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Telluride sits at the end of a box canyon, and they shut the road into town down for the duration of the festival.   Infield camping is done by lottery, so you want to get your name in the box sooner than later.  If you don't get into the infield, and you can't' find a place in town to stay, you'll end up in one of the outlying camp grounds.  They provide shuttle service too and from, but you miss the town atmosphere, which is excellent in it's own right.   

Went drinking in the local bars, and saw members of Leftover Salmon and The String Cheese Incident up on stage jamming.  And also, four full days of Bella Fleck.

We are fortunate that we have a great music scene here, and always have.   It's probably the best place in the world to be if you play originals, because there are so many places looking for it.   In fact, I'm not sure where I'd play if I played in a cover band!

Anyway, I work five short blocks from the market, so I get to see a lot of the buskers that play there.  Fortunate stuff.   

If you're ever back in this neck of the woods, let me know, and we can go see someone make some noise somewhere.

I agree with both musicians.   And I use both when I teach.   Beginners should focus on technique and scales.  Building dexterity and strength has to be done, and scales (and chord transitions) are an excellent way to do it.   And you should always have a goal when you practice.  That goal might be "Run scales until my hands cramp" or it might be "Nail down this Andres Segovia bit perfectly."

For me, the most critical thing about playing with people isn't how talented they are, it's how well we get along, and how much we respect each other.  I *love* the guys I play with.  None is a virtuoso by any stretch of the imagination.  But we are all pretty good song writers, and we all take each other's input at full value.   At the end of the day, we come up with some pretty good entertainment.  I'd rather have that than a prima-donna virtuoso.  That's too much like work.

I think the best thing about your situation is that you have a director with the best title in the history of music.  I want to be the Minister of Music, too!

I'd take a Taylor over a Martin every time.

An easier way is to memorize the chord shapes, and where the roots are under your fingers.   This will give you "waypoints" along the neck to use as a reference.

Only when I'm in Dusty Strings.  Everything in there costs more than my car.

The fact that you've got enough chops to poke about on a bass with no frets makes you more man than most.

I keep telling myself "someday..." but then I chicken out.

Volume and talent can work wonders.

They'll tell you that the glue is stronger than the wood, but ouch!

I just got me a new 12 string, too, and I think I'd cry if I saw that.

That works really well to the tune of "Three Little Birds" as rendered by Bob Marley.

Seriously!