Seesaw

A seesaw (also known as a teeter-totter or teeterboard) is a long, narrow board supported by a single pivot point, most commonly located at the midpoint between both "ends"; as one end goes up, the other goes down.

Mechanics

Mechanically, a seesaw is a lever and fulcrum.

Varieties

The most common playground design of seesaw features a board balanced in the center. A person sits on each end, and they take turns pushing their feet against the ground to lift their side into the air. Playground seesaws usually have handles for the riders to grip as they sit facing each other. One problem with the seesaw's design is that if a child allows himself/herself to hit the ground suddenly after jumping, or exits the seesaw at the bottom, the other child may fall and be injured. For this reason, seesaws are often mounted above a soft surface such as foam or wood chips.

Seesaws also are manufactured in shapes designed to look like other things, such as airplanes, helicopters, and animals.

Seesaws, and the eagerness of children to play with them, are sometimes used to aid in mechanical processes. For example, at the Gaviotas community in Colombia, a children's seesaw is connected to a water pump.

Seesaw (Beth Hart and Joe Bonamassa album)

Seesaw is a cover album recorded by American singer Beth Hart and blues rock guitarist Joe Bonamassa, their second. It follows their 2011 successful initial cover album together titled Don't Explain.

Tracklist

Chart performance

Personnel

References

Seesaw (musical)

Seesaw is a musical with a book by Michael Bennett, music by Cy Coleman, and lyrics by Dorothy Fields.

Based on the William Gibson play Two for the Seesaw, the plot focuses on a brief affair between Jerry Ryan, a young lawyer from Nebraska, and Gittel Mosca, a kooky, streetwise dancer from the Bronx. The musical numbers evoke colorful aspects of New York City life but have relatively little to do with the story. The most notable feature of the score's original orchestrations by Larry Fallon was their wide use of brass instruments.

Production history

The production faced seemingly insurmountable problems during its pre-Broadway tryout period, and when it reached Detroit, producers Joseph Kipness and Lawrence Kasha brought in Bennett for advice. He recommended they abandon the book by Michael Stewart and fire director Edwin Sherin and leading lady Lainie Kazan, who he felt was too hefty to portray a dancer convincingly. Upon agreeing to helm the show, Bennett recast most of the ensemble, convinced Robin Wagner to replace his original realistic design with a sleek, stylized set, had Coleman and Fields rework their score, and brought in Neil Simon to help him rewrite the book, although final credit went solely to Bennett.