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Started updating my bio Dec 31, 2023. Accidentally wrote four autofiction books. Slid from narrative into monologue—not stream-of-consciousness, more like speech-speed meaning performance. Trained my voice into AI, produced a shit-ton of pieces. Had too many. Needed a place to dump them. Saw a sign that said “Beware, Vicious Dog!” Misread it. Named the podcast Danger, Vicious Dog. Didn’t fix it. Just kept going. Queer. Cosmic. Sarcastic. Cheap. Accidentally committed to the bit. Some voice and art is AI... I don't know how I feel about that... so I'm working on figuring it out... how I feel.
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- 3 days ago21 min
E6: I Don't Quilt Anymore; S11: I don't want to put a trigger warning on this one, but... it's a craft!
This episode is called I Don’t Quilt Anymore, but the cover says I Don’t Care Anymore — “Care” scrawled above “Quilt,” crossed out like a confession.It’s part craft, part confession, part reckoning.I asked for a photorealistic image of two men making an AIDS quilt together — a 26‑year‑old white guy and an 18‑year‑old Latino club kid — and when I saw it, it hit me like a punch. It triggered every layer of internalized homophobia I’ve ever carried. I almost didn’t post it. I thought maybe if I’d given the episode first, the AI would have refused to make the image, would have gone back in time and voted for that California proposition in the 1970s — the one Anita Bryant pushed with her orange juice smile — and maybe Ronald Reagan would have stayed silent forever.But I’m posting it anyway. Because this episode is about doing the brave thing even when it hurts. It’s about the ethics of memory, about teaching at a gay high school in the mid‑90s, about the strange tenderness between generations, about the way art and craft blur when you’re just trying to survive.The song, I Don’t Care Anymore by Manuel Ruiz, is a garage‑punk relic from that time — raw, distorted, angry, and beautiful. The monologue that follows is a reckoning with what it meant to be a young gay teacher in a world still haunted by silence.It’s not easy to listen to. It’s not easy to post. But it’s honest.
- 3 days ago17 min
E5: If You Work in a Restaurant, You're an Addict; S11: 13th Step Heaven
This episode didn’t begin the way it sounds.It started somewhere else—somewhere draftier—and then wandered into the shape you’re about to hear. I won’t explain the process, partly because the process doesn’t want to be explained, and partly because the episode already gives away its own secret without ever saying it out loud.You’ll hear a story that isn’t quite a story, a confession that isn’t quite a confession, and a song that arrived before I understood what it was doing. There are hints scattered everywhere—about sealed rooms, old advice, restaurant myths, and the strange gravitational pull of certain kinds of men—but they’re only hints. They’re supposed to be.If the whole world had a satirical understanding of why people become addicts, or why we stay hooked on relationships that feel like bad weather, this episode wouldn’t need to hide anything. But it does. So it will.The door’s open a crack.That’s all you need.
- 3 days ago11 min
E4: Blowhard, Part 2: Handfuls of Gagging Gags; S11: Twelve Barrels per Barrel
This is Part 2 of the five‑episode Blowhard series, even though in the internal chronology it behaves more like Part 3, and in the release schedule it’s the last one I’m putting up. The whole project has been out‑of‑order from the start: Part 0 came first, Part 1 came somewhere in the middle, Part 3 slipped out before Part 2, and now Part 2 arrives as the final installment. It’s a series, but a scrambled one — intentionally chaotic, intentionally hard to track, intentionally cellular.This episode continues the Blowhard themes: generational collapse, opioid mythology, climate dread, authoritarian kleptocracies, and the strange sensory memories that adolescence tattoos onto adulthood. The monologue wanders through Boomers, shortages, gag reflexes, the AIDS crisis, and the smell of tire air that remembers a boy’s shame. It’s bleak like the others, but also accidentally funny, because exhaustion has its own comedic timing.There’s an addendum at the end — as with the other Blowhard episodes — where I try to correct something I said earlier, or acknowledge a mistake, or revisit a moment I bulldozed through too fast. The music is short and dark, under six minutes, but the talking stretches it out because I can’t stop once I start.If you want to listen to the Blowhard series in order, you’ll have to hunt for the other parts: Part 0, Part 1, Part 3, and Part 4. This one — Part 2 — is right here. And now the whole series is finally complete.
- 3 days ago37 min
E3: Psychics are an Interesting Problem; S11: The Being to Courage (Tillich Scramble)
I thought I was making an episode about psychics. Then tarot showed up. Then Paul Tillich. Then existentialism, anxiety, compulsive behavior, counselling, sex, the AIDS era, relationships, death, survival, and the strange usefulness of being a socially marginalized person.So I kept talking.This episode starts with a question about whether I can “read” people. I can sometimes watch someone, notice what they're doing, construct a plausible story about what might be happening inside them, and tell that story convincingly enough that they recognize themselves in it. That can look a lot like psychic ability.I don't think it's psychic ability.I think it's observation, pattern recognition, storytelling—and putting a draft in front of another person.That's the idea I keep coming back to.A draft isn't necessarily safe. But it is safer than something that has become final.A final story about who you are.A final story about what happened.A final story about why you behave the way you do.A final story about what somebody else means.A final story about what you're supposed to do next.Once something becomes final, you can stop looking at it.I don't really want to do that anymore.I want to go back into old stories and disrupt them. Let one thought interfere with another. Discover that the question was wrong. Find out that the answer was only one possible story. Take the frame off and discover that I wasn't talking about one thing at all. I was talking about everything.That was part of what tarot gave me: something to push against. A structure that could generate a story without requiring me to pretend that the story was prophecy. In retrospect, that has a lot in common with what counselling became for me—not telling someone what their life means, but putting something on the table and seeing what happens when they push against it.The episode also wanders through sex, the AIDS crisis, fear, relationships, death, survival, my work, my history with addiction and recovery, and the peculiar permission I found in being gay to bring sex into conversations where everyone else seemed determined not to mention it.And, because apparently I don't know when to stop, the episode got longer and longer while I was making it.I pace when I record these. Usually I'm walking around with my iPhone, following associations until I lose the thread and then find another one. The movement is part of the thinking.That eventually produced another episode.I wrote a song called “Draft” about the idea that if you can feel a draft, there must be an opening somewhere. I decided not to put it at the end of this episode. Instead, it became its own episode—and that one gets considerably more uncomfortable.It goes into Dr. Laura Schlessinger. Being an asshole. 13th stepping in AA. Maybe 14th stepping. Maybe 15th stepping. Things I don't even know how to name yet.Maybe I'm just showing you the anal warts one at a time.Not all of them.I'm still figuring out how many I can show you and remain standing.So this episode is a draft.And maybe that's the safest place for it to be.
- 4 days ago5 min
E2: Blowhard, Part 3: Six Months; S11: Sex=Interaction. Or is it belonging?
The episodes aren’t in order.They aren’t even near each other.That’s intentional.They shouldn’t be listened to together.Unless you’re curious.Which means you will.So maybe the warning is the invitation.Maybe the whole thing is a dare.Maybe the dare is the structure.Life has rules.We pretend it doesn’t.That’s the game.Free will versus determinism?Too complicated.Or too simple.Either way, it’s a trap.The chicken and the egg.The hangover and the apocalypse.The test result and the waiting.The body and the planet.Everything happens in sequence.We just refuse to admit it.So I release the episodes out of sequence.To prove the point.Or to break it.
- 4 days ago18 min
E1: The Deadly Sins, How Many?; S11: The Backwards Funnel Paradox
Serving Suggestions:One of the central paradoxes to explore is whether some realities may be psychologically difficult enough that they become almost impossible to communicate directly. Stating conclusions may allow dismissal, defensiveness, moralization, or intellectual agreement without emotional engagement. Examine whether the episode circumvents that problem.Examine whether humour functions as a mechanism for making otherwise intolerable ideas psychologically digestible. Assess whether each joke provides an escape hatch that permits disengagement. Evaluate whether this dual function—lowering defences while enabling dismissal—weakens or strengthens the episode’s overall effectiveness.Investigate whether the episode’s apparently rambling and improvised structure produces coherence through associative rather than formal logic. Track whether recurring ideas—privilege, land acknowledgements, the seven deadly sins, envy, social media metrics, evolution, consciousness, simulation, property, and moral performance—form patterns that emerge without explicit structuring.Examine whether the episode implicates the speaker rather than positioning the speaker above the audience. Assess whether self-inclusion reduces defensiveness, increases perceived credibility, or introduces deliberate instability. Determine whether this structural choice alters the listener’s interpretive stance.Explore whether the episode occupies a space between comedic framing and academic framing. Evaluate whether difficult truths become more socially acceptable through humour or through analytical structure. Compare the strengths and weaknesses of each strategy and examine if the episode blends them in a way that produces a distinct cognitive effect.Pay attention to the nervous system experience of listening. Track physiological and emotional responses rather than focusing solely on information transfer. Examine when tension increases, when humour releases it, when assumptions are destabilized, and when rapid transitions between absurdity, confession, philosophy, and critique prevent the formation of a single interpretive frame.Evaluate whether the episode functions as a Trojan horse. Determine whether the explicit subjects—land acknowledgements, privilege, envy, and the seven deadly sins—mask a deeper inquiry into mechanisms by which humans avoid perceiving reality directly. Identify techniques that may bypass ordinary intellectual defences.Consider whether consciousness itself requires oscillation between humour and seriousness. Examine whether jokes, metaphor, absurdity, and digression enable difficult truths to be experienced rather than merely understood.Treat the episode as both philosophical argument and psychological experiment. Examine form, rhythm, emotional pacing, and listener experience alongside explicit ideas. Assume that structure and content operate as a unified system and assess whether the form itself constitutes an argument inseparable from the material it conveys.
- 4 days ago6 min
E9: Interstitial; S10: Prompt salad connecting everything
A little behind the scenes, not of how I do everything… but what kinds of liberties I take as I do everything. It’s a mode, not a method.You could listen to this episode as a set of instructions for making AI slop music, though it never admits that’s what it’s doing. The prompt I fed into the machine was absurd — a pile of half‑thoughts, contradictions, and leftovers. But that’s the point. The AI isn’t just reacting to the text; it’s reacting to me, to everything it’s already absorbed from my previous work.So the prompt becomes a kind of biome, a bacterial starter culture. It’s not telling the AI what to do; it’s giving it something to digest. The model metabolizes the prompt through the body of what it already knows about me — my rhythms, my tonal habits, my recursive way of talking — and what comes out is this song.It’s ridiculous that it works, but it does. The track is the sound of digestion: the AI chewing through my own residue and spitting out something that feels familiar and alien at once.If you want to make your own version of this kind of slop, the secret isn’t precision — it’s fermentation. Feed the system something messy, something alive. Let it metabolize your chaos.Everything’s connected. Everything’s half done. Every prompt is a piece of digestive material.
- 4 days ago21 min
E10: Blowhard, Part 0: Sal Mineo Is Calling; S10: Predictability is as erotic as Rimbaud (Finale)
Blowhard (An Introduction) opens with a creative stance that feels strangely familiar to anyone who’s ever fallen into the gravitational field of Arthur Rimbaud. Not because Brian imitates Rimbaud, and not because he’s trying to resurrect 19th‑century symbolism, but because both artists treat consciousness as raw material and refuse to separate the profound from the profane. The comparison isn’t stylistic; it’s procedural.Brian’s process mirrors Rimbaud’s in the way it gathers cultural debris without hierarchy. In this episode, he moves freely between pulp novels, de Sade, Artaud, Jung, porn tapes, cigarettes, campus memories, and late‑night philosophical riffs. Nothing is sorted, nothing is sanitized. It’s the same anti‑curation Rimbaud used when he folded religion, hallucination, violence, and desire into a single psychic collage. Both approaches treat the world as a salvage yard where every discarded object becomes potential fuel.There’s also a shared commitment to overload. Rimbaud pursued “derangement of the senses” as a method; Brian pursues derangement of memory, culture, and autobiography. The tools differ — Rimbaud had absinthe and visions, Brian has an MMT‑8, looping synths, and a hill at USC — but the underlying impulse is the same: take everything in, shake it, and let the fragments collide until they generate their own meaning.Brian’s claim that “predictability is erotic” lands squarely in Rimbaud’s territory. Rimbaud found pleasure in clarity, in the collapse of illusion, in the moment when the world’s brutality becomes undeniable. Brian’s version is contemporary: the eroticism of seeing through myth, advertising, cultural scripts, and the predictable machinery of human behavior. Both artists treat clarity as a thrill rather than a burden.Even Brian’s riff on Harari — the idea that language evolved to recruit bodies into collective action — echoes Rimbaud’s metaphysics of force. Rimbaud saw humans as conduits for desire, violence, and myth; Brian sees them as conduits for survival, coordination, and exploitation. Different frameworks, same conclusion: the self is not sovereign. It is swept along by currents larger than it.Structurally, Blowhard (An Introduction) is Rimbaudian in its refusal to tell a story. Brian builds networks, not narratives. The episode is a constellation of memories, cultural references, philosophical tangents, and sensory details. It doesn’t resolve; it accumulates. Rimbaud’s Illuminations work the same way — meaning emerges from density, not plot.Even the “test tube baby” metaphor becomes a point of contact. Brian describes himself as someone who takes whatever the world hands him and puts it in a tube to see what happens. Rimbaud did the same with experience: everything was an experiment, everything was material, everything was subject to transformation.The comparison between Brian and Rimbaud isn’t about lineage or influence. It’s about method. Both artists treat consciousness as a laboratory. Both reject narrative in favor of network. Both gather cultural debris and ignite it. Both find eroticism in clarity. Both work with overload as a tool.Blowhard (An Introduction) isn’t trying to be Rimbaud. It’s simply operating in the same territory: the place where art becomes a way of metabolizing the unbearable clarity of being alive.
About Danger, Vicious Dog
Started updating my bio Dec 31, 2023. Accidentally wrote four autofiction books. Slid from narrative into monologue—not stream-of-consciousness, more like speech-speed meaning performance. Trained my voice into AI, produced a shit-ton of pieces. Had too many. Needed a place to dump them. Saw a sign that said “Beware, Vicious Dog!” Misread it. Named the podcast Danger, Vicious Dog. Didn’t fix it. Just kept going. Queer. Cosmic. Sarcastic. Cheap. Accidentally committed to the bit. Some voice and art is AI... I don't know how I feel about that... so I'm working on figuring it out... how I feel.
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