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.
Danger, Vicious Dog
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71 episodes
Updated Daily
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Podcast Overview
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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Publishing Since
11/23/2025
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Recent Episodes
June 23, 2026
E1: Whatever the Volcano Wants; S8: Who the f=3k is Art?
<p>Trying to condense what I wrote about this song into 4000 characters feels a little like trying to fold a volcano into a suitcase. Every time I press one part down, another part erupts somewhere else. The piece wasn’t built to be summarized. It was built to sprawl, to leak, to refuse containment — which is funny, because that’s exactly what the song itself is about.</p><p>The moment I start trimming, I realize the analysis is doing the same thing the song does: it keeps slipping out of categories. I cut a paragraph about the cave, and suddenly the cave becomes the whole argument. I cut a paragraph about Art being kidnapped, and the kidnapping becomes the thesis. I cut the part about counting goats, and the goats start chewing through the walls of the summary. Everything insists on being everything.</p><p>The hardest part is that the song isn’t linear. It’s geological. It layers myth, comedy, philosophy, autobiography, and a little bit of self‑mockery into one long exhale. Trying to compress that into a neat rectangle of text feels dishonest. The song keeps saying: stop trying to make me behave. Stop trying to make me fit. Stop trying to turn me into Art.</p><p>And maybe that’s the point. Maybe the difficulty of condensing it is the content. The song is about escaping the museum, and here I am trying to build a tiny museum label for it. A plaque. A caption. A polite little explanation for something that was never meant to be polite or little.</p><p>So here’s the truth: the analysis didn’t want to shrink. It wanted to stay volcanic. It wanted to keep erupting in every direction. It wanted to keep insisting that creativity existed before categories, before institutions, before the word Art ever learned to capitalize itself. It wanted to keep saying that the cave came first, the volcano came first, and the museum came later.</p><p>But I needed 4000 characters.</p><p>So I carved away everything I could.</p><p>And what’s left is the shape of the struggle itself — the attempt to make something wild hold still long enough to describe it.</p><p>If the summary feels too tight, that’s because the song refuses to be small.</p><p>If it feels a little jagged, that’s because I had to break pieces off to make it fit.</p><p>And if it still feels like it’s erupting at the edges, that’s because the volcano always gets the last word.</p>
June 23, 2026
E10: Everybody's Nose; S7: Atomic Clockwork Orange (Finale)
<p>Before anything else, I need to say this clearly:</p><p>While this episode could be said to be about many things, the part that stands out most for me may not stand out for you. You might not understand why I’m even talking about it in the episode description. You might assume it’s just a behind‑the‑curtain look at one gay man’s quirks. And honestly, depending on your age or cultural context, that might be exactly how it lands.</p><p>Because this isn’t a universal gay male experience. It’s not something that feels like a defining trait. It’s not a secret I’ve been carrying or something that shaped my real life. It mostly lived in my imagination — a preference, a curiosity, a private preoccupation that never dictated who I was with or how I lived.</p><p>So why does talking about it publicly feel so loaded?</p><p>The image that keeps coming to mind is that scene in A Clockwork Orange where Alex is strapped into a chair, eyelids forced open, made to watch what he doesn’t want to see. That’s what this feels like. Not because the content is disturbing — it isn’t — but because I’m forcing myself to watch my own discomfort in real time. I’m holding my eyes open while I look at something that was always easy to joke about in private but suddenly feels disproportionately charged when I say it in public.</p><p>And the absurd part is: I don’t know why I’m working so hard to feel comfortable about this. What do I gain? What’s the reward? There’s no prize at the end. No transformation. No “now I’m healed” moment. Even after writing this — even after reading drafts that I hoped would make it feel more neutral — I don’t feel more comfortable. If anything, I’m more aware of how much tension was there in the first place.</p><p>And maybe that’s the generational piece. Younger queer people, especially those raised in online spaces where people talk openly about their bodies and their desires, might not understand why this was ever difficult. They might read this and think, “What’s the big deal?” But for my generation, this topic — anatomical size, and the meanings attached to it — carried an entire architecture of implication. It was tied to masculinity, comparison, desirability, and the unspoken rules about what men were allowed to notice or admit. It was tied to shame, not because of the preference itself, but because of what the preference was assumed to reveal.</p><p>Another layer: Straight women often tell me they’re relieved when a man can talk about this openly. They’ve lived inside this cultural tension their whole lives, often without the power to make the embarrassment “mean” anything. So when they talk to a gay man who understands the dynamic from the inside, it’s a relief — for them and for me.</p><p>But none of that means talking about it publicly does anything for me. It doesn’t metabolize the shame. It doesn’t resolve the tension. It doesn’t make me feel more whole. It just makes me aware of how much psychic choreography I’ve been doing around something that might not even matter — and how generationally specific that choreography might be.</p><p>So this episode — “Everybody’s Nose,” in this season I’m calling Atomic Clockwork Orange — isn’t a confession. It’s not a breakthrough. It’s not a revelation. It’s just me, eyelids held open, watching myself watch myself. Everybody’s nose knows.</p><p>If you’ve made it this far, you already know this episode isn’t about confession so much as watching yourself confess. It’s a double exposure: the monologue and the meta‑monologue, the actor and the critic, the body and the commentary track. So here are twenty fragments — pressure points, reversals, and self‑roasts — that catch the episode mid‑blink. Each one is a little clock out of sync, ticking toward the same absurd truth: that even when you say it, you’re still watching yourself say it.</p>
June 20, 2026
E9: Sociopaths Make the Best Boyfriends; S7: Dissociation and Glitch
<p>A calm, affectless recounting of a queer encounter that never quite becomes what it pretends to be. Glitch‑piano dissociation, transactional intimacy, and the strange safety of being seen by someone who isn’t really looking. A story about performance, context, and the parts of ourselves we invent just to have something to transform.</p>
71 total episodes available
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This podcast updates daily.
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