Don't pull back, rather act like your elbows are removed from your moving body and you're holding the horse's hand (or, rather, his mouth). As you rise your pelvis should go forward and up, gliding up into the space between your hands without any interruptions. Your back should be straight, with your chest up and your shoulders back. As you go down, sit softly into the saddle only for enough time as takes to rise again. The entire movement of posting should be very upward based, and when your seat touches the saddle it should be done very lightly, and immediately be proceeded by rising again. Firstly, sitting straight up and down takes too long and will cause you to lose your rhythm. Secondly, standing up straight in the stirrups will cause your legs to involuntarily shoot forward, throwing you off balance. And thirdly, rising straight up will cause you to land heavily in the saddle, which puts pressure on the horses back and defeats the purpose of posting in the first place. Instead, you should try to move forwards and backwards while rising, as this is a much more organic movement. When your horse's outer front leg goes forward, move your pelvis forwards towards the top of the pommel. You should only rise an inch or two out of your seat - just enough to clear the saddle. Don't use your feet to propel yourself - in fact, your legs don't come into the equation at all! Point your knees towards the ground, then squeeze your inner thigh muscles to lift your pelvis out of the saddle. As you rise out of your seat, lean forwards at a 30 degree angle. This helps you to move more naturally with the horse, allowing him to trot better. The one exception to this is in dressage, where the shoulders stay straight, in line with the hips. As the horse's outside shoulder move back, sit down softly into the saddle. When you change rein (that is, change direction when riding in an arena), your horse's inner hind leg and outer front leg will switch diagonals, which means you will have to change your posting rhythm. To change diagonals, remain seated for one extra stride, so when you rise from your seat it will be in sync with the forward motion of your horse's (new) inner hind leg and outer front leg. In other words, instead of doing up - down - up - down you will do up - down - down - up. It sounds complicated, but it's easy once you get the hang of it. You don't need to worry about changing diagonals when you're out on a hack, as the horse has no "inner" or "outer" legs outside of the arena. However, this gives you a good opportunity to practice posting and changing diagonals, as you can decide to switch sides as often as you like.

Summary: Gather the reins so you're in contact with the horse's mouth. Post forward and up simultaneously, then down and back. Change your diagonal when you change rein.

Singing and beatboxing at the same time may seem like an impossible task (especially at first). But it's actually quite easy. Below is a working sample that will help you get started. You can use this basic technique and later adapt it to any song. (b)if your (pff)mother (b)(b)on(b)(pff)ly knew(b)knew(pff) ("If Your Mother Only Knew" by Rahzel). Listen to the song you want to beatbox to a few times to find out where the beat goes. In the example above, the beats are marked out. This will help you get comfortable with the song. Most songs will have the beat in front of the words. In this case: "If" - Since the word "if" in our example starts with a vowel, it is easy to fit in the bass just before it, as though you were saying "bif." Note however, that the "b" must be low and if necessary, separate the beats from the words a little when you first start. "Mother" - The word "mother" starts with a consonant. In this case, you could drop the "m" and substitute it with the "pff" since they sound quite close when said together quickly. Or, you could stagger the word just a little so that the beat comes first, and the lyric slightly delayed. If you choose the first, you will end up singing "pffother." Notice that your top teeth contact your lower lip, which is what creates the m-like sound. If you can manipulate this, it will sound a lot better. "On" - For the double beat on "on," you can hum the pitch while doing "b-b-on," then come in straight away with "b pff-ly knew," all the while humming the pitch. For the "on," you might find that the sound breaks if you do the second bass beat. To remedy this, hum through your nose. This can be done simply by pushing the back of your tongue up to close off against your soft upper palate. This hum now comes out through your nose, and is not interrupted by what you do with your mouth. "Knew" - The word "knew" echoes and fades off. These steps can be adapted for any song with a beat. Keep practicing, with different songs and soon you will be able to ad-lib more easily.

Summary: Sing and beatbox. Listen to songs. Sing the tune a few times with words. try to fit the beats with the lyrics. Adapt this skill.

The bushings can be tightly packed or loosely packed, with the former decreasing turning and the later increasing it. When tightening your trucks, you are actually compressing the bushings, so you can get similar results by changing the bushings altogether. While not difficult, many skaters have this done at a local skate shop for the convenience. Not all trucks are created equally, and each company has different specs and styles. A lot of it comes down to testing different boards out and finding out what you want, but there are some things to consider for all trucks: High or Low Kingpin: Higher pins are best for grinds, manuals, and other tricks. A lowered kingpin is best for popping ollies and kickflips. Wider Wheels: Most wheels are standard, but heavier riders might want wider trucks, as they distribute the added weight better for smoother control. Risers are attached between your trucks and your board, providing lift for tricks. Furthermore, risers you will dampen landing vibrations, though the higher board will take some getting used. Higher trucks can make it harder, however, to grind.

Summary: Re-pack your bushings to fit your skate style. Try a new brand of trucks. Add risers to get the board higher and reduce vibrations.

Spread the cloth out so that lies right-side up in front of you. Use your hands to smooth out as many wrinkles as possible. If you allow any of the wrinkles or folds to remain, you could end up creating a large crease where one should not be. Large linens are rolled, not folded. You will roll the linen up so that it faces inside-out when viewed on the roll. Place an appropriately sized cardboard roller on one end of the linen. Roll the linen around the cardboard, and continue on until all of the material is on the roll. You will need to hold the cloth with a bit of tension as you roll it up. Otherwise, wrinkles are more likely to form. Keep the hems straight and square with each other so that the linen rolls up evenly. Protect the linen by wrapping the roll with tissue paper. It is also recommended that you label the tissue paper with "Fair Linen," "Credence," or another appropriate name. Doing so will make it easier to identify the linen later. After completing this step, you can place the linen in storage.
Summary: Lay the linen flat. Roll it into a cardboard roller. Wrap the roll.