Monday, September 21, 2026

Travelmarx Fall 2026 Playlist - Each Day


A composite image of 36 albums used in this playlist.

Ah, the anticipation of Fall crispness and the end of a scorching summer. Cool mornings and sharper light. And, the anticipation of what may unfold for the better or for the worse as we round the bend of this year.  (I've always seen the year as a shape with bends. That's for another post.) Anticipation itself can be paralyzing and feel like a weight. We remind ourselves to take each day as they come, preparing the best we can but not forgetting to live in the present. Phew, end of sermon. Spotify link


Lau Ro - album "Cabana", track "Each Day"
sweet93 - single "Stars Above"
Sterling Grove, Ellyn Woods - single "White Sails"
KATZROAR - album "UNDERWORLD", track "Heart (Give a Little)"
The Durutti Column - album "Renascent", track "Sargasso Sea"
Lord Echo - album "Rarities 2010 - 2020: Japanese Tour Singles", track "In Your Life - Lisa Tomlins Version"

The Karminsky Experience Inc - album "Snapshot", track "The Sea"
Steve Hensby Band - album "Astronomers Aren't Morning People", track "Jupiter"
José Junior - album "Spanish Leather", track "Projections"
Dele Sosimi, The Estuary 21 - EP "The Confluence EP", track "Mo Ṣe B'​ọ​́​lá T​á​n"
The Deadbeats - album "Lounging", track "Funky For You"
Tim Love Lee - album "Just Call Me 'Lone' Lee", track "Twilight Reservation"

Antena - album "Versions Speciales - Camino Del Sol", track "Bye Bye Papaye (Lexx Mix)"
Air - album "The Remixes, Vol. 1", track "Casanova 70 - The Secret of Cool"
Freak Heat Waves - album "Mondo Tempo", track "Off My Mind"
Project Gemini - album "Colours & Light", track "Colours & Light"
Nicolas Godin - album "Concrete and Glass", track "The Border"
Pete Josef - album "Lifeline", track "Utopia"

Alex Kassian - EP "Body Singer", track "Trippy Gas"
Scrimshire - album "Listeners", track "Theme for Us"
Officer John - single "You"
Alex Kassian, Spooky - EP "Orange Coloured Liquid", track "Orange Coloured Liquid - Part II"
TORCH SONG, William Orbit - album "Toward the Unknown Region", track "Blue Night - 2022 Remaster"
Space Dimension Controller - album "Love Beyond the Intersect", track "Love Beyond the Intersect"

Hoover - album "The Lost Outlaw Album", track "Take My Hand"
The Confederate Dead - album "It Was Meant to Happen", track "Where Flowers Grow"
Assaf Spector - album "All The Changes", track "Five O'clock Mirage"
Assaf Spector, Brian J Gitkin, Carol C - EP "Peony Dreams", track "Peony Dreams"
Solju - album "Ođđa Áigodat = New Times", track "Ealloravddas"
Various Artists - album "Xen Cuts", track "Down & To The Left" (Amon Tobin)

Lauer - album "Know You", track "You Know"
Damien Jurado - album "All Are Welcome In: A Return to Maraqopa (Redux)", track "Plains to Crash"
Common Saints - EP "Equinox", track "Equinox"
Marcoca - album "Soliloquy", track "Stranger on the Loose"
Israel Nash - album "Israel Nash's Rain Plans", track "Who in Time"
Locust - album "Truth is Born of Arguments", track "I Become Overwhelmed"

Thursday, September 3, 2026

Velvet Squabs and Flat-Arc Heroines

The Duke Loop - Heroine Hero Loop

I know I'm currently stuck in a Duke Loop: long-form historical romance stories on YouTube involving misunderstood heroines, emotionally constipated dukes, disputed inheritances, tenant farmers, and an improbable number of carriages fitted with velvet squabs. In this post, I’m not going to discuss the addictive nature of these stories, algorithms, or how these algorithmic pulp-fiction pieces are produced, though that is interesting and maybe for another post. Instead, I would only like to address the story lines of these pieces, and why these story lines appeal to audiences and to me.

The stories are set in an elastic version of 19th-century England, somewhere between the Regency and Victorian periods. The heroine is not initiated; she is authenticated. In storytelling terms, she has something close to a flat character arc: rather than changing fundamentally herself, she holds steady while the people and circumstances around her change. In other words, the heroine travels through the plot, but not very far through the self.

This is in contrast to the Hero’s journey, also known as the monomyth, a common template of stories that involve a hero who goes on an adventure, is victorious in a decisive crisis, and comes home changed or transformed.

The hero myth was popularized by Joseph Campbell (1904 – 1987):
  • Campbell’s basic structure is: separation → initiation → return
  • For our purposes, we can see this as: ignorance → challenge → transformation → wisdom
The Duke Loop stories have an emotional cycle something like this:
  • misrecognition → suffering → endurance → revelation → recognition → reversal
I became curious about why this altered story cycle is so satisfying to watch. The hero’s journey can be restated as this: “I can be tested, change, become more capable, and emerge as somebody different.” A Duke Loop story is typically this: “I don't need to change. I am already good. Other people simply haven't recognized it yet.”

The Duke Loop stories consistently state that the problem isn't the heroine. Eventually the evidence will come out. Everyone will realize how wrong they were. And the people who treated her badly will have to watch while somebody important recognizes her value.

Do members of the audience actually identify with the heroine, imagining that they too are right while the world stubbornly fails to recognize it? Some surely do, but I don't think the stories require that much identification.

For those watching or listening, it might be closer to something like "Those awful people are going to get what they deserve, and I want to see it happen." The heroine can therefore function less as a richly (a generous term if you have seen the poor quality of some of these stories) imagined person than as an empty-enough vessel for moral identification. Making the heroine more psychologically complicated could damage the easy formula. Give her moral ambiguity and punishment becomes less satisfying. The one-dimensionality isn't necessarily an accidental failure of characterization. It may be part of the mechanism.

So what do I get out of it? Am I susceptible to this story arc? Am I at a vulnerable time in my life? After all, I did write about being lightly observed and being okay with that. That was before I fell into the Duke Loop. It seems suspiciously related. Was I targeted? My fan snaps shut. I grasp my reticule. I’ve been exposed! Like all things binge and cringe, this too will pass.

The stories don't necessarily make the audience (including me) self-righteous. But they repeatedly offer the pleasurable experience of occupying a position in which righteousness never needs to be questioned.

A transformational story asks: What must I learn? A vindication story–like a Duke Loop story–asks: When will they finally realize I was right? And repeated exposure to the latter gives you a form of narrative pleasure that requires remarkably little self-interrogation. And there you have it, the crux of it. How much work do you want to do watching a story? How much thinking and self-reflection do you want if you are just want something to lull you to sleep or help you escape the world for one hour?

In a nutshell: the audience temporarily occupies the morally privileged position in a Duke Loop story. Other people are wrong. The heroine’s (your) suffering demonstrates her (your) virtue. Recognition is coming.

I will end this post with more Duke Loop story vocabulary, which I find entertaining The vocabulary is a smorgasbord of estate management and descriptions of situations and characters in our fictitious universe. Enjoy!
  • Carriage interiors with velvet squabs.
  • A plucky village girl tending a turnip field who then become a duchess.
  • Drainage concerns in low-lying fields.
  • Tenant farmer contracts.
  • Stern housekeepers named Miss Hawthorne.
  • Stewards of the estate that can be kindly, incompetent, or thieving.
  • Solicitors and magistrates listening on the other side of the door.
  • Bored dukes attending balls that function as thinly disguised marriage markets.
  • The price of good beeswax candles.
  • Cream colored vellum with a good wax seal.
  • The endless rain hitting London windowpanes.
  • The library as the center of the action in the love story. (This I like!)
  • Appropriate distance between lovers.
  • The aunt-chaperone in the room.
  • Almost smiles on lips of dukes.
  • Dark grey, stormy eyes.
  • A heroine in a gown from three seasons ago.
  • A turned dress or pair of gloves.
  • Buying meat on credit from the butcher.
  • The cramped bedroom under the eaves.
  • Forearms corded with muscles.
  • Low, rusty sounds from dukes that are laughs.
  • Using someone’s Christian name.
  • A kiss tasting of cold rain and tea.
  • Hessian boots.
  • When Michaelmas is and how many days are in a fortnight. 
  • To have your breath hitch.
  • Breath pluming in cold air.
  • A room that smells of cold toast and impending doom.
  • To truly be seen by someone.
  • A sharp-eyed dowager duchess.
  • Holland covers over furniture.
  • A japanned box with a secret compartment.
  • Two and twenty equals twenty-two.
  • A cravat tied with mathematical precision.
  • A dowager getting sent to a dower house.
  • A fresh sheet of foolscap to take a note.
  • The benefits of a well-sprung coach.
  • A heroine in a dove-grey dress.
  • A carefully husbanded fire.
  • Being turned out without character.
  • Getting sent to Fleet Prison.

Tuesday, September 1, 2026

A Hike from Rifugio Ca’ San Marco to Lago di Pescegallo

Small lake near Passo di Verobbio View south over Lago Valmora Heading toward Ca' San Marco
Top left: View from Passo di Verrobbio looking north toward Valtellina and Switzerland
Top center: Lago di Pescegallo, Valgerola Italy.
Top right: Tracks from Rifugio Ca' San Marco to Lago di Pescegallo.
Bottom left: Small lake near Passo di Verobbio.
Bottom center: View south over Lago Valmora, near Rifugio Ca' San Marco.
Bottom right: Heading toward Ca' San Marco.


Sometimes the best hikes are the ones that materialize the day before. A friend asked us on Saturday if we wanted to go hiking the next day with a group of friends. Of course we did.

Overview


Duration: 2 hours (walking time)
Elevation: 445 m
Length: 7.8 km
Location: Italy, Bergamo, Alta Valle Brembana


Notes


We got a late start on Sunday due to large group logistics but managed to arrive Rifugio Ca’ San Marco still the respectable morning hour of 10:30 am, where the morning coolness was still perceptible.

Our destination was Lago di Pescegallo and CAI Sentiero 161, which runs from the rifugio toward Lago di Pescegallo and eventually Passo di Salmurano. With the size of the group, the late start, and unspoken “let’s have ourselves a little Sunday walk but let’s not miss lunch” hanging in the air, we knew this was not going to be an epic hiking day.

From Rifugio Ca’ San Marco, at about 1,830 meters, we headed toward Passo di Verrobbio at 2,026 meters. Once over the pass, the trail enters Val di Bomino and Valtellina. The scenery improved considerably around the pass, where there are remnants of World War I trenches (Linea Cadorna).

Our original destination was Lago di Pescegallo, but lunch exerted a stronger gravitational pull. There wasn’t enough time to descend to the lake and climb back before our reservation, so we turned around above it. Our outing came to 7.8 km with about 445 meters of elevation gain. The lake will have to wait for another day.

Hike to Eat


Back at Rifugio Ca’ San Marco, we arrived just as everyone was ordering lunch. We were with a very hungry group, and we dawdled on the way back to the rifugio, our attention caught by a small snake and a family from Lazio. The snake was likely a biscia or grass snake.

We went appropriately Valtellinese with pizzoccheri della Valtellina and penne con ragù di lepre. We finished by sharing strüdel, and then someone passed around some very good young goat robiola bought from a vendor who set up shop in the rifugio’s parking lot.

The pizzoccheri were particularly appropriate because we had just walked over the ridge into Valtellina. And so was our wine: a Triacca Valtellina Superiore Inferno 2021, made with Nebbiolo. We were drinking wine from the valley we could see off to the north.

But the gastronomic story didn't end with lunch.

As mentioned, in the parking area outside Ca’ San Marco was a cheese and salumi vendor. This made our day. We left with Bitto, fresh cow's-milk robiola, grasso d’alpe, bresaola, rye bread, dried blueberries, and bisciola – the Valtellinese sweet bread with figs, walnuts, and raisins. The vendor told us that his Bitto came from the milk of cows grazing below the rifugio, probably from the same malga we had looked down on while hiking.

Bitto has a fascinating connection to these valleys. Its origins are traditionally traced back to the Celts who took refuge in Valtellina and, as skilled herders and cheesemakers, developed long-lasting cheeses as a way of preserving the nutritional value of milk. Today's Bitto is a full-fat, semi-hard cheese made from raw whole cow milk, with a small amount of goat milk optionally added. The complicated modern history of cheese also produced "Storico Ribelle," the name adopted by producers who wanted to preserve the older production traditions.

So, one afternoon we had quite the Valtellina lineup: pizzoccheri, Nebbiolo wine from Valtellina, bitto cheese, bresaola (cured meat), bisciola (sweet bread), and gorgeous scenery.

Casa Cantoniera and Linea Cadorna


Today Ca’ San Marco may just seem like another rifugio, but there is more to it.

Ca’ San Marco’s role must be placed inside the geopolitical logic of the Via Priula, a historic communication route and an alpine hiking route that connects Bergamo to Morbegno, passing through the San Marco Pass.

Ca’ San Marco was built in 1593 at the edge of the Venetian mainland territories, it functioned as a casa cantoniera (point of monitoring traffic, goods, and movement) on an international frontier: a staffed outpost at the very crest of the Passo San Marco, where the Republic of Venice met the territories of the Grigioni (Three Leagues). The formal customs house — the actual dogana — sat lower down at Mezzoldo, where goods and travelers were inspected before beginning the climb. Ca’ San Marco, by contrast, was the high‑altitude presence of Venetian authority: a shelter, a control point, and a symbolic marker of the border. In early‑modern Alpine practice, this was typical — customs in the last village, state outpost on the pass itself — and Ca’ San Marco fit that pattern precisely.

Today the pass separates two Lombard valleys: Val Brembana (Province of Bergamo) on the southern side and Valtellina (Province of Sondrio) on the northern side. Administratively it is no longer a state frontier, but geographically it remains a watershed divide between the Brembo and the Adda, and culturally it still marks the transition between two distinct alpine regions with different historical trajectories. Before the unification of Italy, however, this ridge was a true international boundary: Venice to the south, the Grigioni to the north, and beyond them the routes toward Chur, the Rhine, and northern Europe. The Via Priula was built precisely to exploit this crossing, allowing Venetian merchants to bypass Spanish‑controlled Milan and maintain direct access to transalpine trade.

The Orobie form a steep, folded, high‑relief chain that historically acted as a natural barrier: militarily defensible, commercially constraining, and climatically severe. Only a handful of routes could be made viable, and Passo San Marco was one of the few that could be kept open and controlled. Snow, fog, and avalanches made the crossing dangerous; Ca’ San Marco’s bell was used to guide travelers in storms. In this sense, the building’s function was inseparable from the landscape: the mountains created the obstacle, the pass created the opportunity, and Ca’ San Marco was the human instrument that made the frontier navigable and governable.

Nearby and many centuries later, we can see remains of World War I activity. At the Verrobbio pass, which we passed through to go to Lago di Pescegallo, the remains of the trenches built before the outbreak of the First World War by the Italian Army are still present. In anticipation of a possible breakthrough of the Tonale front and a consequent descent of the Austrians along the Valtellina, Italy build these defenses. They are part of the Cadorna Line. Fortunately, these defensive constructions were never used.

The official name of the Cadorna Line is the Northern Frontier. Cadorna comes from the surname of Luigi Cadorna (1850 – 1928), Chief of Staff of the Italian Army, who ordered them built. This defensive system is 70 km long, stretching from the Varese area to the Aprica pass in Val Camonica, and served as a second line of defense in case the main front, at Stelvio and Tonale, collapsed or in case of attack by the Austrians through neutral Switzerland. Fortunately, the Cadorna Line was never used.

Cultural Literacy, Italian Style


Our education continued in the car on the way home.

First came an important Bergamasco proverb: La bóca l’è mai straca se la sa mia de àca – roughly, the mouth is never tired if it hasn't tasted of cow, or, more practically, a meal isn't really finished until you've had some cheese.

Given the amount of cheese we'd just bought, we were apparently taking the proverb seriously.

Then somehow, we arrived at the seven deadly sins and a discussion of ignavia – sloth, indolence, or the unwillingness to take a stand.

And then came 15 minutes discussing the movie Amici miei ("My Friends" in English.)

According to our Italian friends, Amici miei, Mario Monicelli's 1975 comedy, is basically required reading – or viewing – for understanding Italian culture. The film follows a group of middle-aged Florentine men who escape everyday life through their zingarate: elaborate, spontaneous, and often ridiculous pranks. This is one of those films we've heard referenced enough that not knowing it starts to feel like a gap in our Italian cultural education.

It wasn't the longest hike we've done, and technically we didn't make it all the way down to Lago di Pescegallo. But we crossed from Bergamo into Valtellina, walked past old military trenches, ate pizzoccheri, drank Valtellina wine, bought cheese with roots stretching back to the Celts, and returned home with a lot more.

Not bad for a Sunday.

Photos


Bitto cheese on polenta crust Riugio Ca' San Marco - dining area 
Rifugio Ca' San Marco in Alta Valle Brembana, Bergamo, Italy.

Rifugio Ca' San Marco menu The lion of Venice marks the side of the rifugio Triacca Valtellina Superiore - Inferno 2021 - front
Left: Menu at Rifugio Ca' San Marco.
Center: The lion of San Marco / Venice affixed on the side of Rifugio Ca' San Marco.
Right: A wine from the nearby Valtellina, a Nebbiolo.


Rifugio Ca' San Marco - pizzoccheri Rifugio Ca' San Marco - penne alla ragu di lepre Rifugio Ca' San Marco strudel
Left: Rifugio Ca' San Marco - pizzoccheri - a typical food from the nearby Valtellina valley.
Center: Rifugio Ca' San Marco - penne con ragù di lepre.
Right: Rifugio Ca' San Marco strudel.

Bitto cheese on polenta crust Our cheese and meat haul Local vendor's sign at the rifugio
Left: Bitto cheese on polenta crust.
Center: Our cheese and meat haul.
Right: Local vendor's sign at the rifugio, selling cheeses and other products from the nearby valleys.


Linea Cadorna - Passo di Verrobbio Trenches of Linea Cadorna at Passo Verrobbio Cows grazing along the path.
Left and center: Part of the Linea Cadorna at Passo di Verrobbio. 
Right: A cow grazes near Rifugio Ca' San Marco.