Celebrating Sondheim with Travis Moser

ABOUT THIS EPISODE

In his attempt to fulfill an unquenchable need for attention, cabaret, concert and recording artist Travis Moser has packed houses and won acclaim for his solo shows in NYC and around the country. He has celebrated and performed shows devoted to Linda Ronstandt and the music of Rodgers and Hart. He has performed at the famed Metropolitan Room, Joe’s Pub, Club Cumming, Birdland, The Laurie Beechman Theatre, Don’t Tell Mama, The Duplex and of course, the legendary Feinstein's at 54 Below where he has recorded live albums of his performances.  

He has been seen in regional productions of Jekyll and Hyde, West Side Story, Into the Woods, The Mystery of Edwin Drood and Joseph in Joseph and the Amazing Technicolor Dreamcoat, and featured soloist in Disney and More.

His latest project, recorded during COVID, is a quieter version of Travis with an unplugged celebration of the music of Stephen Sondheim – titled So Many People: The Stephen Sondheim Sessions.

We chatted with Travis about cabaret during COVID, the power of the music of Stephen Sondheim, dissected Into the Woods, and being in the spotlight. Tune in!  

This is metro source minis, the official podcast to Metro source magazine and home of short form interviews with your favorite personalities from the lgbtq world and beyond. Quick, Fun and informative. It's metro source on the go, out in pround since one thousand nine hundred and ninety. Well, hello, hello, hello, this is metro source minis. I'm your host, lead writer for Metro source and Avid Podcaster, Alexander Rodriguez. Today we celebrate a little covid music with a sondheim celebration with performer Travis Moser, in his attempt to fulfill an unquenchable need for attention, don't we all? Cabaret, concert and recording artist Travis Moser has packed houses and one a claim for his solo shows in New York City and around the country. Yes, celebrated and performed shows devoted to Linda rotstead and the music of Rogers and heart. He's performed at the fame metropolitan room, Joe's pub club, coming Birdland, the Lori beachman theater, don't tell Mama, the duplex and, of course, the legendary fine Stein's at fifty four below, where has recorded live albums of his performances. He has been seen in the regional productions of Jacqueline, hide, west side, story into the woods, the mystery of Edwin drude and Joseph in emosy, technicolor dreamcoat, and he's been featured soloist in Disney and more. And his latest project, recorded during covid is a quieter version of Travis with an unplugged celebration of the music of Stephen Sondheim, titled So many people, the Stephen Sondheim sessions. We featured him on Metrosourcecom. Please welcome Travis Moser. Thank you so much. Yeah, of course, of course. Okay, so I just have to know why. Stephen Sondheim. I noticed that during the pandemic, during quarantine, when everything got shut down, I was listening to from music, trying to find songs that kind of was representing in my...

...mind when I was going for a run or a walk or whatever, that was representing kind of how I was feeling different moods with friends, with family, with politics and a lot of times and just like getting through each day, and I noticed that a lot of the songs that were coming up for me were either the lyrics or the songs themselves of Stephen Sondheim, and so I started thinking of an idea of kind of putting together a song cycle of songs that kind of represented, from start to finish, how I was feeling about various things during during quarantine, during the first, like say, six or seven months of quarantine. And so in my mind I kind of was thinking of these songs then putting them together in order of kind of how I was feeling and where I was in the you know, Pandy Choir of it all. And and that's kind of, you know, where it came from. It was just that those were the lyrics and the songs that are kind of speaking to me about my feelings during during the quarantine. Well, Covid has certainly been a reflective time for us, and what I love as a musical theater buff myself and as a Sondheim a Fifthionado, I love that you just didn't do, you know, what we would expect from like a best of Stephen Sondheim, where it's all the wellknown songs. I'm you include some lesserknown songs which I was like, Oh yeah, that song, and it kind of took me back to kind of restudy his music and look at his lyrics again. So I want your opinion as a fellow musical theater buff. Do you think, with all of the new modern sounds on Broadway, that Stephen Sondheim's music and his and his works are in danger, I've been brushed back into like the dusty vaults of musical theater? Yeah, I mean I don't think so ultimately, because I think that the lyrics in the music themselves are so raw and honest and they were so ahead of their time when they originally came out in the in the in the shows and the musicals that they...

...are from, and so I think that that honesty and that like Rawness, like they were considered like, you know, almost like depressing at the time that they came out because they were just they weren't Oklahoma, they weren't that kind of thing. So I think that aspect of it make will make them kind of, you know, stay. But you know, the thing that, and I think you and I talked about, is kind of like the the you know, all the American idol belting of Broadway now and it doesn't lend itself so much to son Time's music because it's all about the feelings getting that the idea cross as opposed to kind of showing how well you can sing. And but ultimately I think that, you know, I've been seeing, you know, I did, you know, stripped down versions of son time, but I've been seeing, you know, soandtime reinterpreted in so many different ways through, you know, like billy porter's recent Broadway solo album and all kinds of different people that are doing reinterpretations. I don't think there's any particular wrong way to do it. It turends on your voice and how you perform and whatnot. So I do think that they'll kind of stand the test of time. I mean we're still, you know, right before lockdown we were talking about, you know, the the Amlto Staunton Gypsy transferring to Broadway from London, and there's always talk of a revival of one of Stevens sometimes shows. So I think that we're going to find new ways of doing them, like whenever the Sweeney Todd with Payla pone and everyone playing the instruments of the John Doyle from around. I think we're gonna we're going to find new ways of doing it. And because the lyrics are so, you know, such a Gut Punch and really are, like I said, run off and honest I think that they will ultimately always survive. It'll just be a way of trying to reinterpret and do it in a way that is going to appeal to contemporary audiences. But, like I said, I've been seeing so many interpretations of different songs and that's another thing. That another reason why I kind of wanted to do this in a more stripped down kind of way, because I...

...think we've seen the kind of thing we're seeing now, is are all these, you know, totally different interpretations, like in different, you know, musical styles and whatnot. So I think that we've done a lot of that. So I'm I was looking more to strip it down to its bare bones of, you know, the music and the lyrics. So I do think that it'll stick around. I'll just be a evolution. You know, in my mind he's kind of a modern day shakespeare where the language, you know, people say, Oh my God, his lyrics are so much and as a performer, we know. I mean, you done into the woods. You had to memorize that that fast. You know your fault and it's like, Oh my God, there's so many words but really just like the language of Shakespeare, you know, it's kind of flowery, but it has so much meaning and it's constantly, even in today's age, being looked at again and reinterpreted. And it's funny that we're going to be celebrating the thirty anniversary of assassins, which we know is Stephen Sondheim's controversial piece, and they're getting together some of the original cast members and that show in particular, I'm talking about and almost glorifying the assassination attempts on our president. And then we come out of this administration and into a new administration where we're talking about the roles of presidents and how people are reacting and how people are incited to do certain things. It. You know, it's all fresh again, and so, just like you said, this musical has relevance and not only is a music just beautiful, but it's like a definite comment as to what we're going through as a nation. Now. You have performed jacket into the woods and we know all of our friends have done into the woods a million times. We've done into the woods a million times. I mean we always have to go see a production like every month. was like, Oh okay, we've sat through that show how many times, we've listened to the the recording, how many times? But playing Jack, how did you make the roll your own,...

...especially, like I said, when we've seen it presented so many times and we kind of know what audiences expect and what we even expect ourselves as an actor? How what's that created process for you, taking on such a wellknown role? Yeah, I think that it's just a matter of I mean, as simple as it sounds, it just coming from your perspective. I mean like, you know, coming especially you know, Jack isn't written like obviously is like a queer character, but you know, coming from he's he feels kind of easy as kind of isolated. He seems kind of, you know, like he doesn't fit in, and I think that that's part of it. But I think you can take like you can take that from your life as as a as a queer person, and kind of use that and also sometimes, I think it's been done, not in a bad way, just a different interpretation, is that he's he's kind of like, you know, totally dumb, and the comedy comes from like how dumb he is, and I think that you can come from like a little bit of a place of like, you know, like at that age was when you're younger. You're coming from a more naive place because you haven't seen the world, and that is, you know, part of the song of giants in the sky, him realizing, you know, growing up. You know, they say it's, you know, you know, like allegory for for going through puberty or whatnot. But I think that if you come from like a more just like wide eyed, like naive to the world, but actually Jack is pretty smart and he's trying to forge away from himself, I think it creates kind of a different version at the character. I think a lot of times when I see it done, it's like people, it's easy to go for the you know, he's just like a total idiot and a total like sometimes, you know, like a like a kind of like straight guy bro kind of stupid. Yeah, way of doing it. And I feel like if you come from like a queer perspective of like kind of being on the outside and just being totally new to a world that you know nothing about, as opposed to stupid, it's more just like like you just haven't had the life experience,...

I think you can kind of make it your own. I love that, that perspective on it, because what I've always gotten from that character, and I hate went into the woods, is presented as so ondimensional. It's like, let's play everything for the laughs. You don't play everything for the last because then you're going to you're going to miss the meat of it. What I've always been drawn to that character is I'm a mom's boy and I you know, Jack is a mom's boy too. What I think is he's motivated by so much love. His love for Milky White comes from a very sweet, since here place, and then he goes through all this process to help his mom, you know, with money and how to better their lives together, and he loves his mom so much and so when he loses her, I find that so devastating and it's usually a point that's just kind of brushed aside. And so I see everything that he does comes from a place of love and I do respond to that kind of queer sensibility that he comes from, where he is alone and he has an attachment to his mom and he likes pretty things. Weird point that that's exactly right, because it's like coming from that place of love and kind of like that's where his like struggle comes from. He loves his mom, he loves where he is, he loves Milky White. Everything kind of comes from that place. And you're right, that guy. That kind of is like secondary. It's almost like he's so stupid that he says here, does this the other thing, but it's like it really comes from his internal struggle, comes from like when you say with his mom wanting milky white. You know, like not really understand it, not have you know, having experience the world in this way. So yeah, I totally agree. And going back to your point about assassins, to which was I I totally agree with that as well, because I think a lot of these sometimes songs and shows were written to convey a certain thing at the time, but like, just like assassins, like you were saying, that was a great point. It's like they take on their so well written. It is like Shakespeare, and you want to see other people interpreting these works. Just like Shakespeare. It's they take on a totally new meaning for our time, with each different generations, or they're written for one thing...

...and they take on a totally other thing in the written a way that they're not dated, they're just very kind of like general. So I think that's another reason. That was a really good point about assassins and how that's fitting in with, you know, kind of our clip current political landscape. So it's so I think that's a great point in another reason why they'll stick around. And Travis, I want to talk about again your interpretations. You have honored musicians like I mentioned Linda Rodstat and Rodgers and heart. You pay a monster them, but the music is still very much your own. I get your sense coming out from it. What are the most important factors a singer must remember when honoring a musician when with a focus type shows? We've all sat through cabarets that have not been the best, so you coming from doing them successfully. What do you think a singers really need to remember when presenting a one person show? Well, I think that you have to have kind of obviously like a through line of what you're trying to get across. Is it that you want to show what a like? For example, the Landa Ran said show, my goal was to show what a wide breath of material and genres she covered and all the things she you know she did and why she kept striving to do different things. So in that show in particular, my goal was to always come at it from your perspective. So don't try to sing it like Linda Ron said, don't try to sing it like whoever sing it like you. Bring you to it, bring new arrangements. I think when you're doing a solo show and you're trying to honor someone by just doing the songs you know and not trying to put your own spin on it is the wrong thing to do. So for the Linda Rons, for example, I wanted to create kind of cabaret Broadway type the fit my voice arrangements that were new arrangements, new tempos, sing them in my style, but show the wide breath of you know, what Linda Ron said had done,...

...you know, in terms of pop, rock, country, traditional Mexican songs, just, you know, Broadway, Gilbert and Sullivan, and end up taking all of those and coming at it from my perspective, how I sing, how my musical director that I work with does arrangements, but kind of giving a nod to them and showing the audience kind of what they're doing with stories along the way, but coming out from your perspective in your voice. I think is the best way because I you see a lot of those shows where they're trying to to kind of imitate exactly, you know, Linda Ron, sad or, Rogers and heart, you know music from that era, and to me it's about I want to show you something different in terms of these arrangements in the lamb, singing them, but I want to also honor them. So not taking them in a totally crazy direction, but I just wanted to be different enough. So that's my stamp. But gives a nod to the person and then shows kind of like their life and their work. So I think just coming from you and making it different, like you're like you're creating a brand new show of your own music, what you would do with it, what you would do it through arrangements, and then commenting on the artist. That's why I love people like Justin Vivian Bond. You know, whenever they're they're always doing you know, like not tributes, but like kind of like covers of some of the songs that they love so much, and it's in their way. I'm seeing Justin Vivian bond through the UN seeing this person, Judy Collins, for example, through the Lens of Justin Vivian Bond, and I think that's what can make a really great, kind of interesting moment. So let's talk about so many people. Like we mentioned, it's kind of a stripped down version. It's you on a piano, not recorded in front of a live audience, which I love your albums that are because it has this energy. We get to hear a little bit of your banter and it has a totally different energy. Was this totally terrifying because it's very naked in a certain way? was just terrifying to record number one and...

...number two to kind of release to the world? Yeah, a little bit, just because it's like, because it's on time and you know the phrasing and the lyrics and everything. Not that all composers and lyrics and aren't you want to honor their work, but with some ontime there's an extra level of anxiety to, you know, honor the lyrics, because it's like poetry, it's like Shakespeare, it's like our modern day, like you said, and so there's that, there's that pressure of doing the creating your own phrasing and doing the songs in your way, honoring the lyrics. Getting his point across. You know, there's always with with with singers, it's always like, you know, you want to prove like that you're a good singer, how good you saying, Oh, hi, you can sing and whatnot. But with sometime I think it's like really about serving the songs and what he's trying to say. It's a IT'S A it's a story and an idea. So it was, you know, pretty scary just because it was just me and piano in the studio. I was I was in the recording studio and and you know, you want to make sure you're getting every single a and the right you're wanting to get the phrasing right so that so that the breath is in the right place, because you know he has a very specific way of talking and laying out, you know, what he wants to say. So that was scary. And then, because it's so raw and vulnerable and because run a time of quarantine when we're not really seeing anybody and and I can't perform live, I can't do these songs in front of an audience, you know, it feels very like naked and vulnerable and like you're kind of putting out something like a naked picture of yourself. Yeah, very much through. Yeah, exactly, with this, with this music. So, you know, stripping something down, especially with a can like a composer, lyricist like Sun time, is always scary and you feel like, you know, I'm a fraud, I'm a fake, you know, like like you know, whenever you put something out like this, just because it is someone that's so...

...laud and this year is his ninety birthday. So we saw the you know, the the tribute kind of show towards the beginning of the the pandemic, and you know, you just want to on or you know him and what he does and you know you don't. You know how judgmental everybody can be about his stuff. Oh, yes, definitely scary. What's funny because even he can be judgmental about his stuff as well. You know, we joke about needing attention and I'm right there with you, and there's nothing, there's nothing bad with that, especially if you admit it and especially if you're putting out great content that people are responding to. There's no there's no bad element to that and being aware. But how has covid played with that part of your psyche? We're not getting attention from audiences in front of us. How has that made you kind of adjust, you're thinking, on performances, career and even your personal life. Yeah, it's I mean, just like everybody else, has been really, really tough. And it's so funny that you say that about like, you know, everybody wants attention, especially if you're a performer, you're putting something out. It just is Heli I love to just like like broadly like kind of joke about it because, like we all love attention and of course, like I love, you know, likes and attention and whatnot and performing. But it's funny to me like that whenever you see on social media like people that are like putting out things, but in this like though, like humble way, and to me it's like you all doings in Boling in certain tys like funny. So it's like to me it's like funny to have like kind of like an alter ego that's like totally like like you know, like like hungry for attention and like and and what not. It's like I just think that the being funny about it being kind of like overthetop about your yeah, and is can be really fun because I just get really exhausted by the people that are pretending that they don't want attention, but they put an album out or they're in a show. It's like. So to me it's like, you know, during the pandemic it's been really tough because, you know, I work in theater as for you know,...

...my job, and also, you know, I'm a performer, recording artist, so there's a lot of performing, whether it's in front of, you know, producer clients and beatings, whether it's in on a stage that you don't get that. So it's like I noticed myself like towards the beginning of the pandemic like kind of like going knots on Instagram or instagram stories. It's like it's like you need that connection, and it's not even so much about like all the time like look at me, it just is like, when you're a performer, somebody that's you know, I'm also an only child, so it's like like makes I love only children. But so it's like so it's like, you know, like that validation. It's like it, you know, to be like for any performer or anybody who who's doing anything creative, it's, you know, in this kind of arena. It's so tough to just be locking your apartment, especially in you know, I live in New York City, so you know I live in a small apartment in your you don't see anybody. It's just you know, it does rek havoc on your part. Of Your identity is your voice, your performance, how you are in front of peeple and whatnot. If that's all stripped away, it does make you think like, you know, who am I, what am I? What am I and the people, because you know, I put a lot of stock on people being like he's the singer, he's the performer, he does this, and if you take all of that away, it's like, you know, it brings up a lot of questions about who you are because you know you don't have that and I think a lot of people are asking who they are and whatnot. But it's a different level. I think if your if your identity is tied to being, you know, a public person or a performer or a podcast or whatever it is, you know, when that's taken away, it does make you really questionin you know, like if this was all take away, who am I? What does it make me? So it does, you know, it has reaked havoc on the old psyche. I, let's say well, and I totally agree with you, not to be dramatic or anything. I've taken. It's like not how many podcast episodes or how many articles I've written in my leaving behind,...

...but what legacy am I leaving behind for for the people of around me? What real legacy in terms of compassion relationships have I created and will will I leave behind, rather than just from a professional point of view? Okay, I have to know. What is your backstage ritual before a performance? Do you go? Do have like a certain steps that you have to do, or do you just kind of show up and enjoy it? What kind of backstage performer are you? Well, I'm filled to the Brim with anxiety at all times, so I'm not the kind of performer that, like you know, I do shows with a lot of people, like there's a show called love bites at Joe's that we do at Joe's pub, at the public theater, and everybody you know, like Justnt van Bon bond was actually in that, I think one year, and Michael must own and people like that, these gregorious type. Yeah, well, and what the and, like you know, people are backstage like this, that and the other, like Chit Chatting. I am someone that needs to be like totally focused. I don't want to Chit Chat with you. I want to kind of be in my own little area. I don't really like to eat anything before I perform some star and then and I like to have a snacks, whatever I have. You know, I usually like like just because user backstage don't access to a bar if it's somewhere like that. So I always have a bottle of makers, like a little bottle of makers. And Yeah, and I'm always like getting my die cooke, pouring some of it out and putting some of the the maker's mark in there. I always have to. I always go on with like like, not always, but I like to go on with like a drink to just like loose up, because my anxiety is so at a ten and I'm like so focused on doing a good job and whatnot that it's like if I just let leave myself to my own drothers, it's like I'm too in my head and whatnot. So it's like I like to focus. I like to have a little drink. Very, you know, stritchy and backstage and and you know, then when I'm done I can like relax watch everything else's performances. I love to go out and, you know, watch everybody else, but beforehand I like to like not talk to anybody, really...

...not eat much before I perform, have a drink, focus on what I'm doing, trying to like think of the lyrics, make sure I have those in order and whatnot, and just kind of pretend backstage then this like free loving person that like well, you know, is into talking to everybody and kind of like going my own little corn or have my drink and and get ready to go on stage. I'm so with with you there. I don't like people coming up to talk to me. I you know, I'm glad friends are there, but I don't want to coming backstage before the show and an hour before. I have perfected it, that I have it down to a science, that it's two white wines before I hit the stage, no less and no more, because I relaxed and then, you know, I can kind of my head voice just kind of opens up, but anymore and then I'm flashing around exact any less than it's just makes me anxious, like yeah, that's that's the thing about like it being an anxious performer. Some people could just like love to just like come in five minutes before go right on stage. For I'm not that person. I like that purple too much. I'm like starting honey noon, getting ready. Yet it's crazy, but like, but like, but, like you said, it's like, after after years and years perform, you can perfect how much alcohol and when to drink it, and that's very correct. I'll musing like one makers and diet a half an hour before I go on, and then if the order gets changed, you're like, you're basically screwed, because then you're like, like yet whole you're holding is getting that time down. And another rule I have with myself is before I used to try to like have all the sheet music and all the lyrics typed up so that I would they would be like right on the tip of my tongue, but I found that it would actually psych me out and my brain would would make me think that I had lost all the lyrics because I was trying to focus a half hour before. So an hour before I don't even think about the music, and that's helped, because I've hit the stage not remembering the first line because I psyched myself out. You guys sound exactly a like in terms of like performing, because it's like...

...it's this love of anxiety where I'm almost doing like magical thinking of like I have to do this, I have to do this at this time, and it's like and it does get in your head and then you like like to your point, you're like overprepared to the point where you're like psyching yourself out. That's exactly right. Wait, I thought it was that. And then you're finding things that you didn't even think about before and they are like all in your head. It's yeah, it's crazy, yeah, but we know once you hit the stage the magic happens. Okay, we're going to play a little rapid fire. Are you ready? Yes, if you had to perform one song for Stephen Sondheim in his living room, what song would it be? Probably what can you lose, because I think that is one of his most underrated songs. I you know, it's not recorded a lot solo. It's I just think that that's one of his best songs. It's simple, you know, like a man or a woman can sing it. Of A sing by song by both a man and a woman in the movie. I just think it's it's such a great song and now when that he probably is stick up in auditions. Yeah, yeah, what sometime character would you love to see a spinoff musical for? Oh my God, that's such a great question. I think maybe Carlotta from folly's because I'm so here, is one of my favorite songs of all time and I'd love to see her trajectory, what she does, because she's one of those survivor performers, like you know, they don't. We don't have them so much anymore. Is that, even though not the biggest fan of her, like Marie Osmond, for examp up, was one of those survivors. She's on a variety show, she's on Broadway, to like these people that just like constantly do the next thing. And so to me Carlotta would be, you know, like, what's her next act? You'd be on QBC. Probably. That's funny. What does it guilty pleasure song on your playlist doesn't have to be musical theater, but a song that you're so embarrassed by but you love. Let me think about that one. Seez for me, I'm not one that subscribes too...

...much a guilty pleasures. I think that like if something like Frand Lee would said this recently in pretended to city on Netflix, but it's like yeah, if something gives you pleasure, there's so much harsh reality in the world. There's something, he's your pleasure. It's not guilty, it just is simply pleasure. I mean, I'm trying to think, like what is it? So now as I think, I'd be embarrassed, you know, my spotify, your end list or whatever, with like with like, you know, like some days I'll get in a rabbit hole of listening to like bad musicals like Jecko and hide or something, and I listened to like one song from every cast album like in a row, and it makes me look good, absolute psychopath. I might listen to like pop, someone like you, when Edder, someone like like I'm going down the listeners of you lie, to that too. Yeah, and it's like you, because I want to hear the differences. I wouldn't, Oh my God, try. I'm exactly and if there's a remix of it, I'm sold, like I'll own every single remix of the so funny apple music thing and they'll see like just oud musical, you know, you know, like the ones that are considered, quote unquote, guilty pleasure. Jackman has the first one that came to mind. But like, and you'll see, like every versions, everyone recorded in a row and it looks like I'm been sitting in my room, like in a corner, like in a fatal traction during the lights, rocking with these different versions over. Oh, I love it. And what would the name of the musical based on your life be? Let's call it I'm still here. Got It, got it. I love it all right, Travis, tell everybody where you want them to find you and follow you. You can find me on Instagram at Trap James On instagram. You can find me on my official website, Travis mosercom. You can search for me. My album, singles, whatnot. Are Available on Apple Music, spotify, itunes, anywhere you listen to music or purchase music, Amazon and twitter at TJ Moser. I love it so much. And if I was going to what's the first track that somebody that might not be familiar with? Sometime, what's the first track on so many people your latest album that they should listen to first?...

I think that the first on Broadway baby is a great intro into Stephen Sondheim because it's one of his most accessible songs, I think one of the most like typical Broadway songs. But it has that, but it has that slight sound, time hard edge of somebody really pounding the pavement and it kind of not happening for them. And during this kind of of Covid I think we can all relate to really try to make something happen and hoping and looking towards the future and just having that hope and fade that's going to happen before it's even happen, whether it's getting out of the pandemic, whether it's getting a job. So I think that Broadway baby, if you listen to that, the first song on the on the EP, that's that'll give you a great insurance us on time. Travis, it has been a delight to chat with you, it's delight to listen to your music and I cannot wait to see what the future has. Thank you so much for having me. I love all of your shows and I love meeting other only child. Yeah, we got to talk about what's Covid is over. We have a lot we're going to get together. We're going to be the ladies who lunch and we're did I love it. Thank you, Travis so much. Thank you. That has been my chat with Travis Moser. You can read my in depth interview with him at Metro Sourcecom. And that is your episode. I'm your host, Alexander Rodriguez. You can find me on Instagram at Alexander is on air. Until next time, stay true and do you boo. That has been another metal source mini like. Share and subscribe on your favorite podcast player and check out the latest issue of Metro Sports magazine on newstands or online at Metro sportscom. Follow us on Facebook, instagram at metal source and on twitter at Letro course mad until next time, he fast.

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