A Quote by Seungri

I learned how to play hard to get (push and pull) from my teacher Kwon Jiyong. — © Seungri
I learned how to play hard to get (push and pull) from my teacher Kwon Jiyong.
My music teacher was like, "Ester, you need to pay attention in class." I'm like, "No miss lady, 'cause I can sing." I didn't want anybody to change the way I sung. I learned by gospel CDs and by watching my momma sing; I didn't need this teacher to tell me. I wish I had, because then I would have learned how to play the damn piano or something. I would have a couple of more things under my belt if I wasn't so hard-headed.
Jiyong hyung's mind can go wild and think a lot of things. This was my first time writing my own lyrics so I only thought about myself, but Jiyong hyung won't do that. He'll think, 'Ah, this type of rap suits T.O.P., this part suits Seungri.' That's how he writes lyrics, but I can't do that yet.
According to one account of the New York City schools during the 1950s: The teacher could not technically hit the child, but the old crones found ways of skirting the rules. The push-probe-pull method was popular, in which the teacher would not hit you, but would poke you with her gnarled, witch-like fingers and grab your face like a taffy pull until you screamed. ... The pull-and-choke was also a favorite. It was executed by pulling the compulsory necktie up like a noose, until the errant boy's face turned the school colors.
College is good discipline. That's what I learned there: pull an all-nighter, get it done, and get an A. I'm the biggest procrastinator, and I learned how to be an efficient procrastinator.
Running taught me to have faith in my skills as a writer. I learned how much I can demand of myself, when I need a break, and when the break starts to get too long. I known how hard I am allowed to push myself.
I did a lot of tae kwon do and branched off into other stuff later on, but tae kwon do is great. It was my equalizer. That was how I was able to survive in the land of the giants. Thank God for that.
Actors push pause on their lives, fly to foreign countries, invest so much and work so hard and get so intimate with a group of people from a crew and cast, and then they say 'that's a wrap' and you push play on your life and there's a middle part of the sandwich, or a tunnel or bridge that you have to kind of walk back over before you can hit play.
Both my grandmothers had upright pianos, and I just knew how to play since I was a child. Nobody taught me. I sounded like a grown-up, and then I learned how to read music. I played so well by ear I could fool the teacher to believe I could play the notes. She'd make the mistake of playing the song once, and I could play it.
I'm not the fastest, not the most athletic, but I learned how to play the right way. I learned how to be a professional. I learned how to win and how to be a team-first guy.
I learned how to tell stories with Jay-Z on 'City Is Mine.' I learned how to film and choreograph dancing on 'Can I Get A...,' and I got to kind of be a documentary filmmaker with 'Hard Knock Life.'
The Gates Foundation has learned that two questions can predict how much kids learn: 'Does your teacher use class time well?' and, 'When you're confused, does your teacher help you get straightened out?'
I learned Tae Kwon Do and gymnastics and I have a trainer.
There's the push and pull you put on yourself and the push and pull the world puts on you. Most of the time, the world's going to win out, because it's just logical that you should be more successful and more motivated. You can always be more.
I do feel that there are things you can learn from an artist, but I think you need to be very close to that person, and to know that person fairly well, in order to acquire anything from them. I do have a teacher myself, and I have learned quite a lot from my teacher, but it's not how to make a film. It's more how to approach my life as a director, how to approach and how to lie to a producer.
What happens is people go, 'I want to play the guitar,' and the first thing they do is hit Google: 'How can I play this?' and the next thing you know, you've learned all these tricks, but you've never learned how to play rhythm guitar with a groove.
I never hand in a book until it's completed. Richard Jackson then reads it and asks me to clarify murky points. We work very well together. He knows how hard to push, and I know how hard to push back. He's the only person who can criticize my work without me throwing a hissy fit.
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