Ingredients

There are 3 main ways to get ingredients:

1. Daily freebie. Just for being there.

2. Food quiz. They ask you a question about different types of recipes, with multiple options to choose from. IF you get it right, you get an ingredient.

3. Ech time you visit someone else’s restaurant you can get an ingredient. Only works if you’ve never seen their restaurant before.

Gourmet Points

Gourmet points are the equivalent of experience points in other types of video games. To get GP, you have to leave the program running, otherwise it doesn’t count. It’s slow and ardous.

Money making

There are 3 ways to make money in Restaurant city:

1. Shake trees. If you’re lucky, you’ll find a tree with money in it. It’s painful and long, for what it’s worth.

2.Picking up trash. What you can do is go to other restaurants and pick up trash that other people have created. You can easily make 20 – 3o dollars each time you do this.

3. Serving customers! Of course, if you don’t make them happy they don’t pay, and are bad for you.

Types of workers

In Restaurant City, there are cleaners, cooks, and waiters. Quite self explanatory. You need to have cleaners so that people will come into the restaurant, cooks to cook the food, and waiters to serve dishes and clean them. I like to maintain a 3 table to 1 cook ratio.

Overall Design

There are mny different types of design, it all depends on what you’re aiming for. Here are a couple hints:

>Make sure the cooks are close to the tables.

>Make sure that the waiters don’t have to move far each time they deliver plates +dishes

>Make sure you have a toilet. If not,your ranking will go down very quickly.

Hope this helps!

   This essay is part of a series of essays about DJ Kool Herc; if you don’t know him, search him up. If you’re too lazy, he’s one of the founders of hip hop music. Not many can boast the resume that DJ Kool Herc boasts, because he’s just too pro. 

   The three main qualities that distinguished DJ Kool Herc from other DJs at the time included 1) the sound, and the system used to play records 2) His repetoire of music 3) his style. These three qualities are also key to modern DJing, and the influence of DJ Kool Herc lives on. 

   His unique sound system/ sound in general was on another level. Of course, he was lucky to have a father who sponsored a local RnB band and so purchased a powerful music system and wires to power it. It’s been said that the father was so proud of Kool Herc’s skills that he started a father and son business that should have belonged to the RnB band. With advanced technology that was able to emphasize heavy bass, sparkling high, and also middle range frequences, Kool Herc would diss other DJs that tried to start beef with him. In terms of sheer stage presence, Kool Herc was already way ahead, and none of his colleagues could compete. Although the disco kings at the time could compete with even more superior sound systems (disco boasts the most expensive and advancing music making technology, even today) they traveled in different circles than Herc, and their presence in the early Hip Hop scene was rarely felt. Having no competition meant that DJ Kool Herc was his own man, and didn’t need sponsors from clubs and events to start his own parties and businesses. 

    Like many of his young peers, Herc invested a large percentage of his early savings into his system, constantly maintaing an edge over his competitiors. Although Hip Hop often emphasizes the poverty of the Bronx, it should generally be about the resourcefulness of people at the time and sacrifices people made. Often, the things they needed like turntables and sound systems were not easily available or cheap ( I know that old speakers are much better in terms of quality than new ones)  It was mostly by hard work and family assistance that super powered beasts like Herc could maintain a sound stem and maintain a stream of steady revenue from multiple events. 

    If DJs could fight with Herc’s sound system, they were no match for his unique record selection. Herc quickly earned a reputation as a DJ with unique taste and musicality. Rather than the mainstream music on the radio that many heard throughout the 70s, Herc played the more obscure records, the sexy, hard, and funky music that tapped straight to the core. Notably, these were not the songs that one would hear on the radio, with music being overrun by influences from the Bee Gees and Earth Wind Fire. Herc brought it back to the old school; the roughness of James Brown called funk, focusing on riffs and repetition, with solos not diverging too much from the basic beat. Some of these records are instrumentals, where they may constitute a large amount of the track. Rhythm centric passages in music allowed for impressive, flexible, and explosive breakbeats.  

   As an element of style, Herc started to branch off into his own Jamaican style. As opposed to many that were based off disco and clubbing, he created a style more defined by cuts, screams, mixes. Many tried to copy his techniques but it would take approximately 30 years for them to find out what he did with the machines. Despite paying attention to the hip hop scene, Kool Herc was still more interested in reggae and hip hop, but he set the tone for repetitive and monotone rap music today. Check the style, baby. 

Hong Kong Kung Fu movies provided many with a instant adrenaline fix; Bruce Lee’s death had temporarily stopped the Kung Fu excitement in America but soon reemerged with the surge in films by Shaw Brothers, Seasonal Films, and Golden Havest Studios. These Hong Kong movie studios not only focused on the difficulty of moves executed but on the choreography and the aesthetics of their moves.

These films were distributed in the US, but at first they could only be found in limited theatres. Mainstream media did not enjoy dick-riding this Kung Fu movement that they had thought ended with the death of  Bruce Lee. However this soon changed because of the shocking success of Hong Kong Kung Fu movies in the States. This was mainly due to the production of “ghetto” Hollywood action films made about a year previously; however American audiences responded better to Hong Kong Kung Fu movies because of the emphasis on action rather than storyline.

The popularity of Bruce Lee in the US starring with Chuck Norris made Bruce Lee the most popular Kung Fu star in the world and Golden Harvest became a major studio here in Hong Kong. With Shaw Brothers, they dominated the Kung Fu scene in Hong Kong and abroad. After the death of Bruce Lee Golden Harvest went downhill with Bruce Lee imitations but new, formulaic authentic Kung Fu techniques were showcased in films made by Shaw Brothers. Films like Challenge of the Masters, Executioners of Shaolin, and The 36th Chamber of Shaolin (AKA The Master) to name a few. Nowadays, Hong Kong attributes its continuing Kung Fu movie success to old producers like Lar Kau Leung that mantained Hong Kong’s reputation after the death of Bruce Lee.

Although there was a big parallel between cities like Hong Kong and NYC at the time, both had dense populations and large rifts between the rich and poor. Back in the day, both cities had high crime rates and local gangs mobbed stores, sometimes sharing the spoils with the police. Films like these were intended for inner city youth residing in Hong Kong, but ended up serving the same purpose for American city youth. Ken Swift of Rock Steady once said: ” Every kung fu movie was styled up, people got whipped, and they trained and got revenge, and it was cool, cheesy as well but that was like what we saw in ghetto street gangs, bad guys that we had to tolerate on a daily basis. You know what I’m saying, dealing with guys on the street and handing it back to them.”

Some time later in 1978, filmmakers in Hong Kongstarted to revitalize the kung fu film with sub-genres like kung fu comedy. These movies accentuated more acrobatic movement in their choreography, influenced by the actors and directors training in Peking Opera.  Kung Fu stars like Yuen Wo-Ping and Jackie Chan initially graduated from Peking Opera School but moved on to make some of the most dynamic Kung Fu films known to date, Snake in the Eagles Shadow and Knockabout.

Going to see Kung Fu movies soon became a weekly ritual for American youth. Hispanics and New Yorkers especially enjoyed these films with dynamic and creative choreography, which in all honesty was much closer to Ch- Cha dancing than practical combat. Back in Hong Kong Bruce Lee was actually an amazing Latin dancer and even won the Hong Kong Crown Colony Cha-Cha champion in 1958.   While serious film critics denounced such films calling them fakes, the mainstream audience didn’t care because of the athletism and dynamism of Kung Fu movement.

People would go to see these films together, and it was really a experience every time. People would get so hyped up that scuffles would occur surrounding the outcome of these films. For a while, it revitalized the American community. Whether this was good or bad we don’t know; for some time ghetto youth would be so hyped up they would imitate these movements and try them out on people on the street because of the excitement generated. Kung Fu styles like Mantis Fist, Monkey Style, and Crane Style inspired many Americans to go ridiculously crazy in the field of Kung Fu and brought Hong Kong national pride.

It wasn’t just America that was infleunced; Americans that went to Japan during the Kung Fu movement said that the Japanese were “hooked” as well. Kung Fu movies had taken Japan by storm, because it was rough, it was rugged. They showed burnt buildings, broken walls, and it blew the Japanese away, with such incredible stuff. Japanese people glorified these movies, strange in a place where education stresses homogenization into the general population.

Kung Fu movie popularity soared worldwide and was exploited, mass marketed for many years. Then in 1985, almost everyone stopped watching/learning Kung Fu. Diehard fans remained but in much fewer numbers; the scene became dead by the early 80s.

In the early 90s traditional Kung Fu films made a comeback; Jet Li’s starring in “Once upon a time in China” contributed the its success. It featured different styles of camera angles and sophisticated editing. Wirework which allowed the characters to fly made Kung Fu more explosive and it entered the scene once again.

Now, Kung fu films are enjoying a Golden Age on the big screen in America. Films like “Crouching Tiger, Hidden Dragon”, directed by Ang Lee won numerous oscars and awards, with positive reviews from film critics. Martial arts productions have integrated into American theatres. Both Jackie Chan and Jet Li have careers in Hollywood. Kung Fu films are here to stay.