12 Secrets of Bed Bath & Beyond Employees

Kevork Djansezian, Getty Images
Kevork Djansezian, Getty Images

Need a super-absorbent towel? Luxury sheets made of exotic-sounding cotton? When consumers feel like pampering themselves with home goods, they head to a Bed Bath & Beyond location. The retail chain with 1024 stores across the U.S., Canada, Puerto Rico, and Mexico was founded in 1971 with a focus on kitchen and bath amenities. Today, it’s probably best known as the store with a seemingly inexhaustible supply of 20 percent off coupons that blanket mailboxes and newspapers across the country.

To get a better idea of what goes on between those stacks of infamously fake towels, Mental Floss reached out to three former employees of the chain. Here’s what they had to say about job perks, occupational hazards, and the grim consequences of accepting returns on used bedding.

1. They might give you the discount without the coupon.

Many of the customers roaming a typical Bed Bath & Beyond location can be seen clutching the oversized 20-percent-off coupons sent to homes and email inboxes, which are good on most every single-item purchase. But sometimes, they might find themselves in the store without one of these valuable pieces of paper. According to Eric, who worked at a Bed Bath & Beyond in Ohio for four years, cashiers will typically take care of them anyway.

“Generally speaking, we were instructed to not give out the coupon because then everyone would just get a discount and it would defeat the purpose,” he says. “However, if a customer forgot, and went out of their way to be polite throughout the transaction, I would take care of them, but usually only if there wasn’t a line built up and no one could see. If I gave it to one, everyone else would want it, too.”

Bear in mind this courtesy applies to nice people: “If customers were rude or acting immature, I would not feel like helping them out.”

2. Bed Bath & Beyond employee see some pretty disgusting returns.

Kevork Djansezian, Getty Images

Regina spent five years as a cashier, customer service representative, and supervisor at a Bed Bath & Beyond location while working her way through graduate school. During her tenure there, the store’s infamously lenient return policy permitted refunds for items with few exceptions. As a result, Regina saw things she wishes she hadn’t. “We had a lot of nasty returns from sheets with possible bed bugs to used dishes with food on them [and] used toilet bowl cleaners," she says. "You name it.”

Today, the store limits returns to items bought within the past year, though you could probably still get away with returning a food-encrusted frying pan.

3. They get to try products for a discount.

Kevork Djansezian, Getty Images

Ever notice Bed Bath employees actually have answers about an item you’re interested in? Turns out the company tries to make it easy for them to know their stuff. “They offer an incentive program, which was one of my favorite parts,” Annie says. “Employees got a list from corporate once a month with items at a really good discount, so they could try the item without spending full price and be able to give customers better feedback from their personal experience.”

4. Bed Bath & Beyond employees can't tell you no.

Try asking a Bed Bath & Beyond employee a question that could elicit a negative response. Chances are you won’t hear them use the word no. That’s because company policy encourages employees to avoid sounding negative or unhelpful. “Employees can't say no,” Regina says. “There has to be a solution to offer or an effort to look it up before saying no to a customer.”

5. They wish you'd stop wandering into the back rooms ...

While Bed Bath & Beyond prides itself on one-on-one customer service, their reputation for being accessible to shoppers can sometimes come back to bite them. Annie worked at a Bed Bath & Beyond in the northwest region for eight years and says that people often went everywhere, even off-limits areas, in search of assistance. “It was more common than you would expect to have customers push through our doors marked ‘Employees Only’ and search the stockroom looking for an employee,” she says. “If I could say anything to customers, it would be to please do not do that."

6. ... And climbing the displays ...

Kevork Djansezian, Getty Images

Bed Bath’s store layout maximizes their real estate footprint by stocking and stacking items a dozen or more feet in the air. Part inventory and part decoration, these shelves clearly aren’t meant to be areas for self-service, but Annie still watched as patrons treated the fixtures like a jungle gym. “People were typically pretty good at asking for help if they needed it, but I did catch a handful of people not only climbing shelves but unstrapping our ladders and using them themselves even though there were always signs and stickers prohibiting them from doing so.” Anne would also spot parents letting small children climb on ladders. Needless to say, this is never recommended behavior.

7. ... And stealing small parts.

Because Bed Bath & Beyond uses actual small appliances as display models and not mock-up fakes like some stores, customers will sometimes swipe a little part they need from the shelf. That might be why you notice that Keurig coffeemaker missing its tray. “Occasionally, people would steal pieces from our kitchen electronic displays since we didn’t sell parts individually and our displays were typically actual working models,” Annie says.

8. Don't bother trying to scam them with your refund.

Kevork Djansezian, Getty Images

Bed Bath & Beyond's generous return policy has sometimes allowed consumers to profit. “People started to take so much advantage of using coupons and then returning an item without a receipt for full price that the company finally had to implement a policy where any non-receipted return had 20 percent automatically deducted from it,” Annie says.

9. Towels are the bane of their existence.

iStock.com/steve-goucher

Towels. They’re everywhere at Bed Bath, and although the inventory on the upper shelves is usually just one towel made to look like several while tucked around foam backing, consumers don’t treat the remaining stacks with a whole lot of courtesy. “The worst [part] was probably the towels,” Annie says. “People would unfold them, drop them off in the wrong spot when they found a better one, or mess with our display towels, which were a pain to do. For a while during the holidays, we actually had someone just for the towel department to try and upkeep it.”

Eric describes his dealings with towels as a “nightmare” due to having to re-fold them every night. “People threw them everywhere.”

10. There can be blood.

While not quite as grisly as an emergency room, employees at Bed Bath might still occasionally see something gruesome. “I cleaned up plenty of blood from people stabbing themselves trying to rip security tags off goods in the bathroom so they can steal them,” Eric says.

11. They're not fooled by your counterfeit coupons.

Those pervasive 20-percent-off coupons seem to be everywhere, but sometimes people get so desperate for their discount fix that they’ll conjure up one of their own. “We had fakes all the time,” Annie says. “A lot of people thought they could go online to Google Images and print off a copy of a random coupon. They don't work and we would never accept them.” These days, coupons have unique barcodes and can’t be used more than once. (In case you were wondering, redeemed coupons get ripped up and tossed in the trash.)

12. The “Beyond” isn't in the store.

Kevork Djansezian, Getty Images

Employees frequently get asked where the “Beyond” of Bed Bath & Beyond is. “There is no ‘Beyond’ section,” Regina says. “The back room is just overstock.” The “Beyond” refers to an assortment of goods that are available via special order and not stocked in stores, like made-to-order furniture and personalized gifts.

Amazon's Best Cyber Monday Deals on Tablets, Wireless Headphones, Kitchen Appliances, and More

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Amazon

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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.