From Beat to Backlot: Real Policing, Corporate Security, and Crime Fiction with Brian Brady (Ep. 286)

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Alrighty.

Hey folks, it is Friday.

The 27th of March, 2026, I am Joe Ruiz and it is great to be with you once again transmitting

live as always from the asylum and of course doing the very best we can to bring you.

The best quality talk radio week in muster without all the bluster.

Welcome to the Joe Ruiz show.

Finally, finally, Mother Flip in Friday telling I thought the week would never come to an

end.

This has been one of those weeks, man.

One of those weeks.

Hope you guys enjoyed your Thursday night.

We were not here with you Thursday night.

Our guest that we had lined up was unable to make it so we took the night off.

Not too bad.

It was nice.

I got to sleep a little bit.

It was great when I tell you great.

Now, I've been binge watching the original Star Trek series and I've been kind of involved

in all of that stuff and I don't give me, I love, I am a trekkie.

I've always been a trekkie growing up, trekkie, trekkie, trekkie and I tell you though rewatching

some of the original series stuff has been a trip.

It really has.

I've really, really enjoyed it.

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I ended up falling asleep doing that but that's fine.

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Most definitely need to rest.

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I can't do a recap for you so I'm going to ask you something.

What if most of what you think you know about crime came, that came from TV and it's

wrong.

What do you think about that?

Now tonight we're sitting down with someone who's actually lived it.

Multiple police departments, corporate security at major institutions and now writing crime

stories rooted in real experience.

We're talking about what investigations really look like, what Hollywood gets completely

wrong and they get a lot of it wrong.

And why his latest book dives into militia groups operating right here in America but

of course, as always, before we get into that, let's let's clear up some of the housekeeping

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All right, now with all of that stuff said, our guest tonight is Brian Brady,

former police officer who served in multiple departments across two different states

before moving into corporate security where he held executive roles with organizations

like NBC Universal, San Francisco Museum of Modern Art, and others.

And now he's taken all of that real world experience and turned it into crime fiction

that's grounded in what actually happens, not what Hollywood tells you.

His latest book, Still Waters Run Deep, Shifts from the streets of San Francisco into rural

American, into the rural American West, where a violent militia group is trying to carve

out its own territory.

Hey, Brian, welcome to the show.

Thank you for having me.

This is great, man.

I was looking forward to this when I was reading up on your bio and I was reading about

the book.

And this sounds really, really interesting.

I'm looking forward to talking to you about it again, to know you a little bit more.

So, this is another brother in arms here, so Brian served again in multiple law enforcement

agencies.

We had Tom Lee on the show a couple nights ago, Texas Deputy Sheriff's Sergeant with some

really some great stories.

And so this is great.

It's a nice trend.

I like this.

I like this.

I want to do this more often.

I want to get more, more, more brothers in, in arms over here on the show and talk about

the things that affect all of us.

But before we get into all the serious stuff, Brian, I want to ask you a couple of quick

questions just to get started here.

All right.

What's something you are stubbornly particular about?

You know, I kind of, you gave me that question ahead of time.

So I had a fine prepare, but I would say, um, um, um, I think that's one of the

reasons a lot of us going to law enforcement is the underdog to, to, to be the, the go

between to see it to it that, you know, somebody doesn't get walked all over.

And, uh, I, I think that that carries over into business and to, you watch a supervisor

how they treat us abordinate, uh, just because they have the power.

Yes.

Uh, and so I think, you know, that, uh, that for lack of a better word, that really pisses

me off when you, when you see that happen.

So I think I'm fairly stubborn on making sure that doesn't happen and that, you know,

people treat people right.

If there's that whole thing, you know, when, when you, you praise, you know, in public

and you critique in private, and, and I think that really holds water.

Oh, absolutely.

Apps.

I agree with that model.

100%.

I used to tell my guys when, when I was in uniform, you know, I'll, I'll, I'll defend

you tooth and nail publicly, right or wrong, whether I think you're right or wrong,

I will defend you publicly, tooth and nail, but afterwards, we're going to have a talk.

You know, so, yeah, out of, out of public view, out, out of, and when it's done that way,

it's just done to humiliate.

There's, there's no training involved.

There's no, there's no learning.

Uh, you're just making people upset and it's a bad, yes, you're taking a bad situation

and making it worse.

Absolutely.

Absolutely.

And you're, you're demoralizing the, the officers involved.

You're, you're just, a lot of them will just completely shut down at that point.

Yeah.

And I've seen that happen.

Unfortunately, I had some good officers that I knew that I came up with, that I went

through the academy with, had had an experience like that where they got berated publicly

and that was it that they shut down completely and they just kind of drifted off into obscurity

within, within the, within the service.

So, um, you know, it's a, it's a, it's a, it's a fine line to walk, but you got to walk

it carefully.

Yeah.

So, uh, what's a simple pleasure, people underestimate driving the performance car.

Yeah.

Okay.

All right.

All right.

My, my youngest son is, is a car buff and driving simulators and all that sort of thing.

And he got me kind of hooked on, uh, my water Chevy SS, which is, uh, a little bit of an

odd car, Chevrolet imported them from 14 to 17.

They were actually made by a company called Holden in Australia, the old Holden Commodore.

And, uh, they're, in essence, a Ford or a Corvette, uh, it's got the LS3 engine and mine

has a six-speed manual transmission and they have staggered tire and I had to grab opportunity

to take it on the track up at Sears Point where they run the NASCAR and the series up there

and, uh, went through a day with a driving instructor and actually got to drive the car

at its potential, uh, as, as much as I could do on, as a potential, uh, on the track.

So I think that was, that was, that was a really great, I really had a great time.

So, performance cars, you're the, well, you're the second person to answer that question.

I told you before that I asked other guests this week, these, these questions.

And I got some really interesting answers.

Another guest, interestingly, a law enforcement guy said driving.

He didn't specify a performance car, but he just mentioned driving in general.

Uh, so I think it's a theme because I kind of agree with it.

Well, I like, I mean, I do like to drive, right?

And, um, as an example, when we're doing research for the book, um,

I, when I got in the car, we left San Francisco and we drove up to Idaho and into Montana

and Wyoming and made the circuit all through there and stopped at various locales

and talked to people and have a good friend up in Bozeman and, well,

we spent time with the sheriff's people up there.

And so doing, doing the research, it gave me an opportunity.

So we drove about 4,000 miles in the course of the trip.

Wow.

Uh, so we, and I was fortunate enough when I was in L.A. at Universal, I had a Porsche for a short

period of time.

It was a divorce casualty, uh, but, uh, it was a great car.

You know, great car to drive.

I'm sorry to hear that, man.

I've really had that hurts.

All right.

Well, let's say before, uh, before, uh, you know, well, we already covered that.

Why don't we do it?

Um, so, so your background, let's, let's talk about your background a little bit.

So you, you started off as a police officer.

Would originally pulled you into law enforcement.

Actually, uh, there was a neighbor.

Uh, I grew up in San Francisco, was born and raised.

And one of my neighbors, uh, was a San Francisco police officer.

Became a San Francisco police officer.

He's a few years older than me.

And, uh, he would come by.

He got married, moved away, but his mom and dad still lived on the block.

Okay.

So he would come by and he would come by sometimes in his patrol car.

If he was stationed at one of the stations close by, or when he went to

investigations, he'd come by with his partner in the plane close.

So I think, you know, you want to say when someone says,

why did you go into law enforcement?

No, I did to protect and serve and lots of noble.

You know, I just thought it looked pretty cool.

Uh, I thought it was, uh, I was, I was a pretty good gig driving that plane close

guard. Uh, so, uh, I think he was probably instrumental in that part.

And then as I got older and I applied for police jobs, uh,

I had been accepted in San Leandro and Berkeley.

So I was torn between the two departments.

So I called him and I asked him, you know, where should I go?

And he said, go to Berkeley.

He said, this, the, their investigation system, you'll learn more.

They're, that's how to investigate that you will anywhere else.

So I ended up going to Berkeley and that's where I started my career.

Interesting. My, uh, when I went at the law enforcement,

it's just to answer my own question because you said something interesting

about, you know, just thought it was cool.

So I had two, I had two things that actually prompted me to do this.

One when I was a kid, uh, my grandfather, uh, had, uh, had taken me for a walk with

him up on Avenue, you and Brooklyn and, um, uh, he, he, there was a, a beat cop,

you know, standing on his post and, uh, he knew my grandfather.

My grandfather knew him and he took his, he took his eight point hat off

and he put it on my head and I was hooked at that moment.

I felt so, I felt like I had so much authority.

I was like, so powerful. I was like, you know, that's, that's one.

Well, and I had an uncle on SFPD and then Jack might, my mentor,

he was SFPD and what I had an uncle who was on a mounted unit in San Francisco.

And that's a cool job. It is.

It is. I always looked at it.

That has to be the best job to do.

I mean, you get to ride a horse all day.

You know, I mean, that's just, that's, to me, that's great.

I would have loved to do that.

And, you know, since you had to spend time in New York,

the, the mounted unit in New York, uh, they looked great.

They were the, that double breasted leather coat with the,

the grass buttons and the joggers, they, I mean, they look squared away.

Oh, absolutely. Yeah.

And I think it's, they're so, it's a, it's a PR job too.

I mean, not only do you do law enforcement, but, uh,

people just gravitate to the police dog, the police horse.

Yeah.

They really like the animals.

And I had a good friend who Oakland went to, uh,

horses.

They were doing a whole redevelopment in new business area, etc.

And they put them out and, I think there were six horses out there.

And all the business people could tell you the names of all six horses,

but I don't know if they could identify the riders.

That's how, that's the way it is though.

The horse, the horses are more interesting anyway.

So that's fine.

My, uh, my agency had, uh, had a mounted division also, uh,

and we also had a harbor, a harbor patrol.

And, uh, so I, I actually qualified harbor patrol.

And I worked on the harbor patrol for about a year and a half, I think it was, uh,

which was a lot of fun.

That, that was, that was a lot of fun too.

And especially when you, especially when you work overnight and you get to go out,

I think the, the best job in San Francisco is being a firefighter on the fireboat.

Yeah.

I think so too.

That's a great job.

So, and the other reason why I went with a long force when it was because, um,

when I was 17 or 18, I was dating some girls.

You thought I would look really cute and uniform.

So, um, why not?

It's a good reason to see you.

I got, I got my first security job and, you know, put the uniform on and that was it.

You know, so I'll get to go.

But, uh, no, no, you, you, you worked in different departments.

Uh, what did you learn from moving around that much?

Well, Berkeley was probably the unique learning experience.

Berkeley's a unique city.

Um, it, it's got a little bit of everything.

And, uh, I was a patrol then in the sergeant there.

And then, uh, you know, people don't know.

I don't think that, you know, Berkeley was probably

the leading law enforcement agency, uh, from probably the early 1900s on, uh,

Berkeley was the first department to use a lie detector.

Mm-hmm.

The first department to have, even before the FBI, they had an MO file.

They were the first department to have motorcycles.

They were the first department to have radios in patrol cars.

They were the first department to have dogs.

Really, I didn't know that.

That's, that's not amazing.

And they had August Valmer who's considered the, the father of modern policing.

And so, and they started, he started the school of criminology at UC Berkeley.

And so, uh, it, it was, it's been a trend setter.

And, uh, so it was a great place to learn.

And, uh, the traditions that you became a part of, uh, integrity was a huge cornerstone of the

department. Uh, and so, and I kept that throughout my career.

It was, it was instilled in you the early on and it stayed with me.

Um, so after almost 10 years there, uh, I took a test and took a lieutenant's job in East L.A.

in City of Ball and Park.

And, city of about 85,000 out in East L.A.

It stayed there a couple of years, uh, and then moved to New Mexico.

I saw a job advertisement for a captain's job in Farmington, New Mexico.

And I still don't know what to put in for it.

So, uh, a good friend of mine's wife was from there.

So she filled me in a little bit on the town and, and so I got the job.

So I was there for four years and then I wanted to come home.

So I saw that Nevada, which is just north of San Francisco, was advertising for a captain.

So I came back home, took that job and stayed there and ultimately you became chief and served

as a chief for about 12 years.

Do you, do you find it very different doing police work in a city in a big city setting compared to, uh, to a smaller town?

Um, the, the works the same.

The volume is different and that's, you have, in the smaller department, you have a little more time, uh, to spend with people.

It's not quite call to call where, you know, sometimes like in Berkeley, there were times when you,

you would pick up on a shift, you could pick up

five to seven felony investigations and so you were, you were, you weren't spending as much time as

maybe you'd like to with people where, and in East LA, it was the same thing. It was busy.

We had, when I was there,

uh, we were, it's, it was heavily gang influenced as this is going back into the late seventies,

and, uh, the gang street gangs in LA, LA County were pretty significant and our community had two

rival gangs that kind of split the community.

And we had, believe it or not, for a city of our size, we had 125 shootings in 10 months.

Wow.

And it was die city.

So that was a very different, uh, from Berkeley.

We had shootings at Berkeley.

We had bombings.

We had all kinds of things, but not quite that number.

So it was, and then New Mexico was, was different again.

That, uh, it's a, it, the people were people, but they, um,

the lifestyle, uh, just the way folks treated folks, it was, it was, it was different from

where I was previously and, uh, I liked it.

I had a great time there.

Uh, and the department was a really good department coming from California where we were

pride ourselves on being a really good police department and, and with post, etc.

We're well trained and all of that.

Uh, I was, I was pleasantly surprised.

Farmington was a really well trained, uh, well put together department.

Now, just from a crime perspective, uh, how different are those environments like

Berkeley, the San Francisco, New Mexico?

Um, like I said, it really doesn't change.

It's all there.

Uh, it's just a matter of the volume.

You know, you're going to have a shooting here and a shooting there.

And in, in LA, we had, you know, 100 shootings where in Berkeley, we have fewer in, in, in the

Mexico, uh, we have fewer yet.

Uh, so the, uh, it should, it's really, it really comes down.

I think the volume just the, the people where people, they, they're going to do what they're

going to do.

Uh, and, you know, a little, you know, a little different kinds of crime.

I mean, that's first time I ever went to the Mexicans.

First time I ever worked with snow.

Uh, so that, that was a unique experience.

It is, uh, yeah, and, you know, we didn't, we didn't get the heavy snow as we,

we'd get six inches of snow and then it would be gone in a day or two.

But there was that, you know, time when you got the road snowpacked and that became a real adventure.

Now, uh, at what point did you decide to leave police work and move more into corporate security?

Well, uh, the really simple answer is I maxed my pension.

Uh, I had, you know, I've 35 years.

And, uh, in California, uh, without going into great detail in California, we have

Cal PERS, which is the public employees retirement system.

And virtually every city except like LAA, uh, who has their own system belong.

So as a consequence, your, your pension is in the same system.

That allows you to move from the, so that's why I was able to go from Berkeley to Ballon Park

and still stay in the same pension.

And then when I came back from New Mexico to California, I went back into the system.

I bought back my time in state.

So that allows you that, that flexibility.

So, um, that, uh, I had reached a point where I was donating time, uh, instead of making money.

And, uh, so, uh, my, uh, a friend called me and said that, uh, Universal was looking for, uh,

a replacement for their head of security even their years.

So he put me in touch with him and we talked and we hit it off on the phone and, uh,

I went down there and interviewed with him and then interviewed with the president

of the study operations and we seem to get along okay and I got the job.

Uh, so it was really, um, just good luck.

Yeah.

So what, when did writing first start to come into the picture for you?

Was it, was it always there?

Was it something that just came about a little bit later on?

Definitely later.

Uh, and it really came about,

there was always, in the course of your career, there's always great stories.

There's always, there's good cases you can investigate.

There's, there's humorous cause.

In law enforcement, we see people that they're, they're best, they're worst.

And everything in between and everything in between, yeah.

So, uh, I had actually kept track of some of that stuff and just put a folder together

and just threw things into it and talking with friends, you'd, you'd share a story with somebody

and their response was, God, that's, that's great stuff.

You ought to write, you ought to write that down.

You go, you go write a book and I thought, well, I don't think I'm going to write a book.

And then when I ultimately, when I left the museum, uh, and I was doing some, you know,

consulting work with a security firm and it still do.

And I had time and I dug the file folder out and started trying to put a couple of stories together.

And that's really where it came from.

Now, you've, now you've seen, uh, crime from the inside.

How much of what people believe about investigations is just flat out wrong?

Probably most, um, and I think what happens

and having the opportunity to work in the entertainment business and television and, with movies,

um, they're limited and I know, I say this because

we go to a crime scene and you're going to collect evidence.

Maybe it's going to be a blood spatter.

It's going to be something where you get DNA.

On television, you get a blood spatter and it goes to the, the CSI person

and they drive off and they come back 20 minutes later with the results.

Um, it doesn't happen that way.

But I understand it on a TV show.

If it's an hour show, it's in reality about 43 minutes.

Because of commercials and everything else.

So they've got to solve a triple homicide in 43 minutes.

Well, they can't wait three weeks for DNA sample.

So they, they, they, everything's condensed.

And I think that's probably what happens on TV.

It's not that it's bad or poorly done.

It's condensed and in doing so, it makes it a little unrealistic.

And then you, you also have things on television where you have somebody

who's, uh, a beat cop in uniform, all of a sudden,

is handling a complex investigation down the road someplace.

Yeah.

It doesn't work that way.

I mean, there, there are people who are assigned to those details.

The hero does doesn't get the picking choose.

So that's, that's part of the deal too.

There is a, there is a pecking order in a chain of command.

You just don't, you know, go out there on your own.

Yeah, that's something that you see a lot, uh, in, in a lot of TV show,

a lot of movies, you know, where, like you said, the beat cop,

all of a sudden is now this, this, uh, high profile investigator

who has all the resources of the department as it's, as a disposal.

And, uh, is, is tracking down, you know, leads and so on and so forth,

which is really not the case.

No, and I also love the, the insubordination on TV,

where the, the character, the lead character is unhappy with someone's decision,

and either goes off on their own, completely ignores their boss.

And there's no repercussion.

Uh, I know, uh, there, when you, when you ignore your boss, there's repercussions.

Yeah, and sometimes it's pretty swift and sometimes it's a little delayed,

but still those repercussions come at the, yeah, and they're, they're an educational experience.

Let's put it that way.

For sure, without a doubt.

Um, now you, you kind of already answered this one.

So I'm, I'm talking about things that are never really portrayed accurately in movies.

But so aside from other, aside of investigations and things like that,

what else could you tell us about police work?

There's never really accurately portrayed?

Well, I think the most obvious right now is that's the CSI.

And, you know, the, the CSI show, the original one, there was in Vegas.

That was filmed on Universal's Law.

And, uh, the people who in that show, they were great.

They were the nicest people and they were easy to work with.

And, uh, William Peterson, who was the lead.

I remember telling him the, the, the set for the medical examiner's office,

where the autopsy, when I said that was the nicest autopsy room I'd ever seen.

There was Hamba set.

And they were able to do great things and, and CSI can do great.

Don't get me wrong. They're, they're terrific.

And they've, they've changed, I mean, DNA is just totally changed law enforcement.

And, uh, they do a wonderful job.

The trouble is those shows, there's an expectation now on the public's part

that you can get evidence and you, you're just going to show up.

And it's magically going to happen.

And unfortunately, there isn't always a lot of DNA.

There isn't always hair and fiber and fingerprints and all the other

things you'd like to have.

And I think the shows create a little bit of a false expectation.

And sometimes, and then as a beat cop, you go out and take the report.

And the poor victim wants to know when, when's the CSI man going to get there?

So I'm sorry, they, they took you to a wall.

They love boxy or cry.

I don't really think we're going to bring out forensic people.

But there's an expectation that's going to happen.

Yeah, there was, there was a movie was, uh, it was the big Lebowski.

I don't know if you've ever seen that one.

Where, uh, his car was, where his car was, uh, was stolen or,

or items were stolen out of his car.

And, and they were just mocking him at the, at the amount yard.

Yeah, we're going to get the, they're going to have the whole SWAT team working on this for you.

You know, it's, it's, yeah.

You know, you can do things that when I was, uh, one of the departments,

you know, when I was working, I was ahead of, uh, in charge of the patrol division.

So I made an investment in the relatively small finger print kits.

And they think that they probably got like six or seven different kinds of powder and two,

three brushes, that sort of thing.

And the cards and the tape and put them in all the cars.

And I told the officers, and when you go to the scene, like, what you're talking about with

an auto berler, where, you know, somebody or, or a handle that love.

Take the kit out.

Dust it, you know, I mean, it makes the person feel great.

That's a great PR tool.

And everyone said, well, you might even get a print.

I mean, who knows, uh, you make it lucky.

But having it right there, it satisfied the customer.

It was a great PR and everyone said, oh, we caught somebody.

Yeah, it's, it's funny.

You, you, you satisfying the customer.

It's the way it is.

That's the business for it.

Exactly, exactly.

And sometimes we forget that, you know, that the customer satisfaction,

you know, you get a, you get enough bad customer satisfaction.

You're going to have trouble getting a raise.

You're going to have trouble getting, uh, good legislation pastor.

You know, it's a community of behind you and support you.

It makes the job easier and allows you to recruiting easier.

And ultimately, everybody benefits.

That's not tough.

No, you're right.

And it's like, I think back now out of all of the trainings and everything

that we had to go through, you know, how much, how much,

how many times did they refer to it as customer service training?

And it never, this really click in your head until later on, you know,

when you have a conversation like this and you hear, you know,

dealing with the customer, you realize, yeah, it's exactly what it is.

It's a business.

And that's the way they approach it.

This is, this is what we do.

It's our business.

These are, these are our clients.

Yeah.

And the name of the game just make the client happy.

Exactly.

Do what you can.

And there's going to be those cases where, you know,

the frustrating part is there are times when you really can't help somebody.

I mean, you can, you can be there.

You can do, but you know, in your heart of hearts,

that you're probably not going to catch this guy.

And, you know, one of the reasons I think that, you know,

homicide investigations are usually so much more successful and the clearance

rate is so much higher, is we put the resources into it.

Right.

I mean, if you think about what goes into a criminal investigation on a murder,

if you took all of the resources that went into that and put them into that

stolen wallet from the low bog, that you could find.

That's true.

That's very true.

Now, how did your experience in corporate security change the way you,

you think about threats and risk?

And you became probably more conscious of it in the corporate side because

at NBC, universal, well, at first it was universal when I went there.

And the company was, was blocked by general electric.

And then it was ultimately general electric already owned NBC.

So they merged NBC and universal into one company.

Right.

And then later, Comcast bought the company and Comcast still owns it.

The difference was that I had responsibility for a 400 acre movie lot with sound stages

and office buildings and about 10,000 people working there.

And an amusement park, universal studio of Hollywood, with millions of people coming

through every year with all the myriad of problems that they bring with them,

language issues, people visiting, just and all the things that can happen in a park.

Even simple, well, not simple if you're the victim, but a medical emergency.

How do you deal with that?

How all the things that have to happen?

And then when you have a movie production that's in another country,

like the, for instance, we shoot the, the born movies,

you know, as the universal franchise.

And they shot all over the world.

So, and the people at the production site, they don't take into consideration

when they're phoning you.

There's a time difference.

They're calling you in Morocco at a certain time and it's, you know, it's three in the morning.

So you become very conscious of, you know, where your teams are going or the productions are going.

And the regional security on the RSOs for the State Department

and are a godsend.

They save my bacon more times than I can tell you.

And they were the first ones I went to.

And we were going to go to a country or a city out of

in the Middle East or Africa or wherever.

First phone call was the RSO.

And I got to know those folks, I mean,

communicated with them.

Then they were fantastic, absolutely fantastic.

And they, and they're like doing it.

I mean, for some of them being at the side of a movie production was really fun.

It was something that most people don't get to do.

So they, and they have, basically, we gave a free run of the place.

Yeah.

I remember being on movie sets, on movie shoots around New York City.

And after a while, though, it's, you do a, you do a couple of them and it's like,

it's no big deal.

Yeah, this is, you find out in, in the business, the,

the entertainment business, you find it, there's, you know,

you have your A-list celebrities.

And I can, I can honestly say, I spent 10 years there.

And the A-list people that we dealt with were great.

I can't think of an A-lister that was problematic or rude or any of the things

that you hear about people.

They're personal assistants for another story.

Yeah, because they tend to travel thinking they have the same cloud as the boss.

And they can sometimes go back to the bully.

They want to be, you know, tell people what to do, et cetera.

Right.

And so they could be problematic.

But the actual, and the actors, they were terrific.

They were easy to work with.

Yeah, I liked it when I first started doing them.

I had a good time on the sets.

And it was, you know, you do get a little star struck too.

You know, you see some of these big name people and all of a sudden.

But, you know, once you've done a few of them, it's like,

all right, it's, it's, it's really no big deal.

I don't get, I don't find myself getting impressed by the celebrity anymore.

It's, you know, it's been like that for a while for me.

Yeah, I think you get, well, when you get used to it.

And where we were, you know, it was in every day of current people were on a lot.

And then every fourth year, we drew the Emmys.

So NBC, the Universal would have them, then CBS, then ABC, then Fox.

So, so you were responsible for everything going on at the Emmys,

from parking to the red carpet, to the after party, to whatever.

So when you said being star struck, probably the, the,

the most star struck you get is when you're down, working the red carpet on one of those events.

And some of the obviously most, most gorgeous women in the world are,

are, you know, passing by and that you've only seen on TV screens.

And, and that's a little bit of a star struck situation.

Yeah, I could, I would agree. Yeah, I would agree.

So, so now when you, when you write, and you write investigative characters,

how much of those characters are actually based on people that you really worked with?

Oh, they're all bits and pieces.

I mean, some of them I actually named after people I've worked with.

And, and I have, I've had some fun doing that.

You know, writing crime fiction, I mean, I like the genre.

The other option is true crime.

And there's nothing wrong with true crime and they're great stories.

But for me, the true crime stories that they tend to focus on,

there's one investigation and what they're doing is you're taking it from the occurrence

all the way through the conclusion, maybe court or however it turns out.

And the focal point of the whole story is that investigation, the step by step,

which can be methodical and sometimes boring and etc.

My books are, they use real crime situations.

And sometimes the story will be a composite of a few crimes put together.

But the focal point is the investigation, but it's character driven.

So you get to have these what I think I hope are likeable, relatable characters

that people want to read about.

And you develop your character, they become more complex.

As opposed to just being an investigator doing this,

you get to put their personal life into it.

You get to put, you know, and that gives you a lot of latitude to play with

making the character, I believe, I think Michael Conley with Harry Bosch and the Lincoln lawyer

and the stuff that he's done, he's a master at hooking you with the character.

And I've had an opportunity to meet him, he's just a super nice guy.

Absolutely a real gentleman and incredibly talented.

I want to be Michael Conley when I grow up.

You know, he has sold 90 million books.

Wow, really?

I mean, yeah, that's just astronomical.

And so again, character driven and a good story, a good story that you can follow through.

And including the story, the monotony, including the story, some of the boring parts that you

got to fill in, what you're waiting for something to come back, something to come back in the lab,

something to come back from a V, something to come back from the water.

So I think and, you know, you also have the opportunity in crime fiction to write people

into the story that you don't like in real life and make them really bad people.

As long as you have that disclaimer in front of the book, this says, you know,

it's purely coincidental, somebody actually, the only one who they are.

So that's true. That's very true.

I like that. That's a good, that's good.

I like that. I like that.

You can do all kinds of things with them.

You certainly can. It's you by that disclaimer is a lifesaver.

So let me ask you this.

Have you ever had to pull back on the realism because it would be

too unbelievable for readers?

Not so much unbelievable, but gruesome.

Okay, the graphics.

And I don't want it to do that.

I don't want to make the focal point a gruesome crime.

You can't have a murder, a mystery, a murder.

I mean, I mean, you got to start.

But it shouldn't be graphic.

You can write somebody getting shot,

somebody getting stabbed, and you can do it in a paragraph.

I mean, and I, you know, without picking on people,

but I'll pick on Quentin Tarantino for a minute.

Sometimes Quentin Tarantino's scenes, for instance,

in in glorious bastards, the scene where the the soldier,

they have the determined soldier captured, and he comes after it with the baseball bat.

He kills him. Now, the first probably three swings were enough.

You know, 25, 26, 27, yeah, was probably over the top.

But so I want to stay away from, from that part in,

because some of the stories are real.

And if you know the story, and if, let's say you were a family member,

you would know the story.

And you say, well, that sounds like what happened to my sister.

That you don't want to put the family through

reliving some sort of horrible.

Yeah.

So you want to make it important in the story,

your kickoff point, and then you want to move away from it,

and get into the characters, and into the investigation.

But you got to have it.

You just don't have to make it horrible, gruesome, and graphic.

No, that makes sense.

And yeah, as a family member, I'm sure they would appreciate that.

And I just totally understand that.

Yeah, and it's, and then, you know,

one of the family members may ever read the book, you know, for all I know.

But if there's someone did, I just don't want to put somebody through,

you know, reliving something that was probably the worst time in life.

Yeah, I agree with that.

Now, now, so let's shift into your book a little bit,

since we're kind of laid the groundwork here.

So tell us about the book.

So still waters run deep.

Tell us about it.

It's a departure book for me.

It's my first three books were all about San Francisco,

SFPD homicide, and they take place in the city and around the city.

And I have my characters that the books can stand alone,

but read and sequence, there's more character development

where they move from book to book.

So this book is a whole new set of characters.

It's a whole new set of detectives.

It's a whole new area that I'm not familiar with.

So I had to go up and get familiar with it.

And so it was a little bit harder to write,

only from the standpoint that it took more research,

took more time to get the information.

But once I got going, it was, it kind of flowed.

I enjoyed it.

I like the writing part.

I have fun doing that.

And there's a lot of information out there.

And you just have to go out and dig.

And I'm not, it's like with AI.

There's pros, there's cons.

And when you're writing, AI is a great research tool.

I mean, it's basically Google on steroids.

True.

And so you just can't use it the right of book.

I mean, that's, I think that's really cheating at that point.

And frankly, the copyright office, when you send your material

back to Washington to have a copyrighted,

they've got an algorithm, a very good one,

that'll pull out AI, and they won't copyright your material.

Interesting.

So which I think is great.

Yeah, no, it's interesting.

And there's a group of writers right now that are pushing really hard

to form like a certificate that will say the book

has been deemed non-AI-generated.

So do you know when you pick it up that someone actually wrote it?

Yeah.

And not a computer.

How many books you think are out there right now that are AI written?

Probably not a ton, but they're going to be coming.

I mean, when you write a book,

I mean, anyone can write a book.

And if you want to publish your book, you can go to Amazon.

And for minimal amount of money, you can get your book published.

No one's ever going to see it.

And that's, that's one of the drawbacks.

Amazon publishes about a million books a year or a little more than that.

So you become one of a million.

And so there's a lot of people out there that want to,

there are authors that are million books a year.

And I've done book signings and one of the,

I'll get questions from people, you know,

they don't want to write a book.

They want to, they want to find out how they can publish their book.

Which is okay.

I mean, that's, you're still engaging customer service.

You're still engaging with people.

And you know, maybe they'll walk away and tell somebody,

you know, I met this guy who wrote a book and he was a nice guy.

Somebody else might buy the book.

But a lot of people want to know, well, I've written something and how can I?

And it's a, it's a doggy dog world out there.

I'm telling you in publishing, there's a lot of fly-by-night publishers out there

that will take your money and they're gone.

So it's interesting.

But get back to the story.

Yeah.

It, um, I got material from

a number of sources.

And, um,

there's a, excuse me, there's

a bunch of different kinds of militia groups.

There are some that are

anti-everything, some that are criminal,

some that are more, probably libertarian for lack of a better word,

that just want to be left alone.

They don't want any, you know, any government.

And it's not that I don't like this government or that government.

I don't like any government.

I just want to be in, um, so

well, I'm trying to, uh, you know, single out

any one particular, I went with the bad guy group.

I went with the people who are engaged in a criminal enterprise.

And they had some, some lofty goals,

but the means to end were pretty bad.

So I think that makes it an easier read,

and it doesn't offend, I hope, uh,

that people can read it and enjoy it.

And that this story will, will flow and resonate without, uh,

saying, I'm going to write this book and condemn this group or whatever, right?

I'm not, that wasn't what it was about.

Now, but what made you decide to

explore that, that world of militia groups?

Actually, I went to a, I went to a meeting and

Maurice Deese, who was the, was the head of the Southern Poverty Law Center,

was there. He spoke, and I had an opportunity to sit down and talk to him afterwards,

but we actually went and got a cup of coffee together.

And he gave me some information, and he was really interesting.

And then I, I wrote to the center, and I got a ton of information from them.

And then Timothy Mubei came along, and the Oklahoma City bombing.

And he was part of a Michigan militia group.

Uh, and there were a group up in Idaho, uh, family who was involved in some pretty

nefarious activity. And armored car robberies became the crime to juror.

So it was just a matter of doing the research, and then I thought it made a good story.

I thought the thing, and then I had my, my two detectives from Casper Wyoming

to, to be my protagonists, and follow them and their journey through this,

this morass that they had to go through. And I was able to bring in federal age.

Obviously, the real like part, no two detectives from Casper are going to solve an armored

car robbery that actually occurred in Montana. Right. They're going to hear about it,

but they're not, it's going to be FBI's involved. It's going to be ATF if there's,

depending on how, if they blast the doors off the armored car.

So it's going to become very complex. And I wanted to put that in the book too, that it's not,

not simple, that there's a lot of moving parts. And there's some,

there's some parochial, uh, pieces to the puzzle where, uh, people were getting their

toes stepped on and not really happy about it. And everybody's got to play nice and doesn't

always happen. How much, how much of the, how much of the book is actually inspired by real

true events or, or, or, or is this stuff that you've seen personally? No, not personally. I,

I mean, I have had really no personal dealings with Malaysia groups. Okay. Uh, it's all done

through research. But, um, the events and several are, are real and, and are, are based on fact,

a couple are editorial license, uh, and, uh, probably exaggerated a little bit for, for,

emphasis, but scaling it back a little bit, it's accurate. It's what happened, but just making it

bigger for, for the, for the story. Now, you mentioned that you, you got a lot of information from,

uh, the Southern Poverty Law Group. Um, uh, what, what kind of research would you do? What,

what kind of research did you get, uh, that went to portraying this violent, well, they've got,

tons of, of statistical data on, uh, militia groups. They've got tons of data on, for instance,

crimes that have occurred in rural areas, crimes in urban areas, crimes in cities of over this

number, counties of under that number. And they've compiled a ton of information. And they have

FBI too. I mean, I, I, I used the, uh, N, D N I J, uh, statistics from the Bureau, uh, which are,

you know, they're pretty good. They're, uh, I mean, actually, their veterans are pretty good. They're

very good. And the only problem with the FBI's numbers are the fact that not every law enforcement

agency has to report. So, uh, you're missing a few, but the vast majority do, and as a consequence,

the FBI database is fantastic. And you can go online and, and look up, uh, crime data. I mean,

it's, there's, there's a ton of stuff out there. It's just a matter of just going out there and

looking for it. How many, how many different, uh, militia groups, uh, did you, did you research

for the book? Probably, I don't know, maybe 15 to 20. Uh, and then, uh, once you have the statistical

data, then it's a matter of going online and looking, uh, when someone's mentioned,

then it's going to newspaper articles and reading about, because sometimes it'll be, uh,

the best story you might be in, uh, Casper Wyoming star. And, you know, you, you can have to go find

that paper online. And hopefully it is. And, and you can read the story. And then that gives you

some more, some more realistic data. Uh, and then you can start compiling. And so basically,

there's a lot, without trying to say, oh, it's, it's, you know, a ton of research. There's a lot of

research. Uh, and for me, it was a lot because I left my comfort zone. And, uh, the San Francisco stuff

is, you know, fairly easy. I know that when I have a situation, I don't, I'm not going to write

two north-south streets that intersect that San Francisco. Right. I know the streets. Uh, but

if I write that the bad guy pulled off at a truck stop a quarter mile from the intersection of I

25 and something outside of Casper, well, it may be there and may not be there. And if somebody

from Casper reads it, the first thing they're going to do is go, this clown does nobody's talking

about. There's no truck stop there. Well, so I drove up there and I drove those streets

and those roads that I've mentioned in the story. And I know there is a truck stop there.

Right. It's a quarter mile north of. So it adds an element of realism, I think, and it validates

the story. Sure. So, yeah, you don't want something. And I know personally from reading,

and I read a lot. If you hit a mistake in a book, I mean, a technical glitch glaring error,

I find I've spent the rest of the story, the rest of the novel looking for the next one.

I do that too. Yeah. And as an author, you've lost your reader.

They're not reading your story anymore. They're just looking for more mistakes.

They're looking to edit your book for you. Absolutely. And on the shout out to the editors,

they do as a writer, and I think of myself as kind of a half-ass writer, that these the editor

who work on your stuff, their lifesavers, they really are. And you have to have a thick skin.

You send them your first four or five chapters, and maybe it's 50 pages. And you've written

the warrant piece. I mean, this is it. This is going to be the New York Times best seller.

All right. And they send you back, you know, 40 pages of corrections.

And, you know, it's like, that's kind of a thing. And grammar school with a nuns, you know,

for your essay, and then you get it back with the red pen all over it. So,

your first reaction is how that hurts. But as you read what they're telling you,

what they're suggesting, you find they're making your story better. They're really helping you.

Well, we also just want to clarify one thing that when we're talking about militias here,

we're not talking about state militias. When I'm talking about like Texas state has a militia,

you know, a number of states have state militias. These are private groups, correct?

Yeah. These are, these are, and they're together, a group of people, and you know,

a common bond, a common goal. And sometimes those goals are illegal.

And that's what I'm looking at are people who are doing illegal acts to further an illegal goal.

So, with this book, what do you want the readers to walk away with thinking after finishing reading the

book? Well, it's got a couple of interesting little twists in it at the end. So, I'm hoping that they

stay hooked and enjoy the ride. And I'm not advocating, you know, it's not, the whole story isn't

to advocate for a position. It's really to make it an enjoyable read. And the good guy should

win at the end. I'm kind of a big proponent of that. I'd like to see to it that, you know,

and I had this happen. I worked on another story in the story I'm working on. I created a bad guy

who was very, very meticulous and very, very good. And I kind of painted myself on a corner.

I didn't have a way to catch him. So, I had this, you know, this conundrum of how do I catch

this bad guy? So, I had to spend time just trying to do that. So, it's, it's, but I want the good

guy to win. Somebody suggested me, well, what's the bad guy winning that story? And then you can do a sequel

and maybe catch him in a second. And I don't think that's the one that you want to do. I want the

good guy to win. Yeah, I get that. I would too. I would too. So, I want to ask you, so in relation to

the militias and you like, through your research and such, given the, the, the tensions that are,

that are rising up within our country, from your perspective, are these militia, do you see an

increase in militia activity or the, or the creation of militia groups? Yes.

I mean, and the research from the southern part of the law center, they'll tell you that,

that there are more, and there are more, and I'm, I'm saddened by it personally.

I'm saddened by it mainly because there are people who are so dissatisfied, so frustrated,

that rather than voting, they want to get a gun and go in the woods and

yeah. Good, several other people that feel the same way and do something bad. I think that's

tragic personally. I don't want to see that happen. I don't want to see a gun to determine,

you know, an outcome. Yeah, well, but the way things are going in the country,

right now, the country is so polarized, there is, there's really no middle ground anymore that's

at least visible. So in your estimation and based on the research you've done, do you think

things are getting worse or, or they're just becoming more visible? No, I think, personally,

I think they're, they're, they're worsening. And, and maybe it is that there's more visibility

and that may be part of it. I'm sure it is. The combination of both. Yeah. And, you know, we,

we live in a world of instant gratification, you know, with social media, you, I feel, you know,

having worked in with NBC, you know, you have really good reporters out there, investigate

reporters, and they don't file a story until they've done their work. But anybody with a cell phone

has something happens. I mean, they're, they're, they're, it's on YouTube in, in 10 seconds.

So that's, that's difficult. And frequently the one that's on YouTube isn't necessarily accurate either.

It's, it's somebody's, who's to say what kind of camera person they were, what did they really capture?

All right, it's, and we're all aware that when you see the video, you know, it's maybe this or that,

but it may not tell the whole story until you see all of the video. I agree with you.

Now, what's something about human nature that you've learned from your career that most people

don't realize? I think, I think most people are decent. I think we tend to sometimes

lump people into groups and dislike them. But I found that, you know, the, the most,

most people I think deep down are okay. You sometimes just got a pillow there is off the

onions to get the okay part. But I think, I think that's, yeah, I think most people are okay.

Now, if somebody's watching, somebody's listening, what's one piece of advice you would give to

someone who's looking to start out a career in law enforcement?

I don't know. Good question. I think the way the reasons that you want to do it.

I mean, really some real introspection. What do I want to accomplish? What do I,

what do I want to really do? I mean, it's not, you're not a gunslinger. I mean, TV portrays that.

You have, you know, people involved in three shootings in an hour show. What is 90?

Really high 90 something percent of law enforcement officers never get involved in a shooting.

Never shoot anyway. So that's not what's happening. And there's going to be, you know, a lot of

boredom, a lot of routine mundane. So, you know, way what you really want to do, which really

want to accomplish. And if it's still what you want to do, then go for it. Do it, do it well.

We need good cops. We need good customer service people. We need people to treat clients well.

And I think someone with that, if that's the driving force for them, then I think they're going

to be just fine. And I'd like to see a bunch more like that. I agree with you, Amon.

Amen to that. So what's next for you? You're sticking with the new, with this new direction,

or are you going to go back to original characters?

Good. I've actually got a follow up in my first characters, my San Francisco characters.

It's almost finished. It's being edited. And I've got some of the research done for,

I'm going to go back up to the woods. I kind of liked it. And I like my two detectives. So I'm

going to expand them. I'm going to make them more likeable, more loveable, and give them a good

personal life to go along with it. And see if I can promote with something novel,

something novel crime to investigate. All right. That sounds good. That sounds good.

All right. So before we wrap this up completely, who's someone that you respect right now,

what are they doing that inspires you?

Well, there's a lot of people. I think probably one that jumps out is a guy named Jim Waters,

who was the president of Studio Operations for Universal. And he's one of those people who,

he came up through the ranks from working like a grip, or to cameras, to set design, to

production. I mean, there probably wasn't a job on that lot that he hadn't done.

And he treated people fairly, and he treated people well. He could be, he was

stern. He had expectations. They weren't unrealistic. And he was probably one of the most

honest people had great integrity. You know, there's a lot of bosses that, you know,

talk to talk. And when somebody said, oh, we would not tolerate a thief, but it was the vice

president that stole something. Well, that's a little bit different than if it was the custodian.

I was in his office when the vice president falsified an expensive port. He fired him on the spot.

So he said, you know, I want to all right. So I have great respect. And he was, he was a,

he was a good person. He had a good heart. And his staff, all of us, we would do any form. He,

he built a really cohesive team of people. And he just was, he was special. He still is.

All right. Outstanding. Outstanding. I like, I like a, I like leadership like that. I do.

He was great. He had nine o'clock, nine o'clock staff meet at nine o'clock and one second,

he locked the door to the conference room. Yeah, I might know what? At eight forty five,

everybody was in their seats. Yeah. Yeah. I'm sure they were. You did not want to get locked

out of the meeting. I can't imagine what the repercussions of that would be.

So yeah, it was amazing. I only wanted to do that once. That's perfect. That works. All right,

Brian. So where can people go to find out more about you and about your work and get your book?

Sure. The books of Amazon, Barnes and Noble, Goodreads, and the website is goldengatetails.com.

And there's information on the books, me, there's, if someone has a question, I'll try and answer it,

can't necessarily get you back in 24 hours, but I'll get back to you. And so it's pretty

long, close. All right. Now, standing. I know we have the website in our show notes already,

but if you have a link to your Amazon page or wherever you prefer people to go buy the book from,

just send it over to me and we'll make sure we get that included in the post work. All right.

All right. Well, Brian, I'm going to put you back stage. I'm going to wrap this baby up and then

we'll come back to you. We'll wrap up our end off the air. Thank you. I appreciate you. I mean,

hey, this was great, Brian. Thank you so much. God bless you. I really appreciate the work you've

done. Thank you for your servicer. And, you know, look forward to having you back on again at some

point. Okay. Thank you. You bet. All right. All right. Folks, Brian Brady, make sure you go to his

website, check it out, make sure you check out his book. I hope you guys like that conversation.

That was, I really enjoyed that. You know, the militia groups are out there. They are growing.

And it's something to pay attention to. It really is. Given I heard something earlier today on a

talk show that I was, I was listening to where they were talking about something very similar to

it. And, you know, it, it, there are some potential issues with a lot of these illegal militia groups.

All right. But let's not worry about that too much right now. The bigger problem is that

liberal Christmas is right around the quarter. April 15th, tax day, you know, gotta file your taxes,

gotta report to the government, which, which you're, what you've been spending your money on.

All right. They can spend it on whatever they want. But you make a, a questionable transaction

of 20 bucks. And yeah. So the folks over at Diamond Dynasty Tax Group Legacy. These guys are

great. They want to help you navigate your way through this liberal holiday season. So if you could

head over to them, check them out, give them a call at 830-867-7106. It's 830-867-7106. These folks,

they did my taxes for me when I bought the asylum. They helped me through all of the paperwork

involved with the renovations and the building of the studio, all that stuff. They did a fantastic

job. And actually, they just let me know that they completed my tax returns for this year as well.

And took care of it pretty quick and little stress. And they really got me a good return.

So I'm very, very happy and very pleased with that. So get me a call. Try them out. Let them work

this. They're magic for you. Now, you don't have to be living here at Eagle Pass,

do it, even though they're at Eagle Pass based business. You can use them wherever you are in

the great theta taxes. So give me a call at 830-867-7106. It's 830-867-7106. All right. Shoutouts,

of course, to our executive producers, Wayne Rankin, Rosanna Rankin, Carolina Emines,

Marissa Lee, and of course, the Inestimative Ole, Anonymous Angela. Folks, these guys,

we follow what they call a value-for-value model. Very simple. If you receive anything of value

from the content we're putting out, all we're asking is that you return that value to us in the

form of a donation. And that donation can be your time, your talent, or your treasure, the three

teas. These folks donate their time, their talent, and their treasure. And we greatly appreciate it.

There's a lot of stuff that we do that we wouldn't be able to do without their help. So greatly

appreciate it. Now, if you want to find out ways about how you can help support the show, just

head over to the website, joeroos.com-support. It's joeroos.com-support. And when you get there,

you'll find all the different ways that you can help us out. And you never know. You might end up

becoming one of our executive producers. One of the perks of being an executive producer for the show

is that, if you like, you get to come on the show with us. And you get to have a segment. We do that

on Wednesdays, with Wayne's segment. And by the way, Wayne is extremely excited about coming on

the show next because he has a great idea that he wants to bring to everybody and make it a regular

segment. So I'm looking forward to it. We're working on the details of it, and we'll let you know

when that's going to kick off. But try it out. Check out the website joeroos.com-support. And if

you can help us out, you have the means to do it. We would really, really appreciate the support.

All right. Now, so conversations like this, like we had tonight with Brian, remind you really

quick that there's big difference between what we're told and what people actually experience.

Brian Brady lived both sides on the ground in law enforcement and at the executive level

in security. And now he's telling stories that blur the line between fiction and reality.

Well, whether you agree with everything we talked about tonight or not,

getting perspective from someone who's been there is what really matters. And again, if you've

gotten anything of value from this, please share it and let us know what you think in the comments.

And that's how this message spreads. All right. Well, I think that should just about do it for us

for tonight, folks. I think that's all I got, right? It better be because the music started.

I guess that's it. All right, folks. Don't forget to head up to the website,

joeroos.com. Go to our contact section. Send us over a message. Let us know what you think.

Email me info at joeroos.com. Comments down below. We would really appreciate it.

No jokes tomorrow. We'll be back here on Sunday, Palm Sunday. And we'll see you then. Until then,

folks, make Texas independent again. Go podcasting. Keep a steady stride. And more importantly, folks,

keep talking. We'll see you on Sunday.