from BuzzFeed

So what does it mean, now, for a musician to become ‘famous’? We talked to seven artists about how they measure and experience fame. Turns out social media is a pretty big deal, and that having a big personality is just as important as making great songs.

Meghan Trainor, 20, hit No. 1 on Billboard’s Hot 100 chart with “All About That Bass”

I have 20,000 followers on Instagram, but that ain’t nothin’ nowadays. [Ed.: Trainor now has almost 100,000 Instagram followers.] So I don’t consider myself famous at all. But I mean, T-Pain called me? I was like, “You know who I am?” So that was a pretty big step up. I got to talk to John Legend too. That makes you feel a little cooler. And all this glam squad team stuff? These cars that pick you up and your name’s on them? Definitely makes you feel like a baller.

I got a fan group now, called Megatrons. Me and my friends were struggling, thinking, like, “Should we call my fans Trainors, or Trainees?” I was like, “That sounds awful?” Then my friend looked at me and said, “Let’s just do Megatrons.” And I was like, “Yeah, badass.” My mom hates it. You know, the other day, she said to me, “I can’t keep up with all the famous people following you on Twitter.”

Tinashe, 21, singer and producer, will release debut album in October

The biggest [mark of success for a musician] is being able to sell out shows, to play venues and have people come to you to see you. Getting a song to top the charts. Maybe winning a Grammy.

For a ‘famous’ person, when they leave their personal space, people recognize them. They can’t go anywhere by themselves. The way people treat you starts to change. People can become fake and less genuine. When you’re a famous musician people are much more fanatical about you. They get really, really invested in you.

Paparazzi don’t stalk me everywhere I go. For the most part, I feel like I can be relatively normal.

Ray J, singer, star of VH1’s Love & Hip-Hop Hollywood

People think they’re famous because they got a million Twitter followers. People think they’re famous if they have 800,000 Instagram followers. People think they’re famous ‘cause they made it on Bossip or WorldStar — people’s lives change when they’re on WorldStar, for that one day! There’s so many ways to be famous, so I can’t call it. I just know that whatever you’re doing and whatever fame you get — bottle it up and sell it. ‘Cause a lot of people get into the fame but they don’t find a way to put it in a bag and put it on some kind of platform and get some money off of it.

If you can crack the code of television, that’s a good way to get people’s attention. Everybody wants to get on TV — there are billionaires who want to have a television show. But you can’t buy yourself into a TV show. It’s gotta be dope and it’s gotta be authentic. It’s gotta be something people want to gravitate to. If you have a dope product and you’re a talented person, get people’s attention so they want you. Make people want you.

Mary Lambert, 25, singer-songwriter and author, co-wrote Mackelmore’s hit Same Love”

I’m not famous. I’m quasi-famous. At least I don’t think I’m famous. If I’m famous, will someone let me know? I’ve been waiting for a royal scroll from Kim Kardashian or the Scientologists or something. The bottom line is, I am always me. I still lay around naked, eating Cheez-Its while watching The Colbert Report on Hulu which is precisely what I did before “Same Love.”

My perception of fame is mostly media saturation resulting in recognition from strangers. I tend to see those interactions [with strangers] in a myriad of ways: “You are so excited to meet me! That is so cool!” to “Please don’t ask for a photo, this is a funeral,” or “This was so cool until you told me to follow you on Instagram!” I really crave honest connections with people, but sometimes [these meetings] end in me feeling invaded or less like a human and more like a commodity. (Hopefully this doesn’t come across as a complaint, more of an observation; I’m way better off now than when I was sleeping on all my friend’s couches).

We are now in an era where it’s expected of artists to have not only their music be consumed, but their actual personhood. The product of music is not what is solely consumed anymore — you as a person are now a commodity. We’re also in a time when so many different people are getting recognized for things that they do well. There’s also no longer a formula for any of it. So many of the No. 1 songs this summer (“Stay With Me,” “Rude,” “Am I Wrong,” “All About That Bass”) were sung by newcomers who didn’t seem to fit a major label calculation. I think that reflects our culture’s hunger for authenticity.

I can’t really fathom what it’s like to be Harry Styles or Katy Perry. Your entire life is under a microscope. An interaction with you wins the ultimate trophy of bragging rights forever. How many truly genuine conversations can you have with a human being when you are commodified like that?

Fame freaks me out in a lot of ways. It’s a double-edged sword I guess. I feel like there is this thing inside of me — these stories, lessons in healing, answers for trauma, a hunger to dismantle stigma, an invitation for vulnerability, a quest for subversive social justice within pop music — that could potentially reach millions of people. That would make me happy. And I’d love to buy my mom a beach house. It would be so fucking cool if I could have all of these awesome perks without sacrificing beautiful human connection. Maybe I can have it all — I don’t know. Or maybe the next time you talk to me, I’ll be wearing my sunglasses indoors, and writing songs about all five of my Subaru Outbacks. (The life!)

Bobby Shmurda, 20, rapper, signed a deal after his song “Hot N****” went viral on Vine

I didn’t want this. It happened. All the stuff that happened in my life? I didn’t call it, it just happened. But I’m glad I’m in this life. I don’t wanna sleep in a house with crackheads all day for money, going to jail if someone tells on me. I wanna make money and lay on the beach somewhere. And smile up in shows.

I seen Beyonce doing the Shmoney Dance. My mom was going crazy. And they pay me to go to parties now. It’s crazy. I love parties. If I can get paid and go to parties? Why not? I love parties.

Metro Boomin, 21, producer, go-to collaborator for rap stars like Future, Wiz Khalifa, and Migos

I have a lot of hit songs out and I got a lot of shit I’m proud of, but none of it makes me feel like I’m famous. I don’t know what that feels like. Maybe when I got some millions saved up, I’ll at least feel famous to myself. But I’m not famous till I’m walking around in New York, right out here outside of BuzzFeed, and everybody knows who I am like they do in Atlanta.

I think I [promote myself] just as much as I make music. Automatically, people don’t take producers as seriously as artists. So you’ve gotta make your own identity and your own sense of stardom, so everything you do comes off as if you were rapping.

I go a lot of places with Future, and things are different for him. A lot of people always want to take a picture. He’s not rude, he’ll do it sometimes, but sometimes you can’t take a picture. You’ll take one, and then you gotta take a picture with everybody.

Niykee Heaton, 19, YouTube cover song performer turned major label singer

In today’s society, “fame” is something much different than what it used to be. Now, 13-year-old kids punching one another in the face on Vine are considered celebrities. I feel famous sort of, I guess in a way. I feel famous when random teenage girls and boys come up to me in the mall, shaking with tears in their eyes, asking for a photo. But then again, when I consider myself on the larger scale, next to Rihanna and Lady Gaga, I still feel small. I feel like a nobody. I still have a lot to prove, so I guess I would consider myself semi-famous. And I’m fine with that for now.

To most, fame is having a song in the top five on the iTunes charts, being voted Best New Artist at the VMAs, or reaching 10 million followers on Instagram. But I don’t consider that fame, or at least it’s not the kind of fame that I want. Reaching fame for me, is having your 4-year-old nephew singing the words to your song at the same time your grandma is bobbing her head to it on the radio. It’s having fans that look up to me so much that they are willing to tattoo my lyrics on their skin. It’s having my song listed on the top 100 Best Songs of All Time 30 years from now. For me, to be regarded as a “famous musician,” it is imperative that I create real music that makes an impact. Maybe it only affects a single life, or perhaps it sparks a global movement, but as a musician, I feel it is my duty and role to create something bigger than me, not just wear the term “celebrity.”

From PBS

Here are some components to consider when helping your child choose the right instrument.

The first thing to consider is your child’s age. If your child is younger than six, make sure you understand the purpose behind playing an instrument at such a young age and acknowledge the physical limitations of a child that young. Piano and violin are the most popular instruments for children under six because they help build a foundation for your child to choose a different instrument at a later age, should they want to do so.

The violin is a smart choice because the instrument can be manufactured in particularly small sizes, making it easier for younger children to handle. Although instruments like the guitar are also available in smaller sizes, the violin is advantageous in its lack of frets or keys, allowing your child to focus solely on the sounds produced. In addition, this helps kids learn to play in tune, and the bowing of the right hand teaches the concept of musical phrasing. Both of these skills are the foundation for playing most other instruments.

Although a child doesn’t control the tune or pitch of the keys on a piano and there is no “bowing” skill necessary, the piano has its own advantages. For example, playing the piano allows musicians to play both the melody and harmony simultaneously, thus teaching important perceptual and musical skills. The piano also provides a visual representation of music that is essential to understanding music theory. In summary, choosing either of these introductory instruments is a wise decision for young children.

From WikiHow

The ability to play a musical instrument is a wonderful thing, and you can never start too early. Children are curious and imaginative by nature, and many will be able to pick up music very quickly, and develop a love for it. The ability to play an instrument and read music will be infinitely helpful later in your child's life, and studies have shown that music can help make a child smarter, develop giftedness, more mature, and more confident. If they're not yet out of elementary school, a good musical background will help them to succeed in middle and high school bands, setting an example for all of their peers.

Step 1: Set an example and motivate your child

If you have any musical talent, play your instrument in front of your child, and answer their curious questions. Let them experiment with it (within reason really young children probably shouldn't be messing with your oboe, especially unsupervised). Talk about your days in school band, how much fun you had back when you took piano lessons, and other things that will pique their interest. Take note if they show a particular interest in a certain instrument.

Step 2: Expose your child to music

Start early - when your child is very young, play quiet music for them and let them fall asleep to CDs of classical music. Once they're older, take them to school and professional concerts, and point out certain instruments. You can also listen to music or watch videos of concerts together. Try to teach them to "feel" the music, and take note of the many things going on at once. Get into the habit of playing classical music in the background when you read, sew, or do something else relaxing. Try to teach them to "feel" the music, and take note of the many things going on at once.

Step 3: Talk to them about music lessons

Forcing your child to learn an instrument, or signing them up for lessons without telling them first, is not going to help foster the love and commitment to music that you want your child to develop. If you had any success with the previous step, they'll probably be eager to start. Ask if there's a particular instrument that they'd like to learn. They may want to try the same instrument you play, or they may say "I don't know", in which case, proceed.

Step 4: Look into your options

If your child is going into middle school, check to see what kind of band and/or orchestra programs are offered. If they're in elementary school, check and see if some of the older grades have a music program. Many elementary schools teach recorder, which is a great starter instrument. Some schools may even offer piano or guitar classes. Otherwise, what lessons are available in your area? To find music instructors, you may want to ask a band director or member of a local band or orchestra.

Step 5: Help your child choose an instrument

You'll want to take several things into consideration... among them, your child's commitment to music (it's possible that they'll lose interest next week... maybe it's not the best idea to go out and buy them a sousaphone), their size (don't give an 8 year old a tenor saxophone, as they won't be able to hold it or support it), and maturity (perhaps the most expensive instrument isn't a good idea, if it'll be in danger from reckless behavior). Once you've got a general idea of what you might be looking for, take them to a music store or arrange for them to meet with a band director to try a number of common "starter" instruments - these are as follows:

Step 7: Encourage your child to practice

Once they've started taking lessons or practicing with a group, the best way for them to excel at playing is to practice for at least half an hour or so every day. Don't be too harsh about forcing them, but make sure they understand how important it is to practice. Encourage and motivate them, and be sure to congratulate them when they do something exceptionally well.

As your child gets older and more mature, they might want to take up a second instrument, and become a multi-instrumentalist. If you think they can handle it, let them give it a try. Although they can't play both instruments in the same orchestra, they could play their current instrument in the band and just take regular lessons on a different instruments.

Be reasonable when helping the child choose an instrument. If your child could fit into the case, or the instrument is twice as tall as they are, you might want to go a little smaller. You also don't want to pick a rare or less heard-of instrument, such as a contrabass clarinet or mezzo-soprano saxophone. Instruments like these will be hard to find, even harder to find music for, and may be practically impossible to find a teacher for, and most band programs don't have a place for them. Why let them learn the contra-alto flute, only to find that they'll have to switch to a concert flute when they start playing in school.

Stereotypically, flute players are obnoxious, self-centered girly girls. However, there are plenty of successful male flute players, and most females aren't nearly that bad. Trumpet players are said to be big-headed, obnoxious guys, and have a general "I'm better than you" attitude", as well as egos that can be seen from space. Don't listen to this - girls can play the trumpet too, and there are plenty of nice trumpet players with much smaller egos. The list goes on. Although in every section, there may be a few players who conform to such stereotypes, most of the blanket statements just aren't true. Or fair.  Avoid stereotypes and the old standards. There's no rule that says your child should learn the violin, or that you have to force them to take piano lessons until they're teenagers. Many children learn to play other instruments such as the tuba or oboe as young children. Perhaps that kills some of the common stereotypes of child musicians, but if they do well with it, stereotypes should be the last thing on your mind.

Tuba or flute? Picking the right instrument for your child 
Music educators use body type and personality to determine best instrument for a child
Experts look at how outgoing a child is, lip size, height to make best match
Best advice for parents is to first let the child decide what he or she wants to play
Researchers say music training turns kids into more effective learners

(CNN) -- Most parents are probably so focused on just getting our kids to play an instrument that we don't give much thought to the question: "What's the right instrument for my child?"
Quite honestly, on the list of things I'm supposed to keep in mind as a parent, I never knew such a question existed. Until now.

Ron Chenoweth is the band and orchestra division manager for Ken Stanton Music, a Georgia-based music education company with nearly 100 teachers providing more than 1,000 lessons every week.  Part of Chenoweth's job includes managing a team that regularly goes into schools to help band directors determine what instrument each student should play. Two things he and his colleagues are always looking at are body type and personality.  

Best instruments for kids who like center stage
If a child likes to be the star of the show, Chenoweth might steer the child to the flute because flutists tend to stand in front of the band.  "I look for the kid that's smiley, happy, sometimes talkative, rather than just very, very quiet," said Chenoweth, who has been with Ken Stanton Music for 16 years. "They usually are asking questions and they'll say, 'Well, I want to do this because ... ' and so they're telling you their story.  Other instruments for extroverts, Chenoweth says, are the saxophone and trumpet.  "They tend to be lead instruments, whether a jazz band or a show band. They play that higher melodic part, and these kids tend to be almost uncontrollable at some point," he said with a laugh. "But they just are very outgoing. You don't really see the quiet ones go that way."

How body type factors in
Physical characteristics can determine the best instrument for a child too. Take the bassoon, for example, which isn't ideal for small kids.  "The bassoon, when assembled, is almost 6 feet tall, and the spread of the finger holes is ridiculous," he said.  Someone with very small lips might be better suited for the trumpet or French horn, while someone with larger lips might have trouble playing those instruments, according to Chenoweth.  "The cup size of a trumpet or a French horn would be too small, and they wouldn't actually be able to produce a good sound," said Chenoweth, who played the French horn in his high school and college marching bands and has been involved in music education ever since.  "And then sometimes you're surprised. ... Somebody you thought 'Oh, they'll never get the sound out of this trumpet,' and away they go."
I asked Chenoweth what personality and physical attributes might lead to success with other instruments:
• Oboe: An important trait for mastering this "very intricate" instrument is "above average intelligence," according to Chenoweth.  

  Tuba: An excellent choice for students with larger lips, he said.
• Trombone: The player's front teeth should be even. "You want a nice bite that shouldn't be in need of orthodontia," he said.
• Violin: Kids can start playing as early as 2 to 3 years old. "I think because they have varying sizes, it makes them rather universal," said Chenoweth, who started playing the clarinet in the fourth grade.
• Piano: Long fingers or large hands are desirable, and so is being a good thinker. "Physically they're going to need good dexterity with their hands," said Chenoweth. "You would probably look for a propensity to something analytical, somebody who might show a little bit of inquisitiveness."

Let them play what they want to play

Even before you start assessing whether an instrument matches your child's personality, or if they have the right body type for success, you should let your child be the guide, Chenoweth says.
"My first thing is you have to get them onto an instrument that they first are interested in because if there's little interest in playing it, there will be the same amount of success -- very little," he added.
Try not to push them to play what you played, said Chenoweth. "Private lessons at home with the parent are not necessarily going to be successful," he said with a laugh.
And always try to be supportive, even when it just might not be music to your ears.
"We all know that the sounds are not going to be great," said Chenoweth, but parents should try to stay positive. That means avoiding comments such as, " 'Oh here we go. Here's something new to try for three months and then you're going to give it up. Are you ever going to pick something that you're going to stick with?' "
The importance of music education in schools   Why music matters
Dr. Nina Kraus, professor of communication sciences, neurobiology, and physiology, and the director of the Auditory Neuroscience Laboratory at Northwestern University, has been studying the impact of music training on a child's cognitive development for almost a decade. Her extensive research has been published in more than 200 journals and media publications.
Defining a musician as someone who plays music twice a week for 20 minutes, she and her team compare how the brains of musicians and non-musicians respond to sound and the impact music playing has on the musician's attention, language, memory and reading abilities.
"The same biological ingredients that are important for reading are those that are strengthened through playing a musical instrument," said Kraus. "The ability to categorize sounds, to pull out important sounds from background noise, to respond consistently to the sounds in one's environment ... these are all ingredients that are important for learning, for auditory learning, for reading, (and) for listening in classrooms."
Her findings, she said, have a clear message for policymakers and parents.  "It's not just about your child becoming a violinist," said Kraus, a mother of three whose children all played an instrument growing up. "It's about setting up your child to be a more effective learner for all kinds of things."
And the benefits continue even after a child stops playing, says Kraus.
"The brain continues to profit long after the music lessons have stopped," she said. (To visualize Kraus' extensive research and comprehensive findings, check out her slideshow.)
If my girls weren't already signed up for music lessons this fall (we're starting with piano!), I'd be signing them up today.   http://www.cnn.com/2013/09/09/living/parents-kids-body-type-music-instrument/

Quiz: Which Instrument is Right for My Child?

Find out what instrument might be perfect for your child. Simply choose the answer that best describes your child and then view your results to find out which instrument is the best match. Give it a try!

Question 1: What kind of music does my kid like to listen to?

Calm instrumentals
Classical. Mozart all the way!
Folk and pop
Jazz and big band
Rock. Everything from Elvis to Linkin Park.
Question 2: What's a good way to describe my child's personality?

Quiet and introspective
Confident and calm
Laid back and friendly
Outgoing and big-hearted
Boisterous and active
Question 3: What is the ideal size for an instrument?

As long as it doesn't have to go anywhere, it doesn't matter
Small. My child will have to carry it to and from school and practice
Medium is perfect
My child can handle a medium to large instrument, no sweat
My child has the maturity to handle something quite large and bulky
Question 4: If s/he were a color, it would be:

Silver
Blue-violet
Light Green
Bright Yellow
Cherry Red
Question 5: My child is happiest:

Playing alone
In a museum or aquarium
With a small group of friends
At a party
On a jungle gym
Question 6: How active is my child?

Very low-key
Calm
Slightly Active
Quite Active
Very Active
Question 7: His/Her favorite animal is the:

Cat
Rabbit
Horse
Dog
Tasmanian Devil
Question 8: Which movie does my child like best?

Finding Nemo
The Sound of Music
Wallace and Gromit
The Incredibles
Back to the Future
Question 9: How much noise is s/he comfortable with?

Indoor voices, please
No louder than Beethoven's 5th
Hannah Montana levels
Controlled chaos
Blast that radio!
Question 10: My child is great at:

Manual dexterity
Fine motor control, like knitting
Singing along
Improvising
Keeping rhythm

http://ow.ly/AphwY

In preparation for the Jeffco Parent Arts Advisory Coalition meeting on May 20th, we put together this video to impress on the Jeffco Board of Directors that the public school music programs are extremely important.  Our student is Alexie Uecker, a private cello student at Golden Music and in the public school music program at Mountain Phoenix.   He describes how music has been important to him this year and his teacher, Justino Perez talks about his students and the impact the music lessons have on them. See it here: