Acquiring customers at the start is one of the hardest things you'll ever experiences as an entrepreneur.

It's incredibly important to be - once you do have a product - acutely observational about the trends.

One of the reasons why we were so successful in integrating with Facebook was because we saw people using Facebook to promote their event and link back to Eventbrite before Facebook Connect and before the event's API was even available.

What we've found was that people were utilizing Eventbrite to turn their passions into revenue-generating ventures.

One of the most brilliant parts of being a first-time founder is that you experience everything for the first time. It never gets old.

I started my career in Hollywood, where I learned the rumors were true - having success there really was dictated by how who you knew, not what you knew. I grew frustrated by the fact that careers could be made and broken by relationships alone.

Live experiences are more than fundamental - they're transformative.

My mom always instilled in me that it was braver to ask for help when you need it. That has absolutely stuck with me over the years but became even more important in practice once I became a mother. It may sound trite, but the concept of 'it takes a village' really could not be more true.

If I were to think of myself as a role model, I would say that it's really important to realize when you are a role model and to be willing to give advice, share how you do things.

The gender parity is something that has been organic to Eventbrite since we started building a team.

The majority of our happiness at work is determined by the people who surround us. Strong teams produce more content, launch more products, and sign more contracts. And most importantly, they have fun doing it.

Co-founders shouldn't excel in the same areas - it's inefficient and will inevitably lead to conflicts down the road.

To be a true leader, I needed to better understand my unique strengths and how to apply them across the company as we grew.

Many tech companies experience steep growth curves that require them to build their teams at breakneck speeds.

If you want to build a sustainable culture, you have to have a strong philosophy and then let people do with it what they will and be OK with that.

The classic problem in a relationship is a person trying to control the other person. People just want to conquer somebody.

'Tragedy' and 'Loud City Song' are both inspired by stories from the past.

I often find that I like the vibe of not having technology around me.

I think what's interesting in L.A. is that there's a lot of variety because L.A. is very spread out. I think there is a lot I don't know about, to be completely honest. It's a very mysterious town.

'Have You in My Wilderness,' the title track, is about the idea of possessing a person, or saying, 'You're mine; you're in my world now.' I was drawn to that as an idea less from my own experience than from listening to music written by men that was kind of male gaze-y.

David Bowie - I definitely knew some of his music as a teenager, but I didn't actually listen to his music as much until I was in my 20s.

I was pretty scared of the idea as a younger person of being a musician on the road. It didn't occur to me as a possibility.

Amidst all the internal and external babble we experience daily, it's hard to find one's foundation.

I try to ignore people's opinions about my music - you don't want to hold yourself back because of that stuff.

Putting my audience to sleep isn't what I'm going for.

I see myself as a songwriter and a poet.

I usually work in a room which is totally cluttered with my mess, and there's stuff everywhere, and it's kind of chaotic because I am a very messy person. I could totally write in a pristine environment, but it would mean I would have to be at someone else's house.

I prefer to work with mystery, but that doesn't work well in an academic environment. They want you to analyze what you're doing, which is toxic to the creative process for people like me.

I started classical piano when I was eight, but I wasn't a virtuoso. I just really liked it.

I don't thrive in a school or academic environment, I found out. I thrive better in the world outside the small academy because I find it hard to explain what I'm doing.

I started playing piano when I was eight, and I went on to study piano in school, so I have a background in classical piano and studied composition in school. Writing music came later.

You can have an Internet presence, but it doesn't mean anyone has any idea who you are or what you look like. Which is great.

If I'm kind of sad or depressed, it doesn't necessarily help me to write a song about exactly what I'm depressed about.

I think my music is experimental, playful, challenging, focused, fun. I don't want it to be thought of as trying to appeal to a certain type of person or being very cerebral.

I just always make honest music. I just always kinda do what I wanna do.

I am very interested in the human voice and how we use it, especially when we aren't thinking, like the kind of stuff Robert Ashley was interested in.

I played cello on my early recordings, but that doesn't mean I'm a cellist, you know?

It's nice to work with people who know how to mic drums right and how to record properly. But there's something to be said for doing it yourself.

What was special about Leonard Cohen's work was its calm mystery.

'Maxim's' was supposed to be on 'Ekstasis,' but it was very much in its own world.

I don't use the harpsichord because it evokes a past time period: I use it because I like the sound.

One of the struggles that I have with classical music is the way one thinks about a recapitulation. There's always this idea of themes, and I have trouble with that.

I grew up watching 'Gigi.' My grandmother had it, and I watched it there.

I think of each record as different and not having very much in common with what went before or what comes next.

I'm happy that I worked alone on 'Tragedy,' but it's obvious that I was trying to create something much bigger than I could do on my own.

When I was a kid, I had a xylophone, and I thought that was the instrument I wanted to play. I didn't realize it was a toy.

I love '80s beats; everyone does.

You don't have to know about 'Hippolytus' to listen to 'Tragedy.'

One thing I do like about L.A. is the fact that you can be - whether you're famous or it's just a matter of, like, seeing people you know all the time on the street, you can be pretty anonymous and walk around and, like, not run into people, because it's such a big city and because a lot of people drive.

I'm inspired by nonmusical things a lot, whether it's a film or a book or whatever.