In one sentence, describe what the following article is about: Find a place with a fan or air conditioning, preferably. If those are not options, at least find a shaded area for the person to cool down. Have the person lie down on their back. Prop their feet up a little bit. Take any clothing off the person that you can, such as extra shirts or sweatbands. Any extra clothing will only make the condition worse. Try to get the person to drink as much water as possible. If they have heat exhaustion, they've lost a lot of water, and their body is having trouble cooling itself. Rehydrating can help them cool down.  Any liquid will help, even sports drinks or juice, though water is best. Avoid anything with caffeine. If the person is unconscious, do not try to give them liquids. You can place the person in a tub with cool water or use damp towels on the neck or damp sheets to cover their skin. Use ice packs in the groin and armpit areas. Other options include using a garden hose or a spray bottle to spray water on the person's skin or sponging down their skin with cool water. While these steps will likely cool the person down, not everyone will respond to this treatment. Therefore, you need to stay nearby to make sure they don't start showing signs of more severe heatstroke. If they haven't noticeably cooled down in 30 minutes, take them to the emergency room.
Summary: Lead them to a cool area to lie down. Take off extra clothing to cool the person down. Offer the person water. Cool the person with damp towels, ice, and water on the skin. Stick around for 30 minutes while the person cools down.

In one sentence, describe what the following article is about: You can do this technique in any context. It’s great if you work together or are already friends. If you are in a situation with a lot of other people, you may need to say or do something to get your crush’s attention so that you can make eye contact. Don’t do anything too outlandish to get your crush’s attention. Simply saying, “Excuse me, do you have the time?” or saying, “Hello” is plenty. This might seem obvious but sometimes if you have a crush on someone, you’ll feel so nervous that you’ll forget to smile. As soon as your crush makes eye contact with you, let a nice big smile show on your face. People can subconsciously tell if a smile is real or fake. To make sure that your smile looks warm and genuine let your teeth show and make sure that your eyes squint up, creating crows feet on your face. This may be a little bit confusing, since it’s more subtle. To add energy to the interaction, simply let the positive and nervous feelings you have around the person energize the way you look at them. Don’t try to hide it. Some ways to add energy are:  Take a deep breath and let it out through your mouth. Straighten your posture. You can try waving, touching your face, winking, or brushing back your hair. You can smile, shift your eyes a bit, and lick your lips if you're feeling a little bit bold. Choose small facial gestures that work for you.  Winking can be flirtatious, but is sometimes viewed as old fashioned, or even creepy depending on the context. Use your intuition to tell you if it would work well with your crush. You can also blink slightly more often around your crush. This is something people do subconsciously when they’re around someone they’re attracted to. It will help send subtle messages that you like them.
Summary: Make eye contact with your crush. Smile. Add some energy. Add another gesture or expression to convey that you are flirting.

In one sentence, describe what the following article is about: Relax. Don't use any more muscles than necessary. Maintain a strong fulcrum. Hands, when not playing, should be at rest in the set position in order to look confident and professional. Chops are the key to playing great – burning muscle pain is your friend. When playing a marching bass drum, play in the center of the head. Have the mallet striking at a right angle (check this by practicing in a mirror). The mallet must always contact the head with its full velocity, especially when playing low.  Play through the drum; when playing an orchestral bass drum, strike a bit off center––this will produce fuller overtones. Be able to play the whole part with proper mallet heights before attempting to split it up with the bassline. Make sure it is always hitting the drum in the center of the head, this may be harder if you have a smaller drum.  This will get a fuller sound. If you have rolls, make sure your pinkies don't fly out! Practice with a metronome or electronically quantized music.  Know where the downbeats are and be able to count all of the rhythms while marking time with your feet. When playing splits, always stay with the full ensemble, don't adjust your timing to a previous error within the bassline. Play aggressively. Take one step at a time (especially with tempos). However, get to know the whole part and not just yours. Knowing how the split flows will help you with your own part. Once you rehearse with the drumline, you will see how your parts fit in with the snares and tenors. This will help with cues and timing. Get your charts. When you set them up, make sure you know where your music starts and stops and how it fits in with the charts. Make sure your spacing in the bassline is even, as this will be very noticeable. Make sure the drumline's  arcs and lines are smooth (because you are probably on the end and you can tell if it is smooth, more than the snares). Playing split sextuplets can look really hard but just know where you come in and it should be fine. Also, don't crush them down. They should sound smooth and not choppy. The same rules apply to 32nd note splits, if they are at fast tempos they probably won’t sound choppy. Just make sure you are hitting all four notes and not just three. If you are used to playing sextuplet runs and then you have a 16th note run, make the switch in your head and play them smooth and even.
Summary:
Get the correct posture: Play the bass drum. Hit the drum correctly. Get the rhythm right. Don't practice "above your head". Memorize your music. Practice with the bassline to get your parts solid before going into a rehearsal with the rest of the drumline. On the practice field: Playing long splits: