#grabow

[vintageadsmakemehappy]

1968 Dr. Grabow Pre Smoked Pipes

[alphamecha-mkii]

C-ROC Gozanti Cruiser Concept by Sven Grabow

[manuelamordhorst]

Palmer Ort - Rügens südlichster Punkt

[vkpipes]

Dr GRABOW Starfire poker with the unique charm of the 1950s.

[joehaupt]

Vintage Regal Tobacco Pipe By Dr. Grabow, Imported Briar by Joe Haupt

[captain-price-unofficially]

Meeting of Soviet and American troops in Grabow, Pomerania, Germany. 3 May 1945

[simstorian-blog]

The Grabow House

(CC List + Links)

World Map: Oasis Springs

Area: Bedford Strait – Slipshod Mesquite

Lot Size:  40 x 30

Gallery ID: Simstorian-ish

Packs Needed

Expansion Packs

Cottage Living

Get Together

Game Packs

Outdoor Retreat

Spa Day

Strangerville

Kits

Courtyard Oasis Kit

Desert Luxe Kit

Build Mode

CharlyPancakes

The Lighthouse Collection (Reclaimed Wood Strip Flooring)

Peacemaker

Arcadia Build Set

Pierisim

MCM Pt. 1 (Built-In Shelf Small x3, Single Door Medium, Sliding Door Medium x3)

SixamCC

Dreamy Outdoor (Hanging Seat)

DO NOT REUPLOAD MY LOTS.

DO NOT CLAIM THEM AS YOUR OWN.

DO NOT PLACE BEHIND A PAYWALL.

Tray Files: DOWNLOAD

[mariacallous]

When turbine blades for the United States’ first offshore wind project left port in September 2023, headed for the Vineyard Wind 1 project off Massachusetts, they were traveling on a barge instead of a wind turbine installation vessel, or WTIV. These purpose-built vessels are common in other parts of the world and make the job much, much easier. A WTIV is a transportation and construction rig in one. Frequently equipped with a big crane, deployable legs, and a dynamic positioning system, WTIVs can support the installation of several humongous turbines per trip.

There are dozens of WTIVs plying the world’s waters. So, why were the Vineyard Wind 1 blades delivered on a barge? This expensive, inefficient workaround was necessary because of a century-old law known as the Jones Act.

Also known as the Merchant Marine Act of 1920, the Jones Act requires anyone transporting goods from one point in the United States to another to use an American ship. And by a modern interpretation of the old law, an offshore turbine counts as a point in the United States. The trouble is, the United States doesn’t have any WTIVs. And without the appropriate equipment, the country’s offshore wind efforts are being plagued by the need for repeated, smaller-capacity barge trips that have added costs to projects already beset by financial difficulties. Danish energy company Ørsted, for example, cited vessel delays when it canceled two planned projects off the New Jersey coast: Ocean Wind 1 and 2.

The country’s first Jones Act–compliant WTIV, the Charybdis, is currently under construction in Texas. While originally planned for completion in 2023, labor constraints have pushed the Charybdis’s launch back at least a year, possibly into 2025, says Dominion Energy, the vessel’s owner.

The Biden administration’s goal is to deploy offshore wind turbines capable of generating 30 gigawatts of power by 2030. That’s more than 2,000 turbines. To meet this target, the National Renewable Energy Laboratory (NREL), part of the US Department of Energy, says there’s a need for four to six WTIVs. But as 2030 draws ever closer, the incomplete Charybdis remains the only one.

The Jones Act is tricky to navigate. For a vessel to be compliant, it must not only be built in the United States and running the country’s flag but also be owned and crewed by Americans. Consequently, US shipyards enjoy a monopoly, which allows them to demand massively inflated prices.

When finished, the 144-meter-long Charybdis will boast over 5,000 square meters of main deck area and accommodate up to 119 people, supported by on-board cabins, mess rooms, and shops, as well as a cinema, gym, and hospital. But the WTIV’s cost has climbed from US $500 million to $625 million. Meanwhile, the major shipyards in South Korea could have built a similar vessel in less time, for less money, and with a more powerful crane.

The reason for the Jones Act’s longevity, says Colin Grabow, a research fellow at the Cato Institute, a libertarian think tank, is that while it tends to benefit only a few people and businesses, the act goes unnoticed because there are many payers sharing the increased costs.

The Jones Act is one in a string of protectionist laws—dating back to the Tariff Act of 1789—designed to bolster US marine industries. The Jones Act’s existence was meant to ensure a ready supply of ships and mariners in case of war. Its authors reasoned that protection from foreign competition would foster that.

“Your average American has no idea that the Jones Act even exists,” Grabow says. “It’s not life-changing for very many people,” he adds. But “all Americans are hurt by the Jones Act.” In this case, that’s by slowing down the United States’ ability to hit its own wind power targets.

Grabow says those most vocal about the law—the people who build, operate, or serve on compliant ships—usually want to keep it in place.

Of course, there’s more going on with the country’s slow rollout of offshore wind power than just a century-old shipping law. It took a slew of factors to sink New Jersey’s planned Ocean Wind installations, says Abraham Silverman, an expert on renewable energy at Columbia University in New York.

Ultimately, says Silverman, rising interest rates, inflation, and other macroeconomic factors caught New Jersey’s projects at their most vulnerable stage, inflating the construction costs after Ørsted had already locked in its financing.

Despite the setbacks, the potential for offshore wind power generation in the United States is massive. The NREL estimates that fixed-bottom offshore wind farms in the country could theoretically generate some 1,500 gigawatts of power—more than the United States is capable of generating today.

There’s a lot the United States can do to make its expansion into offshore wind more efficient. And that’s where the focus needs to be right now, says Matthew Shields, an engineer at NREL specializing in the economics and technology of wind energy.

“Whether we build 15 or 20 or 25 gigawatts of offshore wind by 2030, that probably doesn’t move the needle that much from a climate perspective,” says Shields. But if building those first few turbines sets the country up to then build 100 or 200 gigawatts of offshore wind capacity by 2050, he says, then that makes a difference. “If we have ironed out all these issues and we feel good about our sustainable development moving forward, to me, I think that’s a real win.”

But today, some of the offshore wind industry’s issues stem, inescapably, from the Jones Act. Those inefficiencies mean lost dollars and, perhaps more importantly in the rush toward carbon neutrality, lost time.

[vintagepipemen]

All these pictures of great pipemen of the past. Many, surely now, gone from us. Do you ever wonder.......what became of all their pipes they loved so much? I have, and the thought brings mostly sadness.

Yes, I do often think about that. Occasionally in a photo, you can discern the make of the pipe, but often I'm left wondering if it's a high-grade pipe or a drugstore Dr. Grabow. Regardless, I do wonder what happened to all those pipe collections...

[lurchsworld]

Annie Wersching, Amy Grabow and Jennifer O'Dell as female villains

[nightinghoul]

Neurotypical

I was sitting with my rabbits, eating oatmeal, rocking, and singing a song about eating oatmeal for every meal (because I say it like it's bad, but at the same time, it's my food. I would like to have options, but I may as well go back to oatmeal anyway. I always do.)

The song went like this:

Oatmeal for Breakfast

Oatmeal for brunch

Oatmeal for dinner

Oatmeal for lunch!

Oatmeal for supper

Oatmeal for a snack

Oatmeal in the front

Oatmeal in the back!

Did you know supper is a late evening meal? It used to be used in Europe when people traditionally had two meals a day. Sometimes it even consisted of cold oats. But dinner is a looser term. It can refer to supper, or any large meal in the middle of the day.

Anyway, the song was to the tune of "Monsters In The Closet". This was a song on a record of the same name that I used to check out from the library constantly, to the point I may as well have owned it. It was for children suffering from anxiety, and it made scary things into something to laugh about.

Afterwards, I checked the mail, but none of my packages had come in yet. I ordered three new tobacco pipes for my collection. I have nearly seventy. I don't smoke - I just like them. One of the ones I'm expecting is a Missouri Merchaum corncob pipe. I have a few already, but I really like them. Did you know that Missouri Meerchaum created the first streamline corncob pipes, and is the oldest and most prolific manufacturer of tobacco pipes in the United States?

Anyway, I got a couple others too, because they looked cool. Then I read some articles about the history of Dr. Grabow pipes, because I got this very cool Dr. Grabow pipe with a metal stem. Did you know that the most popular material for tobacco pipe stems for a while was a type of plastic called Bakelite, but they stopped using it in the 40's because they found out it was toxic? It's so funny that I'm talking about stems and stimming at the same time. I'm stemming! Haha, I love puns!

Anyway, my insurance won't pay for me to be tested for neurodivergencies, and my therapist a couple years back said I can't be autistic or have ADHD because I make good eye contact, and act pretty normal in one-on-one conversations where she, never once, asked me what my favorite pipe is. (It's an antler stem Turkish hunting pipe, although my meerchaum dragon claw is a close second. Did you know a lot of North Amercians will say it's an eagles claw? If they're made in the US, I guess they probably are Eagles' claws. Anyway, the most popular meerschaum design is the sultan head. I only have one of those. They don't interest me much, but I bought it from a really nice lady in an antique shop.)

A little off subject, but I speaking of collections, I collect stuffed bunnies. I don't have as many as I have pipes, because they take up more space, and I'm very picky. Although I'm 42, I sleep with a stuffed bunny named Rununculus. That is the name of a beautiful flower that nobody ever uses. Rununculus is made of about seven different fabrics, so she has all kinds of textures. My favorite is the sort of wooly one on her little paws. I find it very calming. And I need something calming to sleep, or my thoughts will get me.

Anyway, I'm definitely neurotypical, right?

[manuelamordhorst]

Lost Place-El Dorado Rügen

[alex-waddles]

I hate this, but I need help. I've been struggling financially for years now, I've got no income and nothing saved up. I've started a GoFundMe. If you can donate, or even just share, it would help a lot. Thank you so much.

[ulkaralakbarova]

Two women, Nic and Jules, brought a son and daughter into the world through artificial insemination. When one of their children reaches age, both kids go behind their mothers’ backs to meet with the donor. Life becomes so much more interesting when the father, two mothers and children start to become attached to each other. Credits: TheMovieDb. Film Cast: Jules: Julianne Moore Nic: Annette Bening Paul: Mark Ruffalo Joni: Mia Wasikowska Laser: Josh Hutcherson Tanya: Yaya DaCosta Jai: Kunal Sharma Clay: Eddie Hassell Sasha: Zosia Mamet Luis: Joaquín Garrido Brooke: Rebecca Lawrence Levy Stella: Lisa Eisner Joel: Eric Eisner Waify Girl: Sasha Spielberg Clay’s Dad: James MacDonald Bartender: Margo Victor Sous-chef (uncredited): Stuart Blumberg Waiter (uncredited): Diego Calderón Pregnant Woman (uncredited): Amy Grabow Partygoer (uncredited): Nino Nava Film Crew: Writer: Lisa Cholodenko Producer: Daniela Taplin Lundberg Production Design: Julie Berghoff Producer: Gary Gilbert Producer: Jeffrey Kusama-Hinte Producer: Celine Rattray Producer: Phillippe Hellmann Director of Photography: Igor Jadue-Lillo Costume Design: Mary Claire Hannan Editor: Jeffrey M. Werner Producer: Jordan Horowitz Stand In: Toni Kallen Additional Editor: Nancy Richardson Stunts: Cassidy Vick Hice Stunt Coordinator: Mark Norby Writer: Stuart Blumberg Original Music Composer: Carter Burwell Co-Producer: Charles E. Bush Jr. Executive Producer: J. Todd Harris Executive Producer: Neil Katz Co-Producer: Todd J. Labarowski Executive Producer: Riva Marker Co-Producer: Joel Newton Executive Producer: Galt Niederhoffer Executive Producer: Anne O’Shea Casting: Laura Rosenthal Executive Producer: Andy Sawyer Executive Producer: Steven Saxton Executive Producer: Christy Scott Cashman Executive Producer: Ron Stein Co-Producer: Bergen Swanson Art Direction: James Connelly Set Decoration: David A. Cook Co-Producer: Camille Moreau Movie Reviews: Filipe Manuel Neto: **A “gay friendly” film that manages to be minimally neutral to also please those who are out of political and ideological struggles.** The troubled causes have never been so popular as they are today: from abortion to euthanasia, from the historical question between colonizing and colonized countries to the return of looted artworks by European museums, passing through the causes of the Gay Movement, whose acronym grows every year, to embrace any new definition invented for each way of feeling and living sexuality, reflecting a need for affirmation that is felt more strongly than the convenience of presenting a certain union in the ranks. This “gay friendly” film fits perfectly into a growing list of cinema works dedicated to scrutinizing the dynamics of these new families. The advantage of this film is that it is not overly militant. The script introduces us to two mature women, who live in a stable lesbian relationship and who decided to get pregnant, by artificial insemination (obviously the more traditional method was discarded for obvious reasons), the semen donor was the same and the children who were born are, therefore, half-siblings on the part of the father (whom they do not know). It is precisely the search for her biological father and the creation of a closer relationship with him that takes the plot forward, with the introduction of this friendly and uncomplicated man totally destabilizing the life of that house. I liked the movie in general. At the same time that it tries to deny that idea, much replicated, that two lesbians would instill their own sexual orientation in their children, the film seeks to create a question around the inviolability of the anonymity of the donors of seminal material… I cannot speak for everyone, but I would never donate semen if I suspected that, years later, someone might have knocked on my door and said he was my son. Anonymity is something that should be inviolable and sacred here, regardless of the will of those involved. It was the point in the script that bothered me the most, but there were a few more. For me, the strongest poi...