In a post about the new iTunes LP covered here by Ars Technica comes the day after I tweeted about the label that’s been in the back of my mind since high school. There’s an official name, but the crew haven’t gotten there. It takes time to get people on the same page across three time zone using social media to touch base. Music, openness on the web, are both in the movement stages. The rules are new, the old ones took time to break, and now the whole mess might take longer to re-build.

I would pick up and leave or even dial the phone but the experiment and my role is to figure out how to connect the dots online. Since we have to keep up with the pace of change in music biz and on the Internet, the start-up grind happens at a Hampster dance tempo or the work is double the load.

Creative flow chart behind the new iTunes LP:

While a picture is nice and all:

Music is an experience too and isn’t online. I exit yor flow chart like I exit the freeway.

Paying to basically play around with the back-end of a blog post about music in iTunes is not adding any value to my day but more time online. The main problem I have with this is artists get inspired and create music, they don’t usually think about the experience in flow charts and diagrams and this isn’t how sound engineers think about music either.

A hip-hop artist doesn’t get attention or the mic for long if they don’t do their homework on the best and greatest artists before to keep an audience. Punks have nothing without a new message. Pop musicians mimic past icons and builds upon style and culture with innovation. You get the idea. If the point is a creative experience, then the artist should matter more than ads, mistakes, and failures online.

There’s a Fugee’s reference tucked in there to bring the point home. Artists know the genre and context and share it as well as express their story, message, heart, soul or whatever inspires them with listeners. The new context, if there’s one online, then inspires the music andgives the creative experience to customers in return.

The music and sound mean more at shows and online if people get jazzed on their own – the cool junk you see and sell matters but not as much as the people who are on stage. If fans create new content, participate in crowsourcing, and share in remix culture before a performance and geek out like real artists online, given the choice, they might want to make more than killer playlists as a virtual DJ on Blip or play pretend rockstar online.

I’ve met meet musicians this way but never had an experience with online media the other way around outside of a studio or the radio station. Online musicians don’t perform for listeners but can inspire them to pick up a mic too – share music with friends, videos, and blogs. We don’t need a stage or plan or network online, we need to build a bridge between cultures. We have to find a place in the music industry where genres intersect and bring new creative experiences online.