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Home/Education/Ferris Wheel And The Physics Behind It
Ferris Wheel And The Physics Behind It
Jacob Ethan March 31, 2020
The best way to understand Physics while having fun is by visiting amusement parks. Swing boats, Ferris wheels, bumper cars, carousels, and roller coasters are some of the most common fun rides that can be seen in any amusement parks. But did you ever try to understand how these things work? What is the principle behind these fun rides?
In this article, we shall try to understand the Physics behind one such fun-filled ride: Ferris wheel. Also, the terminologies from Physics that can be related to the working of the Ferris wheel.
Working of a Ferris wheel
Just by looking at the Ferris wheel, one can say that it is under a circular motion and is subjected to centripetal acceleration. Ferris wheels are large structures that rotate about a central axis. The outer rims support the seats hanging downward. The seats are attached to the outer rim so that they can move freely with the support of the connecting wheel. Gears and motors provide the upward spin while gravity pulls the wheel back to the ground, resulting in a continuous cycle.
Basic Physics terms that help in understanding how Ferris wheel works:
Acceleration: It is defined as the rate of change of velocity with respect to time. Acceleration is also equal to force by mass.
Force: Force is responsible for the change in velocity, shape, or direction of any object. Force is the product of acceleration and mass.
Mass: The amount of matter present in an object is known as mass.
Gravity: The force that draws objects towards the center of the earth.
Centripetal acceleration: It is defined as the property of an object in which the acceleration is directed radially towards the center of the circle.
During the ride, one can feel heavy and light depending on their position on the wheel which is a result of centripetal acceleration. It is important to understand that the centripetal force is always acting towards the center of the circle. When the passengers are at the top of the wheel, the centripetal acceleration is acting downward.
Let F1 be the force exerted by the passengers at the top of the wheel, then the force is given as:
F1 = m (g-a)
This is the reason why passengers feel light when they are at the top of the wheel.
As the wheel moves down, the centripetal acceleration is pointing upwards and the passengers experience both rotation as well as weight. The combination of these two is greater than the acceleration which makes passengers feel heavier.
Let F2 be the force exerted by the passengers at the bottom of the wheel, then the force is given as:
F2 = M (g+a)
The above equation is responsible for the heaviness that is felt by the passengers at the bottom of the Ferris wheel.
Hoping that you understood what makes the Ferris wheel move in a circular motion and how Physics plays an important role in all the amusement rides.
Interested to learn more concepts of Physics such as the first law of thermodynamics, stay tuned with BYJU'S. Also, don't forget to subscribe to our YouTube channel.
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French President Emmanuel Macron welcomed President Xi Jinping for a private dinner near Nice on Sunday as the Chinese leader tours Europe seeking support for an ambitious economic programme dubbed the "new Silk Road".
Italy surprised its EU partners a day earlier, when the eurozone's third-largest economy signed on to China's vast infrastructure investment programme, which spans more than 70 countries, despite warnings from Brussels.
But Macron might not be so easily won over. He has sought to forge a united European front to contend with China's global ambitions and has called for increased "reciprocity" in trade deals with Beijing.
Xi visited the tiny Mediterranean principality of Monaco earlier on Sunday and was welcomed by Prince Albert and Princess Charlene for the first state visit by a Chinese president. The palace said Monaco is interested in increased trade and economic cooperation with China as well as "boosting China's image in the principality".
Speaking before Xi's arrival, Macron lauded the EU's "awakening" to the challenges posed by China, which the bloc now labels a "rival" despite being Europe's biggest trading partner.
"We have a lot to do together in terms of climate action, in terms of multilateralism, but we also have to defend our own interests," Macron said.
Macron is expected to repeat his calls for increased "reciprocity" regarding market access to China, in particular Beijing's demands that foreign companies hand over vital technological know-how in order to invest in the country.
Europe's distrust of Huawei, which is poised to become the dominant player in next-generation 5G telecoms networks worldwide, is emblematic of the rocky relationship China has with the West.
The US is pressuring European allies to not use the Huawei technology, saying it creates a security risk by potentially letting Beijing install a "back door" on sensitive communications.
Despite the sources of friction, France's goal is to engage China as a closer partner as Washington makes a pointed withdrawal from global affairs under Trump's "America First" policy.
And there are other thorny diplomatic issues of particular interest to France. Grace Meng, the wife of Interpol's missing ex-chief, is currently under French police protection. She told FRANCE 24 she has not heard from her husband since he vanished six months ago on a trip to his native China and has written to Macron urging him to raise her husband's case with President Xi during his visit.


How did you spend your Spring Festival?
Festivals Time What does it celebrate? What do people do?
on the fifteenth day of the new year ( 15th, in the lunar calendar) lanterns: symbols of good fortune, happiness and health.
? In February ? People send roses and cards to the people they love.
? In May ? We give flowers and presents to our mothers.
? In April ? It is the time when Jesus Christ died and came back to life.
Look at the picture on P6.
? 1. what is the advice that Carla give Li Mei? and why? ? Carla tells Li Mei she should wear comfortable shoes, light and cool clothes and a hat.
park. 2.Why is it important for them to have water? 3. Why can't they hear each other? 4. Why do they plan to meet at the parking lot?
3. Why can't they hear each other? Because the music is very loud/ the louder speakers make it impossible to hear. 4. Why do they plan to meet at the parking lot?
They plan to meet at the parking lot so they don't get lost in the crowd then they will go and see the winners.
What is your favourite holiday of the year? Why?
When does the festival take place? What is the festival for?
What do people do during the festival?
1.What's you favourite holiday of the year? 2.What festivals or celebrations do you enjoy in your city or town?
You are given 5 minutes to read the passage quickly and try to remember different kinds of festivals mentioned in the text.
Task 2 1. How many parts is the passage divided into?
2. Which festivals are mentioned in the passage?
Lit fires and made music.
To celebrate the the end of the cold weather, planting in spring and harvest in autumn. To honor the dead or satisfy and please the ancestors.
For their great contributions to the society or the country. Food is gathered for the winter. A season of agricultural work is over. To celebrate the end of winter and the coming of spring.
Dragon boat racing, eat zongzi. Decorate churches and town halls, have big meals, admire the moon,eat moon cakes. Eat delicious food, give children lucky money, have carnivals.
Harvest and Thanksgiving festivals are happy gathered for the events because the food is _________ winter and because a season of agricultural ___________work is over,to which Mid autumn festival belongs.And the most energetic and important festivals are the ones that look forward to the end of winter and to the ______ coming of spring, such as the ______ lunar New Year, at which people have a very good time.
Spring Festival comes at the turn of a Chinese lunar year and is celebrated all over the country. On the day of the Lunar New Year people get up early and wear all kinds of new clothes. In the north, most families prepare jiaozi (dumplings) on the Eve as special food, while in the south sticky-sweet glutinous rice pudding called nian gao is served. Crackers are fired everywhere when the clock strikes twelve, as a signal of saying good-bye to the old year and welcoming the New Year in. Fireworks are lit to drive away evil spirits. People watch the CCTV special Spring Festival programs, sing and dance until the small hours of the morning.


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Stratton Duluth Brooks Passes Away
Today in Masonic History Stratton Duluth Brooks passes away in 1949.
Stratton Duluth Brooks was an American educator.
Brooks was born on September 10th, 1870 in Everett, Missouri. At the age of two he moved with his family to Mt. Pleasant, Michigan. There he attended the local high school and went on to the University of Michigan. After the University of Michigan he went on to earn his masters degree from Harvard University. He remained in the Boston area initially where he was the superintendent of the Boston public schools.
Prior to 1911, Oklahoma University (OU) came to the attention of many on the east coast for negative reasons. After they were made a state, the first Governor fired almost all of the faculty of the university and replaced them with political friends and allies. Many were very concerned about the school and wanted little to do with it.
In 1911, Brooks was initially approached by the new Board of Education for Oklahoma for the position of President. He flatly refused the position. The Board was not done with him and approached him again in 1912 at a superintendent's meeting in St. Louis, Missouri where they promised to keep politics out of the selection process. Brooks told them if they were truly interested in filling the position and wanted to keep politics out of it, they needed to make it so only the university president could appoint faculty and leaving the out of it. This included administration of the university. The Board agreed to Brooks' guidelines and he accepted the position.
In the Spring of 1912, Brooks took over as President at OU. He found that most of the citizens of Oklahoma were sending their children out of state for college. He worked to change that by strengthening the faculty. To his credit he did not terminate any political appointees who were skilled educators. He also established benefits for faculty members. As part of improvements to the campus, Brooks acquired lands around the school and built many buildings. He also was on good terms with the Board of Education and the Oklahoma Legislature which helped to move his vision for OU forward.
Brooks was OU's first wartime president, his tenure included all of World War I. He adjusted the curriculum at the school to ensure that all cycles of military and industry were covered. He made sure there were classes for training soldiers, training men who expected to become soldiers and trained those who took over for civil service jobs. This included telegraphy, both wired and wireless, welding, orthopedic surgery and first aid classes. By the end of 1918, the college had the look and feel of a military base.
Brooks left OU in 1923 and took the position of president of the University of Missouri.
Brooks passed away on January 18th, 1949.
Brooks was a member of Norman Lodge No. 38 in Norman, Oklahoma. Brooks was also a member of Columbia Chapter No. 17, Royal Arch Masons and St. Graal Commandery No. 12, Knights Templar both in Missouri.
Albert Alonzo "Doc" Ames is Born
Edward George Earle Lytton Bulwer-Lytton, 1st Baron Lytton Passes Away
James St Clair-Erskine, 2nd Earl of Rosslyn Passes Away

redpajama_set_name: RedPajamaCommonCrawl


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Survey Finds Pandemic Led to More Advanced-Stage Cancer Diagnoses
By Aislinn Antrim, Associate Editor
Two-thirds of surveyed physicians said patients are presenting with more late-stage cancers, with 73% saying patients in their practice are not receiving screenings.
A recent survey of physicians has found that patients are arriving for cancer treatments with more advanced stage disease than before the COVID-19 pandemic, although treatment postponements and deferrals have subsided since the pandemic began.
In the survey, 66% of radiation oncologists said new patients are presenting with more late-stage cancers, whereas 73% said physicians in their practice are noticing that patients are not receiving cancer screenings. Many survey respondents also said existing patients experienced a disruption in their radiation treatment due to the pandemic. According to Thomas J. Eichler, MD, FASTRO, chair of the ASTRO Board of Directors, these impacts on patients with cancer may be even more significant in some communities.
"Because the pandemic and cancer cause disproportionately more harm for Black and other medically underserved populations, these rates may be even higher for some vulnerable communities," Eichler said in a press release.
Enhanced safety protocols are also widespread in radiation therapy clinics, with survey respondents reporting nearly universal masking for both patients and staff (99%), social distancing in the clinic (100%), and screening patients and staff for COVID-19 exposure (95%). Furthermore, 93% of respondents reported increased sterilization, 80% said staff wear face shields during procedures, and 73% have no-visitor policies.
"Safety is the core of radiation oncology, and clinics were ready to adapt quickly and ramp up protective measures that keep their staff and patients safe from COVID-19 exposure," Eichler said in the press release.
The investigators also found that clinics have largely stopped deferring or postponing radiation treatments, with only 15% reporting postponed treatments in January and February 2021, compared to 92% in April 2020. Similarly, 12% reported deferring any new patient visits in 2021, compared to 75% in the first weeks of the pandemic.
Despite the encouraging findings about resumed treatments, the researchers found that some early-pandemic difficulties continue. Four in 10 practices still said they struggle to access personal protective equipment (PPE), medical-grade hand sanitizer, or other critical supplies.
Many physicians also said that the COVID-19 vaccination efforts at their practice were limited by access to the vaccine and by staff members' and patients' hesitation to receive the vaccine. Furthermore, the investigators found that the pandemic is not impacting clinics equally.
Radiation oncologists at community-based private practices were more likely to report seeing advanced-stage cancers among their patients compared to clinicians at university-affiliated clinics. PPE shortages and pandemic-related treatment interruptions were also more common at private practices, whereas vaccine access and hesitation were more problematic in clinics located outside of major metropolitan areas and for community-based private practices compared to university-affiliated clinics.
Telemedicine is an ongoing practice, with 85% of clinics offering telemedicine options for follow-up surveillance visits and 54% using telemedicine for new patient consultations. Just 15% use telemedicine for clinician assessments of patients who are undergoing radiation treatments, according to the study.
Financial and operational challenges are also ongoing, with the survey finding that patient volume dropped at 73% of clinics due to the pandemic. Visits were down 21% on average and 72% of practices reduced staff at some point due to the pandemic, according to the survey. However, 100% of the physicians surveyed said their radiation therapy networks remained open during multiple spikes of the pandemic, and just 7% closed any satellite locations.
"One year into the COVID-19 pandemic, we already see the consequences of pandemic-driven drops in cancer screening and diagnostics," Eichler concluded in the press release.
COVID-19 pandemic has led to more advanced-stage cancer diagnoses, physician survey finds [news release]. ASTRO; March 30, 2021. https://preprod.astro.org/News-and-Publications/News-and-Media-Center/News-Releases/2021/COVID-19-pandemic-has-led-to-more-advanced-stage-c. Accessed April 2, 2021.


What the above code does is basically requiring access to 'localStorage' of 'http://example.com' and store the reference to it in the 'storage' variable.
Because 'localStorage' is 'scoped to an HTML5 origin (scheme + hostname + non-standard port)' and follows the 'same origin' rule, care must be taken to prevent data corruption or loss caused by hostname conflicts. For instance, if two different extensions both use 'http://example.com' to access persistent local storage, they may overwrite or delete each other's data. Actually existing domain names should also be avoided, so that the extension's data, which may contain privacy-related information, will not be exposed accidentally to remote servers. As the 'origin' is not really accessed or even resolved when the code executes, pretty much anything can be used, for instance 'http://foo.bar'.


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Q: Accent marks in Windows console I've done a basic guessing game with Java. It's in Spanish so it has some accent marks (á,é) and some inverted exclamations marks (¡). The problem is that when I run the program on the Command Line it doesn't show the accents and it looks weird to read... Can someone help me with this?

A: The command line simply cannot show some characters only by printing them over System.out .
Maybe it would be easier to write your output in a simple JTextField or JLabel or something like that, for JTextField/JLabel is able to show every unicode characters which are included in the current Font.

A: I know this is an old question, but this may answer it, in case someone faces the same problem in the future.
When you run the program from command prompt, you need to pass an option to the JVM: -Dfile.encoding=utf-8
Your command would look like this :
java -Dfile.encoding=utf-8 <mainClass> <... other args>

In case you can't add this option manually, you can tell Windows to pick it up automatically from the environment variable JAVA_TOOL_OPTIONS :

*

*Win + R

*Open: sysdm.cpl

*Advanced

*Environment Variables

*User variables ; New...

*Variable name: JAVA_TOOLS_OPTIONS

*Variable value: -Dfile.encoding=UTF-8

*OK

*OK

Now, if you type:
java <MainClass> <... other args>

Windows will add the encoding option by itself.

redpajama_set_name: RedPajamaStackExchange


Here today to share my latest Cocoa Vanilla Studios project and it's another using the latest collection "Boys Rule". I thought for this project I'd scrap a page about our family cat doing the one thing he does best, sleep.
The inspiration for this page definitely started with the photo. Like most cats, ours is an avid sleeper and I had this shot of him sprawled out enjoying some sun. I found the text "Eat, Sleep, Be Rad, Repeat" on the "Boys Stuff" pattern paper and thought I'd use that to make up my title. The "Be Rad" text didn't suit 100% so I've placed a chipboard arrow from the Chipboard pieces pack over that text to make my title "Eat, Sleep, Repeat, Adventure". Because that really is HIS life… just eat, sleep, adventure repeat. The word "Adventure" has been fussy cut out of the "Entitled" pattern paper. I've placed these all on the "Messed Up" pattern paper, I just love that mixed media messy look, with no work and no mess!
With the title being such a large element it really did dictate the design. I've kept it simple and run everything from top to bottom of the page along the centre line. I've mounted my photo using the dark blue from the "Happy Go Lucky" pattern paper and sewn around the edge for added detail. This blue is a perfect match to the blue in my title.
Next, I wanted to pick up some of the warmth in the photo and the yellow of the text "Eat". I have done this with the timber look die cut frame from the Die Cut Ephemera pack. To balance out the colours I found the text from the "Boys Stuff" pattern paper "#SRSLY" which was also in this colour and made sure to add that towards the bottom of the page. If you follow me on Facebook, you will know I'm a huge fan of the HASHTAG and love using them on my layouts too!
At this point, I could see that I didn't have enough to fill my page top to bottom so I went about finding some more elements to add. I love this piece with the blue stars on it from the "Boys Stuff" pattern paper and added that into my stack of embellishments. It was great to have the added pop of the darker blue and grey and it wasn't too heavy to add directly underneath my title. I also decided on the grey element of arches to add as it was fun and interesting and finished off the bottom stack nicely.
The bones of the page were certainly locked in now, it was time to add some smaller embellishments. I've gone with stars to match the stars under my title with a selection of the chipboard pieces, Accessory Stickers and Die Cut Ephemera pack. I've also added a couple of the Clear Sticker stars on top of these for added detail. I just love these clear stickers, they are the perfect finishing touch. I also added another arrow to fit with the one I had placed over the "Be Rad" text.
To finish off the page I've added one little paper sticker at the very bottom and another 2 die cut pieces at the very top of the page. I also took this time to add some more stitching around the edge as well as between and across some of the central elements.
I just love how this page came together, and it is so great to get a page of our beloved family cat scrapped. This really is a fun collection to do that with!


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Žitavce, formerly Žitavské Ďarmoty () is a village and municipality in the Nitra District in western central Slovakia, in the Nitra Region.

History
In historical records the village was first mentioned in 1232.

Geography
The village lies at an altitude of 141 metres and covers an area of 8.288 km². It has a population of about 330 people.

Ethnicity
The population is about 97% Slovak.

References

Villages and municipalities in Nitra District

redpajama_set_name: RedPajamaWikipedia


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No. 072 How to Create a MVP (Minimum Viable Podcast)
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No. 107 Is Podcasting a Good Way to Reach My Target Audience?
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No. 103 What Should I Do with My Archive?
No. 102 How to Immediately Become a More Productive (and Better) Podcaster
No. 101 Showrunner 101 (Back to Basics)
No. 100 We Answer Your Questions (and Celebrate 100 Episodes)
No. 099 3 Powerful Reasons to Produce More Evergreen Episodes
No. 098 Are You Overlooking This Proven Podcast Format?
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No. 096 What Got You Here Won't Get You There
No. 095 5 Steps to Hosting Successful Live Online Events
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No. 093 How to Learn (and Teach) Better
No. 092 The 'Create Anything' Framework
No. 091 9 Steps to Becoming a Better Podcast Listener (And Why That Matters)
No. 090 Are You Spending Enough Time Thinking?
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No. 050 Why Quitting Your Podcast May Be the Greatest Gift You Can Give Your Audience
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No. 043 Setting Yourself Up for Success in iTunes: Part Two
No. 042 How to Execute a Successful iTunes Launch: Part One
No. 041 The 3 Elements You Must Have Ready at Launch
No. 040 13 Steps to a Better Show in 2016
No. 039 Exciting News and New Years Resolutions for 2016
No. 038 Are You Looking For a New Way to Launch (or Relaunch) Your Podcast?
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No. 036 Does Podcasting Daily Make You a Better Showrunner?
No. 035 A Buffet of Topics for (AMERICAN) Thanksgiving Week … Plus a Sandwich
No. 034 Next-Level Tips for Building Your Show's Email List
[Rebroadcast] No. 033 Why Email Is Your Show's Mandatory Companion
No. 032 How (and Why) to Submit Your Show to Podcast Directories
No. 031 Jonny Rants His Sinuses Clear About Social Media Strategy
No. 030 What Role Should Twitter Play in Your Show Promotion Strategy?
No. 029 How to Reach More Listeners in Less Time
No. 028 Good, Good, Good Advice for Recording Interview Guests and Co-Hosts
No. 027 To Script or Not to Script (That Is The Question)
No. 026 Sonia Simone on How a Podcast Fits Into a Content Marketing Strategy
No. 025 How to Easily Find and Schedule Guests for Your Podcast
No. 024 Essential Audio Tips from the Official Audio Engineer of Rainmaker.FM
No. 023 How to Admit That You Are Terrible at Podcast Interviews (and Why This Matters for Your Success)
No. 022 What Craft Beer and Food Trucks Can Teach Us About the Power of Collaboration
No. 021 Why Just-in-Time Learning is Critical for Your Show's Future
No. 020 Why Podcasting is a Crappy Hobby, but a Great Job (Or is it?)
No. 019 From Stats to Sponsors: A Remarkable Show is Simply Great Content, On Demand
Showrunner Short: Live Reaction from Podcast Movement 2015
No. 018 The Art of Planning Before Podcasting
No. 017 Are You Giving Too Much Away for Free?
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No. 015 Darren Rowse Opens Up About the Strategy Behind His New Show
No. 014 Pro Tips on Building an Audience That Will Stick With You
No. 013 The Keys to Being Confident in Front of the Microphone
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No. 011 How to Deliver a Better Audio Experience to Your Audience
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Showrunner Short: What We Learned From a Misguided Decision This Week
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Showrunner 'Short': The 4 Essential Elements of a Remarkable Podcast
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No. 005 What Does It Mean to Be a Showrunner?
Launch-Day Bonus: The Power of Teamwork and Collaboration
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No. 003 The Right Way to Approach Branding Your Podcast
No. 002 How to Decide What Topic to Podcast About
No. 001 Why Right Now is the Perfect Time to Start Your Podcast
Have you ever fallen off the podcasting wagon? Or come close? In tough times, it can be useful to consider the idea of the minimum viable podcast. So long as you're willing to never compromise on producing useful audio, this version of the MVP can be extremely helpful in keeping you moving forward.
In this episode, Jonny and Jerod discuss the following:
The mantra of a Showrunner Podcasting Course member that inspired this episode
How the software concept of MVP can be applied to podcasting
Why the idea of minimum viable podcast is not an excuse to compromise on quality
What elements of your podcast are essential, and which ones are not
Plus, Jerod has some exciting news to share at the beginning.
Listen, learn, enjoy …
Listen to The Showrunner below ...
No. 072 How to Create a MVP (Minimum Viable Podcast)Jerod Morris and Jon Nastor
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The Show Notes
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The Transcript
Voiceover: Rainmaker.FM.
Jerod Morris: This is Rainmaker.FM, the digital marketing podcast network. It's built on the Rainmaker Platform, which empowers you to build your own digital marketing and sales platform. Start your free 14-day trial at RainmakerPlatform.com.
Welcome to The Showrunner, where we have one goal: teach you how to develop, launch, and run a remarkable show. Ready?
Welcome back to The Showrunner, a podcast from Rainmaker.FM dedicated to helping you create remarkable audience experiences through audio. This is episode No. 72. I am your host, Jerod Morris, VP of marketing for Rainmaker Digital. I will be joined momentarily, as I always am, by my coffee-connoisseur co-host, Jonny Nastor, the host of Hack the Entrepreneur.
This episode is brought to you by Acuity Scheduling. Acuity Scheduling makes scheduling meetings online easy. Clients can view your real-time availability, self-book appointments with you, fill out forms, and even pay you online. To learn more and get a 45-day free trial, visit AcuityScheduling.com/Showrunner.
Jonny, what's going on man? How are you?
Jonny Nastor: Doing well. Looking forward to getting back into this.
Jerod Morris: Me too. Hey, on Slack a couple hours ago, I told you that I had news.
Jonny Nastor: You did.
Jerod's Exciting News
Jerod Morris: It just happened this morning, and it's really interesting timing considering what we talked about last episode with how do you decide whether you're going to start a new show or not. I do a weekly radio spot in Indiana. I got this obviously based on The Assembly Call. The guy who I do the weekly radio spot with just was named program director at the radio station, called me up today and said he wants our Assembly Call team to do an hour radio show for the radio station. Basically like a 'this week in Indiana basketball' type thing.
Jonny Nastor: Wow.
Jerod Morris: Yeah, which is really awesome. Here's the thing. I don't want to get into this too much because, if you want to hear us talk about how do you know if you want to say yes, how do you know if you want to do a new show, definitely go back and listen to episode No. 71, our last episode. I had the exact same reaction you did.
You just said, "Wow." And I said, "Hell, yes." Obviously we're going to do it. That's how I knew that I wanted to do it. It's like just that immediate, visceral hell yes, then talked about it with the guys, kind of looked at the opportunity. Obviously, you say hell yes, but then you actually want to make sure that you're ready for the time commitment.
Every single thing points to it being a great opportunity, a can't miss opportunity, a complete hell yes. So that was the answer, was hell yes, and we're going to do it. I just thought it was really interesting timing and just yet another example of what can happen from a podcast, from creating a good show, and from sticking with a show. Obviously, it's taken us six years to get to this point to where we're getting these kind of offers. But it's really exciting and really fun, and I wanted to share that with you and with the audience.
Jonny Nastor: That's really awesome, man. Congratulations.
Jerod Morris: It is. It's so much fun to get those 'hell yes' opportunities, too. So much better than the ones that are just okay opportunities, you have to hem and haw a little bit, and you don't know exactly what you're going to do. Man, when those opportunities come, they are exciting. I'm really excited to do this.
This is going to be something new because it's not going to be a live show. We're actually going to produce four 12-minute segments and then send them to them. Then they're going to put them in and play them live on the radio. It's going to be a little different. So as we go through this process — and I figure out how we do it, and then do we start a new podcast feed with those episodes, like how all that goes — I'll be sure to let folks know.
I think this idea of being able to get some opportunities on the radio from what you're doing with your show, this is not going to be a rare thing. I think a lot of radio stations are looking for good content. You can position yourself to take advantage of that. It's a great way to grow your audience.
Jonny Nastor: Yeah, and if you were on the email list prior to us changing, and prior to our break back in June, I believe, I put the link in there that week. The thing I was sharing was this great video and article by a guy who's a vet on the radio. He's been helping podcasters create shows that will get bought up by radio stations and put on.
There was this pie chart, and it showed exactly. He was like, "You can't be off by six seconds or 12 seconds. You have to be bang on, on these things because this is how radio works." He's like, "But if you can create your segments like this, there's these places to distribute your content," which is amazing. It might actually be useful to go back and see that. Now, that brings me back to that. That's awesome.
Jerod Morris: Maybe we'll do a full episode on that in the future, too, because I think that has some legs.
Jonny Nastor: I think you're right. It goes back to the whole you don't even know who's listening to your show.
Jerod Morris: Exactly. All right, are you ready to hop into today's main topic because you have prepared a good one for us, Jonny.
Jonny Nastor: Sure, let's do it.
Jerod Morris: All right, let's do it.
Jonny, I will let you take the reins here because you put this one together for us. I'm excited to dive in on this one.
Jonny Nastor: Yeah, for sure. Today's episode is how to create an MVP, minimum viable podcast. It's kind of a play on words. MVP in the typical — it's not typical — the atypical software business sense, it's minimum viable product. But we're using it in the minimum viable podcast.
Inside the Facebook, The Showrunner Course members Facebook group, there's been some discussions lately. It seemed like once somebody admitted to it, then other people came in like, "Oh, me too. I just haven't wanted to say it," about falling off the podcasting horse or just the life getting in the way. This is people with either 20 episodes, 50 episodes, 60 episodes, 100 episodes into it, and then things just getting in the way and not being able to get it done.
One of the course members, Melissa D., came in and shared this mantra with somebody else who was having this issue. It really helped a lot of people, and it really helped me. Then it also sort of gave birth to the idea of this topic today.
Melissa D. came in after somebody said they fell off the podcasting horse. She said, "My best advice is simply a mantra I use all the time."
She says, "Of all the practices we engage in, the most important practice is just getting back on the wagon. It's a very good thing to make a very short wagon, i.e., to set the bar really low. What is the least you could do to create a minimum viable podcast? Remember, you always get to take a fresh start. Stumbling is not an excuse to beat yourself up. It's an opportunity to practice my golden formula — which is self-awareness, plus self-compassion equals the key to everything good. In other words, notice what's working and what's not working. Notice how it feels when you're off the wagon compared to when you're on it, and treat yourself kindly. Forgive yourself for being human. And as I like to say, 'Don't beat yourself up. Love yourself up.'"
Jerod Morris: There's just so much to love in that mantra.
Jonny Nastor: I love it. It's so awesome. I don't even want to undersell it or undervalue it by literally just pulling out the minimum viable podcast part. But that really caught my attention. Because I think most of us, if not all of us, do beat ourselves up when this happens. Life does happen.
Hopefully today's episode will help us so that we can focus on determining for ourselves what a minimum viable podcast is so that, hopefully, you can get back on the wagon quicker — not the wagon, but the horse — hopefully maybe not even fall off it because you'll be willing to let go of certain things that just aren't necessary to keep a viable podcast running.
Jerod Morris: The thing is — and we deal with this a lot, Jonny, we've dealt with it ourselves, we've talked with folks who deal with this — you are going to fall off the wagon. You hit those dips, you get frustrated with your show, and all these things. There's two things that have to happen when that happens when you fall off the wagon, you're thinking about stopping your show or maybe you even have.
The first is, of course, to find some kind of inspiration to get going again — which, of course, this mantra from Melissa does. This idea of "self-awareness plus self-compassion is the key to everything good." She is so spot on with that. There is no need to beat yourself up because almost every single showrunner who has ever started a show has faced that self-doubt, has fallen off the wagon, has quit, has been in some similar situation to that.
The inspiration isn't enough. The good feeling isn't enough. You need an actual strategy. You need an actual plan of action to move forward because clearly something wasn't working right before. Now you need something different. That's why this idea of minimum viable podcast is so great and why I'm excited to talk about it today. We can help give you that inspiration part and get you excited. Hopefully following what Melissa says here, you can find some of that yourself.
The minimum viable podcast, then, is that simple, put one foot in front of the other, don't make it too complicated formula to actually getting back out there and getting your show going again — which is so important. Today, we want to focus on this idea, the minimum viable podcast.
First, I want to take a quick break and tell you about Acuity Scheduling, the sponsor for this week's episode of The Showrunner. Now, you know how challenging the back and forth of booking appointments, meetings, and podcasts guests can be. Jonny and I talk about it a lot on here. I've actually dealt with this with The Digital Entrepreneur with scheduling.
What's really nice is, I have Caroline Early, who just does so much great work for us at Rainmaker.FM and over at Digital Commerce Institute. She actually helps me schedule, and you can imagine how difficult it would be for her to be scheduling appointments, recording appointments, if she had to go back and forth on the email, "Hey, does this time work good for you? Oh, Jerod, is this good for you?" — all that run around, if we didn't use some kind of scheduling software. It makes it so much simpler both for scheduling, for rescheduling, for keeping it all organized.
I am acutely aware of how important this kind of a program is. Think about that. What if you never had to ask again, "What time works for you?" — that question that is the bane of all of our existences who schedule stuff.
Well, Acuity Scheduling makes the entire process of scheduling appointments easy. It works with your existing Google, Office 365, iCloud, or Outlook Calendar. Clients can view your availability and self-book appointments, complete on-boarding forms, and even submit payment so you can get back to running your business. Acuity Scheduling also helps you avoid no shows with automatic text and email reminders. Plus, it's simple to use, and they offer phenomenal customer support.
Here's what you want to do right now. Go to AcuityScheduling.com/Showrunner to start booking all of your meetings with zero hassle. Paid plans start at just $10 a month. But Showrunner listeners can access a free 45-day trial of Acuity Scheduling's stress-free schedule management. That's a month and a half of stress-free scheduling from Acuity Scheduling because you're a Showrunner listener. All you have to do is go to AcuityScheduling.com/Showrunner when you sign up. We thank them for their support of The Showrunner, and we hope you enjoy your new hassle-free scheduling. It will make your life so much better.
Jonny Nastor: I definitely enjoyed the ad read. That was really good.
Jerod Morris: Did you?
Why Scheduling Software Is Part of a Minimum Viable Podcast Workflow
Jonny Nastor: Yeah, that was really good. I guess this kind of fits into our topic. Besides the things you need — you have to have hosting, obviously. You have to have all those kinds of things. To me, the one which I would put into that is scheduling software. That whole trying to schedule guests, that's why guests just don't respond to you because you're just trying to like bounce them back times, and everyone's too busy for that these days.
Jerod Morris: I can't even fathom doing an interview show without scheduling software, seriously.
Jonny Nastor: People come in to my inbox and send me things almost daily without it. It's just like, "I can't do this." I've actually set up my own other link now for my scheduling software that sends them to another part of my calendar. Where it's like, "You've just got to use mine then because this is crazy."
Jerod Morris: Is this the point you're making, would you consider scheduling software part of a minimum viable podcast? Or at least part of a minimum viable podcast workflow?
Jonny Nastor: Yes. This can be kind of interesting. Just to give you a peek behind the curtain, I created this outline for this show just a few hours ago. Jerod is just seeing it now. I've gone through and I just listed a bunch of things that I considered necessary for a show. Necessary as in what's minimum, and then also there's a full list of things that I think when we start we think are necessary. There's definitely room for exploration of whether all of those are absolutely necessary.
I've highlighted some, and those are the ones that I think are the MVP of this process. But I think that Jerod's probably going to disagree or see a different perspective on some of them. This could get interesting. That's to give you guys an idea of what we're trying to accomplish here.
Jerod Morris: It's really important, too, to draw the distinction between MVP and ideal. When we talk about minimum viable podcast, we're not talking about the ideal podcast with the perfect website and the autoresponders, every single possible thing you can have. This is you just want to get back out there, get going, get a podcast that people can listen to and subscribe to, and get moving.
You know what? When you do that, then you'll add this, and then you'll add that. Instead of overwhelming yourself with all of that right now, this is what you need to take those first few steps. That's the goal. Just want to make sure people realize, if we don't say, "It's part of the minimum viable podcast," that doesn't mean it's not a best practice or that it shouldn't be part of your ideal showrunner strategy. But this is a strategy for someone who's in maybe a little bit of a different place.
Jonny Nastor: Exactly. We've all been in those places and possibly are right now. It's that 80/20 rule. What are the 20 percent you can do that gets you that 80 percent results. Because 80 percent is better than zero, and falling off the horse brings you to zero. We're trying to avoid that.
Jonny Nastor: Just to give you a quick idea of what MVP is. Jerod and I both come from software, so we've heard the term a lot. MVP is not most valuable player. It's 'minimum viable product.' In product development, the minimum viable product is a product with just enough features to gather validated learning about the product and it's continued development.
When you're building out a product, say software, you would come up with a very, very minimum viable thing that you could create and put out to your market to see if it is viable. Rather than just guessing, putting way too much time, energy, and resources into creating this giant, full-fledged product and then finding out that nobody even cares about it, it's this idea that's come up with called the MVP.
We're just taking it to podcasting. I think that even sometimes if you went to this MVP, you might stay there for one episode. You might stay there for 10 episodes. You might stay there for 20 episodes — until you get that time and resources and energy back to kind of go to the full-fledged foundation of a real show.
Jerod Morris: Let's make one more distinction, too. MVP does not mean low quality. What you put out as the MVP has to still be tip-top quality. It just means it may be … it could have five parts, and you're only putting out one part, that's your minimum viable. But it is still of the utmost quality. People will judge you based on quality. Now, it doesn't have to have the full scope that you hope maybe it has some day in the future. But what you put out does have to have the quality that you want to be representative of your brand and your product.
Sometimes people think, "Oh, I can just put this little crappy thing out." It needs to be good. It needs to be high quality. Make sure you don't mistake that.
Jonny Nastor: Yeah, great distinction. In software, actually, it's been sort of pushed further to viable isn't good enough. It has to be useful. Like your show has to be useful to your audience. It's absolutely necessary that there's a minimum usefulness too — or else there's no point in even doing it, for you or your audience. Great distinction.
Jonny Nastor: Now, I've broken this into two separate what I'm going to call 'viability points.' There's the overall show viability. These are your one time setups where, once you've done this and your show's launched, you don't have to worry about it anymore. But there's definitely things that have to be there. Typically, what this conversation is going to be around is the second part, which is the 'publishing viability.' This is where you fall off the horse. Typically, it's not called falling off the horse if you haven't even launched a show, and you're just thinking about it. That's not even getting on the horse yet. You've got to get on it before you can fall off it.
For show viability, again, these are the one-time setups, I've got listed here, you need to have your topic. If you went back … and I actually did this. I went to Showrunner.FM, back to our very first episodes, and I went through and I saw. We cover all these different things. If we're talking about something you're not sure about, go back and listen to the archives. There's the topic. You obviously have to know your topic, and you need a show name before you start.
Then you need to come up with artwork that fits into your marketplace, which we go over in great detail. You need the intro/outro music, and you need to determine a format for your show. To me, that is the creation of the show right there.
Beyond that, you need distribution. That can be a website. That can be an email opt-in form to build up your email list, and then your podcast feed, which is on your hosting, which gets distributed out to directories — which gets you distribution, which gets you listeners.
Then there's social media. We've covered this in great detail, but that's having your own social media accounts for your show or else personal ones where you can promote. Then there's iTunes, Google Play, which are just podcast directories themselves. But they're by far the two biggest ones and the ones that you should focus on first.
Then we did a whole episode on directory submissions where we went through and I went over a year's worth of history of mine and looked at which one's worked, which one's didn't. Then there's sponsors, which to me brings in … obviously, it's not always necessary at the very beginning to even be thinking about that. But if we're talking about viability, one of our four core elements is to have it so that there's monetization, that it earns money, and can continue to be viable to you as a showrunner.
Those would be the ones that I'm covering. Now, I guess I would like to see, to you, Jerod, from those ones, which ones are minimum viable?
Jerod Morris: I think you've got to have your topic. I think you've got to have a show name. But you could change your show name. Ideally, you wouldn't, but that's one thing here. Same thing with artwork. You need artwork, but it doesn't have to be your final artwork. You don't have to go spend $300 at 99designs to get your artwork. That can come when you're 100 episodes in like it did for us at The Assembly Call. You do need to have something here, and it needs to be good, like what you could create over at Canva. It can't just be some MS Paint thing. You want it to look okay, but it doesn't need to be perfect. It's got to be viable. It's got to be useful.
I agree with all this branding stuff — name, artwork, intro/outro music. You need something. It needs to sound good, but don't get so paralyzed thinking that it has to be the final one, that it has to be perfect. Same thing with format. You have to have a format, but you can change your format. I think that's important because people can get paralyzed with that kind of thing.
Website's the interesting one. I think for a minimum viable podcast, as long as you have a feed … you can go get a feed at Libsyn. You don't even necessarily have to have a website. If your goal is just to put a podcast out there, you could put a minimum viable podcast out there without some of this other stuff, without social media.
Now, I think once you start taking the next step, if this podcast is going to make money, if it's going to drive business results for you, and if that is part of, to you, what makes it viable, then you're going to need these elements. I think what your goal is with your show is going to dictate which ones of these are necessary and which ones are not.
For me, I would never put a podcast out without a website to go along with it because it wouldn't even be viable for me to do that. But I can see arguments made by other people where maybe they wouldn't want to do that. You just have to really sit down, understand what you want this podcast to do. I think that will help you decide which ones of these you have to have.
Jonny Nastor: I love it. The website one, I had it so that it wasn't considered viable, and that's only because I'm exploring the idea in my head of doing a show without a site.
Jerod Morris: Woah.
Jonny Nastor: I don't know. It might just be something that we've all done, and we've always done it. And there's other reasons. If there's a business around it or it's like an addition to an existing thing, then yes, you have a site, and you might as well be publishing to there. I think that one could be variable.
Email opt-ins, I was two and a half months into Hack the Entrepreneur before I even had an email opt-in up. To me, you need the topic. You need the show name. You need the artwork. You need the music. You need the format. Then you need a feed. The feed is absolutely necessary because you can't distribute it and nobody can subscribe to it without it.
Jerod Morris: Feed is definitely necessary. Again, a website, email opt-in, those are ideal. You should have those. Don't mistake us. But if you're just in this place where you have to go from an MVP, then they can be considered optional. That's the only time.
Jonny Nastor: If you're getting started right now and you're just held up with too many things, then yes, let's just go to the MVP. Social media, to me, it's good to grab the names before your show's launched so that somebody else doesn't grab them. But they're free to grab. They don't have to be used right now.
Then I said directory submissions, which is, to me, strictly iTunes and Google Play. Again, go back to the episode where we talk about directories, and there's 50 of them or 100 of them that is worth your time, at some point, to go through it. But it's not absolutely necessary right now beyond iTunes and Google Play, which will bring you must of your submissions. Then monetization, again, is a cool benefit but not necessary right now.
Let's move to falling off the podcasting horse. This is what I'm going to call 'publishing viability,' and this is on a per episode. You're on episode 28 right now, say, of your show, Jerod, and life is just getting in the way. You now have to do a radio show, too. You now have a brand-new beautiful baby daughter. You have all these things. You don't want to necessarily fall off the horse, but I want to explore what it's going to take for you to feel like you're doing enough to get the show out and make it kind of move forward. Maybe not as much as it could by doing everything.
What do you think is necessary to keep you on schedule and keep people getting your new show to their phone, where most people are consuming it anyways?
The Essential Elements for Staying On-Schedule and Keeping Listeners Tuned In
Jerod Morris: I think, obviously, you've got to create a good, useful episode. That's number one important thing — create a good, useful piece of audio. Then, I think you can go pretty basic with the show notes. I think you can give an intro. I think you can provide some basic bullet points so that people understand. The kind of thing that if you just sat down after recording the show that you could bang out in five or 10 minutes while it's fresh on the top of your mind. I think those are the minimum viable show notes that you need.
Then everything beyond that is something extra. Social media promotion, doing some of those other things, this is all ideal. These are all things you should be doing, but if it's just, "I need to get this episode out." Again, don't just crap together some episode just to fill your schedule — make it good. Make it useful. Otherwise, you're better off letting your audience know that you're going on a hiatus, taking a break, or running something from the archive.
Assuming that you can create that good episode, don't let the show notes intimidate you because we know that only a small portion of people even go to the show notes anyway. They're good. They're ideal. They can add value. But going a little bit simpler with the show notes with a good episode is better than not even doing a good episode because you're intimidated by the show notes, the social media promotion, and goodness gracious, all this other stuff that you have to do to keep up with the machine.
Pare that machine down to some basic show notes, and that's good enough. Then you can start adding stuff to it in the future as your schedule starts to open up, or maybe you add some efficiencies into what you're doing that gives you some more freedom to do that.
Jonny Nastor: I love it. I guess it's obviously assumed that you've created this useful episode already, the audio part of it.
Jerod Morris: Right, that part's got to be there.
Jonny Nastor: I realize I didn't really put that in. In the discussion in the Facebook group, one of the members had a really good episode recorded for, I think, four to five weeks, but it was all the other parts of publishing — the show notes, the artwork, the promotion — that was just stumping them and made them fall off the horse. All I'm trying to do is, if you have that good piece of on-demand audio, if what's stopping is all these other things, then just pare down what it is and find your 20 percent that will give you your 80 percent. When you can, get back to doing the full.
I did this through the summer because I got really busy. We moved. We were traveling, all kinds of things. I actually stopped doing artwork for episodes. I stopped doing full social media promotion, and I stopped the bullet points on my show notes. Honestly, I haven't even seen a change in traffic on my site, and downloads have actually gone up since June — so take that as you will.
Jerod Morris: Maybe that helps you to refocus on what you're doing. Maybe the time that you're investing in that isn't worth it. Sometimes, going through this process can be a blessing because it can really help you figure out what really matters.
Jonny Nastor: Exactly. It's just really this whole understanding that an MVP's not optimal, but it's a matter of posting or not. And if it's a matter of publishing or not, that's when you need to go off this. We all fall off the horse sometimes. We totally do. It happens. It's happened to us … no, it hasn't really with The Showrunner. We took a break, though, because we needed to.
When you're about to fall off the horse, come back, think about that, and find your MVP approach. It's going to be different for everyone, but it's going to be just geared to reduce when and for how long that we actually fall off that horse.
You still won't be able to stop it, and as Melissa said at the beginning, just don't be hard on yourself anyways when it does happen. This won't stop it completely. It's just sort of an exploration of what is possible to help us when this starts to happen.
Jerod Morris: Absolutely. Well said, Jonny.
How to Take Your Showrunning to the Next Level
Jerod Morris: With that said, we will alert you to go to Showrunner.FM and join The Showrunner. Get our weekly newsletter, Jonny and I alternate it. It's our chance to get into your inbox, email you once a week. The best part about that is, when you reply to those emails, we reply back. If you ever have questions, anything like that, we'd love to help you out. The people on our email list, obviously, you've declared yourself a showrunner, and we love helping you out.
Go to Showrunner.FM, get on the email list, and of course, make sure that you're back here next week for another brand-new episode of The Showrunner. Take care.
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Mark Burdette says
In episode 72 you mentioned you guys sent out an email about a video and article who help podcasters create shows that radio will buy. Would you mind sharing me the link to the video, podcast or article that talked about this? Thank you in advance. Really enjoy the show! Take care, Mark
Jon Nastor says
Mark, sorry for the delay.
Here is a link to the video we talked about on episode 72: https://www.entrepreneur.com/video/272274
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Charlotte, NC (Dec. 5, 2016) — Charlotte City Council received an update on the Community Action Plan during tonight's city council workshop meeting.
Assistant City Manager Debra Campbell has been charged to spearhead the Community Action Plan on behalf of the city.
Campbell told council that significant progress is being made in each of the council focus areas. In regards to Public Safety and to further council's goals of safety, trust and accountability, The Police Foundation will develop a Community Advisory Board of key Charlotte stakeholders to assist with their assessment of CMPD's policies, procedures and relationship with the community.
In addition, a town hall meeting called "Can We Talk about Police Community Relations and the Citizens Review Board" will be held Jan. 5 at the Palmer Building. To register, please click here: http://charlottenc.seamlessdocs.com/f/TownHall.
Council also learned of new initiatives like the workforce development program Partnership for Inclusive Employment and Career Excellence (P.I.E.C.E.). The first Corporate Advisory Council for Residential and Commercial Construction has now been scheduled for Dec. 13 with ten companies participating.
Community forums will be held across Charlotte over the next several months and all members of the community are invited to attend. More information is forthcoming.


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Division of Philanthropy and Alumni Engagement
"Dee Dee was the ultimate caregiver throughout her life," recalls her husband, Bill Miller. "She spent her entire life helping others with medical issues and a myriad of life concerns." Her service to others is one of the reasons Bill and his family, following Dee Dee's passing in January 2020, wanted to start a scholarship at Kent State...
Kent State's College of Public Health Hosts Virtual Public Health Academy for High School Students
We all know the world has changed, perhaps forever. The overall lesson of the COVID- 19 pandemic is that we need a public health workforce, prepared at all levels, to monitor the world for emerging infectious diseases, to prevent the spread of highly contagious diseases, to develop new treatments and vaccines, and to invent novel approaches never...
Alert on Third-Party Vendor Data Incident
Kent State University was recently notified of a security breach at one of our vendors, Blackbaud. Because your privacy and that of our alumni, donors, students, faculty, and staff is very important to us, we felt it necessary to make you aware of this issue, even though it is not KSU's breach. Blackbaud, which works with many nonprofits to...