When it comes to a symphony, I prefer the playfulness of Ravel or Debussy to the ponderous progress of a Beethoven Symphony—like No. 5’s DAH, DAH, DAH, DAAAH. (You know, the heavy stuff.) But whether our hearts flutter to the flute or the sudden drop of an imposing bass note, I am captivated by the seamlessness of great music.

The difference between good music and great music—true for all art forms—is the attention paid by the creator to the details which illuminate the whole. Effect and affect are both in the details.

The quick, playful interactions between the fingers of a pianist and the keys. The harpist’s hands tracing back and forth over the strings like they were skimming water, appearing to do nothing. It’s a kind of behind-the-scenes magic happening right in front of you. And every piece of it determines the whole.

Think of the Traffic Department as the agency maestro. Except we’re not ensuring that every piece is played in the right chord. We leave that to the players. (Also, there are ACDs and CDs for that.) We don’t tune anyone’s instruments or clean anyone’s spit valves. What we do is move the creative parts to the players to let them apply their expertise before returning it to us where it can be exchanged for the next motion. Some people say their door is always open to the agency. Ours is always revolving. The process has to be seamless. God forbid it moves like DAH, DAH, DAH, DAAAH.

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