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The Near-Death Railway of Burma (Revisited)

604 453 Michael Kraabel

This is a post from the archives of my former travel blog, UnrealTravels.com.  It was published in a variety of places, including the PilotGuides website (which I did some community/forum development work for several years/decades ago).  A recent article on Jalopnik about the joyless experience of American Amtrak service lead me to re-publish it.

NOTE: I have not edited this piece since writing it in the lobby of the Atlanta Hotel in Bangkok sometime in 2004. It may have been the romance of the situation, but it appears that I found love in the grimy edges of train transport where others might not get the opportunity to experience that same joy.  A product of time or place?  Unknown.

I dreamed of riding the rail ever since I was a young child. I collected pieces of model railroad sets – setting them up in my small room – imagining myself one of the passengers. I would lie on the floor with my ear to the ground, watching the toy engine make its circular path around the small track. Only the slight hiss of the electric motor and the scraping of metal tracks could be heard as it whizzed around in endless circles.

Growing older, my fascination with model railroads waned and I begun looking for the real experience. I toured train museums and ate dinner on vintage rail cars converted to rolling dining halls. I rode the subways of New York, Chicago and the trolleys of San Francisco. I had the opportunity to ride the rail from Venice to Florence, Bangkok to Nong Khai and I even had a chance to ride the historical “Death Railway” across The Bridge Over the River Kwai in Thailand. These were all very impressive machines complete with services you might expect to find from a modern railroad enterprise. The convenience and punctuality of these systems left me satisfied, but craving more.

For over a century, the romantic sensation of rail travel has existed. Travel by rail harkens us back not only to the industrial revolution, but also the advent of leisure travel among the upper crust of western society. These magical overland journeys remind us of exotic destinations and a bygone era. There are places around the world, however, where rail travel remains as much a part of the local culture as it is a means to get to a final destination. The aging tracks of Burma are that kind of railroad.

White-gloved service that accompanied The British East India Company is now part of Burma’s history. These days, many travelers choose to ride the “impress the tourists” route from Yangon to Mandalay, where upper class cars contain modern reclining seats, dining cars and sleeper coaches. The less-traveled routes have barely changed since Burma declared independence from Britain in 1948. Since that time, many of the British-built rails have not been upgraded or maintained. When they are, Burma’s military controlled government tends to build them with reused equipment and forced labor. Fatal accidents are common, but reports rarely make it into the state-run media outlets. Unofficial reports tell a rather grim tale of the Burmese railroad system.

Nearly every local person I talked to about the train immediately cautioned me to take the bus or the boat. They said the train was too expensive for foreigners. Their hushed references to government ownership of the railroad sounded more like a silent protest. They told me that the train was slow and unreliable. Having spent 18 hours in the back of a bus from Yangon to Inle Lake, I had a pretty good idea what to expect of slow and unreliable Burmese transportation.

Having spent the afternoon aboard a private charter boat visiting the ancient city of Mingon, near Mandalay, I decided to forgo the traditional riverboat passage from Mandalay to Bagan down the Irrawaddy River. I asked around about the night train from Mandalay. Thinking I could get some sleep on the train, and save the expense of getting a room for the night, I decided to ride the rails.

After dinner and drinks with my Burmese friends, they offered me a ride to the train station. I arrived early so I could navigate the maze of a ticketing counter. The depot was dark, all signs were in Burmese and there was very little indication that a train was even nearby. I found the only open ticket counter and managed to mutter out the name “Bagan,” a deserted city, from 11th to the 13th centuries — of magnificent pagodas and temples on the banks of the Ayeyarwady. Bagan is one of the wonders of Asia, ,one that many believe rivals the temples of Angkor in Cambodia.

The ticket agent spoke English just enough to sell me my $9 USD upper class ticket, a ticket which locals pay only $1.50 for. The high ticket prices aim at dissuading foreigners from traveling by train, reserving the seats for Burma’s rich and military elite. I sat and chatted with a group of vacationing monks before making my way to the Mandalay-Bagan bound train.

As I walked down the dark platform, I passed a countless number of families that had built make-shift residences along the tracks. The environment felt like a small village – people ate, slept and worked there. The smell of diesel fuel and charcoal stoves hung heavy in the air. Food and drink were traded with the train passengers. As the only foreigner on the train that night, I was more of a curiosity to the hawkers than a potential customer. Seeing that I was clearly out of place, a young Burmese traveler helped me find my rail car in the pitch-black night.

As I boarded the train, I struggled to find a torch in my overstuffed bag. The locals were having just as much trouble finding their seats as I was. Fortunately, the British not only left behind these aging green rail cars but also English seat numbers. Our upper class seats were just as hard as the ordinary class benches, but had a thin fabric covering and pad that made them look somewhat comfortable. The only illumination in the rail car was a single bulb dangling from the ceiling, attached by lose wires, barely making enough light to make itself known.

As I took my seat, I was offered bottled water through the open train windows. The other passengers bought snacks and sometimes entire unidentifiable meals as the train started to slowly fill with local travelers. The family across the aisle from my seat offered me a candle for my table. I lit a mosquito coil in a desperate attempt to discourage the smaller buzzing passengers from feasting on me as their late night snack.

At 10:00, the train blew her whistle a few times to signal our departure. Minutes later, the train lurched forward and pulled out of the station. Through darkness of night, we slowly made are way away from Mandalay. The city lights faded in the distant and was replaced by a shadowy landscape of rice paddies and thatch roof houses. I could feel the countryside passing by, but could see no more than a few inches outside the window. If it wasn’t for the sensation of movement and the click-clackety sounds of steel-on-steel over the rail joints, I might have assumed we were trapped in a dark tunnel.

Further outside of town, the train started to pick up speed. The dangling light bulb became bright as a burning ember. It swung violently back and forth, creating a strobe effect, further enhancing my psychological fear that I was riding this train to certain death. The cars rocked from side to side with fierce motion; the train made back-breaking lunges up and down. I tried to close my eyes, but could only see an image of the train being pulled from a deep ravine below. I struggled to find my rucksack where I had conveniently stored the only device that could save me from death by rail: an inflatable seat cushion.

The nostalgia of riding the rail was now gone, survival mode had become my only consolation. My body curled up like a pretzel, trying to find a spot where I could rest without flying out of the seat. There were times, throughout the night, that the cars rocked so violently I thought they would fly off the tracks. Plunging to the bottom of a dark ravine was not a settling image. During the 8 hour trip I think I had a total of 10 minutes of anxious sleep. In the haze of morning, I sat disoriented trying to figure out how long I had been traveling and if I had reached my final destination. It was a little past 6:00 am, I was alive. The train had followed her rails like she was built to do.

Rather than waking rested and relaxed for a day of temple climbing, I was sure I had a case of vertigo and post traumatic stress syndrome. The memory of riding Burma’s Mandlay to Bagan rail line will not likely fade. Photos and video will never tell the complete story. It’s only through first-hand experience that someone can appreciate what it is like to meet death face-to-face and survive. The next time I travel to Burma, riding the rail will be at the top of my list of things to do.

Text © Michael Kraabel 2004, All Rights Reserved

For The Love of Marketing Prose

1024 683 Michael Kraabel

I believe in the power of the written word to inspire an audience and to lead them on a visceral journey of self-discovery. I am writer, but I still make mistakes, leave drafts riddled with typos, drop letters from words, invent new words, and militaristically support the oxford comma. But I always try to get the story correct. Or at least somewhat clear.

I love writing corporate manifestos and scripts for brand anthem films. I’ve written a lot of them over the years. They’re big and powerful. They’re designed to inspire and unite teams and leave a lasting emotional impression. They help put companies in perspective for both the employees and their customers. An artfully crafted “about page” on a website can be the difference between global domination and bankruptcy (maybe, probably … probably not).

But sometimes, every so often, you run across one of these anthems or corporate overviews that go beyond their basic duty and simply become – all capital letters – ART.

Here is such a story…

“Flextronics or: How I Learned to Stop Writing Corporate Nonsense and Love the Power of Clarity in Words.”

A few years ago, I was driving around the bay area visiting several of our client’s customers as part of a brand transformation project. I was in the back seat as we passed by a series of newly constructed industrial park office buildings. As we turned a corner, I noticed one of the buildings had the google logo (in her bright and shiny technicolor glory). Most buildings in the Bay Area have a google logo these days, so it was more of a novelty. Next to her, however, was the building that caught my eye.

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Flextronics, written in the most amazing 80’s video game typography, jumped off the building and into my curiosity.  I asked my fellow passengers if they had also seen this amazing icon of human achievement? They had.

We laughed and assumed it was a CIA front, considering the proximity to Google. None of us had ever heard of such a made-up-company-name before, so we googled. What we found was nothing short of marketing amazement. The Gold Medal of writing. The Nobel Prize for corporate speak. The Medal of Honor for “saying nothing, while saying everything.”

As I read the “about page” word for word to my fellow passengers, each carefully crafted word rolled off my tongue as if it had been written for my voice, and my voice alone, to read. It was magical. I was truly inspired, but perhaps for the wrong reason.  It was like a puzzle to solve. Who is Flextronics? Are they really a CIA front? Is this who John Galt is?

I enter it here, unedited, for your amazement, enjoyment, and investigation.  It is long, but you may thank me for introducing you to one of the most perfect corporate “about page” the world has ever constructed.  One that that does everything, yet says nothing.


Our Company

At Flextronics, impossible is where breakthrough begins. As a socially-responsible, global leader in design, manufacturing, distribution and aftermarket services, Flextronics is unique in its ability to provide end-to-end solutions through its innovative and proprietary systems — all to enhance customer competitiveness and success. Working across four business groups and several business units, Flextronics is able to unleash the full potential of the world’s most valuable brands and new ventures.

What Flextronics creates is value. By increasing speed to market and driving competitive positioning for customers, Flextronics in essence solves customers’ most challenging problems better, faster and more cost effectively than any other company. Flextronics is able to manage big data in a way that allows for trending in market environments that are in flux, allowing the Company to provide solutions for customers, often before a challenge is ever realized.

Flextronics is unique in the depth, breadth and scope of the Company. With an unmatched global presence, customers are supported with unprecedented speed in product ramp-up, delivery, and the ability to manage volume regardless of complexity or product mix. Leveraging state-of-the-art LEAN practices, Six Sigma, key investments in infrastructure and FlexQ, a propriety quality program that is beyond leading edge according to customers, Flextronics is the market leader in almost every business in which it operates. Whether high mix/low volume or low mix/high volume, Flextronics can enable any customer’s success.

At Flextronics, there is no room for “mediocrity.” If anything, the Company exists to continually test the bounds of what can be expected in terms of designs and processes. Optimization is what Flextronics does best.

People make the difference. People with passion have an even greater impact. The Flextronics team spans more than 30 countries and four continents, and has a global workforce of 200,000. Each member of the team is dedicated to enabling customer success. That is achieved through intense collaboration, passionate customer focus, thoughtful and disciplined execution, a tenacious commitment to continuous improvement and a relentless drive to win.

Culture is the most important sustainable, competitive advantage of any company. The Flextronics culture is built on commitment — to customers, employees, the communities in which it operates and the environment. Flextronics is a global leader in non-profit/for-profit partnership, providing assistance in the places around the world that need it most. The Flextronics Foundation provides assistance in the areas of natural disaster relief, human rights and educational opportunities. Culture drives every aspect of the Company’s success. The culture and business model work hand-in-hand to ensure simplicity, flexibility and above all — sustainability.


Do you know what they do?  Nah, neither did I, but I felt so damn empowered that I continued to search for a good while longer to try and figure it out.  I won’t say how long it took, but now I think I know what they do. I think.

What’s your best guess?

In the years since this discovery, I have often gone back to read the Flextronics about page. They’ve recently re-branded, so I have to find it on archive.org. It’s a reminder for me to “stop trying to be a writer” and just write. Write with clarity, precision, and with directness. Flextronics … you were my true first love of copywriting. We will always have San Jose.

Film Recommendations for Movie Lovers (Part I)

1024 683 Michael Kraabel

Updated: January 23, 2017

Fun and Quirky Films You’ve Never Heard Of

I’ve spent the better part of my life watching movies. My first job was at a small town video rental store. I was paid $5.35 an hour, but I got unlimited movie rentals. Nearly every night I would grab whatever was left on the new releases shelf and bring them home. I would watch between 3-5 movies a night before my next shift in the morning.  I don’t nearly watch that many today (although there are days when I wish I could), I like to share great film recommendations with the world when I can.

The following list is in no particular order. I will not include movies that I think everyone is already aware of, unless it’s one of the “classics” that people put on their list, but generally haven’t made it around to watching.  I will try to put some sort of notes in each one to help categorize by mood or topic, which may help.

Safety Not Guaranteed (2012)

This is a fun date movie, or just a fun story to watch on a Friday night.  It’s smartly written and wonderfully acted.  If you’re a fan of quirky movies that make you smile, laugh, and think about the possibility of time travel, this is for you.

It’s Kind of a Funny Story (2010)

Stressed by adolescence, 16-year-old Craig Gilner (Keir Gilchrist) checks himself into a mental-health clinic. Unfortunately, the youth wing is closed, so he must spend his mandated five-day stay with adults. One of them, Bobby (Zach Galifianakis), quickly becomes his mentor — and protege, while Craig finds himself drawn to a fellow teen, Noelle (Emma Roberts), who just may be the cure he needs to forget an unrequited crush. Great quirky film that makes you laugh and smile.  

City of Ghosts (2002)

This is one of my favorite movies of all time, but I admit that it’s not for everyone. It’s raw and gritty and reminds me of my early travels to Thailand and Cambodia.  This film’s portrayal of this time is spot on.  The characters are amazing and the filming is wonderful.  The movie’s slow burn pace will be respected by lovers of film, hated by those who want immediate action and explosions.

Jimmy Cremming (Matt Dillon) finds himself in Bangkok after fleeing the investigation of an insurance scam in the United States. Having discovered that his partner and mentor Marvin (James Caan) has surfaced in Cambodia, Jimmy sets off to get his promised cut of the action. What he finds, however, is a bizarre, ominous environment where cleverness is bait. The further Jimmy searches for Marvin, the deeper he plunges into torment – and the farther he gets from getting out alive.

Cashback (2006)

The Director (Sean Ellis) of Cashback started as a UK fashion photographer, which shows up in his unique style and attention to cinematic detail.  It also shows up in some of the scenes filled with naked women. But that’s not why I love this movie. I love it because it started off as a short film, won some awards, and then was greenlit to be finished as a feature.  This is pretty much every young filmmakers dream.

Rotten Tomatoes: When art student Ben Willis is dumped by his girlfriend Suzy, he develops insomnia. To pass the long hours of the night, he starts working the late night shift at the local supermarket. There he meets a colorful cast of characters, all of whom have their own “art” in dealing with the boredom of an eight-hour shift. Ben’s art is that he imagines himself stopping time. This way, he can appreciate the artistic beauty of the frozen world and the people inside it–especially Sharon, the quiet checkout girl, who perhaps holds the answer to solving the problem of Ben’s insomnia.

Rocket Science (2007)

I will admit that I was in High School Debate.  I was good at it and I loved it.  Between movies and debate, that pretty much filled my early years.  Maybe that’s why I’m so weird today. I was completely unaware of this movie until a few days ago when it came on as I was leaving the room. As soon as I heard, “Resolved ….,” I did a Risky Business sock slide and immediately turned around and rewound the movie for the opening scene.  Long story short: this movie is about how awesome High School Debate is and how cool the kids were.  Ok, maybe not.

But it is a fun and playful love story, which featured Anna Kendrick in the leading role.  I had no idea until she came on the screen as a young teenager. I won’t spoil the movie for anyone, other than to say (for the debate fans) the topics were farm subsidies and abstinence teaching in schools.

Submarine (2011)

If you love Wes Anderson movies, you’ll love Submarine. Is it a direct rip off?  Or a cinematic tribute?  Who cares … it’s an awesome movie you must watch.

Rotten Tomatoes: Fifteen-year-old Oliver Tate has two big ambitions: to save his parents’ marriage via carefully plotted intervention and to lose his virginity before his next birthday. Worried that his mom is having an affair with New Age weirdo Graham, Oliver monitors his parents’ sex life by charting the dimmer switch in their bedroom. He also forges suggestive love letters from his mom to dad. Meanwhile, Oliver attempts to woo his classmate, Jordana, a self-professed pyromaniac who supervises his journal writing – especially the bits about her. When necessary, she orders him to cross things out. — (C) Weinstein

Films: To Watch List (2017) – Part I

1024 683 Michael Kraabel

How many times have I spent hours looking through the never ending list of movies on Netflix and Amazon Prime trying to remember what movies where on my “to watch” list? I rarely like to re-watch movies, which is what always seems to come up. Perhaps that’s a product of me watching every movie that has ever been made. So, I’m starting this page to keep track of my 2017 watch list and issue short reviews of each film. I’m open to suggestions and debate in the comments section about each film on the list, or ones that should be put into consideration.

Seeking A Friend at the End of the World

Visual Storytelling: Four Dimensions of Brand Engagement

1024 576 Michael Kraabel

I love visualizing process. I know this is an odd affinity, but I’ve come to accept that not everyone has a visual brain.  Or rather, not everyone can visualize the chaotic maze of ideas that stream through the mind of creative person. For thousands of years the world was believed to be flat and to say otherwise would mean certain persecution. It wasn’t until advanced science joined the conversation, introducing basic physics and observational  data, that the belief of a round earth started to expand. Then, one day, someone had the audacity to create a globe – the perfect visualization tool to help humans understand the vast nature of our world.

 

Rational

Emotional

Visceral

Empathy

The Power of Brand Films: How Stories Stir Our Souls

1024 687 Michael Kraabel

In 1895, two French brothers, Auguste and Louis Lumière, invented and patented the cinematograph—a device that could record, develop, and project motion pictures. The first film ever shot with their creation was a short black-and-white silent documentary that ran a mere 46 seconds , “Workers Leaving the Lumière Factory.” Despite it’s diminutive size (800 frames, or 17 meters), and rather banal subject matter, this piece of storytelling would go on to change the world in ways we never imagined. For many, is often referred to as the first real motion picture ever made. For me, it was the first corporate brand film and would provide storytellers with a way to share experiences that excite imaginations for generations to come.

From the days of Lumière to the directors and independents of today, filmmakers around the world have captured our hearts and minds through the universal language of film. One does not have to be a specialist in Cognitive Film Theory to appreciate the way emotions and thoughts patterns interact with aesthetics and characters on the screen. The format of film allows us to activate areas of human emotion that cannot be stimulated during our daily routines or media consumption channels.

The medium of film is a form of escapism for the masses that encourages them to let go and be whisked away into the stories, events, and characters that have been weaved together into a tapestry of experiences. The story and character-directed emotions and feelings such as suspense, love, fear, anger, and curiosity allow us to connect with the subject matter. These feelings, I believe, are derived from our abilities to identify and empathize with the characters, which is the most important element of cinematic storytelling. These same elements can become critical components of brand narratives and filmmakers should consider a more cinematic approach to their craft, rather than traditional docu-style.

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Empathy

Why Stories Need to Connect

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Crafting and Telling Engaging Stories

As our stories move from the silver screen to a global army of mobile-connected content consumers, the battle of emotions needs a new hero. Brands who turn to film making as a means to distribute their message will need to understand media consumption patterns and expectations of the modern consumers – in both B2B and B2C spaces.

As our population spends more time engaging directly with screens rather than other humans, we begin to lose our ability to relate to each other on the more primal levels of emotions. While we may communicate (text, email, phone) and create (photos, videos) more via our technology platforms, it’s important to draw the distinction between consumption and compassion.

MIT Professor of social psychology and author of “Reclaiming Conversations,” Sherry Turkle makes the declaration: “Our rapturous submission to digital technology has led to an atrophying of human capacities like empathy and self-­reflection, and the time has come to reassert ourselves, behave like adults and put technology in its place (NYT, 2015).” Unfortunately, as technology and always-on behavioral issues continue to eat away at the core of our personal relationships, so to does it take away from our abilities to submit ourselves to the escapism of film. Which means it’s even more important that our directors and filmmakers today craft stories that can empower and engage with the audiences.

Turkle believes that “we have now created an environment that will distract us to distraction. (Guardian, 2015)”  In such a world, traditional social and digital channels encourage consumers to lean in and consume at unhealthy rates, which is why  it is important for our filmed stories to empower audiences to lean back to re-connect. Our stories should not follow the formula of instant gratification and short-attention spans. We have an obligation to extend the imaginations of our viewers and help fight against the trends of distractions.

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Advice For the Modern Lumière

If the Lumière brothers were to invent the cinematograph today, would a 46 second corporate brand film seem like an eternity for the audience waiting for something amazing to happen to our factory workers? Or, would they have the vision to create something so amazing that it would capture the delight of the audience so well that their lives would forever be altered by the experience?

Absent some revolutionary new way to communicate our visual experiences, we will simply have to work harder to connect with our audiences and tell our brand stories. We engage our audiences through the following guidelines:

  1. Focus on compelling subject matter for your filmed content
    In the case of corporate or brand film that has more commercial applications, try to find the emotional elements of the subject matter and the fundamental “why” of the brand.
  2. Look for a unique angle that has not been explored
    Simply telling the facts will not be enough to hold the attention span of a modern audience. A linear story does not allow the audience to insert themselves into the experience.
  3. Allow the story to dictate length
    Just because your audience has an 8 second attention span does not mean you need to be an accomplice in this crime against storytelling. Allow your story to move at the pace necessary to keep the audience guessing, while allowing enough time for their imagination to fill in the gaps of the story and guess where it will go next.
  4. Use technology as a tool, not a requirement
    A typical iPhone now has more technology and resolution than most film sets had less than 10 years ago. A standard laptop computer has the same ability to edit a story as the largest post-production houses in the world. Use these tools, but know that it is never about the tools or the software. Story always comes first. Telling it in a beautiful way is the best way to inspire the imagination of your audience.
  5. Quality over Quantity
    Producing 10 15 second clips about your brand may seem like the most logical way to approach content production in today’s modern world, but what is more valuable: 10 people watching 15 second clips or one person watching 150 seconds of your story?  Our stories should be designed to connect with the ones that matter, not simply to create reporting numbers that show consumption. If our goal is connection and conversation, focus on the quality engagements.
  6. Create
    Make stuff.  Tell stories. Edit. Revise.  Do it again.  Continue telling stories through film, from the silver screen to the iPhone. If you tell important stories, important people will come to listen … and watch.

 

Michael Kraabel is a creative director for Bolin and is an avid filmmaker and student of the art of storytelling.