14 Secrets of McDonald's Employees

Justin Sullivan, Getty Images
Justin Sullivan, Getty Images

While there’s virtually no end to the number of fast food options for people seeking a quick meal, none have entered the public consciousness quite like McDonald’s. Originally a barbecue shop with a limited menu when it was founded by brothers Richard and Maurice McDonald in the 1940s, the Golden Arches have grown into a franchised behemoth with more than 36,000 locations worldwide.

Staffing those busy kitchens and registers are nearly 2 million McDonald's employees. To get a better idea of what many consider to be the most popular entry-level job in the nation—staff members on the floor make an average of $9 an hour—we asked several workers to share details of their experiences with errant ice cream machines, drive-through protocols, and special requests. Here’s what they had to say about life behind the counter.

1. McDonald's employees can't always deliver fast food all that fast.

While McDonald’s and other fast-service restaurants pride themselves on getting customers on their way, some menu items just don’t lend themselves to record service times. According to Bob, an assistant store manager at a McDonald’s in the Midwest, pies take an average of 10 to 12 minutes to prepare; grilled chicken, 10 minutes; and biscuits for Egg McMuffins, eight to 10 minutes. In the mood for something light, like a grilled chicken and salad? That will take a few minutes, too. Bob says salads are pre-made with lettuce but still need to have chicken and other ingredients added.

The labor-intensive nature of assembling ingredients is part of why the chain has more recently shied away from menu items with too many ingredients. “We are trained to go as fast down the line as we can, and if we have to stop to make something that has 10 ingredients, it tends to slow things down,” Bob tells Mental Floss. “Corporate has realized this and has taken many of these items off in recent years, [like] McWraps, Clubhouse, more recently the Smokehouse and mushroom and Swiss and moved to items that can go a lot quicker.”

2. McDonald's workers wish you’d stop asking for fries without salt.

Joerg Koch, AFP/Getty Images

A common “trick” for customers seeking fresh fries is to ask for them without salt. The idea is that fries that have been under a heating lamp will already be salted and that the employee in the kitchen will need to put down a new batch in the fryer. This does work, but customers can also just ask for fresh fries. It’s less of a hassle and may even save employees some discomfort.

“People can ask for fresh fries and it's actually way easier to do fresh fries rather than no-salt fries,” Andy, an employee who’s worked at three different McDonald’s locations in the Midwest, tells Mental Floss. “For those, we have to pour the fries onto a tray from the fryer so they don't come in contact with salt. It can get awkward sometimes getting everything into position, especially if you have a lot of people working in close proximity and it's busy, so I've had some scalded hands a couple of times trying to get fries out in a timely way.”

3. McDonald's workers have to pay careful attention to the order of ingredients.

McDonald’s is pretty specific about how their burgers and other items are supposed to be assembled, with layers—meat, cheese, sauce—arranged in a specific order. If they mess it up, customers can notice. “In some cases it has a big impact,” Sam, a department manager and nine-year veteran of the restaurant in Canada, tells Mental Floss. “Like placing the cheese between the patties with a McDouble. If they don’t put the cheese between the patties, the cheese won’t melt.”

4. There’s a reason McDonald’s employees ask you to park at the drive-through.

Tim Boyle, Getty Images

After ordering at the drive-through window, you may be slightly puzzled when a cashier asks you to pull into one of the designated parking spots. That’s because employees are measured on how quickly they process cars at the drive-through. If your order is taking a long time to prepare, they’ll take you out of the queue to keep the line moving. “My store has sensors in the drive-through that actually tell us exactly how long you are at each spot in the drive-through,” Bob says. “We get measured based on something we call OEPE. Order end, present end. [That measures] from the second that your tires move from the speaker until your back tires pass over the sensor on the present window. My store is expected to be under two minutes.” If an order will take longer than that, you'll be asked to park.

5. The McDonald's drive-through employees can hear everything going on in your car.

While the quality of the speakers at a drive-through window can vary, it’s best to assume employees inside the restaurant can hear everything happening in your car even before you place an order. “The speaker is activated by the metal in the car, so as soon as you drive up, the speaker turns on in our headset,” Andy says. “We can hear everything, and I do mean everything. Loud music, yelling at your kids to shut up, etc.”

6. The employees at McDonald’s like their regulars.

Chris Hondros, Getty Images

With hot coffee, plenty of tables, Wi-Fi, and newspapers, McDonald’s can wind up being a popular hang-out for repeat customers. “[We have] a ton of regulars who come into my store,” Bob says. “I'd say at least 75 percent of my daily customers know us all by name and we know them all, too. It makes it nice and makes the service feel a lot more personal when a customer can walk into my location, and we can look them in the eye and say, ‘Hey Mark! Getting the usual today?’ and we've already started making his coffee exactly how he takes it.”

7. McDonald’s staff get prank calls.

Unless they’re trying to cater an event, customers usually don’t have any reason to phone a McDonald’s. When the phone rings, employees brace themselves. In addition to sometimes being asked a legitimate question like when the store closes, Sam says his store gets a lot of prank calls. “Sometimes it’s people asking about directions to Wendy’s,” he says. “A lot of inappropriate ones. Most are pretty lame.”

8. For a McDonald’s worker, the ice cream machine is like automated stress.

iStock/jax10289

The internet is full of stories of frustrated McDonald’s customers who believe the chain’s ice cream machines are always inoperable. That’s not entirely true, but the machine does experience a lot of downtime. According to Bob, that’s because it’s always in need of maintenance. “The thing is, it is a very sensitive machine,” he says. “It's not made to be making 50 cones in a row, or 10 shakes at a time. It takes time for the mix to freeze to a proper consistency. It also requires a daily heat mode, [where] the whole machine heats up to about 130 degrees or so. The heat mode typically takes about four hours to complete, so you try to schedule it during the slowest time.” Stores also need to take the machine entirely apart every one to two weeks to clean it thoroughly.

Bob adds that the machine’s O-rings can crack or tear, rendering the unit inoperable. Seasoned workers can tell if a unit is faulty by the consistency of the shakes or ice cream coming out, and sometimes by the noises it makes.

9. McDonald's employees don't mind if you order a grilled cheese.

Contrary to rumor, there’s no “secret menu” at McDonald’s. But that doesn’t mean you can’t sometimes snag something not listed on the board. Andy says a lot of people order a grilled cheese sandwich. “I've made many a grilled cheese before,” he says. But it’s not without consequences. “Sometimes it can get a bit risky doing it because the bun toaster wasn't designed to make grilled cheeses so sometimes you get some burnt buns or cheese or the cheese sticks inside and it slows down the other buns from getting out on time so that causes more burnt buns.”

Another common request is for customers to ask for a McDouble dressed as a Big Mac, with added Big Mac sauce and shredded lettuce. “I think [it’s] a way more practical way to eat a Big Mac since there's less bun in the way, and it's also way cheaper even if you do get charged for Mac sauce.”

10. McDonald’s workers recommend always checking your order.

Justin Sullivan, Getty Images

Nothing stings worse than the revelation that an employee has forgotten part of your food order. Contrary to popular belief, it’s not because the employees are being lazy or inattentive. According to Bob, it’s simply due to the volume of customers a typical location has to process in a given day. “We are human,” he says. “Mistakes do happen. We always feel terrible when they do but when we serve 1000-plus people a day, it's bound to happen.”

Bob recommends checking your bag before leaving the restaurant and not taking it personally if there’s an issue. “Be nice to us if you have a problem,” he says. “It's a huge difference between coming to us and saying, ‘Hey, I seem to be missing a fry from my bag,’ and ‘You bastards didn't give me my fries!’” If you want to check your bag at the drive-through, though, he recommends trying to pull ahead so cars behind you can move forward.

11. McDonald's employees don't recommend the grilled chicken.

If a menu item isn’t all that popular, it can wind up experiencing a low rate of turnover. Of all the food at McDonald’s, the most neglected might be the grilled chicken. Because it doesn't move quickly, workers find that it can turn unappetizing in a hurry. “That stuff has a supposed shelf life of 60 minutes in the heated cabinet, but it dries out so quickly that even if it's within an acceptable time frame, it looks like burnt rubber, and probably tastes like it, too,” Andy says.

12. Golden Arches employees aren’t crazy about Happy Meal collectors.

David Morris, Getty Images

Happy Meals are boxed combos that come with a toy inside. Usually, it’s tied into some kind of movie promotion. That means both Happy Meal collectors and fans of a given entertainment property can swarm stores looking for the product. “The biggest pain involving the Happy Meals is the people who collect them,” Bob says. “I personally hate trying to dig through the toys looking for one specific one. We usually only have one to three toys on hand. It's especially a pain in the butt during big toys events such as the Avengers one we just had. There was like 26 different toys, and some customers get really mad when you don't have the one that they want.”

And no, employees don’t usually take home leftover toys. They’ve saved for future use as a substitute in case a location runs out of toys for their current promotion.

13. McDonald's employees can’t mess with Monopoly.

The McDonald’s Monopoly promotion has been a perennial success for the chain, with game pieces affixed to drink cups and fry containers. But if you think employees spend their spare time peeling the pieces off cups looking for prizes, think again. Following a widely-publicized scandal in 2000 that saw an employee of the company that printed the pieces intercepting them for his own gain, the chain has pretty strict rules about the promotion. “Monopoly pieces and things like them get sent back to corporate,” Bob says. “We aren't allowed to touch them, open them, or redeem them as employees.”

14. One McDonald's worker admits there have been sign mishaps.

Tim Boyle, Getty Images

Many McDonald’s locations sport signs under the arches advertising specials or promotions. Some are analog, with letters that need to be mounted and replaced. Others have LED screens. Either way, there can be mistakes. “I've never seen anyone mess around with the letters,” Andy says. “But I do remember one time we were serving the Angus Burgers and the ‘G’ fell off of the word ‘Angus.’ Good times.”

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.