Business Wars

Today we have a special bonus episode with breaking news from the Business Wars Daily desk on this Monday, April 1.

Sizzlers, Mattel’s new motorized Hot Wheels, were supposed to be the top toy this Christmas. But sales have fizzled, leaving Mattel $30 million below target. For the last ten years, Mattel’s done exceptionally well by its investors, but now the toymaker is facing a stock price collapse. To keep up appearances, Mattel starts cooking its books—but the move may end up costing CEO Ruth Handler the company. Elsewhere in Toyland, Hasbro’s facing an uncertain future. Kids are turning their backs on G...

It’s the 1960s and Hasbro is struggling. The pencil manufacturer turned toymaker hasn’t had a major success since Mr. Potato Head hit the shelves in 1952, and it’s starting to lose money. If the company doesn’t act fast, it’ll be headed for bankruptcy in no time. Mattel’s “accessories sold separately” approach to Barbie has revolutionized the industry. Now Hasbro’s toymakers hope to replicate her success with a doll of their own—for boys...

It’s the late 1940s and two small toymakers are taking their first uneasy steps. The names of these young hopefuls are Hasbro and Mattel. One’s an offshoot of a pencil manufacturer. The other a husband-and-wife garage start-up. But toy-mayking, they soon discover, is an unexpectedly cutthroat business. If either of these companies hopes to survive--let alone succeed--they’re going to need to get creative...

Heavy bass, high synth, daring rhymes schemes, and melody. These are the elements that epitomize the 90s hip hop music of Death Row Records and Bad Boy records. Charlie Harding, co-host of Switched On Pop helps us break down two of the era’s most seminal hits: “California Love” by 2Pac and “Big Poppa” by The Notorious B.I.G. Plus, how the streaming services are changing the music industry and the music itself...

The rivalry between the East and West Coasts of hip-hop has become an all out war, with Death Row and Bad Boy on the front lines of the conflict. Within six months, the war claims the lives of Tupac Shakur and Biggie Smalls, sending shockwaves through the hip-hop community. For Death Row and Bad Boy, labels built on the backs of these stars, the future looks uncertain. Now the fate of each business rests in the hands of its owner...

By the time Biggie Smalls meets Tupac Shakur, Tupac is already a big star. He hasn’t yet signed with Death Row, but he’s already sold millions of records and starred in two feature films. Biggie, on the other hand, is still waiting for his first album to drop. Biggie and Tupac become fast friends, but their relationship doesn’t last long. The two rap stars are pulled in different directions...

Biggie Smalls has a recording deal on the horizon, but he doubts it’ll ever go through. Now that Puffy is out of a job, the future of Bad Boy looks dubious at best. If Puffy can’t find a new distributor fast, the songs Biggie’s been recording might never hit the airwaves. Meanwhile, on the West Coast, Dr. Dre has been working day and night, crafting the beats for his debut solo album, but there’s only so much he can do on his own...

In the 70 and 80s, the founders of Death Row and Bad Boy are just coming of age. In the Los Angeles neighborhood of Compton, a young Dre is spinning records before he even learns to read. Dre desperately wants to be a hip-hop DJ, but Los Angeles barely has a hip-hop scene. In New York, on the other, rap is popping off. And an 18 year old called Sean “Puffy” Combs has B.I.G. plans for the for Big Apple...

In the 1990s, the landscape of American music was changed forever by two titans of hip hop: Death Row and Bad Boy. The rivalry between these iconic rap labels would go on to become as legendary as it was notorious. But in these early days? It’s all good. Death Row Records, the West Coast company, is already the hottest label in gangsta rap. But now that they’ve signed mega-star Tupac Shakur, they’re poised to dominate the industry...