanks to parsimonious consumers like Henry, kids were still occasionally found suffocated inside those old built-to-last models until the mid-1980s.)

5. Too Close for Comfort: “For Every Man There’s Two Women”

This was one of those episodes that was so lowbrow, some folks think they’d only imagined it. The Rush’s wacky tenant Monroe (played by Jm J. Bullock, as he was known then) was kidnapped en route to work by two women and then forced to have sex with them. But, because Monroe was a male and his attackers female (and of the bulky persuasion), the writers somehow thought it was OK to squeeze some cheap laughs out of a rape.

6. Little House on the Prairie: “Sylvia”

Frustrated folks that long for the simpler life of Yesteryear should stop and consider the realities of pioneer life … Take Walnut Grove, for example. If kids weren’t going blind, they were being orphaned or dying in fires. And then there was the case of the town’s sinister blacksmith, who spent his days off stalking young girls while wearing a mime mask.

Fifteen-year-old Sylvia Webb is being raised by a puritanical father who believes she’s inherently evil just because she hit puberty earlier than her classmates. He forces her to bind her burgeoning bosom and is outraged to find the neighborhood boys peeping at her while she dresses. Poor Sylvia eventually is attacked by the Stalker Blacksmith and ends up “with child.” Albert Ingalls, who professes to love her though he’s only 14 himself and his voice hasn’t finished changing, wants to marry her. Before the star-crossed teens can elope, though, Sylvia suffers a fatal fall from a hayloft.

7. Diff’rent Strokes: “Sam’s Missing”

As if Sam McKinney wasn’t emotionally scarred enough by having his mom change from Dixie Carter to Mary Ann Mobley without explanation, he was also kidnapped in Season Eight by a despondent father whose own son has died in an off-screen accident of some sort. The kidnapper threatens to kill Mr. Drummond and his new wife if Sam doesn’t stop acting traumatized and behave like his loving new son. Meanwhile, Kidnapper has convinced his gullible grieving wife that he’d found homeless Sam living on the street in a cardboard box. After a week with his “new” family, Sam is finally found and rescued, and apparently none the worse for his adventure.

8. Family Affair: “Christmas Came a Little Early”

Usually on Family Affair, Uncle Bill’s endlessly deep pockets solved any crisis, but even after calling in a top specialist of some sort, he was unable to offer any hope to a pre-Brady Bunch Eve Plumb. Eve played a terminally ill friend of Buffy’s, but only the adults knew of her dire prognosis. Realizing that Eve might not make it ‘til December, Uncle Bill decided that she should still have a Christmas, even if it was several weeks early. Using the excuse that he would be in Venezuela come December 25th, he bought a tree and gifts and dressed Mr. French up as Santa Claus and held the party in Eve’s family’s apartment. Afterward he confided to Mr. French that the children didn’t suspect that anything was amiss, but as he headed off for bed for the evening he hears heart-wrenching sobs coming from Buffy’s bedroom. He poked his head inside the door to see her clutching Mrs. Beasley and crying.

9. Family Ties: “Say Uncle”

When Elise’s brother Ned (played by Tom Hanks) pays a visit, his newly developed drinking problem is played for laughs at first—Alex encounters Ned late at night in the kitchen draining the last of the liquor and then watches him guzzle vanilla extract and a bottle of maraschino cherries. When he shows up sozzled for a job interview it’s still pretty funny (for the audience, at least). But when Ned turns into a mean drunk and smacks Alex in the face, things take a serious turn. Hanks turns in a heartbreaking performance when he phones Alcoholics Anonymous and slowly goes from clowning around to admitting his problem.

10. Mr. Belvedere: “The Counselor”

In an unusual twist, it wasn’t some tertiary character who was the subject of the Very Specialness in this episode, but series regular Wesley T. Owens. Wes goes off to a summer day camp under protest. When he fakes illness to avoid a nature hike, he is left in the care of Counselor Perry. Perry takes Wes scuba diving and then gets a little too touchy-feely when helping to dry him off. To encourage the boy to keep their “little secret” Perry gives Wesley an expensive pair of binoculars as a gift, but even so Wes is uneasy about being around the counselor…

11. Leave It to Beaver: “Beaver and Andy”

The normally light-hearted show about childhood innocence took a somber turn when Ward hired Andy, a recovering alcoholic, to paint the outside of the Cleaver house. In order to protect young Beaver from the harsh realities of Life, they only refer vaguely to Andy’s “problem.” So when Beav is home alone one sultry afternoon while Andy requests a drink (preferably something stronger than lemonade), the clueless youngster offers a bottle of the stuff that Uncle Billy sends them every Christmas. Andy relapses, and Mr. and Mrs. Cleaver are shocked to discover that Theodore was the enabler. Beaver then wonders aloud how he was supposed to know that what he did was wrong, since his folks never explained what Andy’s “trouble” was. You can watch the episode here.

12. And of course, this:

Were there any TV episodes that traumatized you as a child? Or that have stuck in your mind as being disturbing all these years later? It can be therapeutic to share, you know.

Take Advantage of Amazon's Early Black Friday Deals on Tech, Kitchen Appliances, and More

Amazon
Amazon

This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.

Even though Black Friday is still a few days away, Amazon is offering early deals on kitchen appliances, tech, video games, and plenty more. We will keep updating this page as sales come in, but for now, here are the best Amazon Black Friday sales to check out.

Kitchen

Instant Pot/Amazon

- Instant Pot Duo Plus 9-in-115 Quart Electric Pressure Cooker; $90 (save $40) 

- Le Creuset Enameled Cast Iron Signature Sauteuse 3.5 Quarts; $180 (save $120)

- KitchenAid KSMSFTA Sifter with Scale Attachment; $95 (save $75) 

- Keurig K-Mini Coffee Maker; $60 (save $20)

- Cuisinart Bread Maker; $88 (save $97)

- Anova Culinary Sous Vide Precision Cooker; $139 (save $60)

- Aicook Juicer Machine; $35 (save $15)

- JoyJolt Double Wall Insulated Espresso Mugs - Set of Two; $14 (save $10) 

- Longzon Silicone Stretch Lids - Set of 14; $13 (save $14)

HadinEEon Milk Frother; $37 (save $33)

Home Appliances

Roomba/Amazon

- iRobot Roomba 675 Robot Vacuum with Wi-Fi Connectivity; $179 (save $101)

- Fairywill Electric Toothbrush with Four Brush Heads; $19 (save $9)

- ASAKUKI 500ml Premium Essential Oil Diffuser; $22 (save $4)

- Facebook Portal Smart Video Calling 10 inch Touch Screen Display with Alexa; $129 (save $50)

- Bissell air320 Smart Air Purifier with HEPA and Carbon Filters; $280 (save $50)

Oscillating Quiet Cooling Fan Tower; $59 (save $31) 

TaoTronics PTC 1500W Fast Quiet Heating Ceramic Tower; $55 (save $10)

Vitamix 068051 FoodCycler 2 Liter Capacity; $300 (save $100)

AmazonBasics 8-Sheet Home Office Shredder; $33 (save $7)

Ring Video Doorbell; $70 (save $30) 

Video games

Nintendo

- Legend of Zelda Link's Awakening for Nintendo Switch; $40 (save $20)

- Marvel's Spider-Man: Game of The Year Edition for PlayStation 4; $20 (save $20)

- Marvel's Avengers; $27 (save $33)

- Minecraft Dungeons Hero Edition for Nintendo Switch; $20 (save $10)

- The Last of Us Part II for PlayStation 4; $30 (save $30)

- LEGO Harry Potter: Collection; $15 (save $15)

- Ghost of Tsushima; $40 (save $20)

BioShock: The Collection; $20 (save $30)

The Sims 4; $20 (save $20)

God of War for PlayStation 4; $10 (save $10)

Days Gone for PlayStation 4; $20 (save $6)

Luigi's Mansion 3 for Nintendo Switch; $40 (save $20)

Computers and tablets

Microsoft/Amazon

- Apple MacBook Air 13 inches with 256 GB; $899 (save $100)

- New Apple MacBook Pro 16 inches with 512 GB; $2149 (save $250) 

- Samsung Chromebook 4 Chrome OS 11.6 inches with 32 GB; $210 (save $20) 

- Microsoft Surface Laptop 3 with 13.5 inch Touch-Screen; $1200 (save $400)

- Lenovo ThinkPad T490 Laptop; $889 (save $111)

- Amazon Fire HD 10 Tablet (64GB); $120 (save $70)

- Amazon Fire HD 10 Kids Edition Tablet (32 GB); $130 (save $70)

- Samsung Galaxy Tab A 8 inches with 32 GB; $100 (save $50)

Apple iPad Mini (64 GB); $379 (save $20)

- Apple iMac 27 inches with 256 GB; $1649 (save $150)

- Vankyo MatrixPad S2 Tablet; $120 (save $10)

Tech, gadgets, and TVs

Apple/Amazon

- Apple Watch Series 3 with GPS; $179 (save $20) 

- SAMSUNG 75-inch Class Crystal 4K Smart TV; $998 (save $200)

- Apple AirPods Pro; $199 (save $50)

- Nixplay 2K Smart Digital Picture Frame 9.7 Inch Silver; $238 (save $92)

- All-New Amazon Echo Dot with Clock and Alexa (4th Gen); $39 (save $21)

- MACTREM LED Ring Light 6" with Tripod Stand; $16 (save $3)

- Anker Soundcore Upgraded Bluetooth Speaker; $22 (save $8)

- Amazon Fire TV Stick with Alexa Voice Remote; $28 (save $12)

Canon EOS M50 Mirrorless Camera with EF-M 15-45mm Lens; $549 (save $100)

DR. J Professional HI-04 Mini Projector; $93 (save $37)

Sign Up Today: Get exclusive deals, product news, reviews, and more with the Mental Floss Smart Shopping newsletter!

10 Behind-the-Scenes Secrets of Professional Songwriters

A songwriter in her natural habitat.
A songwriter in her natural habitat.
Soundtrap, Unsplash

Behind every club banger and power ballad is an eclectic team of individuals, each with their own role in its creation and promotion. Needless to say, it couldn’t happen without the songwriters. These gifted musicians don’t just pen the lyrics that fuel all your car concerts and karaoke nights—they also manage egos, help artists articulate their innermost feelings, and juggle their own side gigs. So what does a songwriting career actually look like? Mental Floss chatted with three experienced songwriters about everything from how they make money to how they make hits.

1. It’s common for songwriters to have their own music careers.

From Carole King to Pharrell Williams, the music industry has long teemed with talented artists who’ve written songs for other acts—so it’s not exactly surprising that so many songwriters are nurturing what they call their own “artist projects.” In fact, all three songwriters interviewed for this article have released new music in the last few months. Daniel Capellaro released the EP Nightside [A] in November under the moniker “Dvniel”; Skyler Stonestreet’s first single as “The Sunshine State” dropped in late October; and Trent Park has been unveiling a steady stream of singles and corresponding music videos since June.

Though it seems like it could be difficult to constantly fork over songs that they might want to release themselves, the collaborative nature of the business prevents this from being a major issue. Often, the songwriter is working off ideas and emotions specific to the artist they’re writing for, so the song truly feels like it belongs to that artist. Other times, the song gets tweaked by so many writers and producers that it’s no longer the original songwriter’s personal opus. “When a song comes out, sometimes I’m like, ‘Ah that was good, but I would’ve done it a totally different way,” Park says. “But that means it wouldn’t be the song that it is.”

2. Songwriters sometimes have to fake it ’til they make it.

In a business built on relationships, it’s pivotal for up-and-coming songwriters to always be on the lookout for new connections. Sometimes, this means acting first and thinking later. During Capellaro’s early days in Los Angeles, his demo CD was his de facto business card. About a month after giving one to an executive from Universal Music Group, he got a call from the company asking when he was playing next. Having no dates lined up, he picked one at random: March 16. “So I hang up and I'm like, ‘OK, I’ve just committed to playing a show. I've got no venue. I've got no band. I have to get all this put together in the next 30 days,” Capellaro remembers.

He found a former bass player from the band Lifehouse on Craigslist, and the two set about securing the rest of the band. For the venue, Capellaro chose a well-known rehearsal space called SIR (Studio Instrument Rentals), only to find out that the Universal exec slated to see the show “[had] never signed a single act at SIR—she hates that place.” It was too late to switch venues, so Capellaro reassured his Universal contact over the phone that “she won’t recognize it” and immediately transported everything in his recently furnished living room to the stage to give it a whole new look. “I had a couch, a rug, tea candles,” he says. “I wanted it to feel like MTV Unplugged.” The hard-to-please executive was duly impressed. “She’s like ‘You sound great. How long have you guys been playing together?’ and I’m like, ‘Ah, you know, for a while.’ I didn’t want to tell her ‘Four days.’”

When asked what surprised him most about the industry, Park answered without hesitation: “That nobody knows what they’re doing.” He, too, confessed to occasional fibbery. “There are some times when I reach out to an artist and I say, ‘I love your stuff. I have a song for you,'” he says. “I’m completely lying. I just want to work with that person, and once they reach out I end up formulating songs in the vein of their stuff.”

3. Songwriters don’t just write for career music artists.

Songwriters like Capellaro and Stonestreet, who are signed to music publishing companies, mainly do work on songs for fellow artists. Park, on the other hand, is an independent songwriter—so his clients sometimes come from other industries altogether. “Right now I'm writing for a couple lawyers that are just doing it as a passion, but they pay me really well,” he says. “I’m there for everyone. Honestly, it’s way better money.” Park also spent a few weeks writing songs for the wife of a billionaire app developer. Not only did she pay him triple his per-song rate and triple his per-diem rate, she also insisted on posting him up in a luxury hotel and giving him an additional $500 each day for food and other expenses. “That was a really cool [scenario],” Park says, “I’m hoping for more of those.”

4. There are countless ways to create a song—and countless people involved.

Songwriting isn’t exactly a linear process. “You can start from any place,” Capellaro says. “You can start with someone toe-tapping, or have a piano pulled up and just start playing a C chord over and over again.” Often, the record label has already started for you—they’ll send an instrumental track to multiple songwriters, who each adds their own lyrics and melody. Then, the label simply chooses their favorite.

Other songs originate in songwriting camps. Basically, a record label will gather various songwriters in a house, split them into small groups, and “see if magic happens,” Stonestreet says. During a camp meant to generate hits for Dua Lipa a few years ago, it did: Stonestreet and several other writers penned her 2018 single “IDGAF.”

But even after a track has lyrics and a melody, there’s always a chance it’ll undergo another round of edits. Maybe a label liked a certain producer’s work on another song, so they ask them to tweak this one; or they bring in a new writer to fine-tune a few words or add a post-chorus. Big artists also sometimes have personal collaborators that they want credited on the song, whether or not they actually helped create it. “That’s why when you look at a Katy Perry song, you’re like ‘How did 14 people write this one song that has the most juvenile lyrics I’ve ever heard in my life?’ They didn’t—it’s all politics,” Capellaro says.

5. Songwriters don’t make much from music streaming services like Spotify.

Music streaming services like Spotify and Apple Music are notorious for pocketing most of the earnings from artists’ work. Spotify, for example, pays the rights holder as little as $0.006 for each stream—and that paltry sum must then be split among all the people involved in making the song. Songwriters, producers, musicians, managers, label executives, and any number of other people could each be entitled to a certain percentage of the profits. “I have over a million streams on one catalog, and that translated to $785,” Capellaro says. “If I sold a million copies, I would’ve had a house up in [Beverly Hills].” Not only are the rates low, but artists also have to somehow make their songs stand out from the tens of thousands of other new songs released each week, which Capellaro admits is “virtually impossible.”

6. Songwriters often juggle other jobs.

Since songwriters can’t rely on streaming dividends for income—and salaried music publishing positions don’t always come easy—they often make ends meet with a variety of side gigs. Park realized early in his career that while songwriters were mainly earning money from royalties, producers were often paid an hourly rate or up-front lump sum. “So I learned how to produce,” he says. Then, he purchased a mic and other equipment so he could record vocals at home—like hooks for people’s rap or EDM songs. “Basically, I’m an a la carte thing,” he explained. Park eventually branched out into music video production, and he’s now directed videos for chart-topping artists like G-Eazy and Ty Dolla $ign. He also served as a music technical consultant for 2020’s The High Note, starring Tracee Ellis Ross and Dakota Johnson; in that position, he made sure the dialogue, instruments, and other music-related details matched real life.

Even when a songwriter appears to be working a job entirely unrelated to the music industry, there could be a shrewd reason for doing so. Capellaro spent more than a decade running a restaurant called Amici in Brentwood, California. “I knew I wanted to be there because that’s where the celebrities live,” he explains. Sure enough, he connected with people like J.J. Abrams, Laura Dern, and Bonnie Hunt, who was hosting her NBC talk show at the time. One evening while refilling Hunt’s water glass, Capellaro posed a question: “Hey Bonnie, what would it take to be on your show?” She asked if he had a CD on hand, which he did, and booked him as a musical guest within weeks. The day after the taping, Hunt dined at Amici again and lauded Capellaro for his performance. “I’m like, ‘This is so surreal. I was just on your show yesterday, and now I’m bringing you sea bass.” A producer who caught the performance later reached out to Capellaro and ended up inviting him to his studio for songwriting sessions—which yielded hits for Chris Brown and Boyz II Men.

It was also at Amici that Capellaro developed a friendship with Marc Caruso, a music engineer who happened to be the founder of a music publishing company called Angry Mob Music Group. About five years ago, Caruso, knowing Capellaro was itching to give up his restaurant job and focus on music full-time, offered him a music publishing deal; Capellaro’s been there ever since.

7. Songwriters have to form close bonds with artists in a few hours or less.

Because the goal is to create a song that feels personal to the artist, songwriters usually prefer to work directly with them whenever possible. And getting the artist to give them some seed of inspiration means forging a deep friendship with them within minutes of entering the studio.

“There’s so much trust that needs to happen in the room. You’re telling potentially intimate details about yourself that would be uncomfortable sharing [with a stranger]. So much of it is trying to create a safe place for the artist and a safe place for the writers, all the while dealing with egos the size of tall buildings,” Capellaro says. “It’s almost like a therapy session: What’s your mood today? What happened over the weekend? What’re you pissed off about? What’re you inspired by at this very moment? Because it can change at 5 p.m. today, and maybe that inspires the song.”

Stonestreet expressed a similar sentiment. “I honestly love when the artist is involved. You won’t know anything specific unless you’re sitting there having a conversation—it can be emotional. You form a relationship, and you trust each other to handle the information.”

8. Songwriters have to say “no” without actually saying “no.”

Songwriters have to find creative ways of steering a song in the right direction without flatly rejecting an artist’s not-so-great suggestion. Stonestreet might toss out a compliment and lean on the lackluster reaction of the room as evidence that they haven’t yet struck gold. Something to the effect of: “‘That’s cool, and I like it, but maybe it’s not jumping out, and it’s not making everyone jump around the room and [giving everyone] that feeling of ‘This is so exciting.’”

“I always say, ‘Let’s try it,’” Park says. “‘I don’t necessarily hear what you’re talking about, but let’s try it.’” Sometimes, hearing their idea come to life is enough to make the artist realize it isn’t a great fit. Park also occasionally asks the artist’s manager, significant other, or another trusted party to weigh in, hoping they’ll side with him. “But I am always honest. I’m like, ‘Yeah, I don’t think the idea works. If you like it, 100-percent do it. It’s not my vibe, but it’s your song.'”

And since the artist does have final say, the writers also need to know when to cut their losses. If the artist is hell-bent on certain subpar lyrics? “You’re going to go with whatever they’re going to like,” Capellaro says.

9. Songs sometimes get lost in the abyss.

Earlier this year, Stonestreet wrote Ariana Grande and Justin Bieber’s duet “Stuck with U,” which got released mere weeks later. “I just heard the demo of it last week, and it’s coming out Friday. I don’t understand what’s going on,” she thought at the time. “That was a freak thing. Usually you do have to wait a minute.” A minute could be a year—or never. “So many people have to say yes to the song for it to come out … All the label’s people, the artist’s team, your team.” Even after getting all those green lights, a single could still test poorly among advance radio reviewers and end up stalling indefinitely.

Sometimes, a record label neglects to send the finished product back to the songwriter. “I think some songs can go into a complete abyss where they just sit on a hard drive for years and years,” Stonestreet says.

10. Songwriters have mixed feelings about making music via Zoom.

Since songwriting often involves multiple people spending long hours in a small studio, the coronavirus pandemic threatened to upend the whole system. So songwriters went virtual. Some, like Park and Stonestreet, already had recording equipment at home; Capellaro, meanwhile, quickly invested in a mic, a monitor, cables, and all the other requisite gadgets. To shift the workflow online, they’ve had to more clearly define each person’s task for each song.

“I’m a vocalist, so I’m going to record vocals in my house, and I will send the stems to producer X, Y, or Z, have them tune them for me [and] put them into the rest of the track," Capellaro says. “I can have another guy master it, [and] we can always hop on a FaceTime or Zoom call to get it written and recorded.” This streamlined process has actually helped with productivity. “I have been writing more music since March than I was previously,” Capellaro says.

Making music via video chat tends to work better with fewer people, so Stonestreet has enjoyed the opportunity for more one-on-one sessions. When there are several people on the call, they cut down on confusion over who’s speaking (and singing) by thoroughly explaining each suggestion. “You really talk things through, which has been really nice,” she says. That said, the camaraderie born in the studio is hard to recreate on a computer screen, and songwriters are eager to experience that again. “I love Zoom, but I also really miss people in the room with me,” Stonestreet says.