December 6, 2021 • 18 mins
The Playero 37 mixed tape was headlined by a new rapper with unlimited talent. But while recording, a drive by shooting changed things forever.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Previously on a flow and the noise. Everything began in
the noise. The nightclub. It was this dark club and
it will be for someone. And you can literally hear
the base and the drums coming out of that little
(00:23):
club moment when you entered, you'd hear a song that said,
damn bow, damn bow, dam bow, damn ball, and you
see everyone against the walls, grinding hard. The people who
went through the noise were not accepted. Else were show.
(00:47):
That was our house where we did the shows, where
we felt like artists because we were singing in a
club full of people so cool. Follow This is where
Fallo was born, and where Michael from Michael Emmanuel was born,
where Ranking Stone was born, where We Saw g was born.
(01:13):
One January in the early nineties, on a three Kings day,
was working in his apartment on a record that will
one day hang in the Regadon Hall of Fame when
somebody gets around to building it. The mixtape seven was
spearheaded by a new talent that he had just discovered
in his hood, a teenager with a flow that came
(01:35):
out in bursts. That day, they took a break from
the recording to go down to celebrate three Kings Day
with the street party. They were all there, his family,
his neighbors, and the singers who were recording with him.
My son, who was very young at that time, was
there and his mother and me and I went upstairs
(01:58):
because the boy's grandmother called me to make something upstairs.
And when I'm upstairs, that's when those people came and
started shooting. It was a drive by a group of
young men with a K forty seven's pulled up to
the party and started shooting at the crowd. We heard
the shots, and my mom came up and said they
(02:20):
shot a boy. They shot a boy him would be local.
Oh my god, I went crazy because I said, damn,
they kill my son. They kill everyone, because there were
people downstairs, and we started looking. My son and his
mother were under a car, but they were okay, thank god.
(02:41):
One by one they found their family, friends and colleagues,
but someone was still missing, the promising young rapper that
Bo had been recording, and they began to worry me.
Mo Oi, I remember like it was right now today.
There was a car and he fell like as if
he was trying to get under the car and he
(03:03):
was faced down. Damn, there's moments in the story. This
is one for sure, but there are more you'll see.
This is a flow, a journey to the roots of
My name is Lilia Luciano. I'm a CBS News correspondent
(03:25):
born and raised in Puerto Rico, the Cradle of Red.
You're listening to episode nine to better understand what just happened,
the shooting and all, we have to rewind the tape
of it. As you know, in the music scene, almost
(03:47):
everybody uses a stage name. In Puerto Rico. When rap
was taking over, artists like to use their initials or
something symbolic that they felt represented them, and in the
case of DJs, well they like to identify themselves as
such DJs. The person who we were about to meet,
his real name is Perroto, but from the time he
(04:07):
started doing Parti de Mars, first in and later in
the VideA Kennedy projects in San Juan, he's been known
as DJ Plagro and Lambiente Colao. In the music scene,
I'm known as DJ Plaerro. I didn't choose that name.
(04:28):
When I was in high school. I bought clothes from
a store called Plaierro, which sells surfer and beach clothes
and that kind of thing. So every day I had
a different shirt that said throughout the years and up
until this day, that's the stage name that everyone knows
me by. J Pro today is synonymous with one of
the godfathers of and also with an impressive collection of
(04:49):
mix tapes. Those recordings made in the early nineties combined
a level of experience and talent that few had back
then on the island. Jo I'm a percussionist. I've been
a musician since I was a little kid because of
my father, who is a drummer and a jazz percussionist,
(05:09):
Latin jazz and salsa and that kind of thing. When
I was little, I thought myself, I learned to play
all kinds of percussion instruments well, as they say in
the island, like birds of a feather flogged together. That's
what happened in Puerta. In all, San Juan Plaero was
fluent and acoustic percussion, so of course in Puerto Era
(05:32):
he was asked to make electronic beats. When I moved
to pert that's where I met Vico because he lived
in Port too, and then the Ja Negro approached me
because they had a drum machine, and they didn't know
how to use that drum machine. DJ Negro he didn't
(05:53):
make music, he didn't make tracks, and neither the Beaco. Well,
I took the drum machine and I gave it a go.
I said it, give it here. That's why it has instructions.
Plato started experimenting, gradually developing drum sounds and then original
tracks for Nero and Vico and music. The first production
(06:18):
from Vico c Was l which was my first experience
as a record producer on an album. Then I produced
Lisa I Am. I was also her musical director on
the tour. When Lisa was playing on Fire the Queen
to Pummy, Mommy, lookay Vico, some mean Vico, Nero and
(06:49):
are my brothers you know, brothers, My brothers from childhood,
my brothers from the neighborhood, my brothers from music, my
brothers from everything that's Lisa. Lisa also lived in Berta.
It was a dancer for did Negro and Vicose before
blowing up in her own right as the first female
Spanish rap singer in Puerto Rico and one of, if
(07:12):
not the first, in all Latin America. It is an
amazing person, super talented, obviously very serious about his job,
and Plaeo is the creator of many things. Blaeo is,
as they say, Papa the father at that time, and
(07:33):
we're talking about the early nineteen nineties. Like many DJs
back then, made mix tapes of his favorite music, what
he played at his parties. The mix tapes were in
a different world compared to his work as a producer
for Vicoci and as a musical director for Lis Sami,
which were commercial successes on an international level, and for
(07:59):
Wrapping a Pal. There were original rhythms. The vast majority
were original rhythms, the drums we made with the drum machine.
When I entered the world of underground, which still hadn't
gotten that name, it hadn't begun to identify as underground,
I was experimenting with different types of music, with Panamanian reggae,
with ragamuffing. Those tapes released the numerical order like Plato one, two, three,
(08:22):
et cetera. Were popular. People like them and passed them along,
but they were essentially a hobby for Playeto. They didn't
even pay the water bill. Plazeto would make ten copies
and when he sold enough to buy the next box
of cassettes. He would give the rest of them away.
Plazido's motivation was to innovate with new sounds, and he
hit a nerve with wrap verses in Spanish over dance
(08:44):
hall tracks content Patio Puerto Rico. I started to use
singers from the neighborhood from Puerto Rico, and I would
put a little bit of one in the mix tape.
But then the tape went on as usual with the
songs that were playing on the disco, on on the
places where I was going to djo, I repeated that
(09:07):
on player thirty five. On thirty six, I did it again,
but a little longer. That's when I started working on
thirty seven. That was more or less seven would be
(09:31):
a seminal moment for the genre, an album made up
of only Puerto Rican rappers who were the hottest singers
of the day. But since this was underground, unlike commercial music,
everything was done d I Y but in Puerto Rico.
At that time, in Puerto Rico, they were very expensive studios.
(09:52):
They had real recording studios with their media department and
their editing department with their main room. Gigantic studios with
sixteen food high ceilings. You know, real studios. That's where
Wrapping Espanol was recorded. Meanwhile, was making his record in
his apartment in the Casa Rio the projects. If it
(10:17):
was small, very small, real public housing. I remember the
little black machine was the first thing you saw when
you answered, and the speakers, and he had all his
equipment there. When I started underground, I started in the
(10:39):
apartment with a four channel task camp and a drum
sample that had like four bits of memory each a
second long to make loops for measure long or one bar.
Do you get me? That's if you wanted to divide
it into four. But if you wanted to use the
entire memory on a single sample, then you could make
a sample of eight with two bars. With those few tools,
(11:01):
I was able to make thirty seven for the singers.
It wasn't a picnic either. They had a microphone that
costs like twenty bucks. Not to mention that there was
no room for error. Your one take, I started to
put together the cas said and everything was one take,
and it was real time. And while I was recording
(11:22):
the singer, I was already choosing who was going next
and how to do the mix. The singers wrote their
songs right there, they said and wrote while somebody else
was recording. Before recording a song wasn't like what it
is now. Before you tripped up or made a mistake,
(11:43):
you had to start over from the beginning. This is
not like now that you can edit, press pause, hit
record again. No, before it was dally go. You have
to have the lungs to be able to finish bump bump,
bump from top to bottom without any stops about peroo.
(12:03):
Throw the track live right there, and it was live
in the middle of the room, so without acoustics, that
was Guero, that was fire. I recorded that song in Sandia,
(12:33):
hyped Up. I still remember that day because that was
the song that came out on thirty seven. And if
Little thirty seven didn't have enough going on. You remember
where we left off with the shooting outside Plato's building,
when in the middle of the party a car drove by,
spraying machine gun fire left and right. Well, Plato ran
down to see what had happened, to look for his
(12:55):
family and friends, including the talented young team with whom
he had been working. The kid had been hit by
a bullet and was now faced down under a car.
We're talking about dramon. We are talking about Daddy Yankee,
(13:16):
and everyone ran, but it seems that in the crossfire
in the mayhem, Yankee was shot in the femur. We
started to hear somebody moaning in pain, and it was him.
The doctors managed to save his leg, but his life
would never be the same after a year spent inside
the hospital and wheelchairs and physical therapy and a limp
that would never go away. Yes, that definitely led him
(13:43):
to get into music full time. Because he was a
baseball player. He would have been a great player, you know,
just as he did in music. He would have done
as a player as well. What happened is because of
the injury, he could no longer play. It was a
hard blow for Daddy Yankee. He was barely sixteen years
old at the time and had already been scouted by
the Seattle Mariners. But Yankee still had who also saw
(14:06):
something special in him. Going back to the first time
he ever heard him rap, he showed up at my
apartment in Bia Kennedy. He was a rapper, all rap.
He had a very fast tongue twist to style, very
very fast. When I saw that, I was like, Okay,
whoa wait? Let's keep flowing. Stop, let me listen. Okay, okay,
(14:32):
that's good. But we're going to work in it. We're
going to play with it, and we're going to put
it on this style of music. And that's when we
started recording, and we began polishing that diamond, because that's
what he was, a diamond. The shooting, in addition to
putting an end to Yankees baseball career, also left thirty
seven in the freezer because Yankees verses were the only
(14:53):
thing missing. Joe Fui when he was at home recovering,
I went over with my fourth channel recorder and a
microphone because his part was missing. To finish the mixtape.
He recorded practically laying down. And those are things that
(15:15):
happened that I don't normally talk about, but it did happen,
and I am sharing it now. The Plageto thirty seven mixtapes,
like all the Plajeto's up to that point, sold quickly
but without much until a year later when Petromer, said,
founder of BM Records, called Plago asking for thirty seven.
(15:36):
I tell him, but that's out on the street. Why
am I going to give you that? Give it to me.
I'm going to release it on CD and on cassette.
I took it Pump Pump and gave it to him,
And that's how this saga of Underground began that today
is called seven, spread like the smell of regret on
the day after a frat party until it reached Dag.
(15:59):
He had brought up almost all of the underground artists
on the island at his nightclub, you knows, but he
never thought to make a record, and that where thirty
seven was born, and that well made me really angry.
He stole my singers. Everyone I had ranking Store recorded,
(16:22):
WHISTLEGI recorded, michaela. Manuel recorded, Blanco recorded, Baby Jay recorded
all the ones I had worked with because they were
new singers. They had cut the recording fever and they
were going to record with everyone. With spirits running hot,
Underground's golden age was about to begin, but also the
movement's most infamous rivalries front and center, the nero and
(16:46):
and everybody had to pick a side. On the next
episode of Flow Young Fatal, the violence on the streets
gets a little too real as rappers start threatening each
other and dis traps is the cruise around the artist
(17:10):
gold Tip. She was real and it was hard for me.
Let's See Oh My God. Flow is a production of
Excel Content Studio in partnership with I Heeart Radios Michaela
Podcast Network. The show is hosted by Melee La Luciano
and was created and produced by Vitennis did Julius. Production
and sound designed by Dixo, Additional production by David Konisnao
(17:36):
and Natalia, Story editing by Nudia Nett. Original music by
Truco Production supervision by Albaro Cespies. Executive producers for Excel
Content Studio are Nando Villa, Exact Lee and Alejandro. Executive
producers for I Heeart Media or Conald Burne and just
Sell bandces. For more podcasts from my Heart, visit the
(17:57):
I Heart Radio app, Apple Podcast, or wherever you listen
to your favorite shows. H
Previously on a flow and the noise. Everything began in
the noise. The nightclub. It was this dark club and
it will be for someone. And you can literally hear
the base and the drums coming out of that little
(00:23):
club moment when you entered, you'd hear a song that said,
damn bow, damn bow, dam bow, damn ball, and you
see everyone against the walls, grinding hard. The people who
went through the noise were not accepted. Else were show.
(00:47):
That was our house where we did the shows, where
we felt like artists because we were singing in a
club full of people so cool. Follow This is where
Fallo was born, and where Michael from Michael Emmanuel was born,
where Ranking Stone was born, where We Saw g was born.
(01:13):
One January in the early nineties, on a three Kings day,
was working in his apartment on a record that will
one day hang in the Regadon Hall of Fame when
somebody gets around to building it. The mixtape seven was
spearheaded by a new talent that he had just discovered
in his hood, a teenager with a flow that came
(01:35):
out in bursts. That day, they took a break from
the recording to go down to celebrate three Kings Day
with the street party. They were all there, his family,
his neighbors, and the singers who were recording with him.
My son, who was very young at that time, was
there and his mother and me and I went upstairs
(01:58):
because the boy's grandmother called me to make something upstairs.
And when I'm upstairs, that's when those people came and
started shooting. It was a drive by a group of
young men with a K forty seven's pulled up to
the party and started shooting at the crowd. We heard
the shots, and my mom came up and said they
(02:20):
shot a boy. They shot a boy him would be local.
Oh my god, I went crazy because I said, damn,
they kill my son. They kill everyone, because there were
people downstairs, and we started looking. My son and his
mother were under a car, but they were okay, thank god.
(02:41):
One by one they found their family, friends and colleagues,
but someone was still missing, the promising young rapper that
Bo had been recording, and they began to worry me.
Mo Oi, I remember like it was right now today.
There was a car and he fell like as if
he was trying to get under the car and he
(03:03):
was faced down. Damn, there's moments in the story. This
is one for sure, but there are more you'll see.
This is a flow, a journey to the roots of
My name is Lilia Luciano. I'm a CBS News correspondent
(03:25):
born and raised in Puerto Rico, the Cradle of Red.
You're listening to episode nine to better understand what just happened,
the shooting and all, we have to rewind the tape
of it. As you know, in the music scene, almost
(03:47):
everybody uses a stage name. In Puerto Rico. When rap
was taking over, artists like to use their initials or
something symbolic that they felt represented them, and in the
case of DJs, well they like to identify themselves as
such DJs. The person who we were about to meet,
his real name is Perroto, but from the time he
(04:07):
started doing Parti de Mars, first in and later in
the VideA Kennedy projects in San Juan, he's been known
as DJ Plagro and Lambiente Colao. In the music scene,
I'm known as DJ Plaerro. I didn't choose that name.
(04:28):
When I was in high school. I bought clothes from
a store called Plaierro, which sells surfer and beach clothes
and that kind of thing. So every day I had
a different shirt that said throughout the years and up
until this day, that's the stage name that everyone knows
me by. J Pro today is synonymous with one of
the godfathers of and also with an impressive collection of
(04:49):
mix tapes. Those recordings made in the early nineties combined
a level of experience and talent that few had back
then on the island. Jo I'm a percussionist. I've been
a musician since I was a little kid because of
my father, who is a drummer and a jazz percussionist,
(05:09):
Latin jazz and salsa and that kind of thing. When
I was little, I thought myself, I learned to play
all kinds of percussion instruments well, as they say in
the island, like birds of a feather flogged together. That's
what happened in Puerta. In all, San Juan Plaero was
fluent and acoustic percussion, so of course in Puerto Era
(05:32):
he was asked to make electronic beats. When I moved
to pert that's where I met Vico because he lived
in Port too, and then the Ja Negro approached me
because they had a drum machine, and they didn't know
how to use that drum machine. DJ Negro he didn't
(05:53):
make music, he didn't make tracks, and neither the Beaco. Well,
I took the drum machine and I gave it a go.
I said it, give it here. That's why it has instructions.
Plato started experimenting, gradually developing drum sounds and then original
tracks for Nero and Vico and music. The first production
(06:18):
from Vico c Was l which was my first experience
as a record producer on an album. Then I produced
Lisa I Am. I was also her musical director on
the tour. When Lisa was playing on Fire the Queen
to Pummy, Mommy, lookay Vico, some mean Vico, Nero and
(06:49):
are my brothers you know, brothers, My brothers from childhood,
my brothers from the neighborhood, my brothers from music, my
brothers from everything that's Lisa. Lisa also lived in Berta.
It was a dancer for did Negro and Vicose before
blowing up in her own right as the first female
Spanish rap singer in Puerto Rico and one of, if
(07:12):
not the first, in all Latin America. It is an
amazing person, super talented, obviously very serious about his job,
and Plaeo is the creator of many things. Blaeo is,
as they say, Papa the father at that time, and
(07:33):
we're talking about the early nineteen nineties. Like many DJs
back then, made mix tapes of his favorite music, what
he played at his parties. The mix tapes were in
a different world compared to his work as a producer
for Vicoci and as a musical director for Lis Sami,
which were commercial successes on an international level, and for
(07:59):
Wrapping a Pal. There were original rhythms. The vast majority
were original rhythms, the drums we made with the drum machine.
When I entered the world of underground, which still hadn't
gotten that name, it hadn't begun to identify as underground,
I was experimenting with different types of music, with Panamanian reggae,
with ragamuffing. Those tapes released the numerical order like Plato one, two, three,
(08:22):
et cetera. Were popular. People like them and passed them along,
but they were essentially a hobby for Playeto. They didn't
even pay the water bill. Plazeto would make ten copies
and when he sold enough to buy the next box
of cassettes. He would give the rest of them away.
Plazido's motivation was to innovate with new sounds, and he
hit a nerve with wrap verses in Spanish over dance
(08:44):
hall tracks content Patio Puerto Rico. I started to use
singers from the neighborhood from Puerto Rico, and I would
put a little bit of one in the mix tape.
But then the tape went on as usual with the
songs that were playing on the disco, on on the
places where I was going to djo, I repeated that
(09:07):
on player thirty five. On thirty six, I did it again,
but a little longer. That's when I started working on
thirty seven. That was more or less seven would be
(09:31):
a seminal moment for the genre, an album made up
of only Puerto Rican rappers who were the hottest singers
of the day. But since this was underground, unlike commercial music,
everything was done d I Y but in Puerto Rico.
At that time, in Puerto Rico, they were very expensive studios.
(09:52):
They had real recording studios with their media department and
their editing department with their main room. Gigantic studios with
sixteen food high ceilings. You know, real studios. That's where
Wrapping Espanol was recorded. Meanwhile, was making his record in
his apartment in the Casa Rio the projects. If it
(10:17):
was small, very small, real public housing. I remember the
little black machine was the first thing you saw when
you answered, and the speakers, and he had all his
equipment there. When I started underground, I started in the
(10:39):
apartment with a four channel task camp and a drum
sample that had like four bits of memory each a
second long to make loops for measure long or one bar.
Do you get me? That's if you wanted to divide
it into four. But if you wanted to use the
entire memory on a single sample, then you could make
a sample of eight with two bars. With those few tools,
(11:01):
I was able to make thirty seven for the singers.
It wasn't a picnic either. They had a microphone that
costs like twenty bucks. Not to mention that there was
no room for error. Your one take, I started to
put together the cas said and everything was one take,
and it was real time. And while I was recording
(11:22):
the singer, I was already choosing who was going next
and how to do the mix. The singers wrote their
songs right there, they said and wrote while somebody else
was recording. Before recording a song wasn't like what it
is now. Before you tripped up or made a mistake,
(11:43):
you had to start over from the beginning. This is
not like now that you can edit, press pause, hit
record again. No, before it was dally go. You have
to have the lungs to be able to finish bump bump,
bump from top to bottom without any stops about peroo.
(12:03):
Throw the track live right there, and it was live
in the middle of the room, so without acoustics, that
was Guero, that was fire. I recorded that song in Sandia,
(12:33):
hyped Up. I still remember that day because that was
the song that came out on thirty seven. And if
Little thirty seven didn't have enough going on. You remember
where we left off with the shooting outside Plato's building,
when in the middle of the party a car drove by,
spraying machine gun fire left and right. Well, Plato ran
down to see what had happened, to look for his
(12:55):
family and friends, including the talented young team with whom
he had been working. The kid had been hit by
a bullet and was now faced down under a car.
We're talking about dramon. We are talking about Daddy Yankee,
(13:16):
and everyone ran, but it seems that in the crossfire
in the mayhem, Yankee was shot in the femur. We
started to hear somebody moaning in pain, and it was him.
The doctors managed to save his leg, but his life
would never be the same after a year spent inside
the hospital and wheelchairs and physical therapy and a limp
that would never go away. Yes, that definitely led him
(13:43):
to get into music full time. Because he was a
baseball player. He would have been a great player, you know,
just as he did in music. He would have done
as a player as well. What happened is because of
the injury, he could no longer play. It was a
hard blow for Daddy Yankee. He was barely sixteen years
old at the time and had already been scouted by
the Seattle Mariners. But Yankee still had who also saw
(14:06):
something special in him. Going back to the first time
he ever heard him rap, he showed up at my
apartment in Bia Kennedy. He was a rapper, all rap.
He had a very fast tongue twist to style, very
very fast. When I saw that, I was like, Okay,
whoa wait? Let's keep flowing. Stop, let me listen. Okay, okay,
(14:32):
that's good. But we're going to work in it. We're
going to play with it, and we're going to put
it on this style of music. And that's when we
started recording, and we began polishing that diamond, because that's
what he was, a diamond. The shooting, in addition to
putting an end to Yankees baseball career, also left thirty
seven in the freezer because Yankees verses were the only
(14:53):
thing missing. Joe Fui when he was at home recovering,
I went over with my fourth channel recorder and a
microphone because his part was missing. To finish the mixtape.
He recorded practically laying down. And those are things that
(15:15):
happened that I don't normally talk about, but it did happen,
and I am sharing it now. The Plageto thirty seven mixtapes,
like all the Plajeto's up to that point, sold quickly
but without much until a year later when Petromer, said,
founder of BM Records, called Plago asking for thirty seven.
(15:36):
I tell him, but that's out on the street. Why
am I going to give you that? Give it to me.
I'm going to release it on CD and on cassette.
I took it Pump Pump and gave it to him,
And that's how this saga of Underground began that today
is called seven, spread like the smell of regret on
the day after a frat party until it reached Dag.
(15:59):
He had brought up almost all of the underground artists
on the island at his nightclub, you knows, but he
never thought to make a record, and that where thirty
seven was born, and that well made me really angry.
He stole my singers. Everyone I had ranking Store recorded,
(16:22):
WHISTLEGI recorded, michaela. Manuel recorded, Blanco recorded, Baby Jay recorded
all the ones I had worked with because they were
new singers. They had cut the recording fever and they
were going to record with everyone. With spirits running hot,
Underground's golden age was about to begin, but also the
movement's most infamous rivalries front and center, the nero and
(16:46):
and everybody had to pick a side. On the next
episode of Flow Young Fatal, the violence on the streets
gets a little too real as rappers start threatening each
other and dis traps is the cruise around the artist
(17:10):
gold Tip. She was real and it was hard for me.
Let's See Oh My God. Flow is a production of
Excel Content Studio in partnership with I Heeart Radios Michaela
Podcast Network. The show is hosted by Melee La Luciano
and was created and produced by Vitennis did Julius. Production
and sound designed by Dixo, Additional production by David Konisnao
(17:36):
and Natalia, Story editing by Nudia Nett. Original music by
Truco Production supervision by Albaro Cespies. Executive producers for Excel
Content Studio are Nando Villa, Exact Lee and Alejandro. Executive
producers for I Heeart Media or Conald Burne and just
Sell bandces. For more podcasts from my Heart, visit the
(17:57):
I Heart Radio app, Apple Podcast, or wherever you listen
to your favorite shows. H
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Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Special Summer Offer: Exclusively on Apple Podcasts, try our Dateline Premium subscription completely free for one month! With Dateline Premium, you get every episode ad-free plus exclusive bonus content.
The Breakfast Club
The World's Most Dangerous Morning Show, The Breakfast Club, With DJ Envy, Jess Hilarious, And Charlamagne Tha God!
Crime Junkie
Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.