January 7, 2025 • 24 mins
Ever wondered what it's like to grow up with some of the most famous parents in Hollywood? Join us as we chat with Jason Gould, son of Barbra Streisand and Elliot Gould, as he opens up about his life under the spotlight.
Jason shares his journey from his early interest in filmmaking to his eventual passion for music, navigating the complexities of fame with a discerning eye. Despite the pressure of living up to his parents' legacies, Jason reveals how he found his own path and the pivotal role storytelling has played throughout his career.
Our conversation delves into Jason's evolution in the music industry, highlighting the personal growth that comes from stepping out of a famous parent's shadow. Jason speaks candidly about the challenges of comparison and the initial fear of judgment, recounting his transition from daunting stage performances to the joy of studio work.
Emphasizing authenticity, he discusses his creative process and how his music has naturally evolved, from recording three EPs to working on a full-length album. His insights into the music promotion world reveal the satisfaction of letting his work connect organically with audiences.
We also shine a light on the importance of collaboration and embracing imperfections, as Jason reflects on his latest EP, "Sacred Days," and his work with artists like Liz Vidal and Dorian Shia. Stepping away from acting, Jason remains committed to creative expression, using his storytelling skills to craft unique music videos.
To wrap up, we explore the nuances of self-promotion with Tony Mantor, emphasizing the mutual benefits of helping others and putting good into the world.
Tune in for valuable insights into social media strategies and the power of support in personal and professional growth.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:14):
My career in the entertainment industry has
enabled me to work with adiverse range of talent.
Through my years of experience,I've recognized two essential
aspects.
Industry professionals, whetherfamous stars or
behind-the-scenes staff, havefascinating stories to tell.
Secondly, audiences are eagerto listen to these stories,
(00:36):
which offer a glimpse into theirlives and the evolution of
their life stories.
This podcast aims to sharethese narratives, providing
information on how they evolvedinto their chosen career.
We will delve into theirjourney to stardom, discuss
their struggles and successesand hear from people who helped
them achieve their goals.
Get ready for intriguingbehind-the-scenes stories and
(00:58):
insights into the fascinatingworld of entertainment.
World of entertainment.
Hi, I'm Tony Mantor.
Welcome to Almost LiveNashville.
Jason Gould is our guest today.
He will share his story ofpursuing a music career while
being the son of actor ElliotGould and legendary
singer-actress Barbara Streisand.
(01:19):
He will also discuss hiscollaborations with his mother,
including a duet and a concertperformance, while growing up in
the public eye.
Thanks for joining me today.
Thanks for having me.
Oh, it's my pleasure.
I've had the opportunity towork with several people that
have had famous, iconic parents.
Along with that comes obstaclesand opportunities, so I imagine
(01:40):
growing up with Elliot Gouldand Barbra Streisand, would
present a unique experience foryou.
So how did you navigate thechallenges and, of course, the
benefits of having such famous,iconic parents that are always
in the public eye?
Speaker 2 (01:56):
You know it was complex because I was born into
that world of fame.
I guess you could say it wasconfusing as to what was real,
because I noticed I've alwaysbeen an observer of human beings
and human nature, so to seewhat fame did to people and how
(02:16):
it changed their behavior wasalways fascinating to me, and
I'm talking about the peoplearound the famous people.
So I think trust has been, youknow, something that's been
challenging at times,particularly as a child when
you're a bit confused aboutwhat's real here.
Speaker 1 (02:32):
Yeah, the word trust is a very essential word in our
world, so I find it fascinatingthat you bring that up.
Did you find that people try toget into your social circle
trying to further theirprofessional goals, or was that
not an issue for you?
Speaker 2 (02:47):
No, I was aware of that as a possibility, and so
sometimes I wasn't sure.
You know, sometimes I was.
Yeah, it made me.
That's you know why I struggledwith trust?
Because I wasn't sure what themotivation was always.
Speaker 1 (03:03):
Right.
Speaker 2 (03:03):
I could generally see through somebody.
I just I don't know.
I have a truth meter that'svery like attuned Good.
I've never been somebody thatwas easily taken advantage of or
manipulated that way.
That's great.
So yeah, I kind of saw throughit, but it's because my whole
life I've had to.
Speaker 1 (03:21):
Sure, that's understandable.
I've had many conversations,like we're having right now,
with others that have celebrityparents as well, who have
well-known parents such asyourself.
Unfortunately, they always hadto be on guard because people
would try to use their influenceof their parents to help them,
(03:42):
influence them, to give themgreater exposure and hopefully
become a star themselves.
Speaker 2 (03:49):
Yeah, I was never terribly impressed by fame.
So I see us all as human beings.
Some, you know, some, haveother qualities and assets and
attributes, but I've neverbelieved that anyone was better
than anybody else just becausethey were famous.
Speaker 1 (04:03):
I love it.
That's a great way of lookingat things.
That's a great groundedperspective.
Yeah, Now, as you grew older,you continued to act and sing.
I understand that youeventually started looking at
opportunities in film.
Could you explain and tell usmore about how that transition
and how you evolved in that WellI was a kid who always I had a.
Speaker 2 (04:25):
I was one of those kids with a movie camera, a
little super eight movie camera.
So I was always making filmsfrom the age of God, I don't
know, eight, nine, like littlemonster movies.
But then it would evolve intoothers.
I made films with mygrandmother.
So I really thought I would gomore into the directing aspect
of filmmaking.
Speaker 1 (04:44):
Okay.
Speaker 2 (04:44):
I made short films and stuff and then when I was
about 18, I thought, since I'minterested in directing and
since I'm making short films, itmight be useful for me to study
acting, to understand how tocommunicate with an actor.
Speaker 1 (04:58):
That makes perfect sense.
Speaker 2 (04:59):
So I got into acting and then I started to get some
roles, all right, and then Ithought it would be easy which
it wasn't, I get that for sure.
I never particularly loved it.
I mean, I'm not somebody wholikes to be in the spotlight, so
acting is sort of the wrongprofession for somebody who
doesn't like to be in thespotlight.
Speaker 1 (05:17):
Well, I can't disagree with that statement,
for sure.
Speaker 2 (05:20):
But I love to create and I love to collaborate and I
love to be artistic.
So it's complex.
Speaker 1 (05:25):
Sure, Absolutely.
By taking that approach, youget a chance to experiment.
Then you can see variousapproaches that can help you
identify your strengths, yourinterests and enable you to grow
in your career so you canevaluate, evolve into what
you're meant to do.
Speaker 2 (05:42):
Exactly what we're all meant to do.
Speaker 1 (05:44):
Right, Exactly.
So.
From there, you made atransition into singing and
music.
So how did you transition fromacting, directing and filmmaking
to your decision to focus onyour singing and music?
Speaker 2 (05:58):
Well, I was always musical.
Also, as a child I would sit atthe keyboard and I would come
up with melodies, but I neverunderstood how one makes a song
out of that.
I had these little pieces ofmelodies, but I never understood
how you construct a song.
I thought it was like this,this language that you know,
other people had and I didn'thave.
I never got it, but it wassomething that kept nagging at
(06:21):
me.
So I, and sometimes I, wouldwrite these little melodies and
not know what to do with them.
And then, as I grew older, Irealized I had sort of
suppressed my musicality becausemy mother was an icon in that
world.
Speaker 1 (06:35):
Yeah, she's a huge name in that world, you know.
Speaker 2 (06:37):
it's like I don't want to be compared and judged
to that, so I'm just going tokeep my mouth shut.
Speaker 1 (06:42):
Sure, that can be very intimidating starting out,
so there's nothing wrong inbeing a little passive so that
you can learn and grow, which iswhat I did pretty much until my
early 40s, and then I realizedthat was not in my best interest
.
Speaker 2 (06:56):
You know, I had to honor myself and to my, whatever
my gifts were, if I were not touse them, it would sort of hurt
me, it would curdle within, youknow, right, right.
So I began to explore that moreseriously and I started writing
music and I started.
I began to explore that moreseriously and I started writing
music and I started.
I wanted to record a song thatI didn't write, the first one of
(07:18):
which was how Deep Is the Ocean, which I eventually played for
my mother, which was scary to me.
Speaker 1 (07:22):
Sure, I can just imagine.
Speaker 2 (07:24):
I'd never sang in front of anybody really.
So how did that work out?
She said I want to sing thiswith you, so, and then she
decided to go on tour and askedme if I would join her.
So it all unfolded in a waythat was very organic.
It wasn't planned on my partand it wasn't my dream to like
perform, because that's notreally where I'm comfortable,
but it was a beautifulexperience and a privilege and
(07:47):
an honor to sing with her, youknow, in front of her crowd, her
people.
Speaker 1 (07:51):
Sure.
So how did that affect you?
You're on stage doing your ownthing with the fans in front of
you and then ultimately singingon stage with your mother.
How did that experience singingon stage shape your perception
of yourself as an artist andyour connection to the fans?
Speaker 2 (08:13):
Well, I didn't know if I could do it.
So it certainly showed me thatI could.
I could do it, but I didn't getthe kick out of it that I hear
other people talk about.
I hear people say, oh, I feelmost alive when I'm on stage.
And I am not that person.
I never really looked forwardto it.
It was sort of something Idreaded to be.
To go out on stage, okay, Inever really looked forward to
(08:33):
it.
It was sort of something Idreaded to be.
To go out on stage, wow, okay, Icould psych myself up and I
could sort of, because I'm ameditator and I could sort of
ground myself in a place whereit was so not about me.
I would just show up in serviceof the song of my mother and
just be authentically myself.
Right, that's the only way Icould do it.
Okay, and I'm able to do it.
(08:54):
But it's not something thatgives me that thrill.
It doesn't feed my ego.
It doesn't feed some need forvalidation in me.
So it's not something that Iseek.
I love to create.
I'm much happier being in thestudio, you know.
Speaker 1 (09:07):
Sure, that's a very interesting point I can relate
to that because my transition toNashville involved moving from
working alongside celebrities ontour in the studio.
You know, sure that's a veryinteresting point.
I can relate to that because mytransition to Nashville
involved moving from workingalongside celebrities on tour to
honing my own craft behind thescenes, doing production and
management specifically in thestudio.
Yeah, I found the rush ofcreativity being strikingly
similar across both stages,right?
(09:30):
So when you're working onrefining the nuances of your
songs in the studio, what mentalprocesses do you go through to
achieve the desired outcome thatyou're looking for?
Speaker 2 (09:40):
Well, because I've been writing now for over 10
years, the processes change forme.
Whereas I first approached itfrom an insecure place, like how
do you do this?
Is this good enough?
I'm very self-critical, nowI've sort of relaxed into it and
I trust the process and it'sreally for me in a sense about
surrendering to whatever wantsto come through me.
(10:02):
So when I show up to write asong, I don't come with a
preconceived idea.
I don't come with.
I'm not even.
I'm coming to play and I'mcoming to be so relaxed that the
melodies and the words, sort ofthey come through.
I get that.
It doesn't mean that the songdoesn't need work.
(10:22):
Oh yeah absolutely, butgenerally that initial I just
respect whatever's comingthrough me as like from source,
and then it's my job to sort ofyou know, refine it and work it
so that it can be what it wantsto be.
Speaker 1 (10:35):
Yeah, yeah, you kind of like we say in the music
business down here let it growits own legs.
Exactly yeah.
Once you release a record toradio, there are certain
relationships that we have.
Because of that, certain thingshave possibilities to happen.
As long as the song is good,then you hope that the people
(10:56):
hear it and then love it.
Then it grows its own legs andstarts doing well because of the
quality of the song.
Speaker 2 (11:02):
I know nothing about promotion, and it's really an
area that is not very foreign tome, so I'm interested to know
more.
Speaker 1 (11:09):
Yeah, I've done a lot of promoting.
I've been on the road, done alot of production development,
so there's not a lot here that Ihaven't done.
Every part of the musicbusiness has its ups and downs
and bumps in the road.
The key thing that you justsaid is that you go in and you
kind of let it organically growand become what it's going to be
.
I think that's the proper wayto do it.
(11:31):
I'm like you.
I like going into the studioand just let it grow organically
and evolve to what it's goingto be.
Yeah, exactly.
So how many songs have youreleased and, along with that,
how many albums have youreleased?
Speaker 2 (11:45):
Well, I've done.
I think I've put out three EPsand one full-length album.
I'm about to start work on somenew music, but I love EPs.
I like a smaller you know likeserving, it's easier to do, it's
less expensive to do.
So I never felt like, oh, Ihave to make a full-length album
.
Speaker 1 (12:04):
Well, it gives you a little flexibility.
You can do four, five, sixsongs, whatever you want to do.
Yeah, you ability.
You can do four, five, sixsongs, whatever you want to do.
You can do them the style thatyou want.
Then the next time you can do acompletely different project
than what you did before.
Speaker 2 (12:17):
Exactly.
Speaker 1 (12:18):
So how have you seen yourself evolve in the last five
, 10 years, to what you weredoing, to what you're doing
right now?
Speaker 2 (12:26):
Well, it's much more surrendered to almost a
spiritual experience where Ifeel like I am more of a channel
, more of a vessel and somethingI allow.
I'm like just trying to be sosurrendered, so relaxed that
something wants to get bornthrough me.
And I'm not trying to be clever, I'm not trying to, I'm not
coming from a place ofinsecurity.
(12:47):
It's like I think I'm.
I'm secure enough to know thatit's going to happen or it's not
going to happen, and either wayis okay, you know.
Speaker 1 (12:54):
That's a great way to look at it.
I mean, that's really a greatway of looking at it.
Good for you.
So what would you consider yourstyle is today?
Speaker 2 (13:03):
Gosh, I don't know, because I'm about to do
something different than what Ijust did.
So, when it comes tosongwriting, I think the last EP
I did, called Sacred Days, is.
There's a lot of me in it, youknow, most of the melody is mine
, a lot of the words are mine,and there are also
collaborations with Liz Vidal onlyrics and on two songs, dorian
(13:24):
Shia, and I'm really proud ofthat record, actually.
Speaker 1 (13:28):
That's great.
It's always good to love whatyou're doing and respect what
you're doing.
Speaker 2 (13:32):
I think it's a lot of people are like are you going
more into the dance zone orsomething I'm like?
Well, I don't know.
I mean, I love rhythmic music,I've always liked dance music,
but I'm about to now go in awhole other direction, away from
dance music into moretraditional melodies.
Speaker 1 (13:49):
Okay, what inspired you?
Needless to say that you've gotyour mother.
That covered a lot of variedstyles in what she did.
Yeah, so when you sit down andlisten to music, what genre do
you listen to, and what stylewas it that got you to evolve
into what you're doing at thispoint in time?
Speaker 2 (14:10):
Yeah, you know I and that direction changes, but I
was always a kid who loved music.
I remember my.
I had my first little plasticred record player as a child.
You know it's like had a lid,you lift it up and you could
play a 45.
And my first favorite song wasI Say a Little Prayer by Dionne
Warwick.
Yeah, yeah.
And then I had Up Up and Awayby the Fifth Dimension.
Speaker 1 (14:32):
Yeah.
Speaker 2 (14:33):
So I've always loved music and gravitated to
different types of music.
Me too, I remember loving theSupremes, the Eagles, queen, the
Police, soma, donna Summer, andso I don't feel also the need
to define myself by anyparticular genre.
I do what feels right, sure, Ijust follow my instincts.
(14:56):
So I'm really just all it is isI'm following my instinct and
if I like it, I'm sort of tryingto please myself, because
that's the only control I have,you know.
Speaker 1 (15:04):
Yeah, absolutely, because at the end of the day,
you have to be happy with whatyou've done.
Absolutely Because, at the endof the day, you have to be happy
with what you've done.
Yeah, no matter what else yougot to be happy.
Yeah, exactly.
Even if you're not totallyhappy with everything that
you've done, at least you findthat one thing in it that shows
positivity.
Speaker 2 (15:22):
Yeah, so that you have something to build on
Exactly and then also know whento let go, because I think
perfectionism is a trap.
Yes, that a lot of people fallinto.
As a creative person, it'sreally not your friend.
Speaker 1 (15:33):
Yeah, I 100% agree with you because from my
production standpoint, I wantthat inner feeling that what
we've done is good but itdoesn't have to be perfect.
In the 50s, 60s and 70s, if youlisten to some of the songs
that was released 60s and 70s,if you listen to some of the
songs that was released, some ofthem had a piano that was out
(15:54):
of tune and the songs justweren't perfect, but they were
perfect for what they were.
Yeah.
Then we become a society whereeverything had to be perfect.
You get pro tools and vocaltuning and they just lost the
integrity for the song.
Yeah, I really like yourapproach there, because not
trying to be perfect, but tryingto be your perfect self is
(16:15):
really all that you need to be.
Speaker 2 (16:16):
Yeah, I mean it's, you know, as I said, I guess the
best we can do is strive forexcellence.
But what is even that is?
You know, what is excellence isdifferent for different people.
Absolutely Good enough, youknow.
It's like does it communicate?
Does it move you?
Do you feel anything?
I mean, that's really in asense what we're doing here.
We're just communicating humanto human, you know.
Speaker 1 (16:37):
Right, right, exactly .
So now that you've gotten outthere, you've gotten a name for
yourself and you're gettingwhere you want to be, have you
had anybody that you maybelooked up to or thought a lot of
, that you didn't think wouldreally look at you or give you
the time of day, and then all ofa sudden, they wanted to work
with you and it's like wow not,yeah, not really no okay, well,
(17:02):
certainly don't count it out,because I'm sure that will
happen, because the more thatyou get out there and the more
that you get known yeah the morepeople that will come around
and possibly offer, because theyenjoy what you do and respect
what you do, right?
I think that's a natural processas well, so be ready, it's
coming.
Speaker 2 (17:21):
Collaboration is part of the joy I think you know,
and then to be able to be sovulnerable with another person,
I think is part of what'srequired when you're creating
music together.
Speaker 1 (17:33):
Yeah, yeah, sure.
So if you had a choice, you'reworking on your music.
Now you've got the acting andthe production and the film that
you've already done, and I knowthis is somewhat of a really
loaded question for you.
Which do you enjoy more?
Do you enjoy the creativeprocess of the film or the
creative process of the music?
Speaker 2 (17:52):
Well, I don't really, I haven't really acted for many
years.
I kind of let that go.
Speaker 1 (17:56):
Okay.
Speaker 2 (17:56):
But I do make videos for my songs.
So my filmmaking skills andinstincts I get to use in that
way, which is very satisfying tome, and I've collaborated with
my friend, Anthony Bielansson,on several videos which so we
get to be our kind of guerrillafilmmakers when it comes to
making videos for the music thatI create.
(18:17):
So I would say definitely moremusic, but I love to use my
visual instincts as well withthe videos.
Speaker 1 (18:24):
Sure, sure.
So you've got a lot of thingsbehind you.
You've evolved in manydifferent ways in your music.
So where do you see yourself inthe future?
Say, maybe five years?
Gosh, you know what?
Speaker 2 (18:34):
I don't think that far in advance generally Okay.
Sometimes, when I finish acreative process, I go into this
weird lull where I'm like, okay, now, what Sure, you know?
And it's sort of like anuncomfortable place where it's
almost like you get a little bitof a letdown.
You're like depressed becauseyou know your purpose has ended
(18:55):
and you don't know what's next.
Speaker 1 (18:57):
Yeah.
Speaker 2 (18:58):
But I've learned that staying creative is really
important for me, but that cantake many forms.
So, you know, if I'm, I couldbe working in the garden, or I
could be making soup, or I couldbe making a sculpture or other
things, but music seems to beconsistently gnawing at me.
It wants to, you know, come tolife through me, and so good.
Even though I'm still sort ofpromoting sacred days, I had
(19:22):
another idea for what my nextthing is going to be, and I'm
actually heading toward you thisweek to work on it.
Speaker 1 (19:28):
Yeah, that's great, yeah, that's great.
So when you're not beingcreative, what do you do?
To just chill and forget abouteverything and just totally
relax, enjoy life.
Speaker 2 (19:41):
Well, I'm a foodie, okay.
So I do like to go out to eat alot or make food, but I'm not a
great cook.
I mean, I'm a, you know, I'm abasic cook, okay.
I like to hang out with friendsand I used to love to go to the
movies, but I don't anymore.
Something's something changedin me.
It's weird.
Okay, I love documentaries,right, I love nature.
So just appreciating nature iseverything Watching a sunset or
(20:04):
flowers, or growing my ownfruits, vegetables yeah, these
are the things that give mepleasure mostly.
Speaker 1 (20:11):
Yeah, that's great.
That sounds like really nicethings to just sit back and
relax with.
What was the magic thathappened that led up to the duet
with your mom?
Was there anything specialthere?
What caused that?
What was the story behind that?
Speaker 2 (20:27):
Well, it was her.
It was completely her idea.
As I said, it was the firstsong I recorded that I didn't
write.
It was a song I was, I felt,compelled to do.
I I recorded it with stefanoberhoff, a producer I've worked
with and I'm going to continueto work with, and we did a very
simple arrangement.
It was basically piano, bassand drum nice.
(20:47):
I was very scared to share withmy mother, but I did and she
said I want to sing this withyou and I'm like what?
Speaker 1 (20:55):
Okay.
Speaker 2 (20:57):
I didn't even know what that meant at the time.
And then, a few months later,she had a.
It was her birthday.
She had a big anniversarybirthday I think it was seven.
Oh, okay, I made her a filmwhich was a montage of images of
her and I from my birth to thepresent, and I set it to another
song that I had been working on, called Nature Boy.
Both songs were on my first EP.
(21:18):
I was expecting to give herlike a DVD of the film I made,
you know, but her friends wereputting together this party and
there were other people that hadcreated video content, and so
the video I gave her became partof that, and so it was shown in
front of 50 people, includingQuincy Jones, who came up to me
(21:38):
after it played and said we'regoing to make an album together.
Speaker 1 (21:40):
Wow.
Speaker 2 (21:41):
And I was like we are , we are and I, um, I couldn't
believe that he wanted to workwith me for quite a few months.
I would say, are you sure?
Like I went to perform at asmall little jazz club in
Hollywood, he came andafterwards I said so, you still
want to do this?
He didn't understand myinsecurity, but I was.
(22:02):
I was insecure.
Anyway, we ended up making analbum, and so what an incredible
experience.
I got to work with one of thegreat masters, you know.
Speaker 1 (22:11):
Absolutely.
That's a great story behind thesong, for sure.
Yeah, and what a great one itis.
Yeah, so you're starting towork on your new EP now.
So what's in the near futurefor you?
Do you have anything else onthe horizon?
Speaker 2 (22:27):
Well, we're finishing a video for the song Sacred
Days, which is on my currentrelease.
Speaker 1 (22:33):
Okay.
Speaker 2 (22:34):
So that should be coming out soon, and then I just
go to work on my next project.
Speaker 1 (22:39):
How can people check you out?
You have a website, socialmedia, etc.
You know what.
Speaker 2 (22:44):
I don't even have a website.
I'm like, okay, I do haveInstagram.
Okay, I think it's Jason GouldMusic.
Okay, on both Instagram andFacebook.
Okay, so you can find me there.
Yeah, I'm not a great selfpromoter, but but yeah, but,
(23:05):
Tony, any, any advice?
I'm totally open and wouldappreciate.
Speaker 1 (23:09):
Oh, anytime, this has been a great conversation, been
very informative, a lot of goodstories.
I've really truly enjoyed it.
Speaker 2 (23:16):
Likewise Thank you.
Speaker 1 (23:18):
Yeah, and I'm always about helping people, so if you
need any information at all onsocial media or whatever you
might be looking at, I thinkyou've got it pretty much
covered with the people that arearound you.
Speaker 2 (23:33):
But if you need anything, you definitely know
how to contact me.
Well, that's wonderful.
Yeah, it's great to be helpful.
You know, be of service toothers, it always fills your own
cup.
Speaker 1 (23:38):
It does, it truly does.
The more good you put out there, the more good that potentially
could come back to you.
So once again, I reallyappreciate you taking the time
to come on to my podcast today.
Speaker 2 (23:50):
Well, it's a pleasure and an honor to get to be on
your podcast.
Thank you.
Speaker 1 (23:56):
My pleasure.
Thanks for joining us today.
We hope you enjoyed the show.
This has been a Tony Mantorproduction.
For more information, contactmedia at platomusiccom.
My career in the entertainment industry has
enabled me to work with adiverse range of talent.
Through my years of experience,I've recognized two essential
aspects.
Industry professionals, whetherfamous stars or
behind-the-scenes staff, havefascinating stories to tell.
Secondly, audiences are eagerto listen to these stories,
(00:36):
which offer a glimpse into theirlives and the evolution of
their life stories.
This podcast aims to sharethese narratives, providing
information on how they evolvedinto their chosen career.
We will delve into theirjourney to stardom, discuss
their struggles and successesand hear from people who helped
them achieve their goals.
Get ready for intriguingbehind-the-scenes stories and
(00:58):
insights into the fascinatingworld of entertainment.
World of entertainment.
Hi, I'm Tony Mantor.
Welcome to Almost LiveNashville.
Jason Gould is our guest today.
He will share his story ofpursuing a music career while
being the son of actor ElliotGould and legendary
singer-actress Barbara Streisand.
(01:19):
He will also discuss hiscollaborations with his mother,
including a duet and a concertperformance, while growing up in
the public eye.
Thanks for joining me today.
Thanks for having me.
Oh, it's my pleasure.
I've had the opportunity towork with several people that
have had famous, iconic parents.
Along with that comes obstaclesand opportunities, so I imagine
(01:40):
growing up with Elliot Gouldand Barbra Streisand, would
present a unique experience foryou.
So how did you navigate thechallenges and, of course, the
benefits of having such famous,iconic parents that are always
in the public eye?
Speaker 2 (01:56):
You know it was complex because I was born into
that world of fame.
I guess you could say it wasconfusing as to what was real,
because I noticed I've alwaysbeen an observer of human beings
and human nature, so to seewhat fame did to people and how
(02:16):
it changed their behavior wasalways fascinating to me, and
I'm talking about the peoplearound the famous people.
So I think trust has been, youknow, something that's been
challenging at times,particularly as a child when
you're a bit confused aboutwhat's real here.
Speaker 1 (02:32):
Yeah, the word trust is a very essential word in our
world, so I find it fascinatingthat you bring that up.
Did you find that people try toget into your social circle
trying to further theirprofessional goals, or was that
not an issue for you?
Speaker 2 (02:47):
No, I was aware of that as a possibility, and so
sometimes I wasn't sure.
You know, sometimes I was.
Yeah, it made me.
That's you know why I struggledwith trust?
Because I wasn't sure what themotivation was always.
Speaker 1 (03:03):
Right.
Speaker 2 (03:03):
I could generally see through somebody.
I just I don't know.
I have a truth meter that'svery like attuned Good.
I've never been somebody thatwas easily taken advantage of or
manipulated that way.
That's great.
So yeah, I kind of saw throughit, but it's because my whole
life I've had to.
Speaker 1 (03:21):
Sure, that's understandable.
I've had many conversations,like we're having right now,
with others that have celebrityparents as well, who have
well-known parents such asyourself.
Unfortunately, they always hadto be on guard because people
would try to use their influenceof their parents to help them,
(03:42):
influence them, to give themgreater exposure and hopefully
become a star themselves.
Speaker 2 (03:49):
Yeah, I was never terribly impressed by fame.
So I see us all as human beings.
Some, you know, some, haveother qualities and assets and
attributes, but I've neverbelieved that anyone was better
than anybody else just becausethey were famous.
Speaker 1 (04:03):
I love it.
That's a great way of lookingat things.
That's a great groundedperspective.
Yeah, Now, as you grew older,you continued to act and sing.
I understand that youeventually started looking at
opportunities in film.
Could you explain and tell usmore about how that transition
and how you evolved in that WellI was a kid who always I had a.
Speaker 2 (04:25):
I was one of those kids with a movie camera, a
little super eight movie camera.
So I was always making filmsfrom the age of God, I don't
know, eight, nine, like littlemonster movies.
But then it would evolve intoothers.
I made films with mygrandmother.
So I really thought I would gomore into the directing aspect
of filmmaking.
Speaker 1 (04:44):
Okay.
Speaker 2 (04:44):
I made short films and stuff and then when I was
about 18, I thought, since I'minterested in directing and
since I'm making short films, itmight be useful for me to study
acting, to understand how tocommunicate with an actor.
Speaker 1 (04:58):
That makes perfect sense.
Speaker 2 (04:59):
So I got into acting and then I started to get some
roles, all right, and then Ithought it would be easy which
it wasn't, I get that for sure.
I never particularly loved it.
I mean, I'm not somebody wholikes to be in the spotlight, so
acting is sort of the wrongprofession for somebody who
doesn't like to be in thespotlight.
Speaker 1 (05:17):
Well, I can't disagree with that statement,
for sure.
Speaker 2 (05:20):
But I love to create and I love to collaborate and I
love to be artistic.
So it's complex.
Speaker 1 (05:25):
Sure, Absolutely.
By taking that approach, youget a chance to experiment.
Then you can see variousapproaches that can help you
identify your strengths, yourinterests and enable you to grow
in your career so you canevaluate, evolve into what
you're meant to do.
Speaker 2 (05:42):
Exactly what we're all meant to do.
Speaker 1 (05:44):
Right, Exactly.
So.
From there, you made atransition into singing and
music.
So how did you transition fromacting, directing and filmmaking
to your decision to focus onyour singing and music?
Speaker 2 (05:58):
Well, I was always musical.
Also, as a child I would sit atthe keyboard and I would come
up with melodies, but I neverunderstood how one makes a song
out of that.
I had these little pieces ofmelodies, but I never understood
how you construct a song.
I thought it was like this,this language that you know,
other people had and I didn'thave.
I never got it, but it wassomething that kept nagging at
(06:21):
me.
So I, and sometimes I, wouldwrite these little melodies and
not know what to do with them.
And then, as I grew older, Irealized I had sort of
suppressed my musicality becausemy mother was an icon in that
world.
Speaker 1 (06:35):
Yeah, she's a huge name in that world, you know.
Speaker 2 (06:37):
it's like I don't want to be compared and judged
to that, so I'm just going tokeep my mouth shut.
Speaker 1 (06:42):
Sure, that can be very intimidating starting out,
so there's nothing wrong inbeing a little passive so that
you can learn and grow, which iswhat I did pretty much until my
early 40s, and then I realizedthat was not in my best interest
.
Speaker 2 (06:56):
You know, I had to honor myself and to my, whatever
my gifts were, if I were not touse them, it would sort of hurt
me, it would curdle within, youknow, right, right.
So I began to explore that moreseriously and I started writing
music and I started.
I began to explore that moreseriously and I started writing
music and I started.
I wanted to record a song thatI didn't write, the first one of
(07:18):
which was how Deep Is the Ocean, which I eventually played for
my mother, which was scary to me.
Speaker 1 (07:22):
Sure, I can just imagine.
Speaker 2 (07:24):
I'd never sang in front of anybody really.
So how did that work out?
She said I want to sing thiswith you, so, and then she
decided to go on tour and askedme if I would join her.
So it all unfolded in a waythat was very organic.
It wasn't planned on my partand it wasn't my dream to like
perform, because that's notreally where I'm comfortable,
but it was a beautifulexperience and a privilege and
(07:47):
an honor to sing with her, youknow, in front of her crowd, her
people.
Speaker 1 (07:51):
Sure.
So how did that affect you?
You're on stage doing your ownthing with the fans in front of
you and then ultimately singingon stage with your mother.
How did that experience singingon stage shape your perception
of yourself as an artist andyour connection to the fans?
Speaker 2 (08:13):
Well, I didn't know if I could do it.
So it certainly showed me thatI could.
I could do it, but I didn't getthe kick out of it that I hear
other people talk about.
I hear people say, oh, I feelmost alive when I'm on stage.
And I am not that person.
I never really looked forwardto it.
It was sort of something Idreaded to be.
To go out on stage, okay, Inever really looked forward to
(08:33):
it.
It was sort of something Idreaded to be.
To go out on stage, wow, okay, Icould psych myself up and I
could sort of, because I'm ameditator and I could sort of
ground myself in a place whereit was so not about me.
I would just show up in serviceof the song of my mother and
just be authentically myself.
Right, that's the only way Icould do it.
Okay, and I'm able to do it.
(08:54):
But it's not something thatgives me that thrill.
It doesn't feed my ego.
It doesn't feed some need forvalidation in me.
So it's not something that Iseek.
I love to create.
I'm much happier being in thestudio, you know.
Speaker 1 (09:07):
Sure, that's a very interesting point I can relate
to that because my transition toNashville involved moving from
working alongside celebrities ontour in the studio.
You know, sure that's a veryinteresting point.
I can relate to that because mytransition to Nashville
involved moving from workingalongside celebrities on tour to
honing my own craft behind thescenes, doing production and
management specifically in thestudio.
Yeah, I found the rush ofcreativity being strikingly
similar across both stages,right?
(09:30):
So when you're working onrefining the nuances of your
songs in the studio, what mentalprocesses do you go through to
achieve the desired outcome thatyou're looking for?
Speaker 2 (09:40):
Well, because I've been writing now for over 10
years, the processes change forme.
Whereas I first approached itfrom an insecure place, like how
do you do this?
Is this good enough?
I'm very self-critical, nowI've sort of relaxed into it and
I trust the process and it'sreally for me in a sense about
surrendering to whatever wantsto come through me.
(10:02):
So when I show up to write asong, I don't come with a
preconceived idea.
I don't come with.
I'm not even.
I'm coming to play and I'mcoming to be so relaxed that the
melodies and the words, sort ofthey come through.
I get that.
It doesn't mean that the songdoesn't need work.
(10:22):
Oh yeah absolutely, butgenerally that initial I just
respect whatever's comingthrough me as like from source,
and then it's my job to sort ofyou know, refine it and work it
so that it can be what it wantsto be.
Speaker 1 (10:35):
Yeah, yeah, you kind of like we say in the music
business down here let it growits own legs.
Exactly yeah.
Once you release a record toradio, there are certain
relationships that we have.
Because of that, certain thingshave possibilities to happen.
As long as the song is good,then you hope that the people
(10:56):
hear it and then love it.
Then it grows its own legs andstarts doing well because of the
quality of the song.
Speaker 2 (11:02):
I know nothing about promotion, and it's really an
area that is not very foreign tome, so I'm interested to know
more.
Speaker 1 (11:09):
Yeah, I've done a lot of promoting.
I've been on the road, done alot of production development,
so there's not a lot here that Ihaven't done.
Every part of the musicbusiness has its ups and downs
and bumps in the road.
The key thing that you justsaid is that you go in and you
kind of let it organically growand become what it's going to be
.
I think that's the proper wayto do it.
(11:31):
I'm like you.
I like going into the studioand just let it grow organically
and evolve to what it's goingto be.
Yeah, exactly.
So how many songs have youreleased and, along with that,
how many albums have youreleased?
Speaker 2 (11:45):
Well, I've done.
I think I've put out three EPsand one full-length album.
I'm about to start work on somenew music, but I love EPs.
I like a smaller you know likeserving, it's easier to do, it's
less expensive to do.
So I never felt like, oh, Ihave to make a full-length album
.
Speaker 1 (12:04):
Well, it gives you a little flexibility.
You can do four, five, sixsongs, whatever you want to do.
Yeah, you ability.
You can do four, five, sixsongs, whatever you want to do.
You can do them the style thatyou want.
Then the next time you can do acompletely different project
than what you did before.
Speaker 2 (12:17):
Exactly.
Speaker 1 (12:18):
So how have you seen yourself evolve in the last five
, 10 years, to what you weredoing, to what you're doing
right now?
Speaker 2 (12:26):
Well, it's much more surrendered to almost a
spiritual experience where Ifeel like I am more of a channel
, more of a vessel and somethingI allow.
I'm like just trying to be sosurrendered, so relaxed that
something wants to get bornthrough me.
And I'm not trying to be clever, I'm not trying to, I'm not
coming from a place ofinsecurity.
(12:47):
It's like I think I'm.
I'm secure enough to know thatit's going to happen or it's not
going to happen, and either wayis okay, you know.
Speaker 1 (12:54):
That's a great way to look at it.
I mean, that's really a greatway of looking at it.
Good for you.
So what would you consider yourstyle is today?
Speaker 2 (13:03):
Gosh, I don't know, because I'm about to do
something different than what Ijust did.
So, when it comes tosongwriting, I think the last EP
I did, called Sacred Days, is.
There's a lot of me in it, youknow, most of the melody is mine
, a lot of the words are mine,and there are also
collaborations with Liz Vidal onlyrics and on two songs, dorian
(13:24):
Shia, and I'm really proud ofthat record, actually.
Speaker 1 (13:28):
That's great.
It's always good to love whatyou're doing and respect what
you're doing.
Speaker 2 (13:32):
I think it's a lot of people are like are you going
more into the dance zone orsomething I'm like?
Well, I don't know.
I mean, I love rhythmic music,I've always liked dance music,
but I'm about to now go in awhole other direction, away from
dance music into moretraditional melodies.
Speaker 1 (13:49):
Okay, what inspired you?
Needless to say that you've gotyour mother.
That covered a lot of variedstyles in what she did.
Yeah, so when you sit down andlisten to music, what genre do
you listen to, and what stylewas it that got you to evolve
into what you're doing at thispoint in time?
Speaker 2 (14:10):
Yeah, you know I and that direction changes, but I
was always a kid who loved music.
I remember my.
I had my first little plasticred record player as a child.
You know it's like had a lid,you lift it up and you could
play a 45.
And my first favorite song wasI Say a Little Prayer by Dionne
Warwick.
Yeah, yeah.
And then I had Up Up and Awayby the Fifth Dimension.
Speaker 1 (14:32):
Yeah.
Speaker 2 (14:33):
So I've always loved music and gravitated to
different types of music.
Me too, I remember loving theSupremes, the Eagles, queen, the
Police, soma, donna Summer, andso I don't feel also the need
to define myself by anyparticular genre.
I do what feels right, sure, Ijust follow my instincts.
(14:56):
So I'm really just all it is isI'm following my instinct and
if I like it, I'm sort of tryingto please myself, because
that's the only control I have,you know.
Speaker 1 (15:04):
Yeah, absolutely, because at the end of the day,
you have to be happy with whatyou've done.
Absolutely Because, at the endof the day, you have to be happy
with what you've done.
Yeah, no matter what else yougot to be happy.
Yeah, exactly.
Even if you're not totallyhappy with everything that
you've done, at least you findthat one thing in it that shows
positivity.
Speaker 2 (15:22):
Yeah, so that you have something to build on
Exactly and then also know whento let go, because I think
perfectionism is a trap.
Yes, that a lot of people fallinto.
As a creative person, it'sreally not your friend.
Speaker 1 (15:33):
Yeah, I 100% agree with you because from my
production standpoint, I wantthat inner feeling that what
we've done is good but itdoesn't have to be perfect.
In the 50s, 60s and 70s, if youlisten to some of the songs
that was released 60s and 70s,if you listen to some of the
songs that was released, some ofthem had a piano that was out
(15:54):
of tune and the songs justweren't perfect, but they were
perfect for what they were.
Yeah.
Then we become a society whereeverything had to be perfect.
You get pro tools and vocaltuning and they just lost the
integrity for the song.
Yeah, I really like yourapproach there, because not
trying to be perfect, but tryingto be your perfect self is
(16:15):
really all that you need to be.
Speaker 2 (16:16):
Yeah, I mean it's, you know, as I said, I guess the
best we can do is strive forexcellence.
But what is even that is?
You know, what is excellence isdifferent for different people.
Absolutely Good enough, youknow.
It's like does it communicate?
Does it move you?
Do you feel anything?
I mean, that's really in asense what we're doing here.
We're just communicating humanto human, you know.
Speaker 1 (16:37):
Right, right, exactly .
So now that you've gotten outthere, you've gotten a name for
yourself and you're gettingwhere you want to be, have you
had anybody that you maybelooked up to or thought a lot of
, that you didn't think wouldreally look at you or give you
the time of day, and then all ofa sudden, they wanted to work
with you and it's like wow not,yeah, not really no okay, well,
(17:02):
certainly don't count it out,because I'm sure that will
happen, because the more thatyou get out there and the more
that you get known yeah the morepeople that will come around
and possibly offer, because theyenjoy what you do and respect
what you do, right?
I think that's a natural processas well, so be ready, it's
coming.
Speaker 2 (17:21):
Collaboration is part of the joy I think you know,
and then to be able to be sovulnerable with another person,
I think is part of what'srequired when you're creating
music together.
Speaker 1 (17:33):
Yeah, yeah, sure.
So if you had a choice, you'reworking on your music.
Now you've got the acting andthe production and the film that
you've already done, and I knowthis is somewhat of a really
loaded question for you.
Which do you enjoy more?
Do you enjoy the creativeprocess of the film or the
creative process of the music?
Speaker 2 (17:52):
Well, I don't really, I haven't really acted for many
years.
I kind of let that go.
Speaker 1 (17:56):
Okay.
Speaker 2 (17:56):
But I do make videos for my songs.
So my filmmaking skills andinstincts I get to use in that
way, which is very satisfying tome, and I've collaborated with
my friend, Anthony Bielansson,on several videos which so we
get to be our kind of guerrillafilmmakers when it comes to
making videos for the music thatI create.
(18:17):
So I would say definitely moremusic, but I love to use my
visual instincts as well withthe videos.
Speaker 1 (18:24):
Sure, sure.
So you've got a lot of thingsbehind you.
You've evolved in manydifferent ways in your music.
So where do you see yourself inthe future?
Say, maybe five years?
Gosh, you know what?
Speaker 2 (18:34):
I don't think that far in advance generally Okay.
Sometimes, when I finish acreative process, I go into this
weird lull where I'm like, okay, now, what Sure, you know?
And it's sort of like anuncomfortable place where it's
almost like you get a little bitof a letdown.
You're like depressed becauseyou know your purpose has ended
(18:55):
and you don't know what's next.
Speaker 1 (18:57):
Yeah.
Speaker 2 (18:58):
But I've learned that staying creative is really
important for me, but that cantake many forms.
So, you know, if I'm, I couldbe working in the garden, or I
could be making soup, or I couldbe making a sculpture or other
things, but music seems to beconsistently gnawing at me.
It wants to, you know, come tolife through me, and so good.
Even though I'm still sort ofpromoting sacred days, I had
(19:22):
another idea for what my nextthing is going to be, and I'm
actually heading toward you thisweek to work on it.
Speaker 1 (19:28):
Yeah, that's great, yeah, that's great.
So when you're not beingcreative, what do you do?
To just chill and forget abouteverything and just totally
relax, enjoy life.
Speaker 2 (19:41):
Well, I'm a foodie, okay.
So I do like to go out to eat alot or make food, but I'm not a
great cook.
I mean, I'm a, you know, I'm abasic cook, okay.
I like to hang out with friendsand I used to love to go to the
movies, but I don't anymore.
Something's something changedin me.
It's weird.
Okay, I love documentaries,right, I love nature.
So just appreciating nature iseverything Watching a sunset or
(20:04):
flowers, or growing my ownfruits, vegetables yeah, these
are the things that give mepleasure mostly.
Speaker 1 (20:11):
Yeah, that's great.
That sounds like really nicethings to just sit back and
relax with.
What was the magic thathappened that led up to the duet
with your mom?
Was there anything specialthere?
What caused that?
What was the story behind that?
Speaker 2 (20:27):
Well, it was her.
It was completely her idea.
As I said, it was the firstsong I recorded that I didn't
write.
It was a song I was, I felt,compelled to do.
I I recorded it with stefanoberhoff, a producer I've worked
with and I'm going to continueto work with, and we did a very
simple arrangement.
It was basically piano, bassand drum nice.
(20:47):
I was very scared to share withmy mother, but I did and she
said I want to sing this withyou and I'm like what?
Speaker 1 (20:55):
Okay.
Speaker 2 (20:57):
I didn't even know what that meant at the time.
And then, a few months later,she had a.
It was her birthday.
She had a big anniversarybirthday I think it was seven.
Oh, okay, I made her a filmwhich was a montage of images of
her and I from my birth to thepresent, and I set it to another
song that I had been working on, called Nature Boy.
Both songs were on my first EP.
(21:18):
I was expecting to give herlike a DVD of the film I made,
you know, but her friends wereputting together this party and
there were other people that hadcreated video content, and so
the video I gave her became partof that, and so it was shown in
front of 50 people, includingQuincy Jones, who came up to me
(21:38):
after it played and said we'regoing to make an album together.
Speaker 1 (21:40):
Wow.
Speaker 2 (21:41):
And I was like we are , we are and I, um, I couldn't
believe that he wanted to workwith me for quite a few months.
I would say, are you sure?
Like I went to perform at asmall little jazz club in
Hollywood, he came andafterwards I said so, you still
want to do this?
He didn't understand myinsecurity, but I was.
(22:02):
I was insecure.
Anyway, we ended up making analbum, and so what an incredible
experience.
I got to work with one of thegreat masters, you know.
Speaker 1 (22:11):
Absolutely.
That's a great story behind thesong, for sure.
Yeah, and what a great one itis.
Yeah, so you're starting towork on your new EP now.
So what's in the near futurefor you?
Do you have anything else onthe horizon?
Speaker 2 (22:27):
Well, we're finishing a video for the song Sacred
Days, which is on my currentrelease.
Speaker 1 (22:33):
Okay.
Speaker 2 (22:34):
So that should be coming out soon, and then I just
go to work on my next project.
Speaker 1 (22:39):
How can people check you out?
You have a website, socialmedia, etc.
You know what.
Speaker 2 (22:44):
I don't even have a website.
I'm like, okay, I do haveInstagram.
Okay, I think it's Jason GouldMusic.
Okay, on both Instagram andFacebook.
Okay, so you can find me there.
Yeah, I'm not a great selfpromoter, but but yeah, but,
(23:05):
Tony, any, any advice?
I'm totally open and wouldappreciate.
Speaker 1 (23:09):
Oh, anytime, this has been a great conversation, been
very informative, a lot of goodstories.
I've really truly enjoyed it.
Speaker 2 (23:16):
Likewise Thank you.
Speaker 1 (23:18):
Yeah, and I'm always about helping people, so if you
need any information at all onsocial media or whatever you
might be looking at, I thinkyou've got it pretty much
covered with the people that arearound you.
Speaker 2 (23:33):
But if you need anything, you definitely know
how to contact me.
Well, that's wonderful.
Yeah, it's great to be helpful.
You know, be of service toothers, it always fills your own
cup.
Speaker 1 (23:38):
It does, it truly does.
The more good you put out there, the more good that potentially
could come back to you.
So once again, I reallyappreciate you taking the time
to come on to my podcast today.
Speaker 2 (23:50):
Well, it's a pleasure and an honor to get to be on
your podcast.
Thank you.
Speaker 1 (23:56):
My pleasure.
Thanks for joining us today.
We hope you enjoyed the show.
This has been a Tony Mantorproduction.
For more information, contactmedia at platomusiccom.
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