June 20, 2025 • 13 mins
This recap episode features musician Charley Crockett. The conversation spans a diverse range of topics, including the history and atmosphere of the Viper Room in Hollywood, the rapid advancements in AI technology and its implications for creative industries, and the historical use of once-legal, now-controlled substances in consumer products. Crockett shares anecdotes from his unconventional upbringing and early career, highlighting his journey from a door-to-door salesman to a successful musician, often detailing the harsh realities and predatory nature of the music business. The dialogue also touches upon the evolution of the comedy scene in Austin, Texas, Crockett's views on authenticity in art and life, and speculative discussions on ancient civilisations and humanity's potential for future societal evolution.
---
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Welcome to the Joe Rogan recap. And before we get going, you can
now access the full Google notebook with a mind map,
timeline and briefing document by clicking the link in the
description. OK, so today we're jumping into
a really interesting conversation Joe Rogan had
recently with a musician, Charlie Crockett.
Really unique guy. And our mission here really is
(00:21):
to pull out some of the surprising moments, the key
ideas from this, well, this incredibly wide-ranging chat.
They covered so much ground, authenticity, music, biz stuff,
historical lies, even ancient civilization.
That's right. It's like Charlie Crockett's
life story itself becomes this launching pad.
It's not just about him, it's about these bigger questions his
experiences bring up. You know, about society,
(00:43):
authenticity, deception, creativity, all of it.
His path is so unconventional, it just naturally connects to
these huge universal themes. Absolutely.
Let's let's start with somethingspecific.
They mentioned early on the Viper Room, such a notorious
place, right? So much mystique.
And they highlighted that weird detail that River Phoenix
actually died outside on the sidewalk, not inside like a lot
of people think. Right, that detail kind of adds
(01:05):
to the whole strange vibe of theplace.
Yeah, and both Joe and Charlie had their own, like, first
impressions of the venue. It kind of set this tone, this
discussion about things that feel undeniably real.
Because right after that, they shifted to Charlie's music.
And Joe put it really well. He said it embodies a life
lived, something you can't fake.And that idea that can't fake it
(01:26):
authenticity well that spun themright into talking about AI
artificial intelligence. You can tell they were both
genuinely concerned about how fast AI is getting at
replicating human creativity. They mentioned this new I think
there's a byte dance AI engine making video that looks
incredibly real, so real. It's getting close to that, you
(01:47):
know, singularity idea. We just, you can't tell the
difference anymore. But the insight, the take away
was clear. AI can mimic, sure.
But that soul, that genuine feeling from lived experience in
art, that's maybe the one thing it can't truly replicate.
So it really makes you think, doesn't it?
In a world where AI can copy so much, what is it about human
(02:08):
creation like Charlie's music that makes it truly unique?
What's that human spark AI can'ttouch?
And Speaking of truth, or maybe the lack of it, they went down
this rabbit hole of historical lies.
Some really eye opening stuff like original Coca-Cola actually
having cocaine in it. We kind of know that, but
hearing it starkly. Yeah, and then the Bayer story.
(02:29):
Oh. Right Bayer selling heroin in
the 19th century. Sears Catalog of all places.
Marketed as non habit forming. Can you imagine?
While a full kit needles vials for $1.50.
It's just incredible. And what's compelling is how
they drew a line from that to, well, modern issues like doctors
prescribing Oxycontin now. It shows how these ideas about
(02:50):
what's safe, what's acceptable, can be totally manipulated over
time, how Tres can be reshaped. They even talked about the moon
landing, not questioning if it happened, but seeing it as this
massive cultural event, you know, a projection of military
power. A power move.
Which then leads you to ask, OK,how many other narratives have
we just accepted without really digging deeper?
(03:11):
And this time into a point aboutNoam Chomsky, which I found
fascinating. So Chomsky obviously brilliant,
super skeptical about media politics.
The point made was he had this sort of blind spot.
He didn't apply that same critical thinking to the
pharmaceutical industrial complex.
Interesting. Yeah, it just shows how even
really smart people can have these areas where they don't
(03:33):
question things, maybe because they trust the experts or the
institutions involved. And building on that, that
critique of systems, Joe and Charlie got into consumerism.
They brought up Chomsky's idea again, that there are these
powerful forces working like really, really, really hard to
basically kill your sense of purpose.
Why? To make you a better consumer.
Exactly to make you buy more stuff.
(03:55):
It's a pretty sobering thought how much external pressure
shapes us. Which then LED them to talk
about how the whole idea of being rich has changed.
Used to be more about, you know,richness of life, fulfilment,
community, right? But now it's almost entirely
about stuff. Material things, numbers on the
screen, numbers on a Ledger. It's a huge shift in values.
(04:17):
So let's pivot from those big ideas back to Charlie's personal
journey because wow, what a path.
Before music really took off forhim, he was hustling hard.
Door to door seals, men selling clothes, neckties.
He described getting into business as this hard knock
boiler room kind of experience. Real rough and tumble and after
some serious trouble, legal stuff, he literally had to walk
(04:39):
out of town. Said he had a scarlet letter,
couldn't even open a bank account.
Which really highlights that theme of self-reliance in his
story. And he mentioned this incredible
advice from his mother. She told him, basically, look,
what happened when you were young wasn't your fault, but
you're a man now. It's your responsibility.
So powerful. And that seemed to just cement
this idea for him. No victimhood.
(05:00):
Take responsibility or your problems will just follow you
forever. And that whole idea of forging
your own away, taking risks, it seemed to really connect with
Joe's own stories about gamblingin New York pool halls back in
the day. Oh yeah, those stories were
great. He described this intense
environment, constant betting, betting on anything, raindrops
racing down a window, coin flipsfor thousands.
(05:23):
And you had to have heart, You had to be willing to bet.
If you were seen as tight with your money a knit, you were
basically out. Right.
A real school of Hard Knocks, like you said, high stakes,
which in a way leads us right into the music industry
challenges they talked about because that's another high
spakes, often harsh environment.They pointed out.
This massive shift right from the old days where labels
(05:45):
actually developed artists. Think Willie Nelson, Waylon
Jennings putting out multiple records a year, sometimes before
they hit big. Right, they invested long term.
Exactly. Compare that to now.
It's often like a pump and dump scheme.
Labels put in minimal cash, hopefor instant viral fame like that
Oliver Anthony's situation. And if it doesn't happen
immediately, they move on. There's no room for artists to
(06:08):
grow organically over time in that model.
And this is where Waylon Jennings becomes such a key
figure in the story they told. Waylon, along with Willie,
really fought back against Nashville's control.
Yeah, they pushed back hard. Waylon demanded creative
freedom, he insisted. I'm using my own band.
I'm choosing my own studio, which was apparently unheard of
(06:29):
then. Totally revolutionary for
Nashville at the time. And that whole push back, that
feeling of being neglected by the mainstream, that's actually
what allowed the Austin music scene to really blossom.
It thrived because it wasn't controlled by the Nashville
machine. A blessing in disguise really
foster this independent spirit. But even with that history,
Charlie still ran into modern industry hurdles.
(06:51):
He talked about his deal with 30Tigers.
He got like a tenth of the moneya major label might offer, but
they still tried to lock him into those restrictive 2 year
record cycles. But then interestingly, another
artist, Coulter Wall, signed with a major and that actually
gave Charlie some leverage, while 30 Tigers suddenly didn't
want to lose another unique artist.
(07:12):
So they basically, as Charlie put it, handed the keys over,
gave him more freedom. Shows how things can shift
unexpectedly even in a business they called pretty shady.
Shifting gears a bit, they got into comparing performance
comedy versus music. Joe made the case that comedy is
actually harder. You know, constant need for new
jokes and there's no guitar covering you up.
(07:34):
You're just out there totally exposed.
Right, it's just you and the microphone.
Yeah, but they both agreed on that fundamental thing, the 10
years of eating shit or the 10,000 hour rule, whatever you
call it. Absolutely essential.
You got to put in the time, the grind, the often thankless work
to master any craft. Music, comedy, anything.
And that dedication unfortunately got tangled up
(07:57):
with a Really scary health crisis for Charlie.
He talked about having an enlarged heart and arrhythmia
and almost dying in the back of Willie Nelson's old tour bus, of
all places. Wow, that's intense.
Yeah, and his big take away fromdealing with the medical side of
that was stark. No one's advocating for you,
only you. Such a crucial point about
(08:19):
needing to fight for yourself, especially in healthcare
systems. A tough lesson.
Before all the touring and the health scare, though, Charlie
lived this incredibly nomadic life like a gentleman Hobo St.
performer. He talked about starting out in
Europe, where just being a real Texan was apparently quite
exotic and paid well with tourists.
Yeah, yeah, I can imagine. And then later performing in New
(08:40):
York City subway cars, which sounds incredibly tough,
breaking laws, trying to grab the attention of people who
aren't choosing to listen. What was really cool was how he
learned from this young rapper, Jayden Woodard.
This kid basically turned subwayplatforms into his stage, his
business, freestyling, selling mixtapes right there and making
serious money. Like hundreds a day.
(09:01):
That's amazing. Pure hustle.
Totally. It's that raw St. authenticity
remind me of that famous video of the Super young Biggie
Smalls. Like 17 just killing it on a
Brooklyn street corner. No hype, just pure talent
demanding attention. And it was that kind of St.
performing that actually got Charlie noticed by Sony, the pop
machine, as he called it. He described going into their
(09:23):
offices, doing these focus grouptype sessions and the big lesson
he learned? If you don't know what you want,
they're going to sell it for you.
That's is it all about the industry, right?
Yeah. Have your own vision or they'll
just mold you into whatever theythink sells.
Which loops right back to what they said about the music
business itself, calling it the shadiest business, even
(09:45):
comparing it to Wall Street and saying it's less regulated.
Yeah, that was surprising. Less regulated than Wall Street.
Apparently so, which just underlines why artists need to
understand the business side, not just the creative side, to
protect themselves, keep their autonomy.
Otherwise you just get chewed up.
But then sometimes things just line up perfectly, almost like
fate Charlie's album Welcome to Hard Times.
(10:08):
Great title, right? It actually got a huge boost
because of the pandemic shutdown.
Suddenly billboards were super cheap.
Like 80% off in big cities cheap.
No kidding. Yeah, because nobody else was
advertising and the themes of the album, struggle, feeling
like the game is rigged just resonated perfectly with what
everyone was going through. His career really took off then.
(10:29):
Amazing timing. And finally, a really positive
thread was his collaboration with Shooter Jennings.
Waylon son Charlie sounded genuinely thrilled about working
with him, said Shooter's the first producer who doesn't judge
him but still pushes. Him.
That's huge for an artist. Absolutely, and it's enabling
this whole new trilogy of records for Charlie.
He talked about how being underestimated his whole career
(10:52):
and now finding this authentic collaborator, it's been a
blessing really. Let's his unique style, that
stylistic chameleon thing he does shine.
You know, bringing it full circle back to authenticity and
maybe fate. Joe talked about his own move to
Austin, deciding to build a comedy hub there during the LA
shutdowns in 2020. He felt it was a place where
that iron sharpens, iron mentality could really flourish.
(11:15):
And it seems like it has. Yeah, this vibrant scene just
kind of emerged organically. It really proves that point.
Real talent, real drive. It finds a way.
It congregates and creates something cool, even when things
are tough. And maybe that's the thing about
authenticity, that soul, that lived experience we talked about
earlier, that's the human element AI might just never
(11:36):
capture. It can mimic form, but maybe not
the spirit, the messy, real journey behind the art.
And maybe that's what we'll always connect with most deeply.
It's kind of a hopeful thought for art, isn't?
It OK, so before we wrap up, here's that final provocative
thought, something that takes usway back into deep history.
They touched on some ancient mysteries, like the Eye of Horus
symbol from ancient Egypt idea came up.
(11:59):
What if it actually represents the pineal gland?
Yeah, implying the Egyptians knew things about consciousness,
maybe even construction. I mean, think about the
pyramids. How did they do that?
Right. The precision is baffling.
It connects to that Graham Hancock idea that maybe humanity
is a species with amnesia, that we've forgotten incredible
things about our own past and capabilities.
(12:21):
What if there are whole chaptersmissing?
And if you think about that alongside our potential future,
consider the Kardashev scale, you know, classifying
civilizations by energy use. Type 1 controls its planet, Type
2 its star, Type 3 this Galaxy. We're not even Type 1 yet.
We're still, as they put it, kind of barbaric.
Territorial apes with thermonuclear weapons, Yeah.
Exactly. But maybe, just maybe, in the
(12:43):
best case scenario, AI doesn't destroy us.
Maybe it helps us get to Type 1,helps us manage our planet, move
beyond this stage. It leaves you pondering, doesn't
it? The sheer scale of history, the
secrets potentially buried in our past, and where humanity
might actually be heading, or where we could head.
It's a lot to think about.
Welcome to the Joe Rogan recap. And before we get going, you can
now access the full Google notebook with a mind map,
timeline and briefing document by clicking the link in the
description. OK, so today we're jumping into
a really interesting conversation Joe Rogan had
recently with a musician, Charlie Crockett.
Really unique guy. And our mission here really is
(00:21):
to pull out some of the surprising moments, the key
ideas from this, well, this incredibly wide-ranging chat.
They covered so much ground, authenticity, music, biz stuff,
historical lies, even ancient civilization.
That's right. It's like Charlie Crockett's
life story itself becomes this launching pad.
It's not just about him, it's about these bigger questions his
experiences bring up. You know, about society,
(00:43):
authenticity, deception, creativity, all of it.
His path is so unconventional, it just naturally connects to
these huge universal themes. Absolutely.
Let's let's start with somethingspecific.
They mentioned early on the Viper Room, such a notorious
place, right? So much mystique.
And they highlighted that weird detail that River Phoenix
actually died outside on the sidewalk, not inside like a lot
of people think. Right, that detail kind of adds
(01:05):
to the whole strange vibe of theplace.
Yeah, and both Joe and Charlie had their own, like, first
impressions of the venue. It kind of set this tone, this
discussion about things that feel undeniably real.
Because right after that, they shifted to Charlie's music.
And Joe put it really well. He said it embodies a life
lived, something you can't fake.And that idea that can't fake it
(01:26):
authenticity well that spun themright into talking about AI
artificial intelligence. You can tell they were both
genuinely concerned about how fast AI is getting at
replicating human creativity. They mentioned this new I think
there's a byte dance AI engine making video that looks
incredibly real, so real. It's getting close to that, you
(01:47):
know, singularity idea. We just, you can't tell the
difference anymore. But the insight, the take away
was clear. AI can mimic, sure.
But that soul, that genuine feeling from lived experience in
art, that's maybe the one thing it can't truly replicate.
So it really makes you think, doesn't it?
In a world where AI can copy so much, what is it about human
(02:08):
creation like Charlie's music that makes it truly unique?
What's that human spark AI can'ttouch?
And Speaking of truth, or maybe the lack of it, they went down
this rabbit hole of historical lies.
Some really eye opening stuff like original Coca-Cola actually
having cocaine in it. We kind of know that, but
hearing it starkly. Yeah, and then the Bayer story.
(02:29):
Oh. Right Bayer selling heroin in
the 19th century. Sears Catalog of all places.
Marketed as non habit forming. Can you imagine?
While a full kit needles vials for $1.50.
It's just incredible. And what's compelling is how
they drew a line from that to, well, modern issues like doctors
prescribing Oxycontin now. It shows how these ideas about
(02:50):
what's safe, what's acceptable, can be totally manipulated over
time, how Tres can be reshaped. They even talked about the moon
landing, not questioning if it happened, but seeing it as this
massive cultural event, you know, a projection of military
power. A power move.
Which then leads you to ask, OK,how many other narratives have
we just accepted without really digging deeper?
(03:11):
And this time into a point aboutNoam Chomsky, which I found
fascinating. So Chomsky obviously brilliant,
super skeptical about media politics.
The point made was he had this sort of blind spot.
He didn't apply that same critical thinking to the
pharmaceutical industrial complex.
Interesting. Yeah, it just shows how even
really smart people can have these areas where they don't
(03:33):
question things, maybe because they trust the experts or the
institutions involved. And building on that, that
critique of systems, Joe and Charlie got into consumerism.
They brought up Chomsky's idea again, that there are these
powerful forces working like really, really, really hard to
basically kill your sense of purpose.
Why? To make you a better consumer.
Exactly to make you buy more stuff.
(03:55):
It's a pretty sobering thought how much external pressure
shapes us. Which then LED them to talk
about how the whole idea of being rich has changed.
Used to be more about, you know,richness of life, fulfilment,
community, right? But now it's almost entirely
about stuff. Material things, numbers on the
screen, numbers on a Ledger. It's a huge shift in values.
(04:17):
So let's pivot from those big ideas back to Charlie's personal
journey because wow, what a path.
Before music really took off forhim, he was hustling hard.
Door to door seals, men selling clothes, neckties.
He described getting into business as this hard knock
boiler room kind of experience. Real rough and tumble and after
some serious trouble, legal stuff, he literally had to walk
(04:39):
out of town. Said he had a scarlet letter,
couldn't even open a bank account.
Which really highlights that theme of self-reliance in his
story. And he mentioned this incredible
advice from his mother. She told him, basically, look,
what happened when you were young wasn't your fault, but
you're a man now. It's your responsibility.
So powerful. And that seemed to just cement
this idea for him. No victimhood.
(05:00):
Take responsibility or your problems will just follow you
forever. And that whole idea of forging
your own away, taking risks, it seemed to really connect with
Joe's own stories about gamblingin New York pool halls back in
the day. Oh yeah, those stories were
great. He described this intense
environment, constant betting, betting on anything, raindrops
racing down a window, coin flipsfor thousands.
(05:23):
And you had to have heart, You had to be willing to bet.
If you were seen as tight with your money a knit, you were
basically out. Right.
A real school of Hard Knocks, like you said, high stakes,
which in a way leads us right into the music industry
challenges they talked about because that's another high
spakes, often harsh environment.They pointed out.
This massive shift right from the old days where labels
(05:45):
actually developed artists. Think Willie Nelson, Waylon
Jennings putting out multiple records a year, sometimes before
they hit big. Right, they invested long term.
Exactly. Compare that to now.
It's often like a pump and dump scheme.
Labels put in minimal cash, hopefor instant viral fame like that
Oliver Anthony's situation. And if it doesn't happen
immediately, they move on. There's no room for artists to
(06:08):
grow organically over time in that model.
And this is where Waylon Jennings becomes such a key
figure in the story they told. Waylon, along with Willie,
really fought back against Nashville's control.
Yeah, they pushed back hard. Waylon demanded creative
freedom, he insisted. I'm using my own band.
I'm choosing my own studio, which was apparently unheard of
(06:29):
then. Totally revolutionary for
Nashville at the time. And that whole push back, that
feeling of being neglected by the mainstream, that's actually
what allowed the Austin music scene to really blossom.
It thrived because it wasn't controlled by the Nashville
machine. A blessing in disguise really
foster this independent spirit. But even with that history,
Charlie still ran into modern industry hurdles.
(06:51):
He talked about his deal with 30Tigers.
He got like a tenth of the moneya major label might offer, but
they still tried to lock him into those restrictive 2 year
record cycles. But then interestingly, another
artist, Coulter Wall, signed with a major and that actually
gave Charlie some leverage, while 30 Tigers suddenly didn't
want to lose another unique artist.
(07:12):
So they basically, as Charlie put it, handed the keys over,
gave him more freedom. Shows how things can shift
unexpectedly even in a business they called pretty shady.
Shifting gears a bit, they got into comparing performance
comedy versus music. Joe made the case that comedy is
actually harder. You know, constant need for new
jokes and there's no guitar covering you up.
(07:34):
You're just out there totally exposed.
Right, it's just you and the microphone.
Yeah, but they both agreed on that fundamental thing, the 10
years of eating shit or the 10,000 hour rule, whatever you
call it. Absolutely essential.
You got to put in the time, the grind, the often thankless work
to master any craft. Music, comedy, anything.
And that dedication unfortunately got tangled up
(07:57):
with a Really scary health crisis for Charlie.
He talked about having an enlarged heart and arrhythmia
and almost dying in the back of Willie Nelson's old tour bus, of
all places. Wow, that's intense.
Yeah, and his big take away fromdealing with the medical side of
that was stark. No one's advocating for you,
only you. Such a crucial point about
(08:19):
needing to fight for yourself, especially in healthcare
systems. A tough lesson.
Before all the touring and the health scare, though, Charlie
lived this incredibly nomadic life like a gentleman Hobo St.
performer. He talked about starting out in
Europe, where just being a real Texan was apparently quite
exotic and paid well with tourists.
Yeah, yeah, I can imagine. And then later performing in New
(08:40):
York City subway cars, which sounds incredibly tough,
breaking laws, trying to grab the attention of people who
aren't choosing to listen. What was really cool was how he
learned from this young rapper, Jayden Woodard.
This kid basically turned subwayplatforms into his stage, his
business, freestyling, selling mixtapes right there and making
serious money. Like hundreds a day.
(09:01):
That's amazing. Pure hustle.
Totally. It's that raw St. authenticity
remind me of that famous video of the Super young Biggie
Smalls. Like 17 just killing it on a
Brooklyn street corner. No hype, just pure talent
demanding attention. And it was that kind of St.
performing that actually got Charlie noticed by Sony, the pop
machine, as he called it. He described going into their
(09:23):
offices, doing these focus grouptype sessions and the big lesson
he learned? If you don't know what you want,
they're going to sell it for you.
That's is it all about the industry, right?
Yeah. Have your own vision or they'll
just mold you into whatever theythink sells.
Which loops right back to what they said about the music
business itself, calling it the shadiest business, even
(09:45):
comparing it to Wall Street and saying it's less regulated.
Yeah, that was surprising. Less regulated than Wall Street.
Apparently so, which just underlines why artists need to
understand the business side, not just the creative side, to
protect themselves, keep their autonomy.
Otherwise you just get chewed up.
But then sometimes things just line up perfectly, almost like
fate Charlie's album Welcome to Hard Times.
(10:08):
Great title, right? It actually got a huge boost
because of the pandemic shutdown.
Suddenly billboards were super cheap.
Like 80% off in big cities cheap.
No kidding. Yeah, because nobody else was
advertising and the themes of the album, struggle, feeling
like the game is rigged just resonated perfectly with what
everyone was going through. His career really took off then.
(10:29):
Amazing timing. And finally, a really positive
thread was his collaboration with Shooter Jennings.
Waylon son Charlie sounded genuinely thrilled about working
with him, said Shooter's the first producer who doesn't judge
him but still pushes. Him.
That's huge for an artist. Absolutely, and it's enabling
this whole new trilogy of records for Charlie.
He talked about how being underestimated his whole career
(10:52):
and now finding this authentic collaborator, it's been a
blessing really. Let's his unique style, that
stylistic chameleon thing he does shine.
You know, bringing it full circle back to authenticity and
maybe fate. Joe talked about his own move to
Austin, deciding to build a comedy hub there during the LA
shutdowns in 2020. He felt it was a place where
that iron sharpens, iron mentality could really flourish.
(11:15):
And it seems like it has. Yeah, this vibrant scene just
kind of emerged organically. It really proves that point.
Real talent, real drive. It finds a way.
It congregates and creates something cool, even when things
are tough. And maybe that's the thing about
authenticity, that soul, that lived experience we talked about
earlier, that's the human element AI might just never
(11:36):
capture. It can mimic form, but maybe not
the spirit, the messy, real journey behind the art.
And maybe that's what we'll always connect with most deeply.
It's kind of a hopeful thought for art, isn't?
It OK, so before we wrap up, here's that final provocative
thought, something that takes usway back into deep history.
They touched on some ancient mysteries, like the Eye of Horus
symbol from ancient Egypt idea came up.
(11:59):
What if it actually represents the pineal gland?
Yeah, implying the Egyptians knew things about consciousness,
maybe even construction. I mean, think about the
pyramids. How did they do that?
Right. The precision is baffling.
It connects to that Graham Hancock idea that maybe humanity
is a species with amnesia, that we've forgotten incredible
things about our own past and capabilities.
(12:21):
What if there are whole chaptersmissing?
And if you think about that alongside our potential future,
consider the Kardashev scale, you know, classifying
civilizations by energy use. Type 1 controls its planet, Type
2 its star, Type 3 this Galaxy. We're not even Type 1 yet.
We're still, as they put it, kind of barbaric.
Territorial apes with thermonuclear weapons, Yeah.
Exactly. But maybe, just maybe, in the
(12:43):
best case scenario, AI doesn't destroy us.
Maybe it helps us get to Type 1,helps us manage our planet, move
beyond this stage. It leaves you pondering, doesn't
it? The sheer scale of history, the
secrets potentially buried in our past, and where humanity
might actually be heading, or where we could head.
It's a lot to think about.
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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.
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If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.