19 Behind-the-Scenes Secrets of IKEA Employees

Stephen Chernin/Getty Images
Stephen Chernin/Getty Images

Chances are good you have a piece of IKEA furniture in your home. Perhaps you’re even sitting on an IKEA couch, reading at an IKEA desk, or lying in an IKEA bed right now. The Swedish company is the world’s largest furniture retailer, selling billions of dollars worth of goods each year, from BILLY bookcases to GLIMMA tealights. Its massive blue-and-yellow stores are kept well-stocked and running smoothly thanks to the efforts of more than 194,000 employees (or as IKEA calls them, “coworkers”) across the globe. We spoke with a few of them about what it’s like to work for one of the world’s most recognizable retail stores.

1. THE IKEA PATHWAY HAS A CODE NAME.

It’s no secret IKEA’s maze-like showrooms are designed to take shoppers through every department, from the kitchen to the textiles, making sure they lay eyes on as many goods as possible. "One could describe it as if IKEA grabs you by the hand and consciously guides you through the store in order to make you buy as much as possible," Johan Stenebo, an IKEA veteran, wrote in his book, The Truth About IKEA.

The winding walkway is known lovingly among employees as the “Long Natural Path” or the “Long Natural Way.” According to a 2011 New Yorker article by Lauren Collins, the pathway is supposed to curve every 50 feet to prevent shoppers from getting bored.

2. THERE ARE SECRET SHORTCUTS ...

Need to get to bedding but don’t want to walk through textiles, bathroom, and living room first? Stuck on the top floor but need a quick way to ground level? Take a shortcut.

There are multiple quick routes through the store, both for safety reasons and stocking reasons, and they’re open to the public. But they’re not advertised, so you’ll need a keen eye for secret passageways. Often they take the form of unmarked service doors.

“If you know where to look, you’ll find them,” says Paula, who worked at an IKEA store in Houston for a year. At her store, there was a shortcut route that started with an unmarked door near the escalators. “Nobody’s going to stop you unless it explicitly says ‘employees only,’ but other than that you can open doors and you’d be amazed,” she says.

“I love IKEA, but sometimes you just need to get in and out in like 20 minutes,” says Marie, who worked at IKEA for 11 years. If that’s the case, just ask an employee to give you the quickest route to your destination and they’ll point you to the nearest shortcut.

3. ... BUT DON’T GET TOO USED TO THEM.

“They’re always changing,” says Paul Robertson, who worked for 10 years at IKEA Canada. “They used to change them fairly frequently because we had a lot of repeat business, so customers would get familiar with the shortcuts and know how to zip through. After a while they would change the shortcuts to force people to go around the long way again.”

4. THE WALLS MOVE.

Stephen Chernin/Getty Images

According to Paula, the partitions that enclose IKEA’s various showrooms are on rollers and can be moved. “They have a lock on them so people can’t randomly move them,” Paula says. “At the end of the night we move all the walls out of the way so we have a straight shot to where the trash is.” This also makes it easier to remodel the display rooms.

5. CUSTOMERS SOMETIMES BUY ENTIRE ROOMS.

Speaking of the display rooms, occasionally customers will decide they like an entire room so much, they’ll order it as-is. “There have been people that come in and see a room and like everything there and they take it,” Paula says.

6. THERE'S AN “OPEN THE WALLET” SECTION.

NOAH SEELAM/AFP/Getty Images

IKEA stores are littered with piles of small, practical items that are so cheap they’re hard to pass up. These areas are called the “Open The Wallet” sections. “There, an abundance of cheap goods—flowerpots, slippers, lint rollers—encourages the customer to make a purchase, any purchase, the thinking being that IKEA shoppers buy either nothing or a lot,” Collins writes.

According to Rob, a two-year IKEA veteran, this area was located at the bottom of the stairs on the second floor at his store. “It’s basically impulse buys,” he says. “It’s a lot of very cheap items, things that look practical, useful, something you didn’t realize you wanted.” The next thing you know you’re shoving five packs of tea candles and a bunch of plastic hangers into your yellow shopping bag, when all you really came in for was a desk lamp.

7. THERE'S A REASON THEY PILE THOSE BINS SO HIGH.

Another method for getting people to add things to their bags is known internally as the “bulla bulla” technique. Big bins are stuffed to the point of overflowing with hundreds of items “to create the impression of volume and, therefore, inexpensiveness,” according to Collins.

“One of the big things is the sort of jumbo bin, they love that,” says Robertson. “If stock starts running low there, fill it back up. Pile it high. Customers think they’re getting a deal.”

8. YES, YOU CAN NAP ON THE FURNITURE ...

Kevin Frayer/Getty Images

The displays are meant to be touched, tested, and experienced. If you want to curl up on an IKEA couch or sprawl out on the bed, go for it. “You are allowed to sit on the beds,” says Paula, “but if you’ve been there for two or three hours, we have to wake you up.”

This is a particularly well-documented phenomenon in China, where shoppers have been photographed snoozing all over the showroom. “We don’t see it as a problem,” IKEA spokesman Josefin Thorell told the Wall Street Journal. “We’re happy people feel at home in our stores. Certainly, it entails a little extra work for the staff, purely practically. But on the other hand, if customers try out our furniture and like it, we can sell an extra mattress or two.”

9. ... BUT YOU PROBABLY DON’T WANT TO.

According to Jana, an IKEA employee in Texas, the pillows on the display beds get swapped out once a month at her store, and the pillowcases only get changed when they are visibly dirty. The same goes for blankets and duvet covers. “I changed a bunch of duvet covers yesterday because from people touching the same corner every day, it looked dingy,” she says. “If we see something and think it looks gross, it needs to be changed.”

10. THEY WISH YOU’D STOP OPENING THINGS.

NOAH SEELAM/AFP/Getty Images

“Customers will open anything and everything,” says Jana. “Everything in that store, we have on display. You can touch it, feel it, lay your face on it, but for some reason they’ll open the package and then leave it there. What they don’t understand is when they open certain things, we can’t resell them, so we have to scan them out.”

11. THEY’RE TRAINED NOT TO OFFER HELP.

If you’re the passive-aggressive type of shopper, you’re bound to be disappointed at IKEA. Employees are given specific instructions to let the customers come to them if they need assistance. “You were supposed to only help customers if they asked you for it,” says Rob. “We were told that’s a very Scandinavian way of how stores work.” The same rule applies in the warehouse, where customers are expected to find and lift their own items unless it’s obvious they need assistance.

12. THE BOOKS IN THE SHOWROOM OFTEN COME FROM EMPLOYEES’ OWN LIBRARIES.

IKEA’s sample rooms often feature towering bookshelves, but empty shelves aren’t particularly inviting. So, employees are asked to bring books from their own collection to fill the blank space. “All of that was stuff we owned,” Rob says. Usually they were asked to bring books that matched a certain color scheme. And you couldn’t bring in anything racy. “You had to use your common sense,” Rob says. “Nothing pornographic or anything.”

13. THE MOST POPULAR ITEMS ARE …

The BILLY bookcase and the LACK table. The POÄNG chair, MALM bed, KALLAX shelving units, RENS sheepskin rug, and EKTORP sofa are some of the other top picks.

14. THE SERIAL NUMBERS CAN TELL YOU A LOT.

According to Robertson, there’s some rhyme and reason to the eight-digit code linked to each IKEA item. “While I was there, it was that the last two numbers would tell you what color the item was. So let’s say it ended in 40, it was blue. That would mean the 4 range was blue, so 41 might be light blue and 42 would be dark blue.”

Many of the names have meaning, too. According to Collins, “traditionally, the names of IKEA’s bookcases derive from different occupations; curtains are given names from mathematics; and bathroom products are named for lakes and rivers.”

15. THEY WITNESS A LOT OF ARGUMENTS.

“If you really wanna test your relationship, go through IKEA and buy something,” says Jana. “I guess they just get stressed and overwhelmed that the store’s so big. I had a couple trying to make a decision on a rug and he was mad and she was on verge of tears. Then we were out of the rug they wanted, which made it even worse.”

Lovers' quarrels are so common in the store that at least one psychologist told the Wall Street Journal she has her bickering clients construct the NORNÄS coffee table as a relationship-building exercise. Janice Simonsen, design spokeswoman for IKEA U.S., also told the paper she spent five years as a furnishings consultant and created a list of guidelines specifically for couples planning a trip to the store.

16. THEY SPEAK IN CODE.

JUNG YEON-JE/AFP/Getty Images

When “Code 22” comes over the intercom, it’s a distress call from the cash lanes. “We usually hear it around rush hour or on weekends,” says Jana. “It means the cash lanes are backed up into the warehouse. Anyone in the store who is register-trained has to go to the front and help.”

If a lost kid is wandering the store (which happens a lot), Jana says managers use “Code 99” to put all employees on alert. “There are so many wardrobes to hide in or bed skirts to hide under,” says Marie. “If a kid really wanted to be hidden it would not be too hard.”

17. THINGS GET WILD AFTER HOURS.

“At the end of night, they’d open all the walls and we’d have a big empty space and there would be pallet jack races,” Paula recalls.

And there’s perhaps no better place to play hide-and-seek than in a massive, multiple-story maze stuffed with nooks and crannies. “On closing shifts, one guy I worked with would always manage to have me distracted, then he’d go hide in the store,” says Robertson. “So I would have to finish up tasks, walk through the store knowing somewhere along the way he would jump out at me, and he got me all the time.”

18. THEY GET GREAT CHRISTMAS GIFTS.

IKEA is known for having good employee perks, including its end-of-year gifts, which range from electronics to plane tickets. “The first year I worked there they gave out bikes,” says Rob. “This year they gave out Rokus.” Paula says her store gave employees who had been specially recognized by their coworkers the chance to win plane tickets to anywhere in the world.

19. PINTEREST DRIVES SALES.

Employees can tell when an item has been featured in a viral Pinterest project because it sells out quickly. “There was one specific spice rack we were constantly sold out of,” says Paula. “Someone had gone on Pinterest and said you can paint it and make it a bookshelf for picture books for toddlers. We had to tell people, ‘If you’re here for the spice rack, we don’t have it.’” (For reference, it’s called the BEKVÄM spice rack.)

A version of this story first ran in 2016.

Amazon's Best Black Friday Deals: Tech, Video Games, Kitchen Appliances, Clothing, 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.

Black Friday is finally here, and Amazon is offering great 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)

- Keurig K-Cafe Special Edition; $190 (save $30)

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- Nespresso Vertuo Next Coffee and Espresso Machine by Breville; $120 (save $60)

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

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

- Cuisinart Bread Maker; $80 (save $97)

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

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Home Appliances

Roomba/Amazon

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Video games

Sony

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Computers and tablets

Microsoft/Amazon

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Tech, gadgets, and TVs

Apple/Amazon

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

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Headphones and speakers

Beats/Amazon

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Movies and TV

HBO/Amazon

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Toys and Games

Amazon

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Furniture

Casper/Amazon

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Haus/Amazon

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Clothes

Ganni/Amazon

- Ganni Women's Crispy Jacquard Dress; $200 (save $86) 

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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.