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This AI Accelerator teaches you how to access, understand, and tune blueprints for both preprocessing and model hyperparameters. You'll programmatically work with DataRobot advanced tuning which you can then adapt to your other projects.

Unlike conventional buildings which require only coins / supplies, Great Buildings have requirements of goods and a full set of blueprints which must be collected before the Great Building can be constructed. Great Buildings require 9 blueprints to construct. Once the Great Building's requirements have been met and the foundation laid, it will be at level 0 and must be "leveled" to level 1 before granting benefits to the player.

To level your Great Building, you need to contribute a specific amount of Forge Points to the building. For each level gained, the inherent bonus of that Great Building increases, as well as the rewards paid to the top 5 donors. At level 10, the Great Building will no longer be able to advance until a full set of blueprints are "spent" to unlock the next level. Once this is done, a single additional level will be unlocked. A full set of blueprints is required for each level after level 10.

To place the Great Building, you will first have to acquire the 9 separate blueprints and also the required goods of the building's age. However, the placed Great Building is level 0 and it does not give any bonus yet. See the next section. A Great Building must be connected by roads to provide benefits or to allow Forge Point contributions.

The Great Building at level 0 is just a construction site and it won't build itself like other buildings. Players must use Forge Points to upgrade it. Once the building reaches level 1, it is built and starts to give out bonuses, but still can be upgraded with increasing bonuses to a maximum of level 10. In Patch 1.29 (7 July 2014), the maximum level of Great Buildings has been removed. Now players can trade in a complete blueprint set to unlock levels after 10. Forge Points must be added to achieve each of these new levels.

As Great Buildings cannot be stored, the only way to remove them from the city grid is to delete/sell them. The Player will not receive any compensation for deleting the Great Building - neither goods nor blueprints nor invested forge points nor diamonds will be paid back. Also, all current contributions to an unfinished level will be lost for the respective contributors. When you want to build the GB again in the future, you will start from Level 0 and you will need a full set of BP again.

Although the budget blueprint provides limited details on the agency, account, or program level, it indicates Trump Administration support for billions of dollars in cuts to government agencies to counterbalance increases in military and national security spending. The blueprint includes several recommendations that would make significant changes to the budget and operations of the Public Health Service (PHS) agencies within the Department of Health and Human Services.

The budget blueprint proposes reducing National Institutes of Health (NIH) funding for biomedical and behavioral research by $5.8 billion from the annualized FY2017 level to $25.9 billion. While no other details are provided, this would appear to return NIH's funding in real (i.e., inflation-adjusted) terms to the levels of the late 1990s. The blueprint also calls for a "major reorganization of NIH's Institutes and Centers to help focus resources on the highest priority research" and "other consolidation and structural changes."

The NIH proposal contrasts with recent legislative actions to increase NIH's budget after several years of gradually declining funding. Lawmakers increased NIH's annual appropriation for FY2016 by $2 billion over the FY2015 level. In addition, the newly enacted 21st Century Cures Act established the NIH Innovation Account and authorized annual transfers to the fund over a 10-year period totaling $4.8 billion. Each year, funds in the Innovation Account are available to be appropriated to help support the Precision Medicine Initiative, the BRAIN initiative, cancer research, and the use of adult stem cells in regenerative medicine. The blueprint does not mention these or other specific research areas.

The blueprint says there will be reforms of "key public health, emergency preparedness, and prevention programs," many of which are administered by the Centers for Disease Control and Prevention (CDC), and a restructuring of "similar HHS preparedness grants to reduce overlap and administrative costs." No additional details are provided. It also proposes a new $500 million CDC block grant for states to address public health challenges, but it does not specify whether these funds would come from CDC's existing budget.

The Food and Drug Administration (FDA) is funded by a combination of annual appropriations action and user fees, which the agency collects from manufacturers of certain FDA-regulated products. The amount of user fees FDA collects has increased over the past 25 years, both in absolute terms and as a share of its overall budget. User fees now account for 43% of FDA's funding.

The budget blueprint includes a proposal that FDA's medical product user fees be increased in FY2018 to "over $2 billion" from the current level of about $1.4 billion, and "replac[e] the need for new budget authority to cover pre-market review costs." Congress is gearing up to consider another five-year reauthorization of FDA's medical product user fee programs based on new and, in general, larger fee amounts negotiated by FDA and the drug and medical device industries. Any user fee proposal in the budget that goes beyond the amounts that have already been agreed to may require further negotiation with the industry.

The blueprint includes a "$500 million increase above [FY]2016 enacted levels" for opioid abuse prevention and treatment programs administered by the Substance Abuse and Mental Health Services Administration (SAMHSA). The 21st Century Cures Act authorized $500 million to be appropriated for each of FY2017 and FY2018 for state grants to address the opioid abuse crisis. The second continuing resolution, under which most of the government is currently operating, appropriated $500 million for FY2017 pursuant to this authority. The blueprint proposal does not indicate whether it would be additional funding above this level.

Holder issued a press release and presented the strategy as a blueprint to strengthen the fight against crimes of child pornography, online enticement, child sex tourism, commercial sexual exploitation and sexual exploitation in Indian Country.

Jack Kruschen (1922-2002)

He may have not been a household name, yet his career consisted of over seventy-five films, spanned over six decades, and displayed a strong versatility in playing either dramatic or comic roles with equal effectiveness. He was the definitive, "I can't quite remember the name, but I remember the face" character player who enlivened many films with his robust frame, cherubic face and infectious smile. His name was Jack Kruschen, a superb performer who died on April 2, 2002 at the age of 80, leaving behind a strong body of work that was impressive as any character actor of his generation.

Kruschen was born on March 20, 1922 in Winnipeg, Manitoba, Canada. The son of a watchmaker who later set up shop in Hollywood, he was performing in an operetta at Hollywood high school when a talent scout for CBS radio discovered him. Kruschen was soon doing voice characterizations on popular network programs such as Dragnet, The Danny Thomas Show and Sam Spade. With his gift for dialects (he was most adept at playing ethnic types like Greeks, Yiddish or Italians - a skill finely honed in his radio days), Kruschen was a natural for the movies and soon made his film debut with a small role in the Betty Hutton comedy Red, Hot and Blue (1949).

Kruschen's early career is peppered with a variety of roles like a comical gangster in both Abbott & Costello Go to Mars (1953) and Money from Home (1953) starring Jerry Lewis & Dean Martin; a hard-nosed police detective in Confidence Girl (1952) and Julie (1956), an underrated Doris Day thriller; or doomed victims to alien prey in Sci-fi cult classics: the 1953 version of War of the Worlds (fans remember him as Salvatore, one of the first earthlings to be killed by the invading Martians) and The Angry Red Planet (1959). The roles offered steady work, but not much critical recognition. All that changed when Billy Wilder cast him in the key role as Jack Lemmon's bemused but caring neighbor, Dr. Dreyfuss in The Apartment (1960). As the man who observes the steady stream of women in and out of Lemmon's apartment and the one who saves Shirley MacLaine from a drug overdose, Kruschen offered a wonderful performance - viewing his neighbor's proceedings with a jaundiced eye, yet never letting his disdain overtake his humor and humanity. He was justly rewarded with an Oscar nomination as Best Supporting Actor.

From this point on, Kruschen was seldom out of work, appearing in over 40 films (including a terrific dramatic turn in the original Cape Fear (1962) as Dave Grafton, a corrupt southern bigot) and nearly 60 guest roles on television for the next two decades. Kruschen would later find fame toward the end of his career when he was cast as Papa Papadapolis in the hit sitcom Webster (1985-1987) and would show pleasant variations of the "kindly old codger" throughout the remainder of his career - like his final role in the romantic comedy 'Til There Was You (1997). His death in April this year may have gone largely unnoticed by the movie-going public, but for those of us who treasure the art of the character player, Kruschen's passing was a loss that is fortunately compensated by his strong body of work that will be enjoyed for fans of the late show for many years to come.

By Michael T. Toole

SIGNE HASSO, 1910-2002

Actress Signe Hasso died June 7th at the age of 91. She was best-known for starring in A Double Life (1947) but played numerous Europeans in films during the 1940s. Hasso was born on August 15, 1910 in Stockholm, Sweden and began acting on stage at the age of 13. Ten years later made her first film appearance as Signe Larsson. She was married in 1936 and adopted the last name of her husband, cinematographer and later director Harry Hasso. After a dozen Swedish films, Hasso moved to Hollywood in 1940 where her first screen appearance was an uncredited role in Journey for Margaret (1942). A brief stint at RKO didn't lead to any more promising film parts so Hasso concentrated on her stage career in New York City. Eventually, her film career became more active, thanks to a quick succession of roles, most notably in Fred Zinnemann's The Seventh Cross (1944), Douglas Sirk's A Scandal in Paris (1946) and Henry Hathaway's The House on 92nd Street (1945). However it was her portrayal of Ronald Colman's wife in the Oscar-favorite A Double Life that solidified her fame. But as Hasso continued to act on the stage and TV, her film work began to taper off. She appeared in high-profile thrillers like Crisis (1950), several made-for-TV movies, a few European productions and even the cult murder mystery, Bert Gordon's Picture Mommy Dead (1966). In 1972, the king of Sweden decorated Hasso for her work. Her final appearance was in a 2001 documentary about Greta Garbo.

HERMAN COHEN, 1927-2002

One of the key producers of B-movies, Herman Cohen, died June 2nd at the age of 76. Like most producers, his name wasn't generally known outside the industry or the realms of film buffs but most people never forget the titles of his films: I Was a Teenage Werewolf (1957), Horrors of the Black Museum (1959) and the not-quite-immortal Bela Lugosi Meets a Brooklyn Gorilla (1952). Cohen was a Detroit native, born August 27, 1927. He entered the film business in the smallest possible way, as a 12-year-old janitor, often accepting passes for his family and friends instead of wages. Cohen served in the Marine Corps (several articles incorrectly say the Army) before becoming a publicist at Columbia Pictures. By 1951 he was working as a producer's assistant on low-budget independent films, mostly for Realart Pictures run by another Detroit native Jack Broder. Soon Cohen was producing his own movies, including Westerns and mysteries, until hitting big with the famous I Was a Teenage Werewolf. Starring a then-unknown Michael Landon (under personal contract to Cohen who later tore it up so Landon could appear in Bonanza), the film was made for $100,000 but in just a few months grossed over $2 million. Cohen didn't hestitate to turn out I Was a Teenage Frankenstein and Blood of Dracula by Thanksgiving of that same year and before long had made several films that continued to earn money for years to come. (One TCM writer remembers Horrors of the Black Museum turning up in a small Alabama town in the early 70s, over a decade after its initial release. The film is scheduled for a DVD release with a Cohen commentary from VCI Entertainment.) Cohen also made several films in England including The Headless Ghost (1959) and the cult favorite Konga (1961) where Cohen even paid RKO $25,000 for the rights to use the title King Kong in publicity for his own film. Cohen's later movies included a spaghetti Western and Joan Crawford's final acting role Trog (1970). In the 1980s Cohen ran a company, Cobra Media, that distributed some films and licensed material such as Teenage Werewolf to Landon for use in one of his Highway to Heaven episodes.

By Lang Thompson

TCM Remembers - Jack Kruschen Jack Kruschen (1922-2002) He may have not been a household name, yet his career consisted of over seventy-five films, spanned over six decades, and displayed a strong versatility in playing either dramatic or comic roles with equal effectiveness. He was the definitive, "I can't quite remember the name, but I remember the face" character player who enlivened many films with his robust frame, cherubic face and infectious smile. His name was Jack Kruschen, a superb performer who died on April 2, 2002 at the age of 80, leaving behind a strong body of work that was impressive as any character actor of his generation. Kruschen was born on March 20, 1922 in Winnipeg, Manitoba, Canada. The son of a watchmaker who later set up shop in Hollywood, he was performing in an operetta at Hollywood high school when a talent scout for CBS radio discovered him. Kruschen was soon doing voice characterizations on popular network programs such as Dragnet, The Danny Thomas Show and Sam Spade. With his gift for dialects (he was most adept at playing ethnic types like Greeks, Yiddish or Italians - a skill finely honed in his radio days), Kruschen was a natural for the movies and soon made his film debut with a small role in the Betty Hutton comedy Red, Hot and Blue (1949). Kruschen's early career is peppered with a variety of roles like a comical gangster in both Abbott & Costello Go to Mars (1953) and Money from Home (1953) starring Jerry Lewis & Dean Martin; a hard-nosed police detective in Confidence Girl (1952) and Julie (1956), an underrated Doris Day thriller; or doomed victims to alien prey in Sci-fi cult classics: the 1953 version of War of the Worlds (fans remember him as Salvatore, one of the first earthlings to be killed by the invading Martians) and The Angry Red Planet (1959). The roles offered steady work, but not much critical recognition. All that changed when Billy Wilder cast him in the key role as Jack Lemmon's bemused but caring neighbor, Dr. Dreyfuss in The Apartment (1960). As the man who observes the steady stream of women in and out of Lemmon's apartment and the one who saves Shirley MacLaine from a drug overdose, Kruschen offered a wonderful performance - viewing his neighbor's proceedings with a jaundiced eye, yet never letting his disdain overtake his humor and humanity. He was justly rewarded with an Oscar nomination as Best Supporting Actor. From this point on, Kruschen was seldom out of work, appearing in over 40 films (including a terrific dramatic turn in the original Cape Fear (1962) as Dave Grafton, a corrupt southern bigot) and nearly 60 guest roles on television for the next two decades. Kruschen would later find fame toward the end of his career when he was cast as Papa Papadapolis in the hit sitcom Webster (1985-1987) and would show pleasant variations of the "kindly old codger" throughout the remainder of his career - like his final role in the romantic comedy 'Til There Was You (1997). His death in April this year may have gone largely unnoticed by the movie-going public, but for those of us who treasure the art of the character player, Kruschen's passing was a loss that is fortunately compensated by his strong body of work that will be enjoyed for fans of the late show for many years to come. By Michael T. TooleSIGNE HASSO, 1910-2002Actress Signe Hasso died June 7th at the age of 91. She was best-known for starring in A Double Life (1947) but played numerous Europeans in films during the 1940s. Hasso was born on August 15, 1910 in Stockholm, Sweden and began acting on stage at the age of 13. Ten years later made her first film appearance as Signe Larsson. She was married in 1936 and adopted the last name of her husband, cinematographer and later director Harry Hasso. After a dozen Swedish films, Hasso moved to Hollywood in 1940 where her first screen appearance was an uncredited role in Journey for Margaret (1942). A brief stint at RKO didn't lead to any more promising film parts so Hasso concentrated on her stage career in New York City. Eventually, her film career became more active, thanks to a quick succession of roles, most notably in Fred Zinnemann's The Seventh Cross (1944), Douglas Sirk's A Scandal in Paris (1946) and Henry Hathaway's The House on 92nd Street (1945). However it was her portrayal of Ronald Colman's wife in the Oscar-favorite A Double Life that solidified her fame. But as Hasso continued to act on the stage and TV, her film work began to taper off. She appeared in high-profile thrillers like Crisis (1950), several made-for-TV movies, a few European productions and even the cult murder mystery, Bert Gordon's Picture Mommy Dead (1966). In 1972, the king of Sweden decorated Hasso for her work. Her final appearance was in a 2001 documentary about Greta Garbo.HERMAN COHEN, 1927-2002One of the key producers of B-movies, Herman Cohen, died June 2nd at the age of 76. Like most producers, his name wasn't generally known outside the industry or the realms of film buffs but most people never forget the titles of his films: I Was a Teenage Werewolf (1957), Horrors of the Black Museum (1959) and the not-quite-immortal Bela Lugosi Meets a Brooklyn Gorilla (1952). Cohen was a Detroit native, born August 27, 1927. He entered the film business in the smallest possible way, as a 12-year-old janitor, often accepting passes for his family and friends instead of wages. Cohen served in the Marine Corps (several articles incorrectly say the Army) before becoming a publicist at Columbia Pictures. By 1951 he was working as a producer's assistant on low-budget independent films, mostly for Realart Pictures run by another Detroit native Jack Broder. Soon Cohen was producing his own movies, including Westerns and mysteries, until hitting big with the famous I Was a Teenage Werewolf. Starring a then-unknown Michael Landon (under personal contract to Cohen who later tore it up so Landon could appear in Bonanza), the film was made for $100,000 but in just a few months grossed over $2 million. Cohen didn't hestitate to turn out I Was a Teenage Frankenstein and Blood of Dracula by Thanksgiving of that same year and before long had made several films that continued to earn money for years to come. (One TCM writer remembers Horrors of the Black Museum turning up in a small Alabama town in the early 70s, over a decade after its initial release. The film is scheduled for a DVD release with a Cohen commentary from VCI Entertainment.) Cohen also made several films in England including The Headless Ghost (1959) and the cult favorite Konga (1961) where Cohen even paid RKO $25,000 for the rights to use the title King Kong in publicity for his own film. Cohen's later movies included a spaghetti Western and Joan Crawford's final acting role Trog (1970). In the 1980s Cohen ran a company, Cobra Media, that distributed some films and licensed material such as Teenage Werewolf to Landon for use in one of his Highway to Heaven episodes.By Lang Thompson Quotes Trivia Notes According to studio publicity, director-writer Andrew Stone wrote the screenplay for A Blueprint for Murder after spending two years conducting extensive research into poison murders and discovering that very few cases are ever uncovered and successfully prosecuted. A February 1953 Hollywood Reporter news item announced that Stone had written an article for Collier's based on his research, but its publication has not been confirmed. Although a January 1952 Hollywood Reporter news item reported that Lou Nova was being tested for a role in the picture, his appearance in the completed film has not been confirmed.

According to studio publicity, various locations in Los Angeles were utilized for the production, including the new wing of the Cedars of Lebanon Hospital, the Hall of Justice and a Santa Monica mansion once owned by Marion Davies, which was used for the home of "Lynn Cameron." Contemporary sources add that in order to overcome the obstacles presented by the often narrow doorways of the location buildings, photographer Leo Tover perfected a "a trackless camera dolly so small that it can be moved through any regulation-size doorway without interruption of shooting." On March 29, 1954, Dan Dailey and Dorothy McGuire performed in a Lux Radio Theatre broadcast of the story. 17dc91bb1f