Interview with a hot personality, HEAPS Magazine, Saco .
In this Series, HOUYHNHNM interviews the people we most want to hear from, regardless of genre. In this fifth installment, we interview Sako-san, editor-in-chief of the web media magazine "HEAPS Magazine. How was this rare media outlet born and how has it grown? We asked Sako about the changing media landscape and her thoughts on the Japanese media, as well as her vision, which she is able to see only from her base in New York. Click on the photo captions in the text to view the article in HEAPS Magazine.
. 27 years old, born in Heisei era. . He is the editor-in-chief of HEAPS Magazine. During his junior year of college, he transferred from a Japanese university to a university in New York , where he majored in digital publishing and digital advertising. . He joined HEAPS Magazine as an intern during his studies and has been the Editor-in-Chief since 2015. heapsmag.com
The story and the plan are completely different.
First of all, I am sorry that this is a Skype interview (with Saco-san in New York, by the editorial staff from Japan).
sago (edible sago palm starch)No, no, not at all .
So, without further ado, how long have you been the editor-in-chief of "HEAPS"?
sago (edible sago palm starch). since the summer of 2015, so this will be our third year.
Since Sako became the editor-in-chief, HEAPS has taken its current form, hasn't it?
sago (edible sago palm starch). yes, it is. I became the editor-in-chief, the team was reorganized, and the editorial policy was completely changed. It was only last year that the direction of the stories and projects started to become clear.
sago (edible sago palm starch)We have about five outside contributors on a regular basis, but basically it is an internal team of three, including myself. For example, if we want to "follow Chinese culture" in a Series, we ask writers in China to do so, and since there are inevitably some aspects that cannot be caught on the Internet, we ask outsiders to do so.
Is there a reason for working with a small number of people, such as speed of communication and shared direction?
sago (edible sago palm starch)As well as the speed of communication, since we are always working together, it is difficult for us to deviate from the vector of the content of a story or plan. Even when direction is given to a project, understanding and agreement on the point of compromise is fast and smooth. We can always proceed based on the common understanding that "this is how HEAPS would do it. Another reason is that there are few writers who can do in-depth interviews in English.
Is everyone on the editorial board female?
sago (edible sago palm starch)Yes, but it was totally coincidental. For some reason, we ended up with only women. So I say that if I were to hire next time, it would definitely be a boy (laughs). Some of the writers are men!
You also cover articles on countries other than the U.S., such as Africa, etc. Do you find and report information on these in the editorial office?
sago (edible sago palm starch)The process is as follows: we find a story that looks interesting, interview the local people, ask them to connect us with someone we can talk to, and then interview them. So, as well as Africa, our editorial staff also interviews people in Israel and Turkey.
sago (edible sago palm starch)No, unfortunately we don't have that kind of budget, so with the help of the internet (laughs).
That's right (laughs). Also, you use solid photos in those articles, how do you prepare them?
sago (edible sago palm starch)There are usually photographers in every location, so we find them, contact them, and ask them to shoot the scene. . Or, we may find a photographer who has already shot the scene and ask to use his/her material.
When you are in New York, do you feel more familiar with the world's stories than you do in Japan?
sago (edible sago palm starch)The U.S. is a multi-ethnic country, so the news stories we handle are not limited to the U.S., whether in newspapers or on the Web. Therefore, we see information from many countries as a matter of course, and the primary information that reaches the people we cover is by far the fastest. In that sense, I feel close to them. Also, there are many conferences in New York, so participants gather from all over the world. I think it is an advantage to be able to make connections with people from all over the world. Thanks to this, I have made many acquaintances in various countries, and even if the people I am covering do not speak English, I am always able to find an interpreter. So, nowadays, there are almost no countries that we cannot cover.
Do you often get inspiration for your stories from things around you?
sago (edible sago palm starch)I check about 40 media a day, so I make full use of the Internet. Also, since I have built up a network, when I am thinking about what to feature next, I sometimes receive articles from people I have already interviewed.
Incidentally, "material" and "planning" are two distinctly different things in our minds. While we look at a story from a global perspective, we think of a project in terms of "how much we can bring to Japan. For example, let's say we have a story about "old Chinatown. For example, if you have a story about "old Chinatown" and you make it a project to "explore life in old Chinatown," it will seem a bit distant to Japanese people. The interesting thing about Chinatown, or rather, the amazing thing about the Chinese people, in my opinion, is that they can build a community even in an uncivilized area or a place where they do not speak their own language. So, if we could focus on this point and make it into a project that asks, "What does it mean to build a real community? I think "community" is a hot keyword in Japan as well, and this will lead to readers' interest in the project.
New York City has a flat touch with the world's information.
. a shared office that houses the editorial office of HEAPS .
What is the significance of your message to Japan and why does it have to be in New York?
sago (edible sago palm starch)I have never worked in other places in the media, so I can't say for sure, but it might be difficult to have the same level of access to global information outside of New York as I do now. Actually, I was in Japan for about 4 months in 2016 due to visa reasons . . I had an imbalance of information coming in at that time. So, New York may be a place where I can have a flat feeling just by being there. It's not that I am always conscious of it, but rather that I was lucky enough to be in New York when I saw the results. I can't think of any significance. In the first place, I don't really like the feeling of "I'm sending information from New York to Japan" (laughs).
When you say that there is an imbalance in the information coming in, do you mean that it is because there is not enough media in Japan with a global perspective?
sago (edible sago palm starch)Of course, there is also the fact that the friends I have in New York are different from those in Japan, so the information that comes in naturally is different. Also, the fact that the editorial office is in a shared office is probably a big factor. There are about 2,000 people of various nationalities here. Among them, there are only four of us, and we rent a cozy desk (laughs).
Why don't you want to give the impression that you are "sending messages from New York to Japan"?
sago (edible sago palm starch)If we push too much on New York, we will not be able to bring the "sense of being connected to the Japanese" that "HEAPS" is aiming for. It would be too much like an object of admiration. When we previously discussed transgender initiatives, many people said, "That's so cool" when the event took place in New York, and "If it can be done in India, why not in Japan as well" when it was set in India. Even though it was the same story. Also, cool things don't just happen in New York or in the West.
It is true that you have a longing for New York, don't you? By the way, what did you like about New York in your personal life?
sago (edible sago palm starch)It is by far the least judgmental place. I don't care what I wear, and they don't care. . I definitely go to work with no makeup on days when I'm working on a manuscript.
Is that "respect for the individual"?
sago (edible sago palm starch)I think you are right. Respecting the "individual" is not about the "other individual," but about "oneself. It means to respect the "other person's individuality" as well. In other words, the center is the self rather than others.
New York is a multi-ethnic population, with different religions, different lifestyles, and of course, different looks. So, from the time we are born, we are raised in an environment where it is normal to be different from others, and all of us have that perception. . Although I feel that it is often the case that other people don't care.
Are there any media that you refer to or that inspired you to shape "HEAPS" into what it is today?
sago (edible sago palm starch)I check out all the Japanese media, but their purpose is more of an information gathering, and there are probably only a few media outlets that have become my flesh and blood. HEAPS" is not something that I set out to do, but rather, it is the result of a step-by-step process that led me to where I am today.
I think our readers recognize "HEAPS" as a counterculture medium since we ourselves have been claiming so, but I myself have always been uncomfortable with the term "counterculture. If we interpret the term as it is used, it means that counterculture is a relative approach to the main culture. In other words, it cannot exist without the main culture. Then one day, I came across the word "pro-culture.
sago (edible sago palm starch)The term "professional culture" was coined by filmmaker Jonas Mekas. The word "professional" does not mean "expert," but rather "progressive.
Jonas has been an independent filmmaker all his life, and he was the one who popularized independent film at a time when the world only had commercial films. He is the father of independent film, followed by directors such as Jim Jarmusch, John Waters, and Harmony Korine. When I was asked to interview him because I felt that his actions were "counterculture," he said, "Independent film is not counterculture. He said, "Independent films are not counterculture, they are pro-culture. He said, "Independent films are not a counterculture, but a culture that exists on its own, not in opposition to commercial films. I was impressed by his words and his attitude of presenting "there are good things here as well," rather than denying one and calling the other good, and I felt that this was exactly what we were doing.
I think that culture magazines today are vertically divided into subculture, street culture, and counterculture, but this is not the case. For example, if a large company on the main side starts doing something interesting, it has a "professional" spirit, a forward-looking spirit. After hearing Jonas's words, I began to think about culture in a comprehensive way, crossing over to the horizontal axis and considering it from the perspective of "whether or not there is a spirit of progress. I then defined the term "pro-culture" by mobilizing words, measures, thoughts, and interpretations from what "HEAPS" has been doing so far.
Also, in the end, culture is closely related to "who spends money where". This is also the reason why crowdfunding is a great way to start something and create a culture. Consumption and economic activities tend to be considered separately from culture, but without them, culture cannot be nurtured. Therefore, I would like "HEAPS" to be a media that has a comprehensive viewpoint, looking at business as a part of culture, what kind of economic activities are taking place now, and where money should be spent now.
Are there any differences between Japan and the U.S. in the media situation, or is this something that Japan lacks?
sago (edible sago palm starch)Japan lacks this!" I can't say anything great about it, but I think there is a big division between journalism and non-journalism in Japan. Culture and fashion magazines are no exception, but the journalistic element is generally removed from them. For example, it is difficult to feel the background knowledge. Therefore, I have the impression that there is a clear division between media based on news reporting and culture-related media, and that the center is empty. . That is also why "HEAPS" was aimed at this point. In the U.S., there are racial issues, so people are very concerned about their social standing and roots from a young age. Therefore, both culture and fashion magazines are always contextualized within the context of social trends, such as background social issues.
I think Japan has a system in place whereby people cannot have a comprehensive viewpoint on society unless they consume a good amount of newspaper-type media. . Therefore, much of the information is one-shot, with little back-and-forth and no story to tell.
I guess that's why there are so many articles in "HEAPS" that draw me in. I also feel that there is an element of entertainment.
sago (edible sago palm starch)I am glad to hear you say so. It is easy to read interesting things as interesting, but I think it is difficult to read uninteresting things as interesting without an element of entertainment. In particular, the younger generation, which is the target of "HEAPS," is skilled at measuring the relationship between themselves and information, and they are quick to select and discard information. Therefore, it is important to use entertainment elements to attract them and make them think, "This looks interesting. . Also, basically, I want the reading experience to be positive.
For example, if you finish reading a painful article and it remains painful until the end, it will enter your mind as information, but it will not stick in your memory. However, if you continue to read the article and write about possible solutions or possibilities, the reading experience will become more positive. Just criticizing a problem bitterly will not change anything, you know.
Many of the titles also draw you in, are you aware of that as well?
sago (edible sago palm starch)You do that quite a bit. If the title is like a summary of the article's content, it comes off as heavy, so I try to make it thoroughly pop. However, just being pop doesn't differentiate you from others, so I try to give them twisted pop, twisted but catchy titles.
We do not want to charge for this. Because .......
I don't mean to be rude, but I don't think you advertise on "heaps" as far as I can see, how do you make your money?
sago (edible sago palm starch)That is quite a question (laughs). Actually, our original start was a joint investment by a major Japanese company, and we had an investment limit in the beginning. . We don't do it that way now for operational reasons. We also did on-demand media projects at one time, and now we are doing catalog production projects. I also occasionally do article advertisements (laughs). Also, since last year, I have been bringing people featured in "HEAPS" to Japan and holding events there. This December, we are bringing Erika Rust, a pornographic film director who has had a great response. We also have a sponsor for that. But I still haven't gotten out of the bicycle business (laughs).
Is the client of the production project a New York company?
sago (edible sago palm starch). No, it is a Japanese brand or company. . If they want to shoot in New York, we coordinate everything from putting together a talent team to coordinating the location.
All media have a hard time making ends meet (laughs).
sago (edible sago palm starch)Media, in particular, is a place where there is a great disconnect between what we don't want to do and what we do want to do , especially in the area of money. It would be great if we could monetize the media on its own, but we don't seem to have enough readers, so it is difficult to advertise in articles. But we don't want to advertise in articles that we don't want to advertise in. . But it's not the same as charging for monetization. So, right now, we are looking for brains on the business side. We are looking for people who can help us.
Are there any specific reasons why you do not want to charge for this service?
sago (edible sago palm starch). Because we want the information we are delivering now to be received equally. Only those who have money can see the information in "HEAPS", and those who do not have money cannot. I don't want to make a difference by charging only a few hundred yen. I'm going too far in my idealistic approach (laughs). (Laughs.) I don't want to advertise articles unless they are useful and readers will enjoy reading them. . So, I hope to monetize the service while maintaining the current purity as much as possible.
It's not a simple number , but how you engage with your readers.
Was there a moment when you felt that "HEAPS" was coming? Did you have a moment or an opportunity when you felt "HEAPS" was coming?
sago (edible sago palm starch)I can't think of any particular trigger, but recently I'm in a position where I don't have to do sales to be approached, and I get comments and e-mails every day. But "HEAPS" has a really high level of reader engagement. When we hold an event, we also have an open call for photographers, videographers, and other people we need for each event, but we get over 100 people applying each time, and tickets sell out. So, in that sense, I feel that we are gaining recognition. I feel that we are gaining recognition in that respect.
In the U.S., I feel that "Refinery29" has changed the nature of the old media, but is the tide turning now?
sago (edible sago palm starch)I feel that. I have an acquaintance who works at Refinery29, and I hear that they also put a lot of effort into their events, especially events where you can meet the editorial department. Also, this is a story about another media outlet, but their editorial department works closely together to produce advertisements for their clients. It's not about the number of advertisements, but about the depth of the relationship with a client.
I think these days, especially in the West, companies are more concerned about engagement: rather than something that is seen by 10,000 people, more than half of the community of 100 people will recognize and engage with the media. . That is more worth advertising.
Is it still social networking to measure engagement?
sago (edible sago palm starch)That's one thing, but the media that claim to be highly engaged are sending out newsletters. That newsletter is also aimed at a niche audience rather than generic content for the majority. They even have an open rate of over 50%.
, a web that delivers quality information to those who want to know.
Are you thinking of publishing on paper in the future?
sago (edible sago palm starch)I would like to publish it, but a magazine is like a billing system, it does not maintain equality. Therefore, unless we can create a channel to reach people living in remote areas, I don't want to publish. Also, nowadays, when people want to know something, they go to the Internet first. This is especially true for the younger generation. If this is the case, we want people to be able to reach quality information when they search for something, so I think our first priority should be the Web after all.
. For example, feminism has become something of a hot topic recently. Not long ago, Emma Watson was criticized by feminists for showing her boobs, and there were many articles about it in the Japanese media. But there were no articles examining the causes of that uproar or the fact that there was such a difference of opinion about the definition of a feminist. HEAPS" delved into the "gap in perceptions of feminism between generations" and wrote an article about it. In this way, we want to present quality information to those who want to know more about the issue, and we believe that is our role. I would be happy if people feel that they can access quality articles by looking at "HEAPS. Also, if we don't do that, the Web will always be second only to paper in terms of the quality of information. But there are some experiences that can only be had on paper, and I know I talk about them a lot, but I would like to publish them someday (laughs).
I see (laughs). Lastly, I would like to ask you, many media people in Japan work until late at night. How about New York?
sago (edible sago palm starch). I am no different from the Japanese media (laughs). I work according to Japan time, so it's like I'm working for a black company (laughs). However, everyone in my shared office leaves early and takes vacations. What do you mean you can't go home because you are in the media? I don't think so. . So, HOUYHNHNM, please go home early too (laughs).
I understand (laughs). Thank you for making time in your busy schedule today. I look forward to reading more articles in "HEAPS" in the future!
