FROM THE EDITOR
MONSTER JAM RETURNS!
Welcome to Edition 48 of The Bugg Report Magazine featuring the return of Monster Jam to Australia this October!
This edition kicks off with an interview with Jeff Bialosky, Senior Vice President of Global Partnerships at Feld Entertainment. We had the chance to speak to Jeff about all things Monster Jam and about the Australian market which includes the Monster Jam World Tour which returns to Melbourne and Sydney this October.
We also speak to Cam and Nat, who are the inventors and developers of That Sound Game! That Sound Game is a fast paced, interactive and very noisy party game.
Verbatim have introduced an exciting new line of limited edition Minecraft USB drives, now available exclusively in Australia.
Next up in this edition is part two of our recent feature interview with
Managing Director — Tony Bugg tony@buggsolutions.com.au
Editor & Designer — Matthew Bugg matt@buggsolutions.com.au
Published by Bugg Marketing Solutions info@buggsolutions.com.au PO BOX 491, Berwick VIC 3806
Authentic Founder, Chairman and CEO, Jamie Salter. In part two of this interview, Jamie discusses his journey, growth, acquisitions, global expansion and the Australian market.
We have another instalment of Wide Eyes
News from the Tube where Wide Eyes takes a look at what the next big thing in music could be for small children and which ones ones to watch.
Jesse Marios, who is a Director at Diecast Distributors Australia, then speaks to The Bugg Report about his business, the hobby market and what the future holds.
Alice Sanderson from the Australian Toy Association provides as update on the 2025 Toy Hobby & Licensing Fair and what you can expect from the Fair next March in Melbourne.
Isabel Wu has returned with another column which looks at the age of digital change leadership in Edition 10 of The New Age of Digital.
BrandTrends provide an overview of 8 key trends shaping the Licensing Market in 2025 and how to stay ahead of the curve.
And finally, Ian Downes looks at the Sunday Times’ Top 100 bestselling books of the last 50 years and more specifically, Edith Holden’s The Country Diary of an Edwardian Lady.
The Bugg Report
FEATURE INTERVIEW — JEFF BIALOSKY (FELD ENTERTAINMENT)
FEATURE INTERVIEW — CAM AND NAT (THAT SOUND GAME)
MARKET WRAP — UNLOCK THE WORLD OF MINECRAFT WITH VERBATIM
FEATURE
— JAMIE SALTER (AUTHENTIC BRANDS —PART TWO)
COLUMN — WIDE EYES NEWS
FEATURE INTERVIEW — JESSE MARIOS (DIECAST DISTRIBUTORS AUSTRALIA)
INTERVIEW WITH JEFF BIALOSKY
SENIOR
Monster JamTM Returns to Australia with Events in Melbourne and Sydney
The Bugg Report had the chance to speak to Jeff Bialosky, Senior Vice President of Global Partnerships at Feld Entertainment, about the global success of Monster Jam and what we can look forward to here in Australia this October (2024).
Thank you for joining us today, Jeff. To kick things off, can you give us an update on what’s been happening with Monster Jam globally, particularly in terms of events?
Jeff Bialosky: Thanks for having me! Monster Jam continues to be a global phenomenon. Since the post-pandemic return, we’ve seen a remarkable resurgence in live events across North America, Europe, South America and Australia. We're expanding our global footprint with more events and tours in both new and established markets, which has significantly boosted the brand's popularity worldwide.
That sounds impressive! Can you share some specific numbers to illustrate this growth?
Jeff Bialosky: Absolutely! In 2024, we project to host over 395 live events; a significant increase from just over 371 events in 2023. We're launching six tours this year, expecting a total
attendance of about 4.8 million, which represents a huge year-overyear increase. Additionally, we're now active in 18 international markets— up 20% year-over-year—with 49 international events, reflecting a remarkable 69% increase.
It's great to hear that Australia is a key market for Monster Jam. What trends are you seeing here?
Jeff Bialosky: Australia is indeed a critical market for us. We’ve seen significant consumer support, with our annual stadium events consistently selling out. Since the return of live events in 2022, we've noted a spike in demand for Monster Jam merchandise, including apparel and toys. We’re excited to be partnering with Kmart for a third consecutive year, which has been instrumental in driving growth for Monster Jam at retail.
Speaking of Monster Jam partnerships, can you elaborate on any new collaborations or product launches that are happening?
Jeff Bialosky: Certainly! We're proud to have launched two new Monster Jam trucks this year: JCB DIGatron™, designed with input from JCB’s engineering team, and Sparkle Smash™, a charismatic 6-ton unicorn inspired by the popular Spin Master toy. This fall, we’re also thrilled to
Australia is indeed a critical market for us. We’ve seen significant consumer support, with our annual stadium events consistently selling out.
partner with Marvel for the U.S. debut of four co-branded Monster Jam trucks and an accompanying toy line.
That’s exciting! With the announcement of a Monster Jam movie in collaboration with Disney and Dwayne “The Rock” Johnson, what can fans expect from this exciting project?
Jeff Bialosky: We’re really excited about the feature film with Disney and Dwayne “The Rock” Johnson. This is the first time we’re bringing Monster Jam to the big screen, and we can’t wait to share more details as they become available. It’s going to be a fantastic experience for fans!
You’ve also released a new video game, “Monster Jam: Showdown.” How has that been received?
Jeff Bialosky: The response to “Monster Jam: Showdown” has been overwhelmingly positive. We’re really pleased with the early feedback and
are looking forward to how the game evolves with our audience.
Let’s talk about international partnerships. Can you share some highlights for consumer products?
Jeff Bialosky: Monster Jam is truly a global brand, and we’re actively expanding our international presence. Our licensing business is growing, especially with local partners in Australia like Best&Less, Big W, and Kmart. Some exciting new licensing initiatives include our video game collaborations, like the recently launched “Monster Jam: Showdown,” and partnerships with Jazwares for an original Roblox game and Nightmarket Games for a mobile version.
It sounds like there are plenty of new products on the horizon!
Jeff Bialosky: Definitely! We’re also introducing new categories, such as infant and baby apparel through Soul Baby and novelty items with
Forever Clever. Our partnership with Church + Dwight is bringing us a Monster Jam-themed Spinbrush toothbrush, while Rubies is creating a line of Halloween costumes and we’re launching a new footwear line through ACI International in the U.S. and Canada this fall. We have an amazing partnership with LEGO and in addition to our six existing LEGO Technic Monster Jam trucks, we will debut two more in 2025: DIGatronTM and ThunderROARusTM
It seems that cross-brand collaborations are a major strategy for Monster Jam. How do you see this evolving?
Jeff Bialosky: Partnering with other brands allows us to expand our reach and connect with new consumers. For example, we're collaborating with Seminal to leverage in-demand artists for original Monster Jam art. These partnerships help us diversify and grow our audience.
Looking ahead, what can fans in Australia expect from the upcoming Monster Jam events this October?
Jeff Bialosky: Fans can look forward to a thrilling experience! Monster Jam is all about being unexpected, unscripted, and unforgettable. Our events showcase world champion athletes competing with 12,000-pound monster trucks in fierce contests of speed and skill.
This year, we’ll feature four Marvel Monster Jam trucks—The Amazing Spider-Man, Iron Man, Black Panther,
We’re seeing strong interest in all motor vehicle IPs in Australia, and we’re looking to expand our Monster Jam retail presence.
and Thor—competing alongside fan favorites like the iconic Grave Digger™, Megalodon™, El Toro Loco™, and Max-D™ trucks.
That sounds like a blast! Are there any additional updates for the Australian market that you can share with us?
Jeff Bialosky: We’re seeing strong interest in all motor vehicle IPs in Australia, and we’re looking to expand our Monster Jam retail presence. Our partnership with Spin Master continues to thrive, and Monster Jam toys are available at all major retailers.
Best&Less has been a long-term partner for us, with Monster Jam currently a leading toddler boys’ brand. Kmart remains a strong supporter and is also a sponsor for our live events.
Thank you, Jeff! It sounds like there’s a lot to look forward to for Monster Jam fans in Australia. We appreciate your insights and can’t wait for the events this October!
Jeff Bialosky: Thank you too! We are looking forward to an amazing season and can’t wait to see everyone at the Australian live events!
For licensing enquiries in ANZ contact WP Brands: www.wpbrands.com.au
That Sound Game A Noisy Game for Weird People!
The Bugg Report is always on the lookout for a unique story about Toys and Games. We were able to track down Cam and Nat, who are the inventors and developers of That Sound Game!
The games category is very competitive and to be successful in this space you need a seriously good concept and a marketing campaign to fit. This new game was conceived during the lockdown periods of the global Pandemic by Cam and Nat and we asked them a little bit about themselves and how this journey has evolved.
So, Cam and Nat, obviously this game is something very different from the norm for you both. Can we start by you telling us a little about your backgrounds?
Cam: Our backgrounds are very different from anything board game related. I’m from South Africa, where I studied Architecture. I moved to Australia 11 years ago and I currently work as a Construction Project Manager in Melbourne.
Nat’s background is originally in insurance and finance. While doing that she started a Taxidermy business, turning it into the most well-known Taxidermy brand in Australia –which she owned and ran for 10 years.
Once you had decided to develop a game, did you study the games category in the market to determine if there was a commercial opportunity?
Nat: We didn’t actively decide to develop a game. Rather, one night during the Melbourne COVID lockdowns we were playing Articulate and once the game had finished I picked
up a card and said to a friend “Do this card but as a sound”, upon realising this was quite fun I added “This time you can’t use your hands”.
We played several rounds of this and it was utterly hilarious and stupid. The next morning I couldn’t get it out of my head, so I started racking my brain for a game like it. We have Pictionary (picture based), Taboo and Articulate (word based), Charades (action based) but where are the sound games?. I started to do extensive research on the internet for any party games like it and when nothing appeared, I realised there was a gap in the market and I had a million dollar idea.
I worked on the game for 3 months secretly (not easy to do when you are living in a 1 bedroom apartment together during Covid) and then when I felt I had the bones of it together, I pitched it to Cam to see if she would join as my business partner. She of course said yes as we had nothing else to do in the lockdowns haha, and the rest is history!
What was your thought process to hit on a party game. Was it gut-feel or did you undertake some research?
Cam: As Nat said, the plan was never to make a board game, let alone a party game. But once Nat came up with the initial idea, it made the most sense to turn it into a party game – because that’s the kind of games we both love playing. It’s special when groups of friends or family can get together, connect with one another, yell, let loose and most importantly laugh.
I’m also a massive kid at heart and I always feel like adults forget how to play, but board games are that rare space where society gives adults permission to be playful, and that’s magic.
That Sound Game is a fast paced, interactive and very noisy party game.
Who came up with the various categories that define the game? Was there a great deal of consideration as to what you felt consumers would like or was there deep research?
Nat: When I brought Cam into the game we had about 150 sounds and my gut told me that categories would help with gameplay. Cam then got to work splitting these out and finding the commonalities between words. Some categories like Nature, Object and Action were more obvious while Incident and The P’s (people, places and personas) took some creative thinking to come up with.
We also realised we needed to add a scoring system so that we could add in more complex words, otherwise you simply run out of sounds. That Sound Game is not a simple game of mimicry, it’s a game of outside the box thinking, that gets you on your feet and moving.
An example of cards and scoring are:
1 point — Sneezing
1 sound and movement required
2 points — Tiger Fish
2 sounds required and multiple movements
3 points —Balloon Deflating
A range of complex sounds and movements that create a scene
The box design is always important who developed this concept?
Cam: Nat and I knew that we wanted a soundwave on the box and had recorded ourselves saying the name of the game and gave the soundwave file to our Graphic Designer. That is basically where our input ends as originally we told him that we wanted a monochrome box with the soundwave on it, but he hated the idea and asked us to trust him.
When he presented the design back to us it was the white box with colour cards and he had simplified our sound wave. We absolutely loved it. When you see it on the shelf next to other games it really stands out for its minimalism and simplicity – and you know exactly what the game is. It really goes to show that you need a good team of people around you.
The game looks compact and simple, was this one of your intentions?
Nat: Yes it eventually became part of the concept to keep the design simple. We wanted the game design to take a back seat to the chaos of the game play. Both could not be loud - excuse the pun.
Once we launched to market we also learnt a lot from our audience. They pointed out that colour-blind people would struggle to see the colours on the dice so our next version of the game included letters on the dice that corresponded with the categories.
Did you take on the development and manufacturing component yourself, or did you reach out to a professional in this field?
Cam: We developed the initial design of all the components ourselves, in conjunction with our graphic designer. Once we partnered with our manufacturer in China, Herotime, they helped us refine the components. For example the number of cards in the box to maximise the use of paper and keep costs down.
Once we launched to market we also learnt a lot from our audience. They pointed out that colour-blind people would struggle to see the colours on the dice so our next version of the game included letters on the dice that corresponded with the categories. Another thing we found out after the launch is that people were forgetting to shuffle the category cards and as a result of the way we were printing our card files, all the 3 point cards were at the top of the decks. This would put people off as they would think ‘Well this is no fun, it’s too hard!’ Once we realised what was happening we changed the decks to print in alphabetical order so that if people continued to forget to shuffle they would at least get a good spread of varying points on cards.
How did you fund your project? And did you write a business plan?
Nat: Initially we were told by everyone in the board game forums that we needed to do a kickstarter and get funded in order to break into the industry. But at PAX 2022 we were lucky enough to win a table in the Tabletop Collaboratory space. It provided us with the opportunity to have members of the general public play our game and we noticed very quickly that the people who like party games are not heavy gamers, they don’t know what a kickstarter is and wanted to buy our game then and there.
We went home and I kept running the numbers on what we would need to spend on marketing to get a mailing list together for a kickstarter campaign vs what it would cost to just go straight to printing and marketing the actual game. I just couldn’t get the numbers to stack up to support a kickstarter so we took the ultimate leap of faith and went straight to print. This was the most critical turning point in our journey and the game's success.
The marketing component of a new product is always a dilemma and can be very expensive. From our research it appears that your product launched on Tik Tok? How did this happen?
Cam: Nat always had the vision that we're living in a very fortuitous time where we’ve just developed a soundbased game and the largest social platform in the world right now is a sound-based platform (TikTok). We did our research and invested in a few low-cost influencers in the board game space.
I still remember that we were house-sitting a friend’s place in March 2023 when the sales started coming in. Up until that point we had sold 1 game every 3 days, mostly to family and friends, but that Sunday morning we sold out in the USA in 4 hours and in that week we sold out worldwide. Luckily, we turned on pre-orders and it allowed the momentum to keep going.
Your strategy must have been on the money as we understand that you have already sold more than 100,000 games. Was this a big surprise or were you confident it would take off?
Nat: To date we’ve sold over 150,000 games. Cam and I are both people who put our all into something so we both worked at this like it was going to be a million-dollar
company. But in a practical sense I knew that we needed to set it up for success from day 1. We placed stock in distribution centres in the USA, UK, Australia and China – this meant that no matter where you were in the world, if you saw That Sound Game on social media you could order our game.
I wouldn’t say we were overly confident; I would say we believed in ourselves and made sure we were ready to scale quickly.
We understand your partner here in Australia is Meeple, who are you working with Internationally?
Cam: Internationally we are working with various distributors: Asmodee (USA, Canada, South America, South Africa, UAE), Big Potato (UK), CMON (Asia & Middle East, except UAE) and Thinklibrary (Philippines)
To date we’ve sold over 150,000 games. Cam and I are both people who put our all into something so we both worked at this like it was going to be a million-dollar company. But in a practical sense I knew that we needed to set it up for success from day 1.
I see you have already won a couple of awards. How does that make you feel?
Nat: Winning Game of the Year in March 2024 was a big surprise but it felt like all our hard work had paid off.
We’re in Los Angeles in September 2024 to attend the global Women in Toys & Entertainment Awards. Cam is a finalist for Small Business Owner of the Year and I’m a finalist in the Inventor of the Year category. We’re also sitting at a table with our distributor Asmodee and the team from Exploding Kittens – so we’re continuously pinching ourselves at the success of this game and the doors it’s opened.
What do you believe the potential of the Sound Game might be in terms of numbers?
Cam: Our goal is to bring as much laughter to as many people as possible. The amount of reviews we get where people tell us this has brought their family together, they finally found something their teenagers want to play, they’ve never laughed so much, or this is their new favourite game, brings us so much joy. So numbers aside, the ultimate goal is to become an evergreen and be a staple on every board game shelf, like Pictionary or Monopoly.
Are you working on additions to the game such as new categories etc?
Nat: No new categories but we’ve been working hard to expand our range of products. We now have the Main Game, Family Version for mass market, 5 expansion packs and 5 translated versions of the Main Game (French, Italian, Portuguese, Spanish and German).
We currently have in progress a travel sized version and are nearly finished with our first expansion pack that includes braille on the cards. Our goal is for this to not be a feature that you have to seek out and purchase from a specialist store but will be a standard feature that is on every expansion pack no matter where you buy it from: our website, Amazon, hobby stores etc.
In an ideal world, we are hoping this influences the industry in a positive manner and gets some attention from the likes of Vision Australia, the American Foundation for the Blind or a government body that will allow us to reach our ultimate goal of including Braille into all our products, including the Main Game. As a company we want to be as inclusive as we can be.
Will you look to develop new games into the future?
Cam: Time will tell but for now we are trying our best to make this game as successful as it possibly can be. We also try to share our knowledge with as many people as we can in the Australian board game industry, sharing what we’ve learnt about breaking into the international scene.
Australian board gamers have so many great ideas to offer the world.
We have enjoyed our time with you both today. It’s always good to see a plan come to fruition. We hope the game continues to grow for you and perhaps there will be more great products to follow.
Unlock the World of Minecraft with Limited Edition USB Drives
Minecraft, the iconic sandbox game that has captured the imagination of millions worldwide, continues to build its legacy with an exciting new line of limited edition USB drives, now available exclusively in Australia.
As one of the most influential and popular video games ever created, Minecraft boasts a staggering player base, with over 200 million copies sold across various platforms and more than 140 million active monthly users. This remarkable success story underscores the game's timeless appeal and widespread popularity, which only promises to grow with upcoming events, including the highly anticipated 2025 theatrical movie release.
To celebrate the enduring charm of Minecraft, data storage experts - Verbatim, have introduced a range of five limited edition USB drives, each crafted with the same love and attention to detail that Minecraft enthusiasts have come to expect. These USB drives feature beloved characters from the game: Steve, Alex, Enderman, Creeper, and Zombie. Each drive is a true tribute to the pixelated world of Minecraft, designed in a unique 3D blocky style that mirrors the game's signature aesthetic. The soft rubber finish adds a tactile element, making these drives as enjoyable to hold as they are to use. The removable cap ensures that your data is securely stored while adding a fun, collectible aspect to each drive.
With a 32GB capacity, these USB drives provide ample space for storing your essential files, game saves, or any other digital treasures you wish to keep close at hand. Whether you're gifting them to fellow Minecraft fans or adding them to your personal collection, these drives are the perfect blend of function and fandom. Their collectible nature, combined with their practical use, makes them an ideal choice for those who want to carry a piece of the Minecraft universe with them wherever they go.
In addition to their unique design and functionality, these limited edition USB drives come at a time when Minecraft's presence is set to grow even further. The upcoming 2025 theatrical movie release promises to bring fresh excitement to the Minecraft brand, capturing the attention of both long-time fans and newcomers. This film adaptation is expected to generate renewed interest and buzz around Minecraft, ensuring that the brand remains a cultural phenomenon over the next year and beyond.
The Minecraft USB range is currently available from Kmart stores Australiawide, offering a convenient option for local fans to secure their own piece of Minecraft memorabilia. Manufactured and distributed by Verbatim, the USB drives come with the reassurance of quality and reliability that Verbatim products are renowned for. Verbatim is currently actively seeking additional retailers and stockists in Australia. By expanding their range of distribution, they hope to make these limited edition drives available to fans everywhere, allowing more people to celebrate their love for Minecraft with these unique and collectible items.
The limited edition Minecraft USB drives are more than just a storage solution — they are a celebration of one of the most beloved video games of all time. With their distinctive design, practical capacity, and collectible value, they are sure to delight Minecraft fans young and old. As the excitement builds with the approach of the 2025 movie release, these USB drives offer a perfect way to be part of the Minecraft phenomenon and show off your fandom in style.
For more information and stockist enquiries, contact Verbatim: (03) 9790 8999 or info@verbatim.com.au
Introducing the Minecraft USB Collection – 5 x Limited Edition 32GB USB Drives featuring your favourite Minecraft characters in unique 3D designs: Alex, Steve, Creeper, Zombie and Enderman. Whether you’re a die-hard fan or a dedicated collector, these USB drives are a must-have addition to your Minecraft world. Dive into the adventure today with Verbatim’s Limited Edition Minecraft USB drives! Explore the world of Minecraft USB Drives – available now. Items sold separately.
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JAMIE
INTERVIEW WITH JAMIE SALTER — PART TWO
FOUNDER, CHAIRMAN AND CEO OF AUTHENTIC
Authentic Brands Group
The Feature Interview with Jamie Salter (Part Two)
In part two of this interview, Jamie Salter sits down with Tony Bugg, Managing Director of The Bugg Report, to discuss his journey, growth, acquisitions, global expansion and the Australian market.
Jamie, let’s go back to the start. Can you share how your early career experiences helped shape the founding of Authentic?
I’ve been in this industry since I was 16, and over the past three decades, I’ve had the opportunity to work across many different areas, from R&D and brand development to licensing and liquidation. Early on in my career, I founded Ride Snowboards and took it public in the ‘90s, which gave me firsthand experience in building and scaling a brand.
Later, as CEO of Hilco, I led the efforts to buy brands and liquidate assets but realized I wanted to take a different approach. My goal
was to preserve the intellectual property of distressed brands and find ways to help them continue to thrive. This vision is what eventually led to the founding of Authentic.
Was there ever a moment in Authentic’s lifecycle where you imagined it would grow so exponentially, generating $30B+ in global retail sales?
At Authentic, our model puts brands right at the epicenter, and we believe in those brands. We acquire brands with challenged business models and untapped potential, revitalize them by partnering with industry-leading experts, and restore them to profitability while maximizing their
value in the marketplace. Beyond the brands, we are a workforce of dynamic and ambitious people with a uniquely entrepreneurial spirit who help propel our brands to new heights. What’s more, our financial model is assetlight, generates strong margins and is highly capital efficient. We generate over 70% adjusted EBITDA margins, with diversity across brands, licensees, channels and geographies.
You recently announced the acquisition of Champion, a brand fusing heritage and innovation since 1919. How will you integrate the brand into the portfolio? Is it any different from the Reebok model?
Our strategy with Reebok has always been to “Let Reebok be Reebok.” It's a brand with a deeply rooted heritage in the sports and lifestyle world—quite similar in nature to Champion.
Our success in revitalizing the Reebok brand through a number of strategic partnerships and its current reemergence in its rightful place in sports has created a playbook that extends to the Champion acquisition. It's all about finding the right partners and distribution network, while maintaining Champion’s global footprint and looking at the gaps or spaces for the brand to enter or grow in key regions globally.
With Authentic’s recent global expansion, from London to Shanghai and now Australia, how do you maintain consistency in brand DNA while working with regional partners?
Maintaining the brand’s ethos and identity across regions is crucial. We always want to offer the best experience to our global consumers, and the best way to cater to their needs and create products they feel personally connected to is by establishing a team on the ground that can work directly with regional partners who
understand the local market needs. We also need teams on the ground who are dedicated to advancing the portfolio and opening the door to new opportunities, categories and distribution channels.
The beauty of our licensing model is that it is designed to help identify expansion opportunities for our brands. This is all made possible by partnering with top-tier and best-in-class partners who excel in product design, development, distribution and retail that share and are aligned with our vision for the brand.
Australia is indeed a critical market for us. We’ve seen significant consumer support, with our annual stadium events consistently selling out.
Several brands in the Authentic portfolio already have a strong foothold in the Australian and New Zealand markets. Do you see further expansion opportunities, and how do you plan to deepen Authentic’s presence in the region?
We're excited about the potential for growth in the Australian and New Zealand markets. Our plan to deepen Authentic's presence involves several key strategies.
We will look to introduce more of our unique brands to Australian and New Zealand consumers, tapping into diverse preferences and interests. We will also focus on strengthening our relationships with existing retailers and forming partnerships with new ones across various tiers to reach a broader
customer base. Finally, we will explore new categories like health and beauty, promotions, and location-based entertainment to offer a wider range of products and experiences to our customers.
By implementing these strategies, we aim to solidify Authentic's position as a leading provider of innovative and engaging brands in the region.
What advice would you offer companies who seek to replicate Authentic’s approach of revitalizing and growing brands?
In business, finding the right partners is key. We pride ourselves in our extensive partner network of more than 1,700 licensees around the world. Our approach is to offer exceptional experiences and brand
We will look to introduce more of our unique brands to Australian and New Zealand consumers, tapping into diverse preferences and interests.
moments that will continue to engage and retain consumers. Since our founding, we have also been pioneers in digital marketing, which allows us to access a broad array of consumer insights and optimize our marketing strategies while greatly enhancing our perspective when considering new brand acquisitions.
We take an integrated approach to strategic brand management, omni-channel distribution, marketing, content creation and social media. Through these strategies, we maximize our brands’ global consumer recognition and engagement, drive demand creation and conversion to commerce, support our licensee partners through consistent storytelling across platforms and generate excitement around our brands.
www.corporate.authentic.com
COLUMN
WIDE EYES NEWS FROM THE TUBE A REGULAR COLUMN BY A LEADING INDUSTRY EXPERT
WHAT’S THE NEXT BIG THING IN MUSIC FOR SMALL CHILDREN?
Wide Eyes News from the Tube
WHAT’S THE NEXT BIG THING IN MUSIC FOR SMALL CHILDREN? HERE ARE THE ONES TO WATCH.
We all know The Wiggles — they have dominated the preschool children’s music scene in Australia and around the world for the last 30 years and are still going strong.
Then there’s Emma the ex-Yellow Wiggle who in her solo career as the orange Emma Memma is just going from strength to strength — Emma is everywhere and is the hardest working and in demand children’s entertainer in the business.
Emma is the genuine article — articulate, incredibly talented and driven with a passion to help the hearing impaired and above all loved by small children.
So are there any other music stars for preschoolers breaking out and who might be the next big thing?
Well here’s Wide Eyes View on who are the up & comers and definitely ones to keep an eye on:
The Beanies comprising Laura, Mim and Michael, they are a three person music act who sing fun, catchy songs for preschoolers and now appear regularly on ABC Kids and iView.
They are always goofing around and telling jokes but they are also very serious when it comes to working hard and being successful.
Since March of this year their YouTube views have exploded and along with ABC Kids, YouTube, Spotify and constant touring, they have got things pointing in the right direction — straight up.
Pevan & Sarah deliver entertaining and educational musical experiences for the 4-7 year olds, with hundreds of their videos watched in classrooms through their subscription portal Cub Club, through their songs being streamed on YouTube and Spotify and their sold out live concerts across Australia.
Their unique selling proposition is their direct access into primary school classrooms and through school groups attending their shows rather than parents taking their kids to see shows in the school holidays.
Pevan & Sarah are a perfect property for back to school and every day in-school school products such as bags, backpacks, apparel, stationary, stickers and books.
Ms Moni is racing up the YouTube charts where she has created a video channel that focuses on supporting young children’s learning and sparking their interest to learn things through songs.
Ms Moni plays on being Australian and sings an assortment of well-known YouTube nursery rhyme hits and her own songs.
In Australia, Ms Moni is going to be as big as Ms Rachel is in the US and that is big.
So that is the selection of ones to watch — they all have a different segment of the market — The Beanies are playing fun musical entertainment for preschoolers, Ms Moni is slightly more educational and Pevan & Sarah are entertaining and teaching young primary school kids a thing or two.
WIDE EYES NEWS FROM THE TUBE
Innovation Driven by Passion We Speak to Jesse Marios!
Diecast Distributors Australia are the market leader in collectable diecast vehicles and accessories. This is a part of the Hobby business which may not be over familiar with our readers. We recently had the opportunity to speak with Jesse Marios, who is a Director of DDA.
The business has been led by his father John Marios for many years. Jesse has only recently joined the organisation as a young man aspiring to bring innovation and advancement to the table with a clear mandate to grow the market. We wanted to understand a little more about the category and the plans Jesse has for his business. Diecast collectability is a very specialised area and requires an intimate understanding of the types of vehicles the consumer is seeking.
DDA was founded in 1998 as the distributor of Matchbox collectables. They also are the home of Hot Wheels Elite, the adult collectable version of this range
So, Jesse to begin with, we understand you are relatively new to the business. Can you tell us about your background?
In the early days of my career, I was a carpenter by trade, constructing houses and units across Queensland. However, a life-changing car-truck accident at 19 made me reevaluate my path. That's when I joined DDA, starting out in the warehouse. It wasn't long before I discovered a real passion for sales and product development, and I knew I had found my calling.
The DDA business is approaching 30 years in the market. What was your motivation to take a leadership role in the organisation?
For years, John, or Dad as I call him, had a vision to move DDA into manufacturing our own product lines, especially with a focus on Australiana-themed items. However, relying on external manufacturers made this challenging. I was motivated to take on a leadership role to turn this vision into reality. By forging strong relationships with multiple factories in China, I set us on the path to direct manufacturing. This not only allowed us to bring unique and high-quality products to market more efficiently but also at a price point better than any comparable product out there.
“Since our debut in January, we've already captured a huge market share, with over 500,000 units produced in just the past 8 months.”
We see that you were the original distributor for Matchbox Collectables and then Hot Wheels Elite; are these ranges still popular today nearly 30 years on?
While brands like Matchbox Collectibles and Hot Wheels Elite have been dominant forces in the industry for decades, the landscape is shifting. With the launch of our latest brand, OZWHEELS—completely owned and operated by me—we have taken the market by storm! Since our debut in January, we've already captured a huge market share, with over 500,000 units produced in just the past 8 months. OZWHEELS is rapidly becoming the future of the 1.64th industry in Australia!
From our research we see that you have been responsible for developing a lot of new products and formats with in the DDA business. Can you give us a brief insight into some of the most successful products?
That's a tough one, as there have been so many exciting developments! Over the last few years, I've worked tirelessly to not only launch a new brand but also introduce a new collector scale in Australia: the 1:24th scale. We kicked off this venture with one of the most iconic cars in the Queensland skid scene, ‘Hanful’. The overwhelming success of the Hanful model encouraged our leadership to invest heavily in a wide range of tooling, not just for 1:24 scale diecast models but also for 1:24 scale plastic model kits, which have seen incredible success, with over 40,000 units sold.
We also released a spin-off product, Spectre Rides, a 1:24 scale model featuring a plastic body with blacked-out windows and working headlights and taillights. It sold over 10,000 units in just two months! And, of course, OZWHEELS continues to lead the market, with over half a million units sold in under nine months. These successes have truly defined our approach to innovation and product development at DDA.
You are the current distributor of Shelby American Diecast, how popular is this iconic brand in our market?
The release of the Ford v Ferrari movie really reignited the passion for the Shelby American brand, and we've seen this reflected in our sales. For nearly 10 years now, Shelby products have maintained consistent demand across the board, proving the enduring appeal of this iconic brand in our market.
I remember plastic kits from my childhood. We see you have AMT, Polar Lights, MPC and Moebius. What is the market like now for these products?
The kit market has evolved significantly over the last two years, largely due to the introduction of our Australian 1:24 scale plastic kit range. Since DDA launched these kits, we've seen a tremendous response, selling them at a ratio of 10-to-1 compared to our American counterparts like AMT, Polar Lights, MPC, and Moebius. This shift clearly shows a strong demand for locally themed models among Australian collectors and has pushed us to phase these brands out over the foreseeable future.
Can you tell us a little about your Dickie – Schuco product range?
Dickie and Schuco were instrumental in the early days of our distribution business, providing a strong foundation with their popular product lines. However, in recent years, we've seen a decline in market share for these brands. This shift is largely due to the shrinking HO scale product range and the lack of new releases. Ultimately causing us to phase the 2 brands out of our core range.
There has been a lot of interest in your new manufacturing program. We believe you now hold over 150 tools across varying scales. Can you tell us about some of the higher profile models you have invested in?
Since the inception of OZWHEELS, I now oversee a total of 286 tools across various scales, including 1:64, 1:43, 1:32, 1:24, and 1:18. Some of our standout models that have truly been game-changers include the V8 Interceptor, the HQ Holden 2-door, and the OZWHEELS 1:64 VL Walkinshaw/ Calais. These models have achieved impressive sales, becoming some of the best-selling products across the entire industry.
“Since the inception of OZWHEELS, I now oversee a total of 286 tools across various scales, including 1:64, 1:43, 1:32, 1:24, and 1:18.”
It’s hard to predict the trend and evolution of most things in today’s world of technology, however where do you see the diecast collectable category heading in the next two to three years?Do you see it as a long-term proposition?
For some time, I was concerned about the future of the diecast collector market, especially as the early collectors began to age and the disconnect between child-oriented products and serious collectibles persisted. This gap resulted in fewer new collectors entering the industry. To address this, I've dedicated significant effort to developing a range aimed at younger audiences, with Australianathemed products offered at unprecedented price points.
The industry now shows a promising future, as evidenced by our strong sales in the major market. I believe the key to long-term success lies in blending nostalgia with the latest technological advancements, creating innovative products at prices that consumers have never before experienced. This approach is setting the stage for a vibrant future for diecast collectibles.
Well Jesse, thank you for your time today, it has been most enlightening to go inside your business and understand a little more about your business and the hobby industry. We will watch the progress of DDA and perhaps check back in with you a little later. Well done on the work you have already completed.
BY ALICE SANDERSON — EXECUTIVE MANAGER www.austoy.com.au
The Australian Toy Association
ESTABLISHED IN 1983, THE AUSTRALIAN TOY ASSOCIATION IS A NOT-FOR-PROFIT ORGANISATION DEDICATED TO PROVIDING INFORMATION AND SERVICES THAT ENHANCE THE PERFORMANCE OF ITS INDUSTRY SECTORS AS THEY MEET THE EVOLVING NEEDS OF CONSUMERS AT INDIVIDUAL, NATIONAL, AND GLOBAL LEVELS.
We are now well into the second half of 2024, and two of the industry's peak selling periods are just around the corner. This also signals the ramp-up of ATA’s Hottest Toys for Christmas PR activities. Launched in 2022, this event gives members a chance to showcase their products on TV, social media, and radio, providing greater exposure to families across Australia and helping them find fun, innovative, and educational gifts for their children this Christmas.
In parallel, our preparations for the 2025 Toy Hobby and Licensing Fair, scheduled for March 2nd to 5th at the Melbourne Convention & Exhibition Centre, are also gaining momentum. With over 100 exhibitors already confirmed, including big names like LEGO, Moose, Modern Brands, Connetix, and Jazwares, this event promises to be another sell-out. If you haven’t yet secured your stand, be sure to do so soon before spaces run out.
If you’re considering attending, keep an eye on our social media channels for the latest news and updates, including exciting announcements about who will be there.
The Fair will feature the Gala Dinner, the 25-Year Club networking event, the Women in Toys, Licensing and Entertainment event (which is open to all), and the Exhibitor Toy Bar, ensuring a packed schedule of fun and excitement. As we always say, if you're in the toy and licensing business, the Fair is a must-attend event.
The Fair also marks the announcement of the Rising Star award, and we’ve just opened nominations for 2025. Remember, you don’t need to be an ATA member to nominate yourself or someone from your business. Recognising up-and-coming talent is as vital to the ATA as celebrating outstanding products and licenses. It's the people and their creativity that keep our industry vibrant with innovation and energy.
The ATA office will be relocating soon. We’ll provide more details shortly, but please note that there may be a brief interruption in service for a day or two in late October as we transition to our new home.
Alice Sanderson
On the topic of nurturing talent, we’re excited to announce the upcoming launch of our new Mentor/Mentee program. This exclusive member-only opportunity will be available soon, so stay tuned for more information or reach out if you’re interested in participating as a Mentor or Mentee.
Here’s what Josh Bonello, ATA’s 2024 Rising Star, had to say about the program: "The mentor program has been a truly serendipitous experience as it has helped me to understand my own challenges and strengths through simple conversations I share with my mentor. I have been fortunate to have been matched with a Mentor who not only has a wealth of industry experience but is like minded in that he wants nothing but the best for everyone around him. I believe my Mentor's sage advice and experience has contributed a lot in helping me crystallise my vision for the future.”
Lastly, the ATA office will be relocating soon. We’ll provide more details shortly, but please note that there may be a brief interruption in service for a day or two in late October as we transition to our new home.
For more information visit our website: www.austoy.com.au
The New Age of Digital
THE AGE OF DIGITAL CHANGE LEADERSHIP
In every human domain, whether in business or politics, in the wider society down to personal relationships, the quality of leadership is considered critical to the success of the unit.
What collection of behaviours, traits and characteristics, or application of these, constitute effective leadership continues to be a focus where we strive for improvement. By better understanding how people are influenced and motivated, the better our means for achieving our aims.
In the earliest ages of human existence, the leaders were the elders. They held the wisdom and the tribal stories they used to enable and enforce social cohesion and cooperation that enabled their survival. With the invention of weaponry, societies reorganised into an age of empires. This drove the Great Man Theory of Leadership: that leaders were a rare breed, natural born not made. Proof of the theory was drawn from “the great” figures of history: Julius Caesar, Napoleon Bonaparte, Genghis Khan and Alexander the Great.
From the 1800s, leadership theory evolved and the Trait Theory of Leadership proposed that leaders could be born, or could be made by learning and applying the qualities of born leaders. With industrialisation, power was redistributed to the owners of capital and new theories of leadership evolved in line with neoclassical management that recognised organisations as dynamic ecosystems of people with diverse values, needs and motivations.
The version of leadership that prevails in today’s education and workplace expectations comes from the Situational Theory of Leadership. This development, incorporating Contingency Theory, has followed on from the diversification of industry, the rise of the megacorporation and the evolution of knowledge workers. It is leadership that recognises that people are multi-dimensional and there is no one-size-fits-all. To be effective, leaders must have the breadth of skill and the flexibility of behaviours and traits to respond according to the conditions and the situation.
If our ability to lead changes with the shift of organisation, power and the type of tools that enable our productive participation, then it follows that our current version of leadership must also change.
The age of artificial intelligence represents as ground-breaking a transition as the steam engine did over 200 years ago. If we agree that a key responsibility of leadership is to prepare the leaders of tomorrow, it is beholden on today’s leaders to develop and update theories of leadership relevant for our rapidly evolving world.
In this age, leadership will have an equal focus on provide stability and preparing people to constant and continuous change. As the technology that democratises us becomes more powerful and accessible, leadership cannot be divorced from ethics, and consequential thinking must be part and parcel of leadership decision-making.
The more we adopt the capabilities of generative artificial intelligence, the more we can expect the nature and pace of competition to change. Leaders, not just the organisations they lead, will need to become agile, innovative and regenerative in order to succeed.
Leaders will also need to consider their workforce of the future. Already today, employers are finding it difficult to hire their way out of staffing shortages. Having access to the right skills will depend on fast-learning programs and people developed to be fast, experiential learners.
If we agree the bases on which we value leadership today has moved beyond those early narrow aims of achieving the leader’s ambitions, and even beyond seeing to the well-being of a unit’s members to a belief that leaders also need a regard for a wider constituency, we have the basis building a leadership model relevant to the digital age.
Transformational Leadership
theories are gaining ground to account for the growing need of organisations to have leaders who are able to handle complexity. They need the ability to build the collaborative environments able to move people through change where progress is more likely to be lumpy and sudden than smooth and continuous. It will be increasingly likely that the information, knowledge and experience leaders desire to make sound decisions may not be available in advance, and so change will need to be vision-based with actions guided by principles as much as data.
For industries that have a hand in moulding skills, attitudes and mindsets; those industries such as early learning, sports and toys, leadership for the digital age goes beyond efforts aimed at the organisation’s internal teams. It is needed to provide inspiration and experiences that build character, resilience and aptitude for a sustainable workforce and those who will be our future leaders in the digital age.
The New Age of Digital Edition 10 — by
Isabel Wu
STAY AHEAD OF THE CURVE
www.brandtrends.ai
8 Key Trends Shaping the Licensing Market in 2025: Stay Ahead of the Curve
BRANDTRENDS GROUP'S UNVEALS KEY TRENDS IN ENTERTAINMENT LICENSING FOR THE COMING MONTHS
The BrandTrends Group unveils some major findings from its most recent global thorough research.
In a rapidly evolving global landscape, anticipating the future is essential for success in the licensing market. BrandTrends Group, a leading authority in brand performance analysis, highlights eight key trends that will shape the industry in 2025, helping brands remain competitive and innovative.
1. Digital Transformation, Metaverse, and Technological Innovation
The rise of digital platforms, the metaverse, and advancements in artificial intelligence are profoundly changing the licensing landscape. Brands are increasingly exploring virtual goods, NFTs, virtual reality, and augmented reality to create immersive experiences for consumers.
2. Sustainability and Ethical Consumption
With growing consumer concern for environmental and ethical issues, the demand for eco-friendly products and sustainable practices is on the rise. This shift is influencing licensing agreements as consumers expect brands to align with these values.
3. Personalization and Customized Experiences
The market is moving toward personalized products and services. Brands are leveraging licenses to offer unique experiences, demanding more flexible licensing agreements to meet individual consumer preferences.
4. Experiential Retail Initiatives
To counter the impact of e-commerce and social media, retailers are investing in immersive instore experiences. Licensing agreements help create engaging and interactive environments, encouraging consumers to visit physical stores and boosting customer loyalty.
5. E-commerce and Direct-to-Consumer (D2C) Models
The shift to online commerce and direct-toconsumer models is redefining the licensing market. Brands are using licenses to enhance their online presence and connect directly with consumers, capitalizing on this growing digital space.
The current report provides a detailed analysis of brand awareness, popularity, and purchase intent of the most important Entertainment brands within a country. The most crucial aspect is that it predicts product category purchasing intentions. The service reports on 11,500+ different Entertainment, Fashion, or Sports brands four times a year, and interviews 200,000+ people ranging in age from infants to seniors in 42 countries.
6. Influence of Social Media and Influencer Marketing
Influencer marketing is growing, with influencers playing a key role in generating purchase intent and enhancing brand visibility. Collaborations between brands and influencers are becoming strategic partnerships, creating opportunities to reach new audiences.
7. Growth of the Video Game and Esports Market
The continued growth of the video game sector presents licensing opportunities, with brands tapping into character licenses, esports competitions, and game-related merchandise. Titles like Roblox and Mario Bros are leading the charge in this growing space.
8. Decline of Traditional Superheroes and the Rise of Anime/Manga
As traditional superheroes, notably those from Marvel, experience a decline in popularity, anime and manga are rising. Brands are increasingly looking to these cultural phenomena for new licensing opportunities.
“In today’s dynamic global landscape, staying attuned to emerging trends is essential for brand success,” says Philippe Guinaudeau, CEO of BrandTrends Group. “By embracing these trends, brands can create engaging experiences and capitalize on new growth opportunities.”
These key trends reveal how technological advancements, consumer preferences, and shifting market forces are reshaping licensing strategies. Brands that focus on digital transformation, sustainability, personalization, and new cultural trends will be well-positioned to navigate the complexities of the market in 2025.
www.brandtrends.ai
The Country Diary of an Edwardian Lady
NO 12 IN SUNDAY TIMES TOP 100 BESTSELLING BOOKS OF THE LAST 50 YEARS
The Sunday Times has published its list of the top 100 bestselling books of the last 50 years and confirmed the enduring position of Edith Holden’s The Country Diary of an Edwardian Lady as one of Britain’s most popular and best loved books.
First published in 1977 the book is a publishing phenomenon and was No 2 in the Sunday Times list of bestsellers in the 1970s and No 5 in the list for the 1980s and retains the overall position of No 12 in the list of the last 50 years just published. This puts the title ahead of other bestsellers of the last 50 years which are household names including David Attenborough’s Life on Earth at 77,
Richard Adam’s Watership Down at 54 and JK Rowling’s Harry Potter and the Philosopher’s Stone at 23.
Nicholas Durbridge CEO of Lilytig Licensing Limited, owner of the licensing rights in Country Diary, said: ‘The beauty of the illustrations of British flora and fauna by Edith Holden is timeless as evidenced by the Sunday Times listing at number 12 in the top 100 bestselling book titles of the last 50 years. The book remains in print around the world and the licensing programme is poised to introduce a number of new licensees following the launch of a new style guide at Brand Licensing Europe last year. We have also just appointed
WP Brands PTY as our new agent for Australasia so the timing of this announcement is very pertinent.’
Ian Downes of Start Licensing, who represent Edith Holden – The Country Diary in the UK added: ‘Achieving such a high placing in this prestigious list and being amongst such illustrious publishing company reinforces the strength of the Country Diary brand. It is a true classic brand with an impeccable licensing history. The recent brand refresh and new style guide have built on the legacy the brand had whilst helping to position it attractively for a contemporary audience. Licensees like Moonpig have enjoyed great success with the brand underpinning it's lasting appeal. We look forward to discussing new opportunities at BLE.’
For further information and United Kingdom licensing enquiries contact — Ian Downes at Start Licensing
For further information and licensing enquiries outside the UK contact — Nicholas Durbridge at Lilytig Licensing
Ian Downes Start Licensing Ltd
