Business Wars

It’s 1998 and the slugfest between Vince McMahon’s WWF and Ted Turner’s WCW is reaching a critical juncture.

McMahon’s on a mission to pull wrestling fans back to his TV shows with a strategy focused on maximum controversy. And to help him in his mission, he’s getting back-up from a high-flying TV executive and a bunch of Wall Street bankers.

WCW chief Eric Bischoff is determined to stop WWF’s comeback at all costs. But he’ll soon discover that his most dangerous enemy isn’t McMahon — it’s the executives on his own team.

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It’s 1996 and with Monday Nitro topping the TV ratings, WCW is out to end WWF’s time as the biggest player in the wrestling business.

It’s plotting to establish two brands: one that WCW boss Eric Bischoff hopes can suck away WWF’s family audience, another that will seek to capture the young males who crave more violent and outrageous entertainment than the WWF offers.

But Vince McMahon has a plan of his own. He’s going to push the WWF in a new direction by embracing controversy. But it’s a strategy that will put him on a collision course with the cable network the WWF depends on for its survival.

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It’s 1995 and the Monday Night Wars are underway. WCW’s new show Monday Nitro is grappling with the WWF’s Monday Night Raw to win TV viewers’ attention.

WCW isn’t pulling its punches either. Under the command of Eric Bischoff, WCW is dropping spoiler bombs, luring away WWF’s top wrestlers and trashing the WWF brand.

And as WCW gains momentum, Bischoff is plotting a killer blow – a shock role reversal that will force WWF boss Vince McMahon to rethink how his wrestling promotion works.

Support us by supporting our sponsors!

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It’s 1994 and WCW is stepping up its game. To get the jump on WWF, Ted Turner is writing big checks to steal away the WWF’s biggest stars and sponsors. And as WCW’s star power increases, so does its popularity with wrestling fans.

But the WWF is in no position to fight back. It’s struggling to keep the lights on, there’s discontent among its roster of wrestlers, and Vince McMahon is preoccupied with staying out of prison.

And now Turner wants to deliver a killer blow. A new Monday night wrestling show that will go head to head with the WWF’s flagship TV program Monday Night Raw.

Support us by supporting our sponsors!

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It’s the dawn of the 1990s and Vince McMahon’s WWF is the king of wrestling. But trouble’s brewing: a steroids scandal is about to deal a body blow to the WWF and its family-friendly reputation.

The scandal will leave WWF stuck in damage control mode as it fights to stem the losses from falling TV ratings, ticket sales, and pay-per-view buys.

Meanwhile, Ted Turner’s trying to get World Championship Wrestling fighting fit with help from a former Pizza Hut regional manager, a self-proclaimed Cowboy, and a back-up announcer who wants to bring wrestling to Disney World.

Support us by supporting our sponsors!

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It’s the early 1980s and there’s peace in the wrestling business. For years regional wrestling companies have maintained order by sticking to their own slices of US and Canadian territory.

But that’s all about to change. Vince McMahon has just taken over the World Wrestling Federation, and he wants war. He’s on a mission to crush all opposition and establish the WWF as the only wrestling game in town.

But his assault on the wrestling status quo will also make him a powerful enemy: cable TV mogul Ted Turner.

Support us by supporting our sponsors!

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Harley Davidson built its brand on big, loud and heavy bikes. So why is the company staking its future on an electric motorcycle? It turns out Harley's main demographic, baby boomers, are aging out of the motorcycle scene and the company is looking for its next target market. But will people be interested in a bike that is so fundamentally different than what the company is known for? And how do motorbikes overall fit into an auto industry that is becoming increasingly electric? Journalist Bradley Brownell writes about the auto industry and motorcycles, and has even test driven Harley's new electric bike. He joins us to talk about Harley Davidson, the motorcycle industry and its electric future.

Support us by supporting our sponsors!

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

By the early 1980s, Harley-Davidson is fighting to survive. Japan has glutted the American market with bikes, creating a war Harley can’t fight alone. The company turns to the U.S. government. It’s something they tried in the ‘50s with no success, but now there’s a man in the White House who loves the all-American Milwaukee brand.

In the years ahead Harley stands tall, surviving all manner of battles. But there’s one foe that never stops: time. The company needs to appeal to a new generation of young riders who may not be attracted to Harley hogs — or motorcycles at all. It’s yet another vexing chapter for the 116-year-old company that refuses to die.

Support us by supporting our sponsors!

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It’s 1969, and the iconic film Easy Rider stars Peter Fonda, Jack Nicholson and—most prominently—Harley choppers. It boosts the brand’s cool cred even higher with the American counterculture, much to the chagrin of the aging, conservative company owners in Milwaukee. They’ve long-hated the fact that the Hells Angels ride Hogs, but now the top Angel reveals some shocking news on his true feelings about Harleys.

Finally, there’s a new light in Milwaukee. Willie G. Davidson, son of Harley’s president, rises as chief of style and design. He not only appreciates the outlaw bikers, he looks like one. Harley-Davidson needs to embrace the image that’s grown around the bikes, and Willie G. seems like the man to lead the charge. But can he pull it off?

Support us by supporting our sponsors!

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It’s 1963. After battling the wave of British bikes vying for the high-dollar U.S. motorcycle market, Harley-Davidson is slammed by a tsunami of machines from Japan. Kawasaki, Yamaha, Suzuki and—the biggest, most popular of them all—Honda. 

It’s a nightmare that will force the company to the edge of bankruptcy as the Japanese redefine the industry. Whether Harley can change with the changing times remains to be seen.

On the literary front, writer Hunter Thompson canonizes the Hells Angels with his bestselling book dissecting the outlaw biker crew, highlighting their passion for Harleys. 

As Honda’s sunshiney ‘60s ad jingle says, you meet the nicest people on a Honda. It begs the question, who do you meet on a Harley?

Support us by supporting our sponsors!

See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.