title: Little Italy, Manhattan

text: They are laborers; toilers in all grades of manual work; they are artisans, they are junkman, and here, too, dwell the rag pickers. ... There is a monster colony of Italians who might be termed the commercial or shop keeping community of the Latins. Here are all sorts of stores, pensions, groceries, fruit emporiums, tailors, shoemakers, wine merchants, importers, musical instrument makers. ... There are notaries, lawyers, doctors, apothecaries, undertakers. ... There are more bankers among the Italians than among any other foreigners except the Germans in the city.


title: Little Italy, Manhattan

text: Since the late 1960s, when the United States allowed immigration from China, Chinatown's traditional boundary at Canal Street has inched northward into Little Italy. By the 1990s, while many Italian business remained, the blocks between Canal and Kenmare Streets had taken on a feel of Chinatown, though locals continue to refer to the area (including Nolita) as Little Italy.


title: Little Italy, Manhattan

text: As of the 2000 U.S. Census, 1,211 residents claiming Italian ancestry lived in three census tracts that make up Little Italy. Those residents comprise 8.25% of the population in the community, which is similar to the proportion of those of Italian ancestry throughout New York City. Bill Tonelli of "New York" magazine contrasted Little Italy with the Manhattan Chinatown; in 2000, of the residents of the portions of Chinatown south of Grand Street, 81% were of Chinese origins.


title: Little Italy, Manhattan

text: In 2004, Tonelli revisited the issue, saying, "Little Italy may always endure as an open-air theme park of nineteenth- and twentieth-century European immigration to the Lower East Side ... But you'll spend a long time in the neighborhood before you hear anyone speak Italian, and then the speaker will be a tourist from Milan." Tonelli added, "You have to slow your gaze to find the neighbors in this neighborhood, because they're so overwhelmed and outnumbered by the tourists. But once you focus, you can see them, standing (or sitting) in the interstices, taking in the scene, like the group of men, mostly senior citizens, loitering contentedly under an awning on Mulberry Street."


title: Little Italy, Manhattan

text: By 2010 the U.S. Community Survey found that none of the people living in Little Italy were born in Italy, and 5% of residents identified as Italian American.


title: Little Italy, Manhattan

text: Little Italy was home to dozens of restaurants that serve authentic Italian cuisine, but between March 2013 and March 2014, eight eateries closed down.


title: Little Italy, Manhattan

text: The Feast of San Gennaro originally was once only a one-day religious commemoration. It began in September 1926 with the new arrival of immigrants from Naples. The Italian immigrants congregated along Mulberry Street in Manhattan's "Little Italy" to celebrate San Gennaro as the Patron Saint of Naples. The "Feast of San Gennaro" is a large street fair, lasting 11 days, that takes place every September along Mulberry Street between Houston and Canal Streets.


title: Little Italy, Manhattan

text: The festival is an annual celebration of Italian culture and the Italian-American community. In 1995 Mort Berkowitz became the professional manager of a community group that had been formed to take over management of the San Gennaro feast. Since then, Berkowitz became involved in other recreational activities in Little Italy, including the summer, Carnevale, Columbus Day, and Christmas events.


title: Little Italy, Manhattan

text: Richard Alba, a sociologist and professor at University at Albany, SUNY, said, "The fascinating part here is the way in which ethnic tourism—not only by Italian Americans but by people who want to see an authentic urban village—keeps these neighborhoods going."


title: Little Italy, Manhattan

text: Little Italy is also home to Alleva Dairy, the oldest cheese shop in the United States. The store was founded in 1892 and is located on Grand Street.


title: Little Italy, Manhattan

text: Little Italy residents have seen organized crime since the early 20th century. Powerful members of the Italian Mafia have operated in "Little Italy".


title: Little Italy, Manhattan

text: Little Italy was the locale of the fictional Corleone family depicted in the novel "The Godfather" and the three films based on it. It is also the setting for the 1973 Martin Scorsese film "Mean Streets", starring Harvey Keitel and Robert De Niro, the latter of whom also grew up in the neighborhood, and the 1994 Luc Besson film "", starring Jean Reno, Gary Oldman, and Natalie Portman. It is also depicted in the finale of "The Sopranos", titled "Made in America", where a character walks down a block and finds himself in Chinatown, demonstrating how Little Italy has shrunk.


title: Amanda Collin

text: Amanda Collin (born 1986) is a Danish actress, known for "A Horrible Woman" (2017), "" (2016) and "Splitting Up Together" (2016). She plays Mother in the HBO Max series "Raised by Wolves".


title: Amanda Collin

text: From 2015–16, Collin was part of the Mungo Park Theatre ensemble, where she played in Hans Christian Andersen's fairytales, "Boys Don't Cry" and "Hamlet". In 2017, Collin was nominated for the Danish equivalent of the Academy Award, the Robert Award, for her supporting role of Rakel, the religious mother of two kidnapped children in the Danish box office hit "Department Q: A Conspiracy of Faith" directed by Hans Petter Moland.


title: Amanda Collin

text: Collin played the leading role of Marie in the film "A Horrible Woman", and won both the Robert Award and the Bodil Award for Best Actress in a Leading Role in 2018.


title: Amanda Collin

text: In 2019 Collin appeared in Daniel Borgman's "Resin" for which she was nominated for a Robert Award for Best Actress in a Supporting Role. She currently stars in Aaron Guzikowski's sci-fi drama series "Raised by Wolves" from HBO Max.


title: Porsche 914

text: The Porsche 914 or VW-Porsche 914 is a mid-engined sports car designed, manufactured and marketed collaboratively by Volkswagen and Porsche from 1969 until 1976. It was only available as a targa-topped two-seat roadster powered by either a or flat-6 engine.


title: Porsche 914

text: By the late 1960s, both Volkswagen and Porsche were in need of new models; Porsche was looking for a replacement for their entry-level 912, and Volkswagen wanted a new range-topping sports coupé to replace the Volkswagen Type 34 Karmann Ghia coupé. At the time the majority of Volkswagen's development work was handled by Porsche as part of an agreement that dated back to Porsche's founding. Volkswagen needed to contract out one last project to Porsche to fulfill the contract, and decided to make the 914 that project. Ferdinand Piëch, who was in charge of research and development at Porsche, was put in charge of the 914 project.


title: Porsche 914

text: In 1966 and 1967, German company Gugelot Design GmbH began showing a proposed design for a sports coupe built with technology developed in partnership with Bayer to several major car builders, including Volkswagen and Porsche. Some sources have suggested that the Gugelot proposal, suitably adapted, was the origin of the design of the 914. The rationale is that an outside design would be able to please both Volkswagen and Porsche without appearing too similar to either of the partners' existing products. Later sources have rejected this idea. While acknowledging that Porsche was aware of the Gugelot design, they assert that the 914 design was done in-house at Porsche, and is primarily the work of body engineer Heinrich Klie.


title: Porsche 914

text: Originally intending to sell the vehicle with a flat four-cylinder engine as a Volkswagen and with a flat six-cylinder engine as a Porsche, Porsche decided during development that having Volkswagen and Porsche models sharing the same body would be risky for business in the American market, and convinced Volkswagen to allow them to sell both versions as Porsches in North America.


title: Porsche 914

text: On March 1, 1968, the first 914 prototype was presented. However, development became complicated after the death of Volkswagen's chairman, Heinrich Nordhoff, on April 12, 1968. His successor, Kurt Lotz, was not connected with the Porsche dynasty and the verbal agreement between Volkswagen and Porsche fell apart.


title: Porsche 914

text: In Lotz's opinion, Volkswagen had all rights to the model, and no incentive to share it with Porsche if they would not share in tooling expenses. With this decision, the price and marketing concept for the 914 had failed before series production had begun. As a result, the price of the chassis went up considerably, and the 914/6 ended up costing only a bit less than the 911T, Porsche's next lowest priced car.


title: Porsche 914

text: Slow sales and rising costs prompted Porsche to discontinue the 914/6 variant in 1972 after producing 3,351 of them.


title: Porsche 914

text: Production of the 914 ended in 1976. The 2.0 L flat-4 engine continued to be used in the 912E, introduced that year as an entry-level model until the front-engined four-cylinder 924 was introduced the following model year.


title: Porsche 914

text: The 914/4 became Porsche's top seller during its model run, outselling the Porsche 911 by a wide margin with over 118,000 units sold worldwide.


title: Porsche 914

text: Porsche's 914/6 variant featured the 2.0 L air-cooled Type 901/3 flat-six engine from the 1967–1969 911T model. This was the least powerful flat-six in Porsche's lineup. This engine had revised pistons that reduced the compression ratio to 8.6:1. The cylinder barrels were entirely made of iron, in contrast to the iron and aluminum "Biral" barrels in the engines in the 911S and 911L. New camshafts had less lift, and relaxed timing characteristics. The venturis in the Weber 40IDT3C carburetors were , smaller than the other 911 engines, and the exhaust pipe diameter was also reduced in size. Power output was . When the 911T got a 2.2 L engine in 1970, the engine in the 914/6 remained at 2.0 L.


title: Porsche 914

text: All engines were placed amidships in front of a version of the 1969 911's "901" gearbox configured for a mid-engined sports car. Karmann manufactured the rolling chassis at their plant, completing Volkswagen production in-house or delivering versions to Porsche for their final assembly.


title: Porsche 914

text: The 914/6 models came with lower gear ratios and larger brakes to compensate for the greater weight and higher power output of the six-cylinder model. They also featured five lug wheels and an ignition on the left side of the steering wheel. Suspension and handling were otherwise mostly the same. A Volkswagen-Porsche joint venture, Volkswagen of America, handled export to the U.S., where both versions were badged and sold as Porsches. The four-cylinder cars were sold as Volkswagen-Porsches at European Volkswagen dealerships.


title: Porsche 914

text: For 1973 the discontinued 914/6 was replaced in the lineup by a variant powered by a new 2.0 L, fuel-injected version of Volkswagen's Type 4 engine.


title: Porsche 914

text: For 1974, the 1.7 L engine was replaced by an 1.8 L, and the new Bosch L-Jetronic fuel injection system was added to American units to help with emissions control.


title: Porsche 914

text: Over the seven model years, Porsche made a number of changes to the 914. Some of these changes were cosmetic and others were in response to changing crash protection standards. From 1970 to 1972, the 914 was offered with chrome or painted bumpers. In early 1970, rear bumpers were produced with a straight crease on either side of the license plate indent. Between 1970 and 1972, both front and rear bumpers were smooth without bumper guards. In 1973, bumper guards were added to the front of the car. In 1974, guards were also added to the rear bumper. In 1975 and 1976, the chrome or painted bumpers were replaced with heavy, rubber-covered units which actually made the cars more stable at high speeds.


title: Porsche 914

text: The headlight surrounds were white from the first 914s to mid-production of 73 and subsequently black. Cars produced up to early 1972 had a fixed passenger seat and a removable passenger footrest. Later cars featured a movable passenger seat. Other interior differences included changing vinyl designs, gauge appearance, and air vent configurations in the dash.


title: Porsche 914

text: The most significant performance upgrade during the vehicle's lifespan was the introduction of anti-roll bars, significantly improving the handling, and a change from the "tail shifter" to the "side shifter" gearbox for 1973 to 1976, improving the otherwise vague long linkage.


title: Porsche 914

text: On 1 March 1970 the 914/6 was homologated by the Fédération Internationale de l'Automobile (FIA) for Group 4, Special Grand Touring cars. That same month two cars were sent to the Targa Florio for testing, not as competitors. These were the first two 914/6 GT cars built. Externally the cars were distinguished by squared fender flares that were the full depth permitted by FIA rules. The chassis was reinforced with three welded plates on each side. For rally applications a stone guard protected the power-train and a stone shield did the same for the front of the car.


title: Porsche 914

text: The GT cars received stronger lower front A-arms, and anti-roll bars were fitted front and rear. Ground clearance was reduced to . Brakes front and rear were upgraded to the same components used on the racing 911S model.


title: Porsche 914

text: Fiberglass panels for the front and rear bumpers, front and rear deck lids, and left and right rocker panels replaced the original steel parts. The rear air intake grille was doubled in size. An inlet in the front bumper admitted air to a new supplementary oil cooler in the nose. The car's nose compartment was nearly filled by a fuel tank. The car weighed ready to race.


title: Porsche 914

text: The engine remained at 2.0 litres displacement with Weber carburetor induction, but was extensively upgraded otherwise. New cylinder heads with larger valves topped aluminum cylinder barrels with chrome-plated bores. A dual-ignition system fired two spark plugs per cylinder. High compression pistons and forged steel piston rods were borrowed from the 911S. A special crankshaft was added. Camshafts and rocker arms came from the 901/20 in the Carrera 6. Power output was up to at 8000 rpm.


title: Porsche 914

text: To qualify for SCCA homologation, 500 copies of a car had to be built. It is estimated that Porsche built fewer than 40 GTs with the full race engine. To add to the total, an additional 11 cars were equipped with the Competition Option Group M471 package that included the GT's steel fender flares, rocker panels and nose piece as well as wheel spacers, a set of 6-inch wide Fuchs wheels, and 185/70VR15 tires, but did not include the enhanced engine from the GT. Similar appearance-only kits were also supplied to dealers, totaling about 400 units.


title: Porsche 914

text: Porsche's application for homologation was successful, but instead of being added to the C Production class, the SCCA put the 914/6 GT into the more competitive B Production class.


title: Porsche 914

text: Two prototype 914s, dubbed "914/8" generally and called "914/S" by Porsche, were built during 1969. An orange 914/8 was the first constructed, at the instigation of Ferdinand Piëch (then head of the racing department), to prove the concept. Powered by a Type 908 flat-eight racing engine, it was built using a surplus handbuilt 914 development prototype bodyshell, chassis No. 914111, and included many differences from the standard vehicle, such as quad headlamps. The second 914/8, a silver, road-registered car powered by a carburetted and detuned 908 race engine making , was prepared as a gift to Ferry Porsche on his 60th birthday. Also based on a spare prototype shell (chassis No. 914006), it was much closer to the standard car in detail. By all accounts Ferry didn't like the car very much and it is now in the Porsche Museum. Neither car saw a racetrack except for the purposes of testing. The 914/8 was not considered for production as a regular model.


title: Porsche 914

text: The Porsche Tapiro was a concept car designed by Giorgetto Giugiaro's Italdesign studio and built on a 914/6 platform. The car had gullwing doors and two centrally-hinged covers over the rear engine and storage compartments. The Tapiro debuted at the 1970 Turin Auto Show. Sold to Argentine composer Waldo de los Ríos, the car was extensively damaged in a fire. It was later bought by Italdesign.


title: Porsche 914

text: This car was a custom-bodied 914/6R that was first shown at the 1970 Turin Auto Show. The design was done by Count Albrecht von Goertz, and was built by the Turinese carrozzeria Eurostyle. Goertz, who had also done the design for the BMW 507 roadster, produced a body with a tapered nose and a roofline that extended straight back, ending with sloping sail panels that gave the car the appearance of a shooting-brake.


title: Porsche 914

text: In 1970 Swiss Industrialist Dr. Alfred Gerber contracted compatriot car designer Franco Sbarro to build a customized 914. Sbarro installed the 2-rotor Wankel engine and semi-automatic transaxle from Gerber's NSU Ro80 in the mid-engined Porsche. The transaxle's inboard disc brakes were retained, and special halfshafts and shift-linkage were fabricated. A radiator was installed in the nose of the car, with fans sourced from a Renault R16. The engine produced , and in the 914 returned while allowing the car to reach a top speed of .


title: Porsche 914

text: In 1969 designer Jacques Cooper drew an interpretation of the 914 that he presented to his employer, Brissonneau and Lotz. The French company, a supplier of auto bodies and railcars, approved the project and obtained one of the first 914/6 models built, chassis 1300005, to serve as a basis for the redesigned car. Shortly after this Brissonneau encountered financial difficulties. Cooper, hoping to get the car into production, arranged, with Brissonneau's approval, for the Heuliez company to take on responsibility for development. A running prototype was completed in just two and one half months. The car was displayed at the 1970 Paris Auto Show on the Heuliez stand as the Heuliez Murène. It did not reach production. Heuliez bought the Murène from Brissonneau in 1971 for ₣24,250. In 2012 the car was sold at auction for €42,889 .


title: Porsche 914

text: Businessman Werner Bernhard Heiderich was the importer of Porsche for Spain. He established a company named Hispano Alemán to build and sell customized cars. Heiderich contracted with Pietro Frua to produce a new body on a Porsche 914 platform. The car, named the Vizcaya, was first shown at the 1971 Geneva Motor Show. Swiss authorities seized the car owing to a dispute over it between Heiderich and Frua. Heiderich eventually prevailed, and the car next appeared at the 1972 Barcelona Motor Show. The Vizcaya did not go into production.


title: Porsche 914

text: Planned for the 1972 model year, the Porsche 916 program was cancelled after eleven prototypes were built. The car came with aerodynamic front and rear bumpers and either the 2.4 L engine from the 911S, or the 2.7 L from the Carrera. It was also to have a fixed steel roof, wider wheels, double grilled engine lid, and flared fenders as styled from the 914-6 GT cars. Ventilated disc brakes were fitted to all four wheels. The 916 also used a "mid-engined" version of the then-new 915 transmission, giving a conventional shift pattern with one to four in an H and fifth out on a limb. One 916 was built to US specs and on delivery to the US was fitted with air conditioning by the dealer (Brumos) and has been housed at the Automobile Atlanta 914 museum since 1990.


title: Porsche 914

text: Günter Artz was director of the Hannover Volkswagen dealer Autohaus Nordstadt. In 1973 Artz and Nordstadt unveiled a custom car called the Carrera Käfer that mounted a modified Volkswagen Beetle 1303 body on a Porsche 914/6 chassis. The engine was upgraded to a flat-six from a Porsche 911 Carrera that produced .


title: Porsche 914

text: First shown in 1973, General Motors (GM) built the Corvette XP-897GT concept car to showcase their rotary engine technology. Lacking a suitable mid-engined platform, GM bought a 914/6 and shortened the wheelbase by . The body was designed and built by Pininfarina. A GM two-rotor Wankel engine powered the car through a new transaxle. The engine displaced and produced . When the rotary engine project was cancelled, GM stored the car at the Vauxhall Design Centre in England. The car was rescued from the crusher by an English enthusiast, who also managed to obtain an original GM rotary engine. The car was scheduled to appear at Amelia Island in 2019.


title: Porsche 914

text: In 1974, Porsche produced a series of Limited Edition cars for the North American market to commemorate Porsche's victories in the Can Am racing series. They were equipped with individual color schemes and came standard with otherwise optional equipment. The factory is said to have produced about 1,000 of these vehicles, about 50% Bumblebee and 50% Creamsicle. Variants of this series were manufactured and distributed in very limited numbers to European markets and Japan. Along with the regular Appearance Group option (fog lamps and center console with clock and additional gauges) at $300, the LE package set buyers back another $320. All Limited Editions models came with the 2.0 L (1,971 cc) flat four engine, which was otherwise optional in the standard 914, that produced 91 hp in U.S. trim.


title: Porsche 914

text: The Creamsicle: With a cream color exterior (paint code U2V9), these cars sported Phoenix red trim, including color matched lower valences and bumpers. This light ivory color scheme concept carried over from the 1973 911 Carrera RS series.


title: Porsche 914

text: The Bumblebee: Featuring a black exterior (paint code L041), these cars sported a Sunflower yellow trim (paint code L13K). Black body paint color was always an additional cost special option on standard 914 Porsche cars, but was included as a standard component on the black 914 LE cars. Like the Creamsicle All but one photo of the 914 Porsche Can Am prototype cars are Bumblebee cars. The black-based 914 LE color scheme is specific to the 914 LE cars and has no precedent with the Can Am race cars or the 1973 911 Carrera RS series cars. The majority of 914 Limited Editions seem to be Bumblebees.


title: Porsche 914

text: All 914 LE cars featured a specially designed front spoiler and negative side stripes. Additionally, all Limited Editions were equipped with front and rear anti-roll bars, dual horns, leather covered steering wheel, driving lights, painted rear roll bar trim (as opposed to vinyl clad), Mahle cast aluminum wheels and a center console with an oil temperature gauge, clock, and voltmeter.


title: Porsche 914

text: A factory prototype 914/6, (chassis no. 914114), surfaced in the US in 2001. Together with a surviving prototype Sportomatic 914/6 (chassis No. 914120), reputedly in Southern Germany, they are a special part of Porsche history.


title: Porsche 914

text: A 914/6 GT driven by Frenchmen Claude Ballot-Léna and Guy Chasseuil won the GTS class and finished sixth overall at the 1970 24 Hours of Le Mans.


title: Porsche 914

text: The Porsche 914 is renowned for having been Formula One's first Safety Car following its deployment at the 1973 Canadian Grand Prix to help manage the race, which had seen various incidents due to treacherous weather conditions.


title: Scarface: The World Is Yours

text: Scarface: The World Is Yours is a 2006 action-adventure video game developed by Radical Entertainment for PlayStation 2, Xbox and Microsoft Windows published by Vivendi Games. In 2007, a version with enhanced graphics was released for the Wii. A port for the Xbox 360 was also being developed, but never released.


title: Scarface: The World Is Yours

text: The game is not a direct adaptation of the 1983 film directed by Brian De Palma, but is instead a broad strokes sequel which changes the ending of the film so that Tony Montana (originally played by Al Pacino) survives, and sets about exacting revenge on those who ousted him from power by re-establishing his drug empire in Miami. The game features Al Pacino's likeness in the character of Montana, but Pacino does not voice the character, as he and the game's producers felt his voice had changed too much since the film was released in 1983. Instead, Montana is voiced by André Sogliuzzo, who was personally selected by Pacino himself. Actors from the original film who did voice work for the game include Steven Bauer, Robert Loggia, and Al Israel.


title: Scarface: The World Is Yours

text: The game received moderately positive reviews, with many critics comparing it favorably to both 2002's "" (which itself was partially influenced by the "Scarface" film) and 2004's "". It was also praised for maintaining the tone of the film, for its humor, and for the accuracy of the depiction of Montana himself. The game was also a commercial success, selling over two million units across all platforms.


title: Scarface: The World Is Yours

text: "Scarface" is an open world action-adventure game played from a third-person perspective, in which the player controls Tony Montana as he attempts to regain control of Miami's drug trade, destroy rival gangs, and restore his own reputation in the criminal underworld.


title: Scarface: The World Is Yours

text: The basic gameplay and game mechanics fall into the subgenre of "Grand Theft Auto" clones. As such, the player can commandeer vehicles (cars and boats), move around the map on foot, interact with civilians and NPCs both hostile and non-hostile, engage in primary and sub-missions, and wield a variety of weapons: pistols, submachine guns, shotguns, assault rifles, a sniper rifle, a rocket launcher, a chainsaw, and various melee weapons, such as pipes and machetes. In a departure from most "Grand Theft Auto"-style games, Tony cannot kill innocent people. If the player tries to shoot or attack a non-aggressive target, Tony will refuse to perform the action; if the player tries to hit an innocent person with a car, they will only be injured. This keeps in line with the character's refusal to kill innocent men, women and children. As the game progresses, the player acquires access to some of Tony's employees as he rebuilds his empire: a driver, a boat pilot who can smuggle larger hauls of cocaine, an arms dealer who can supply weapons, an enforcer to protect Tony's businesses and attack those of his rivals, and a hitman who can eliminate other gangsters and dealers. When these employees have been unlocked, the player can switch control from Tony to any one of them (except the arms dealer), and when playing as the enforcer or the hitman, the player can kill innocent people.


title: Scarface: The World Is Yours

text: When shooting, the player can lock on to the enemy or can aim manually, hitting specific body parts to produce different reactions. For example, if Tony shoots an opponent in the leg, they will fall down, but will continue to fire. If he hits an opponent in the arm, they will remain on their feet, but their aim will be compromised. Hitting opponents by aiming manually earns Montana more "balls" than using the lock-on system. Earning balls fills the "Balls meter", which is an essential component of combat in the game. Once the meter is full, "Blind Rage" mode becomes available. In this mode, the game switches to first-person and goes into slow motion, aim becomes automatic, the player acquires infinite ammo and doesn't have to reload their weapon, and each enemy killed earns Tony health. Tony can also acquire balls by taunting defeated opponents, insulting drivers who have hit his car, winning street races, completing missions, and having conversations with random people.


title: Scarface: The World Is Yours

text: There are four main geographical regions which Tony must control to complete the game; Little Havana, Downtown, South Beach and North Beach. At the start of the game, the entire map is available to explore, but Tony cannot carry out missions, attack rival gangs, or purchase property anywhere except Little Havana. Each turf must be controlled 100% before the next one becomes available for missions. Acquiring 100% requires the player to perform certain actions within each region: purchase a certain number of fronts, eliminate rival gangsters, and carry out smaller missions involving purchasing and selling cocaine. To purchase fronts, Tony must perform a mission for the owner before they will sell the business to him - these missions, coupled with storyline missions, form the core of the main game. Once purchased, fronts can come under attack from rival gangs. To combat this, Tony can install security cameras to alert him to an imminent attack and recruit guards to fend off attackers until he arrives on the scene. Once Tony has purchased the requisite number of fronts in a region, he must then take control of that region's storehouse, which will be in the possession of a rival gang.


title: Scarface: The World Is Yours

text: A major part of the gameplay is "Reputation". There are eight Reputation levels (each level represented by a letter in the word "Scarface"), and certain items and missions cannot be unlocked until the player has reached a certain Reputation level. Reputation can be increased by various means, such as completing missions and buying fronts, completing side-missions, and buying "exotics" (extras used to decorate Tony's mansion). Rising in Reputation and increasing Tony's balls count also unlocks "femme fatales". If Tony can persuade these women to come to his mansion, they will give him stat increases, such as higher stamina.


title: Scarface: The World Is Yours

text: The foundation of Tony's empire is dealing cocaine. To acquire cocaine to sell, players must complete side-missions called "Felix leads". These involve Tony carrying out a mission for his contact Felix. Upon successfully completing the mission, Felix will put Tony in touch with a cocaine supplier, from whom he can purchase cocaine. If it is a "small supplier", Tony can only purchase a certain amount of grams, which can be sold directly to street dealers or distributed through fronts. However, if it is a "large supplier", Tony can purchase kilos, which must be transferred to a storehouse. He must then go on a drug run, distributing cocaine to all of his fronts in a single mission, whilst being pursued by rival gang members. Later in the game, Tony can purchase larger amounts of cocaine directly from Caribbean islands to the south of Miami, which he must then get back to the mainland via boat, avoiding pirates and the coast guard, before distributing the drugs to his fronts via a drug run.


title: Scarface: The World Is Yours

text: Tony has access to two different types of money in the game. Cash on hand is called "dirty money". If the player dies, is arrested, or is shaken down by another gang, the player will lose all their dirty money. The only way to protect Tony's money, and ensure it is not lost when the player dies, is to launder it in a bank. The player is free to launder money at a bank any time they wish (except during missions), but each time they launder cash, the bank will take a cut of the total. The percentage of their cut is determined by the level of "cop heat" Tony currently has; the higher his heat, the higher their cut.


title: Scarface: The World Is Yours

text: "Cop heat" and "gang heat" are two meters which are active at all times during the game. Cop heat determines the rate of interest at banks, and gang heat determines the price of cocaine; the more heat, the less Tony can charge. If Tony, or any of his associates, engages in a lot of public violence, cop heat will rise, and the police will arrive, pursuing Tony. Cop heat can be lowered with bribes, and gang heat can be lowered by intimidating other gangs. If Tony continues to commit crimes in public, cop heat can rise to the point where he enters "You're fucked" mode, in which he cannot escape from the police alive. A "golf swing"-style minigame, where the player must attempt to stop the meter in a certain zone, is used to control negotiating drug deals, intimidating other gangs, and bribing cops.


title: Scarface: The World Is Yours

text: "Scarface: The World Is Yours" begins during the final scene of the film, in which drug kingpin Tony Montana (voiced by André Sogliuzzo) makes an apparent last stand as his mansion comes under attack from assassins sent by his former business partner-turned-enemy Alejandro Sosa (Paul Shenar). Unlike in the film, however, Tony manages to overpower Sosa's men and barely escapes the grounds, just as the DEA and Miami-Dade police arrive. One of Sosa's men calls him after the attack, saying that Tony's mansion is being seized by law enforcement, his drug empire is reduced to nothing, and Tony himself is most likely dead. Meanwhile, hiding in a safehouse in the Miami glades, Tony laments the deaths of his friend Manny and sister Gina, curses himself for not listening to the advice of others due to his stubbornness, decides to quit cocaine, and vows retribution on Sosa.


title: Scarface: The World Is Yours

text: Three months later, in March 1984, Tony returns to Miami. All of his assets have been frozen, and the districts of Miami he used to dominate have been divided among other drug cartels. His first act is to ask criminal attorney George Sheffield (James Woods) to become his lawyer again. Sheffield reluctantly agrees, but at a higher wage than before. He next travels to see his old friend and contact Felix (Carlos Ferro), who tells him Sosa is working with fellow crime boss Gaspar Gomez (Cheech Marin) in an effort to take over all of Tony's old turf. To rebuild his empire, Tony must first make enough money to buy his mansion from the Vice Squad, but he doesn't known any trustworthy drug dealers, as most report back to Sosa now. Felix tells him to speak to a waitress named Coco (Nika Futterman), who puts Tony in touch with some dealers with no ties to Sosa. Within a day, Tony earns enough cash to re-purchase his mansion, and begins to slowly re-establish his name.


title: Scarface: The World Is Yours

text: Felix later tells Tony that Gomez is smuggling cash, and gives him a tip about one of his trucks, which is carrying $50,000. Tony intercepts the truck and uses the money to open a bank account. Reconnecting with his old banker, Jerry (Michael York), he uses the bank to launder his money as he sets out to reclaim control of Little Havana from the Diaz Brothers. As Tony's reputation increases, the brothers plan to have him murdered. After surviving one of their assassination attempts, he interrogates the hitmen and learns the Diazes had his mother killed. Furious, Tony kills them both, and regains control of Little Havana.


title: Scarface: The World Is Yours

text: Tony is later called by Pablo (Wilmer Valderrama), an associate of Sheffield's, who claims to known the whereabouts of Tony's estranged wife, Elvira, and arranges a meeting. The meet turns out to be a trap, but Tony survives and kills Pablo. Realzing Sheffield turned on him, Tony cuts his ties with him. During this time, Tony sets about taking control of Downtown from the Contreras cartel. Upon doing so, he is contacted by "The Sandman" (Steven Bauer), a cocaine producer from the Caribbean islands south of Miami. Sandman also wants Sosa out of the picture, and invites Tony to come to see him. They agree that with Tony in Miami selling Sandman's product from the islands, they can run Sosa out of business. Tony then meets Venus (Cree Summer), Sandman's ex-girlfriend and a powerful influence on the islands herself. She tells him of the owner of a nearby casino, being run on a disused oil tanker, who is killing women and dumping their bodies overboard, and asks Tony to take care of it. Tony goes to the casino and murders the owner, revealed to be Nacho Contreras, formerly in control of Downtown's drug trade.


title: Scarface: The World Is Yours

text: After taking control of the South Beach and North Beach districts from Gomez, Tony is again contacted by Sandman, who tells him he has gone to war with the Colombian drug cartels and asks for his assistance. Tony helps Sandman defend his plantation, before heading to his processing lab on the island of Tranquilandia, which has been taken over by the Colombians. After Tony kills them and rescues the workers, who were taken hostage, Sandman gives him ownership of his plantation. Now in charge of both production and distribution, Tony has become the most powerful drug lord in the area; henceforth he can finally go after Sosa, who is in Bolivia.


title: Scarface: The World Is Yours

text: At his mansion, Sosa is hosting a meeting with Sheffield and Gomez in which they are discussing how best to get rid of Tony. From outside, they hear an explosion, as Tony attacks the house. Fighting his way through the grounds, he kills both Sheffield and Gomez before confronting Sosa himself. An argument ensues when Sosa tells Tony that he warned him not to betray him, and that Tony did since he


title: Scarface: The World Is Yours

text: refused to assassinate a journalist for Sosa because there were children in the journalist's car. Tony grows appalled when Sosa claims that in their business, sometimes children have to die, to which the former angrily dismisses; Sosa then attempts to kill Tony, but ultimately Tony emerges victorious as he shoots Sosa multiple times, killing him and finally exacting his revenge on Sosa.


title: Scarface: The World Is Yours

text: As he leaves the mansion, Tony finds one of Sosa's henchmen who is still alive. The survivor begs for his life, and Tony offers him a job. The game ends with the henchman working as Tony's butler, as he and Venus watch television in a Jacuzzi. Feeling good about his life, Tony declares he finally has what he always felt was coming to him: "the world".


title: Scarface: The World Is Yours

text: The game was first announced on August 10, 2004, when Vivendi Universal Games revealed Radical Entertainment were working on a third-person shooter adaptation of the film for PC and several, as yet unnamed, current generation consoles, with a projected release date in the third quarter of 2005.


title: Scarface: The World Is Yours

text: Originally, the developers had intended to do a straight adaptation of the film. However, they quickly concluded that doing so presented two inherent problems; the original screenplay was so good, they felt it couldn't be replicated in a gaming environment, and because Montana dies at the end, they felt players would not want to invest in developing a character that they knew was doomed from the beginning. As such, they decided the game would tell an original story, set after the film. Jason Bone, combat designer on the game, explained: "We didn't want to rehash the movie because we feel that to make a good game, there needs to be a compelling storyline with good characters that drive you through it. There have been a lot of games that have been made based on movies, and when they follow the exact storyline of the movie, you lose a little bit of interest if you know where things are going. We felt that a fresh start would allow us to have the freedom to do new and interesting things to keep the player motivated and engaged."


title: Scarface: The World Is Yours

text: They originally asked Oliver Stone, the film's screenwriter, if he would be interested in working on the script, but when Stone declined, they approached David McKenna, writer of the films "American History X" and "Blow". As a fan of the film, McKenna wanted to emphasize the over-the-top humor he perceived in the character of Montana. Shortly after the game had been released, IGN interviewed McKenna, asking him exactly how much of the game's 40,000 lines of dialogue he wrote. McKenna stated


title: Scarface: The World Is Yours

text: Of the decision to change the end of the film so that Montana survives, McKenna dismissed critics who said the game was disrespecting the film and undermining the moral aspect of its narrative;


title: Scarface: The World Is Yours

text: He further commented "What I did, I wanted to take that to the next level. It is a video game. People who are going to say, 'hey he fucked with the movie,' that's being ridiculous. I wanted to have fun and kind of create something on my own, while sticking to the same tone and flavor of the flick. People want to laugh when they're playing a game, and I just wanted to take advantage of that."


title: Scarface: The World Is Yours

text: In December 2004, Vivendi announced the game would be released for PlayStation 2 and Xbox, as well as the already announced PC release.


title: Scarface: The World Is Yours

text: The game was first shown as a non-playable demo at the 2005 GDC in March when it was revealed it was no longer a third-person shooter, but was now a "GTA"-style open world game. Vivendi stated the game would be non-linear, with players free to do missions in whichever order they wish, with an estimated playtime of 50–60 hours. Vivendi also made a point that Montana would be unable to kill innocent people in the game. Producer Cam Weber explained the concept of Rage mode, which was on show in the demo, was very much inspired by the film; "For fans of the movie, you'll remember that Tony has this crazy temper that every once in a while gets set off. You hear the organ music play, you see a camera cut to the intensity in his eyes, and he just suddenly snaps. He loses it; he completely loses control and does some really violent things."


title: Scarface: The World Is Yours

text: In April, Vivendi revealed the title of the game would be "Scarface: The World is Yours", and while it would feature Al Pacino's likeness, Pacino himself would not be voicing Montana. While it was not announced who was voicing the role, multiple other cast members were revealed; Steven Bauer, Robert Loggia, Jay Mohr, Cheech Marin, James Woods, Miguel Sandoval, Robert Davi, Michael Rapaport, and Michael York. Vivendi's chief strategy and marketing officer, Cindy Cook stated "Al Pacino brought the character of Tony Montana to life onscreen in a very powerful way, and the inclusion of his likeness as Tony Montana is a critical component to the authenticity of the "Scarface" game experience. We are also thrilled to have other top-notch talent involved with "Scarface: The World is Yours", as their participation will add further substance and depth to the characters featured in the game."


title: Scarface: The World Is Yours

text: In May, Vivendi announced the game's release had been pushed back to 2006. In the same statement, they revealed the game was being developed for the Xbox 360 as well as the PS2, Xbox and PC. The Xbox version of the game was first made available in playable form (albeit not playable by the public) at E3 2005 in May. Radical stated the PC and PlayStation 2 versions would be identical to the Xbox version, although the Xbox 360 version would have some unique features.


title: Scarface: The World Is Yours

text: In late March 2006, Vivendi gave pre-alpha builds of the PlayStation 2 version of the game to both IGN and GameSpot. They explained that since E3 2005, Radical had given the entire game an overhaul, improving the design and creating a more compelling storyline. They had also tweaked the gameplay in an effort to appeal to both casual gamers and more hardcore gamers. These changes had been implemented after some negative feedback from both the public and the gaming press following the E3 demo. Writers had been especially critical of the look of the game, and one of Radical's alterations was to repaint every external texture. Jason Bone stated the negative feedback was a good thing, as Radical had underestimated the difficulty of making a large open world game; "We do have a bit of experience with open world games, but they were on a much smaller scale - there wasn't a lot of detail in them. With this game, we needed it to feel cinematic and yet be an open world game." The negative feedback made them realize the game needed more work. Bone also stated work had not begun on the Xbox 360 version, as they didn't want it to be a direct port, nor did they want it to distract them from the PS2, PC and Xbox versions. He also suggested that a PlayStation 3 version was under consideration.


title: Scarface: The World Is Yours

text: The alpha build of the game was shown by Vivendi at the pre-E3 2006 show in April. Vivendi also released another list of voice actors who were appearing in the game; Al Israel, Ice-T, Oliver Platt, Daniel Dae Kim, Willa Holland, Roma Maffia, Robert LaSardo, Brenda Strong, Dale Earnhardt Jr., Ricky Gervais, Michael Rooker, Jason Mewes, Anthony Anderson, Rick Yune, Wilmer Valderrama, Kevin Dillon, Jerry Ferrara, Richard Roundtree, Tiny Lister Jr., Bai Ling, Bam Margera, Cree Summer, N.O.R.E., Tommy Lee, B-Real, Sen Dog, and Elliott Gould. It was also revealed the actor voicing Montana, André Sogliuzzo, had been hand-picked by Al Pacino. In July, it was revealed Pacino had turned down the opportunity to lend his likeness to Electronic Arts' "Godfather" adaptation so he could appear instead in "Scarface". It was also explained the reason Pacino himself was not voicing Montana was because he simply didn't sound like Montana anymore. According to Vivendi's Adam Roberts; "He just can't physically do it any more. He tried, but it took a lot of physical effort to do the Montana voice - it's very heavily accented, very difficult for him to do."


title: Scarface: The World Is Yours

text: In August, a Collector's Edition of the game for the PlayStation 2 was announced, which would include the game, a bonus DVD including a "Making of" documentary, a video walkthrough with producer commentary, cast interviews, hints and tips, a full map of the game world and concept art.


title: Scarface: The World Is Yours

text: On July 28, Vivendi announced a "Scarface" game was also being developed for the PlayStation Portable. However, it would be a completely different game from "The World is Yours". Called "", the game was being developed by FarSight Studios, and would combine turn-based strategy with real-time combat as rival gangs vie to take control of Miami. On the same day, Vivendi also revealed the Xbox 360 version of "The World is Yours" had been cancelled, for undisclosed reasons.


title: Scarface: The World Is Yours

text: In August, Vivendi revealed the soundtrack, of over 100 songs, would feature music from the likes of Beth Anderson, Johnny Cash, Control Machete, Grandmaster Flash, Ministry, Debbie Harry, Rick James, Iggy Pop, Judas Priest, Public Enemy, Rohff, Run-DMC, Shannon, Burning Spear, and Peter Tosh, as well as the entirety of Giorgio Moroder's original score for the film. They also revealed details of the "Mix Tape" feature, which would allow players to customize the in-game soundtrack in any way they wished. Cindy Cook, chief marketing officer at Vivendi, stated:


title: Scarface: The World Is Yours

text: The game's soundtrack, "Scarface: The World Is Yours - Original Game Music Score", composed by Marc Baril, was released by Universal Music in October 2006. The track features no music from the film, only original music from the game.


title: Scarface: The World Is Yours

text: In January, 2007, "NGamer" revealed "The World is Yours" was being ported to the Wii. On March 1, Vivendi confirmed the game was scheduled for a summer release, and would be identical to the other versions, but would feature Wii Remote controls and enhanced graphics.


title: Scarface: The World Is Yours

text: The game was first shown on April 10, at which time the controls were demonstrated. IGN were impressed: "The pointing function works really well in "Scarface". Just like the PC version's mouse control, players now have near pin-point weapon precision that makes it easier and more intuitive to gun down the opposition with the huge assortment of firepower within the experience. You can still target individuals to tighten up your aim using the Z button on the nunchuk, but because the Wii Remote's pointer already does a great job with its precision it's rare that we found ourselves using it." GameSpot were less impressed; "When you're wielding the chainsaw, its movement will be tied to that of the Wii Remote, and by slashing in different directions and at different heights you'll be able to target enemies' heads, legs, and individual arms. With practice you'll purportedly be able to remove all of the aforementioned extremities before the torso hits the ground, but the associate producer showing us the game on this occasion never managed to pull it off."


title: Scarface: The World Is Yours

text: Vivendi also confirmed the game would be entirely uncut, making it the most violent game available for the Wii. It was later announced the economy in the game had been adjusted to give players greater rewards for earlier missions, and the price of some of the "exotics" had been lowered.


title: Scarface: The World Is Yours

text: "The World Is Yours" received generally positive reviews across all systems; the PlayStation 2 version holds an aggregate score of 75 out of 100 on Metacritic, based on forty-six reviews; the Xbox version 76 out of 100, based on forty-one reviews; the PC version 73 out of 100, based on eighteen reviews; and the Wii version 71 out of 100, based on twenty-three reviews.


title: Scarface: The World Is Yours

text: IGN's Chris Roper was extremely impressed, scoring the PC, PlayStation 2 and Xbox versions 8.7 out of 10, and giving the game an "Editor's Choice" award. The Xbox version was also awarded the October "Xbox Game of the Month" award. Roper dismissed notions that the game was simply a "Grand Theft Auto" clone, arguing instead that it advanced the genre; "much of "Scarface" is based on what we've seen in "Grand Theft Auto". In fact, it's fairly obvious that Radical used said series as the blueprint and then went back and re-evaluated its shortcomings. The result is that we have a game that fixes many of "GTA"s problematic elements." He praised the basic gameplay, the storyline, the balls meter, rage mode, and the aiming system. Although he was somewhat critical of the map, arguing too many areas in the game are accessible via only one road, he concluded "there are a whole lot of little things about "Scarface" that make it fun, but it's the sum of its parts that make it the overall great game that it is. It does a whole lot to fix many of the problems with other games in the genre, and it does an absolutely fantastic job of bringing the world of "Scarface" to gamers." Mark Bozon and Chris Roper scored the Wii version 8.5 out of 10, also giving it an "Editor's Choice" award, and writing ""Scarface" is a very impressive game, and while there isn't a ton of Wii-specific additions to the package, everything that was added makes a big difference." Praising the controls, they wrote "it's amazingly easy to target enemies and blow off specific body parts in the process." They called it "an intelligent, high-budget, astonishingly impressive game", arguing "Wii owners that fit in the hardcore crowd will absolutely eat this one up, as it's currently one of the deepest and most entertaining experiences on the system."


title: Scarface: The World Is Yours

text: "Game Informer"s Matt Helgeson scored the PlayStation 2 version 8.5 out of 10, calling it "a very playable and addictive open-world game that manages to put its own fresh spin on the familiar genre." He was critical of the side-missions, calling them "very repetitive", but he concluded "Overall, I had a great time with "Scarface". It's every bit as profane, violent, and over-the-top as the movie, and delivers not only the gunplay you're expecting, but as much depth as almost any other game in the genre."


title: Scarface: The World Is Yours

text: GameSpy's Justin Speer scored the PlayStation 2 version 4 out of 5, calling it "a ridiculously violent, unbelievably profane game that lets you glorify yourself with virtual millions of dollars in hard-earned drug money, fast cars, boats, underlings, women and copious amounts of blood. It's a good feeling." However, he noted that "gamers who are getting used to the next-generation of console visuals aren't going to be impressed with either the PS2 or the Xbox version." He also argued the game becomes somewhat repetitive towards the end. However, he concluded ""Scarface" is a long-lasting experience that's simply a lot of fun. Part guilty pleasure, part blazingly successful experiment in game design, "Scarface: The World is Yours" is definitely worth a shot."


title: Scarface: The World Is Yours

text: Eurogamer's Kristan Reed scored the Xbox version 7 out of 10, calling it a "surprisingly well put-together take on the genre", with his biggest criticism being the semi-linear nature of the gameplay. He concluded ""Scarface" is only ever a fun, solid competent "Grand Theft" Also-ran and never a classic [...] "Scarface" is certainly several notches above the derivative insult we expected it would be, and those who can bear to wait another year for the next "GTA" will be well served by its faithfulness to the popular formula. Groundbreaking it isn't, but fun it is." Dan Whitehead also scored the Wii version 7 out of 10. Of the control system, he wrote, "it's not that the new control system is unworkable, just that it's a fairly needless change dictated by the Wii itself rather than gameplay necessity. It's fiddly to learn, often awkward to use when it matters most, yet doesn't reward you with any tangible benefits when you master it." He concluded "Given the drought currently afflicting the Wii, it seems churlish to completely dismiss "Scarface"s many amusements just because of control issues, especially as they can be accommodated with patience and practice. For the bulk of its playing time "Scarface" remains an indecently entertaining bad taste romp."


title: Scarface: The World Is Yours

text: GameSpot's Jeff Gerstmann was less impressed, scoring the PC version 6 out of 10, the PS2 version 6.4 out of 10 and the Xbox version 6.6 out of 10, and calling the game "a foul-mouthed and bloody adventure that does next to nothing with the characters [...] The whole experience feels flat and often self-conscious." Of the PC version, he wrote "even on machines that go way beyond the game's recommended system requirements, we noticed plenty of frame rate trouble and slowdown. The textures aren't pretty, and overall, the game looks like a quick and dirty console port." He concluded "Overall, "Scarface: The World Is Yours" is more a victim of some poor design choices than any glaring technical issues. [...] by taking the focus off of the gameplay elements that you'd want in an open-city game and putting it more on the game's bland mission design and all the dull side tasks you'll have to do to earn a reputation, "Scarface" doesn't play to its potential strengths. The end result is a functional game that presents an interesting premise, but underneath you'll find a wholly uninteresting game." He was even more critical of the Wii version, scoring it 5.8 out of 10, writing "the gamepad-to-Wii Remote transition has made this lackluster game play even worse." He was extremely critical of the controls; "while it's somewhat impressive on some level that the developer managed to cram a standard gamepad-controlled game onto the Wii Remote and Nunchuk, it's never fun to play, and you'll feel like you're fighting the controls from start to finish."


title: Scarface: The World Is Yours

text: The editors of "Computer Games Magazine" presented "Scarface" with their 2006 "Best Soundtrack" award.


title: Scarface: The World Is Yours

text: "Scarface" sold well on PlayStation 2 and Xbox, but not on PC. In its first week on Best Buy, the PlayStation 2 version was the second–highest selling game, the Collector's Edition was the eight and the Xbox version was the thirteenth. Together, the two PS2 versions outsold the number one game that week; "Tiger Woods PGA Tour 07". By the end of October, the game was the top-selling game of the month; the combined regular and collector's editions on the PS2 was the best-selling game in North America in October, with over 366,000 units sold, earning over $18.7 million. The Xbox version sold over 110,000 units, earning over $5.4 million. The PC version sold only 9,000 units, earning less than $450,000. By the end of November, the game had sold over one million copies worldwide across all three systems. By March 2007, the PlayStation and Xbox versions had sold over 1.5 million copies between them. By May 2007, the game sold more than 2 million copies worldwide.


title: Scarface: The World Is Yours

text: In July 2005, Vivendi president Phil O'Neil intimated there were plans to turn "Scarface" into a multigame franchise, saying "a "Scarface 2", a "Scarface 3", a "Scarface 4", and consecutive iterations of that product [are] a really important component of what we're trying to do here." When the rights to the property were transferred to Activision Blizzard on July 10, 2008, however, "Scarface 2" was not included in their list of upcoming games. Although the rights were later transferred back to Universal Pictures, no further news was heard. On 23 June 2022, gameplay footage was leaked by YouTuber Mafia Game Videos showing the game in a pre-alpha state. The game was meant to take place in Las Vegas.


title: Nicholas James (actor)

text: Nicholas James (born December 1, 1982), Nicholas James Muscarella and additionally variously credited as Nick James or Nicholas J. Muscarella) is an American actor. James is known for his recurring role, since 2016, as Officer Justin Lewis in the television series "The Haves and the Have Nots", as well as for appearances in "Prom Night" (2008) and "" (2014). His earliest credited film appearance was in "" in 2006.


title: Nicholas James (actor)

text: James has appeared in television commercials for Grupo Modelo (in 2016) and Walmart (in 2014). Outside of acting, James has also worked as a model.


title: Nicholas James (actor)

text: Nicholas James's initial interest in performing was directed at comedic rather than dramatic roles, particularly sketch comedy in the style of "Saturday Night Live". In Los Angeles, he studied acting under the tutelage of various renowned figures, including legendary acting coach Vincent Chase (for whom the eponymous fictional character on the TV series "Entourage" was named). Actor Shia LaBeouf was among his classmates. Later, he attended classes at Upright Citizen's Brigade, thus returning to his earlier interest in improvisational and sketch comedy.


title: Nicholas James (actor)

text: James dropped his surname to form his stage name because, in his own words, “I don't look too Italian and people trip over that name all the time.” His original surname Muscarella has however appeared as part of one of three variations of his name in film and television credits.


title: Nicholas James (actor)

text: Nicholas James is originally from Greenville, Pennsylvania, the son of Gregory and Vicki Muscarella; he has an older brother named Michael. He attended Reynolds Junior – Senior High School, and later Penn State Behrend College, studying management and marketing before leaving for Hollywood, where he arrived with just $200 and did bottle service at a bar while pursuing acting. He currently resides in Los Angeles.


title: Nicholas James (actor)

text: James is vocal on political issues via Twitter, and maintains an Instagram account. His interests include the extreme sports skydiving and surfing as well as standup paddleboarding, snorkelling, hiking, animals and exotic teas.


title: Nicholas James (actor)

text: James has been in a relationship with his "Haves and the Have Nots" co-star Tika Sumpter, since at least 2016. He is reported to be two years her junior, making him 36 in 2018. Their daughter, Ella-Loren, was born October 8, 2016. Despite numerous press outlets stating that James was the father, Sumpter did not confirm his paternity, then she revealed only his first name when announcing that they had become engaged on Christmas Day of 2016.


title: Richard Deacon (actor)

text: Richard Lewis Deacon (May 14, 1922 – August 8, 1984) was an American television and motion picture actor, best known for playing supporting roles in television shows such as "The Dick Van Dyke Show", "Leave It To Beaver", and "The Jack Benny Program" along with minor roles in films such as "Invasion of the Body Snatchers" (1956) and Alfred Hitchcock's "The Birds" (1963).


title: Richard Deacon (actor)

text: Deacon often portrayed pompous, prissy, and/or imperious figures in film and television. He made appearances on "The Jack Benny Program" as a salesman and a barber, and on NBC's "Happy" as a hotel manager. He made a brief appearance in Alfred Hitchcock's film "The Birds" (1963). He played a larger role in "Invasion of the Body Snatchers" (1956) as a physician in the "book-end" sequences added to the beginning and end of the film after its original previews.


title: Richard Deacon (actor)

text: In Billy Wilder's 1957 film adaptation of Charles Lindbergh’s "The Spirit of St. Louis", Deacon portrayed the chairman of the Columbia Aircraft Corporation, Charles A. Levine.


title: Richard Deacon (actor)

text: His best-known roles are milksop Mel Cooley (producer of "The Alan Brady Show") on CBS's "The Dick Van Dyke Show" (1961–1966) and Fred Rutherford on "Leave It to Beaver" (1957–1963), although Deacon played Mr. Baxter in the 1957 "Beaver" pilot episode "It's a Small World". He co-starred as Tallulah Bankhead's butler in an episode of "The Lucy–Desi Comedy Hour" called "The Celebrity Next Door". Deacon played Roger Buell on the second season of TV's "The Mothers-in-Law" (1967–1969), replacing Roger C. Carmel in the role. He played Principal "Jazzbo" Conroy in "The Danny Thomas Show" (1958). He also appeared in the 1960 Perry Mason episode "The Case of the Red Riding Boots" as Wilmer Beaslee.


title: Richard Deacon (actor)

text: In "Carousel" (1956), the film adaptation of the Rodgers & Hammerstein stage musical, Deacon had a bit role as the policeman who admonishes Julie and Mr. Bascombe about Billy Bigelow in the "bench scene". It was one of the few films in which he did not wear glasses, as were his roles in "Abbott and Costello Meet the Mummy" (1955), and the 1954 costumer "Désirée", where he played Jean Simmons' elder brother, an 18th-century Marseilles silk merchant. Philadelphia native Deacon played the role of Morton Stearnes' butler, George Archibald, whose courtroom testimony is a turning point in "The Young Philadelphians" (1959), starring Paul Newman. He played an imbibing justice of the peace, Reverend Zaron, in the 1957 Budd Boetticher western "Decision at Sundown".


title: Richard Deacon (actor)

text: Deacon appeared in some Westerns and many sitcoms, including "It's a Great Life", "The People's Choice", "How to Marry a Millionaire", "Guestward, Ho!", "Pete and Gladys", "The Donna Reed Show", "Gunsmoke", "The Real McCoys" (in the episode "The Tax Man Cometh", he clashes with series star Walter Brennan over property tax assessments in the San Fernando Valley), "Get Smart", "Bonanza" (a deceitful character who cheats the Cartwrights during their visit to San Francisco in the episode "San Francisco"), and "The Rifleman" (episode "The Hangman", in an uncredited role). In episode 5 of the first season of "The Munsters", "Pike's Pique", he plays water district commissioner Mr. Pike, buying the underground rights to lay pipe. In "The Addams Family", he administers Cousin Itt a battery of psychological tests in the episode "Cousin Itt and the Vocational Counselor". In 1966, he appeared on Phyllis Diller's short-lived television sitcom, "The Pruitts of Southampton". He also guest starred in the NBC family drama "National Velvet", and in the ABC/Warner Bros. crime drama "Bourbon Street Beat", and played Mr. Whipple on "The Twilight Zone" in the 1964 episode "The Brain Center at Whipple's". In 1967, Deacon played Ralph Yarby, director of security for lumber baron D.J. Mulrooney, in Disney's "The Gnome-Mobile". In 1968, he played Dean Wheaton in the Walt Disney film "Blackbeard's Ghost". He was also an occasional panelist in the 1970s/early 1980s versions of "Match Game". In 1970, he appeared in four episodes of "The Beverly Hillbillies" as a psychiatrist treating Granny.


title: Richard Deacon (actor)

text: In 1971, Deacon co-starred, along with Elaine Joyce, in the final episode of "Green Acres" which was a backdoor pilot for a proposed sitcom titled "The Blonde" or "Carol". Joyce played Oliver's former "dizzy blonde" secretary, Carol Rush, who now lives in Los Angeles with her sister and brother-in-law. Deacon played her no-nonsense boss, Mr. Oglethorpe, who Carol manages to save from a real estate scam. The pilot was not picked up.


title: Richard Deacon (actor)

text: In 1969, he co-starred on Broadway as "Horace Vandergelder" in the long-running musical "Hello, Dolly!", reuniting him onstage with Diller, who played the title character.


title: Richard Deacon (actor)

text: Deacon appeared on the "Match Game-Hollywood Squares Hour" in 1983 as a game show participant / celebrity guest star.


title: Richard Deacon (actor)

text: In 1983, Deacon reprised his role of Fred Rutherford in the television movie "Still the Beaver", a sequel to the original TV series. When the television movie spawned a series of the same name on The Disney Channel, he was to reprise the role but died weeks before the series began production.


title: Richard Deacon (actor)

text: Although he was born in Philadelphia, he and his family later moved to Binghamton, New York, living on the west side of that city. He attended West Junior High and Binghamton Central High School, where he met fellow Binghamton resident Rod Serling.


title: Richard Deacon (actor)

text: During World War II, Deacon served in the United States Army medical corps. In 1946, upon completion of his service, he returned to Binghamton where he resumed living with his parents. He worked in occupations such as laboratory technician and intern at Binghamton General Hospital. He later attended Ithaca College, first as a medical student, but later developed an interest in acting, engaging in some nighttime radio announcing.


title: Richard Deacon (actor)

text: Deacon was a gourmet chef in addition to working as an actor. In the 1970s and 1980s, he wrote a series of cookbooks and hosted a Canadian television series on microwave oven cooking.


title: Richard Deacon (actor)

text: While not widely known during Deacon's lifetime, he was a charitable man. At his memorial service, a number of people previously unknown to Deacon's friends and colleagues spoke of how Deacon had provided for needy people and charitable organizations during his life.


title: Richard Deacon (actor)

text: Deacon never married. According to academic writers David L. Smith and Sean Griffin, Deacon was gay, and was among "a number of actors and actresses who were closeted homosexuals" working in Hollywood and often employed in Disney films.


title: Richard Deacon (actor)

text: Deacon died of cardiovascular disease on August 8, 1984, at age 62. His remains were cremated and the ashes scattered at sea.


title: Military uniform

text: A military uniform is a standardised dress worn by members of the armed forces and paramilitaries of various nations.


title: Military uniform

text: Military dress and styles have gone through significant changes over the centuries, from colourful and elaborate, ornamented clothing until the 19th century, to utilitarian camouflage uniforms for field and battle purposes from World War I (1914–1918) on. Military uniforms in the form of standardised and distinctive dress, intended for identification and display, are typically a sign of organised military forces equipped by a central authority.


title: Military uniform

text: Military uniforms differ not only according to military units but tend to also be offered in different levels of formality in accordance with Western dress codes: full dress uniform for formal wear, mess dress uniform for semi-formal wear, service dress uniform for informal wear, and combat uniform (also called "battle/field dress") which would equal casual wear. Sometimes added to the casual wear category is physical training uniforms.


title: Military uniform

text: A distinction should be made between uniforms and ethnic dress. If a particular people or culture favoured a distinctive dress style this could easily create the impression of uniformly dressed warriors. The issue is further complicated by the distinctive features (weapons, armour, fighting style and native dress) of particularly effective warrior classes often being copied. Thus the distinctive and colourful clothing of the Hungarian hussars became a model for hussar units all over Europe. The kilts and sporrans of Scottish Highland clans were distilled into regimental dress when the British Army started to recruit from these tribal groups.


title: Military uniform

text: Mercenary or irregular fighters could also develop their own fashions, which set them apart from civilians, but were not really uniforms. The clothing of the German Landsknechte of the 16th century is an example of distinctive military fashion. Special units such as Zouaves developed non-standard uniforms to distinguish them from troops of the line.


title: Military uniform

text: There are a few recorded attempts at uniform dress in antiquity, going beyond the similarity to be expected of ethnic or tribal dress. One example is the Spanish infantry of Hannibal who wore white tunics with crimson edgings. Another is the Spartan hoplite in his red garment. The Terracotta Army discovered in the tomb of the first Emperor of China (c. 200 BC) have a superficial similarity but closer examination shows up to seven different styles of armour, which do not appear to have been standardised within separate units.


title: Military uniform

text: The legions of the Roman Republic and Empire had a fairly standardised dress and armour, particularly from approximately the early to mid 1st century onward, when Lorica Segmentata (segmented armour) was introduced. However the lack of unified production for the Roman army meant that there were still considerable differences in detail. Even the armour produced in state factories varied according to the province of origin. Fragments of surviving clothing and wall paintings indicate that the basic tunic of the Roman soldier was of un-dyed (off-white) or red-dyed wool. Senior commanders are known to have worn white cloaks and plumes. Centurions – the century commanders who made up the long serving backbone of the legions – were distinguished by transverse crests on their helmets, various chest ornaments (phaleræ) corresponding to modern medals, torques (a symbol borrowed from the Gauls and also used as a military award), and the vine stick (Vitis) that they carried as a mark of their office.


title: Military uniform

text: While some auxiliary cohorts in the late Roman period had carried shields with distinctive colours or designs, there is no evidence that any one Roman legion was distinguished from another by features other than the numbers on the leather covers protecting their shields.


title: Military uniform

text: The feudal system of Western Europe provided instances of distinguishing features denoting allegiance to one or another lord. These however seldom went beyond colours and patterns painted on shields or embroidered on surcoats. Orders of military monks such as the Knights Templar or Hospitaller wore mantles respectively of white (with red crosses on the shoulder) or black (with white crosses) over the usual pattern of armour for their periods. In the later part of the Medieval period instances of standardised clothing being issued for particular campaigns began to occur. English examples included the white coats worn by Norfolk levies recruited in 1296 and the green and white clothing that identified Cheshire archers during the 14th century.


title: Military uniform

text: The regular thematic (provincial) and Tagmata (central) troops of the Byzantine Empire (East Roman) are the first known soldiers to have had what would now be considered regimental or unit identification. During the 10th century, each of the cavalry "banda" making up these forces is recorded as having plumes and other distinctions in a distinctive colour. Officers wore a waist sash or "pekotarion", which may have been of different colours according to rank.


title: Military uniform

text: The styles and decoration of military uniforms varied immensely with the status, image, and resources of the military throughout the ages. Uniform dress became the norm with the adoption of regimental systems, initially by the French army in the mid-17th century. Before 1600 a few German and Dutch regiments had worn red or yellow coats. From about 1626 onwards some Swedish infantry had been issued with standard coloured dress under Gustavus Adolphus (hence his "yellow" or "blue" regiments). However, most levies of the 15th and 16th centuries wore civilian dress and regiments were dressed at the expense of their colonels in whatever style and colours the colonel preferred. Even Royal guards would sometimes only be issued with distinctive coloured or embroidered surcoats to wear over ordinary clothing. To help armies distinguish friend from foe, scarves, pieces of foliage, or other makeshift identification known as "field signs" would be worn, (a practice still recognised under international humanitarian law and the laws of war as a "distinctive sign"). Field signs were easily removed or donned, as in the example of John Smith, a squire on the Royalist side who at the Battle of Edgehill put on the orange scarf of the Parliamentarians and with no more elaborate disguise recaptured the royal standard from the Earl of Essex's own secretary.


title: Military uniform

text: By this time, in France at least, the general character of the clothes and accoutrements to be worn on various occasions was strictly regulated by orders. But uniformity of clothing was not to be expected so long as the "enlistment" system prevailed and soldiers were taken in and dismissed at the beginning and end of every campaign. The beginnings of uniform are therefore to be found in truly national armies, in the Indelta of Gustavus Adolphus, and the English armies of the English Civil War. In the earlier years of the latter, though the richer colonels uniformed their men (for instance, the Marquess of Newcastle's "Whitecoats" and King Charles's own red-coated Lifeguard of foot), the rustics and the citizens turned out for war in their ordinary rough clothes, donning armour and sword-belt. But in 1645 the Long Parliament raised an army for permanent service, and the colonels became officials rather than proprietors. The New Model Army was clothed in the civilian costume of the date—ample coat, waistcoat, breeches, stockings and shoes (in the case of cavalry, boots)—but with the distinctive colour throughout the army of red and with regimental facings of various colours and breeches of grey. Soon afterwards the helmet was replaced by a grey broad-brimmed hat. From the coat was eventually evolved the tunic of the mid-19th century, and the hat became the cocked hat of a later generation, which generally disappeared during the decade of 1800–1810 to reappear in the late 19th and early 20th century, by which time it had its original form of a "slouch-hat." For service in Ireland the New Model Army's red coat was exchanged for one of russet colour, just as scarlet gave way to khaki for Indian service in the 19th century. The Ironsides cavalry, however, wore buff leather coats and armour long after the infantry had abandoned them.


title: Military uniform

text: Thus the principle ever since followed — uniform coat and variegated facings — was established. By choice or convenience the majority of the corps out of which the New Model Army was formed had come to be dressed in red, with facings according to the colonel's taste. In Austria sixty years afterwards events took the same course. The colonels there uniformed their men as they saw fit, but had, probably to obtain "wholesale" prices, agreed upon a serviceable colour, pearl grey. When in 1707 Prince Eugene procured the issue of uniform regulations, few line regiments had to be re-clothed. In France, as in England and Austria, the cavalry, still led by the wealthy classes rather than officered by the professional, was not uniformed upon an army system until after the infantry. But in 1688 six-sevenths of the French cavalry was uniformed in light grey with red facings; and about half the dragoon regiments had red uniforms and blue facings. The Marquis of Louvois, in creating a standing army, had introduced an infantry uniform as a necessary consequence. The native French regiments had light grey coats, the Swiss red, the German black and the Italian blue, with various facings. The French grey was probably decided upon, like the Austrian grey, as being a good "service" colour, which could be cheaply manufactured.


title: Military uniform

text: During the 18th century the normal military uniform in Europe comprised a standardised form of civilian dress (tricorn hat, long-skirted coat, waistcoat and breeches). One distinctively military feature were the long canvas gaiters which came up to mid-thigh and had multiple buttons. Dress was surprisingly standardised between European armies in cut and general outline. The distinction normally lay in colours: red coats for the British and Danes, light grey then white for the French, Spanish, and Austrian infantry, dark blue for the Prussians and Portuguese, green for the Russians, etc. Within each army different regiments were usually distinguished by "facings" — linings, turnbacks, and braiding on coats in colours that were distinctive to one or several regiments. The Royal Comtois Infantry Regiment of the French Army, for example, had large dark blue cuffs on its off-white coats. To a certain extent the functions required of a given group of soldiers were reflected in their dress. Thus artillery uniforms in most armies were usually of dark blue, for the practical reason that handling black powder would have soiled lighter coloured clothing. Infantry drummers and cavalry trumpeters often had "reverse" colours with coats the colour of the regimental facings and facings the colour of the regimental coats.


title: Military uniform

text: Officers (who paid for their own clothing) were slower to accept uniforms. During the late 17th century they were often dressed in individual styles and colours according to their own taste and means. In part this was because the uniform dress issued to the rank and file was considered a form of livery — the mark of a servant and demeaning to members of the social class from which officers came. One early practice in the French and other armies was for officers to wear coats of the facing colour of their regiments. Rank insignia as such was unknown until well into the 18th century. The gorget hanging from a chain around the neck (a last survival of medieval armour) was the only universally recognised mark of an officer until epaulettes developed from clusters of ribbons formerly worn on the shoulder. In the British army officers were ordered to adopt epaulettes by a clothing warrant dated 1768. Even when officers' uniforms became the subject of detailed regulation they remained easily distinguishable from those of other ranks, by the better quality and richness of the materials and trimmings used. Gold or silver braiding on the hats and coats of officers usually matched the bronze or pewter of the numerous buttons on regimental clothing.


title: Military uniform

text: New uniforms were issued with surprising frequency in some 18th-century armies (once a year in the British service). It should, however, be remembered that a soldier had to march, parade, fight and sometimes sleep in the same garment and that such extras as greatcoats or working clothes were seldom issued until the end of the century.


title: Military uniform

text: The highly organised armies of the Ottoman Empire employed distinctive features of dress to distinguish one corps or class of soldier from another. An example would be the conical black hats of felt worn by the Deli cavalry of the early 19th century. However the basic costume was usually that of the tribal group or social class from which a particular class of warrior was drawn. As such it was sufficiently varied not to rank as "uniform" in the later sense. An elaborate system of colourful standards largely provided unit identification. Even the appearance of the Janissaries was likely to reflect individual means and taste, although red was a favoured colour and the white felt zarcola headdresses were similar.


title: Military uniform

text: It was not until the reorganisation of the Ottoman Army by Sultan Mahmud II during the 1820s that completely standardised dress was issued.


title: Military uniform

text: The first fifteen years of the 19th century influenced the appearance of military uniforms until the 1850s. In particular, some uniforms of the Grande Armée – notably those of the cavalry regiments of the Imperial Guard – are considered as being amongst the most striking and distinctive of the time. The cost of the French uniforms varied widely, going from 200 to 250 francs for a line infantryman's outfit to 2000 francs for a cuirassier's uniform. Cavalrymen of the Guard had no fewer than 10 different uniforms. One justification for the expensive parade dresses of the Guard was that they would "lead the people of the conquered nations to regard the French uniforms with unreserved astonishment". As a general trend France and other European states replaced their bicornes by feathered shakos or crested helmets, while the coatee-type jacket replaced the combination of tailcoat and waistcoat.


title: Military uniform

text: The ornamental peak of the military uniform was reached in the early 19th century in Western Europe. Sometimes the Napoleonic Wars are identified as being the acme of colourful and ornate uniforms, but actually the several decades of relative peace that followed were a time of even more decorative styles and embellishments. The Napoleonic soldier on campaign was likely to present a shabby and nondescript appearance as unsuitable peacetime dress quickly deteriorated or was replaced with whatever local substitutes were available.


title: Military uniform

text: Until later on in the century dyes were primitive and different batches of uniforms worn by the same unit might present differing shades, especially after exposure to rain and sun. The white uniforms popular amongst many armies through the 18th and early 19th centuries soiled easily and had to be pipeclayed to retain any semblance of cleanliness. Green as worn by Jäger and Rifle regiments proved particularly prone to fading until suitable chemical dyes were devised in the 1890s. British soldiers were known for their striking red clothing (hence the name "Redcoats"). This was actually a fairly dull shade of madder red until the general adoption of scarlet for tunics in the 1870s.


title: Military uniform

text: In an early instance of military camouflage, the sailors of Imperial Rome are reported to have worn blue/grey tunics.


title: Military uniform

text: However uniform dress was not a feature of navies (officers and marines excepted) until comparatively recent times. This may reflect the considerable difference in roles and conditions of service between sailors and soldiers.


title: Military uniform

text: Until the middle of the 19th century only officers and warrant officers in the Royal Navy wore regulated uniforms. Through the 18th century to the Napoleonic Wars navy officers had a form of dress broadly resembling that of army officers, though in dark blue with white facings. In the early 19th century Royal Navy officers developed a more distinctive form of uniform comprising (in full dress uniform) a cocked hat, dark blue coatee with white collar and cuffs, dark blue or white trousers, or breeches.


title: Military uniform

text: Epaulettes and braiding were gold and varied according to rank. In a simplified form this dress (without the cocked hat) survives as the modern ceremonial dress for flag officers.


title: Military uniform

text: Throughout this period sailors supplied or made their own clothing. Sailors developed traditional clothing suitable for their work: loose-fitting trousers with belts made of rope; tunics that slipped over the head, with arms to above the wrist so that the cloth would not foul in ropes passing through a cleat or pulley. For cold weather, a jumper was knitted from yarn or wool. For wet weather, old sail cloth was made into a coat (with hat or attached hood) that was waterproofed with tallow or fat. In these days, the officers would designate certain afternoons to "make and mend" (clothing). A sailor with little clothing to make or mend used this time as "time off".


title: Military uniform

text: This included features which can still be recognised in the Class I uniform of ratings in the modern Royal Navy - notably the wide blue collar with white tapes, a black neckerchief, white lanyard and blue or white jumper. The flared "bell bottom" trousers disappeared after the Second World War.


title: Military uniform

text: Because of the global dominance of the Royal Navy from Trafalgar to the Second World War RN uniforms became the model for virtually all other navies. While certain distinctive features emerged - such as the red pompon worn on the crown of the French sailor's cap, the open fronted jacket of the German Navy or the white round cap of the U.S. Navy - the overall pattern remained standard until the development of specialist working or protective rigs during the Second World War.


title: Military uniform

text: It is generally supposed that Union soldiers wore blue uniforms and Confederate soldiers wore grey ones. However, this was only a generalisation. Both the Union and the Confederacy drew up uniform regulations, but as a matter of practical reality neither side was able to fully equip its men at the outbreak of the war. Existing state units and quickly raised volunteer regiments on both sides wore a wide variety of styles and colours in the early stages of the war. Some regiments—such as the North's Berdan Sharpshooters and the South's Alexandria Rifles—had green uniforms, while the French zouave style was widely imitated.


title: Military uniform

text: The Union eventually got most of its men into regulation Federal blue but this often faded until it appeared grey. Originally the Confederate government relied on the "commutation" system which required the states to provide their own uniforms. While the commutation system was in place, many states were not able to provide an ample supply of uniforms and captured federal uniforms were common. Later in the war the Confederate national government provided uniforms from a central depot system, including the famous Richmond and Columbus depots. Many photographs of Confederate soldiers from later in the war (usually casualties) are wearing standardised uniforms. As Sherman's men marched across Georgia and up the Carolinas, they were cut off from supply by the Union and began wearing clothing of Confederate origin. Confederate soldiers used a variety of vegetable and imported dyes which would fade to a "butternut" colour.


title: Military uniform

text: Until 1914 the majority of armies still provided colourful dress uniforms for all ranks, at least for parade and off-duty wear. These often retained distinctive features from the past. Most Russian troops, for example, wore the very dark green introduced by Peter the Great in 1700. German infantry generally wore the dark "Prussian blue" of the previous two centuries. This and other features of the historic Prussian Army uniform were generally adopted by the other German States as they fell under Prussian influence before and after the Franco-Prussian War of 1870. Bavarians, however, continued to wear light blue and Saxon regiments retained a number of distinctions after the establishment of the German Empire (1871). Two regiments of the Prussian Guard and one of the Russian were still issued with the brass mitre caps of the 18th-century grenadier. The British infantry retained their scarlet tunics for parade and "walking out" wear, while the bulk of French regiments wore red trousers with dark or light blue tunics. The infantry of the Austro-Hungarian Empire discarded their historic white tunics in 1868 in favour of dark blue. However, the extremely large number of colours appearing on collars, cuffs, and shoulder straps to distinguish the various regiments were retained. There were for example ten shades of red, ranging from cherry red to pink. The Swedish Army had favoured dark blue with yellow facings since the beginning of the 18th century. There was infinite variety, even within smaller armies, between regiments, branches or ranks and the subject is a complex one.


title: Military uniform

text: The British were the first to introduce drab/khaki uniforms: in 1848 in India. This khaki drill then became more generally worn from the Indian Rebellion of 1857 both in India and Africa. A darker version, known as "service drab", was adopted for home service field wear in 1902, the same year that the US Army also adopted khaki for non-dress occasions. The Italians introduced grey-green in 1909, followed by the German and Austrian armies who adopted different shades of grey. The Russians had changed to a grey shade of khaki in 1908, following their experience in the Russo-Japanese War of 1905. There was however strong attachment to the colourful uniforms as previously worn on all occasions and the process was not an inexorable one. The Danish Army adopted grey-green uniforms for all occasions in 1903, reverted to a combination of dark and light blue in 1910, took up light grey in 1915 and finally settled for khaki in 1923. The Imperial Russian armies, following their adoption of khaki-grey field uniforms in 1908, took the opportunity to upgrade their parade uniforms to much more elaborate and colorful styles, and were experimenting with a mix of khaki and bright colours when war broke out in 1914. The Japanese Army probably went further than most in adopting khaki for all occasions after 1905, although even here officers of all branches and the cavalry of the Imperial Guard retained traditional coloured uniforms for formal and ceremonial occasions.


title: Military uniform

text: With the exception of Western-influenced units such as the "Ever-Triumphant Army" of the Taiping Rebellion (1851–66), Chinese armies of the 19th century wore dress that was broadly variegated. Embroidered chest panels and coloured buttons on headdresses were used to distinguish rank and sometimes unit. From 1910 the Imperial Chinese Army adopted dark blue uniforms of Japanese style with coloured facings of red, white, or yellow to distinguish the different branches. The Imperial Guard Division had a light grey uniform with the same branch colours as the line. A khaki summer uniform was worn by the entire army.


title: Military uniform

text: By the 20th century, drab colours were increasingly being adopted for active service and ordinary duty wear. The First World War finally put an end to the expensive practice of furnishing colourful uniforms to all ranks of the various armies. Amongst the frontline troops in August 1914 only the Belgian and French armies saw active service in bright colours and old fashioned headgear (although the Austro-Hungarian cavalry retained their blue and red uniforms for field wear after the remainder of the army had gone into pike grey in 1909). The Imperial German field grey of 1910 retained a number of traditional features such as spiked helmets, shakos, busbies, and coloured piping from the older uniforms. The demands of modern warfare as well as financial economy soon saw these survivals vanish, and by 1916 all involved armies were in either khaki (Russia, Turkish, Serbia, Montenegro, Japan, Greek, French colonial, and Britain), various shades of grey (German, Italian, Bulgarian, Portuguese, and Austro-Hungarian) or sky blue (French and Romanian). The coloured uniforms of peacetime were often relegated to depot wear by recruits doing their basic training.


title: Military uniform

text: Steel helmets first appeared in the form of the "Adrian" helmet adopted by the French Army in 1915. The practical advantages of this innovation led the British and German armies to adopt their own helmets by 1916. Other armies followed suit – the Belgians and Italians for example copying the French model and the Austro-Hungarians that of Germany.


title: Military uniform

text: The drab uniforms of 1914-18 remained in general use until the Second World War. This was partly for political reasons, since the republican, fascist, Nazis, and communist regimes that replaced many of the old monarchies and empires had little interest in preserving the splendours of their predecessors. However, even in those societies where there was social and political continuity the trend was away from the traditional uniforms worn prior to 1914. The British Army reintroduced full dress for Guards regiments in 1919-20 and regimental bands by 1928, while permitting officers to wear their mess (evening), blue or green "patrols" (semi-formal) and full dress on appropriate occasions. The French reintroduced "grande tenue" in 1927 for North African regiments which were mostly dependent on voluntary recruiting, and after 1930 required all regular officers to acquire dress uniforms in the pre-1914 colours of their branch or regiment. Elsewhere full or coloured dress of traditional cut was generally restricted to formal uniforms for officers and long service regulars, ceremonial guards, and a few other limited categories. The Spanish Army (which had not been involved in the First World War) exceptionally continued to issue coloured uniforms to all its conscript rank and file until 1926 and thereafter to the garrisons of Seville, Barcelona, and Madrid for special ceremonials until 1931. These included red trousers for the line infantry, following the French practice in an example of cross-border influence.


title: Military uniform

text: The use of steel helmets was by now almost universal and a number of countries adopted their own designs moving away from the German, British, and French models of the First World War. The Italians, Soviets, Japanese, Swiss, Spanish and Portuguese were amongst these. Steel helmets, originally simply items of utilitarian protective clothing, were adopted as parade headdress by the French, German, Italian, and Soviet armies, amongst others, between the Wars.


title: Military uniform

text: Uniforms of varying shades of khaki and grey were universal in the Second World War but the cut and outline appearance of the different armies still made identification in the field relatively straight forward. A Soviet soldier would, for example be distinguishable from his German opponent by his general outline, even in the fog of battle. British, American, Japanese and French uniforms still retained some distinctive features, even as they became more and more utilitarian in the course of the War.


title: Military uniform

text: The US Army discarded its First World War style field uniforms in 1941 in favour of a very plain and practical combat dress in a thin light brown wool shirt (sometimes with an olive green cast) and slightly darker trousers. This was worn in conjunction with a smart olive drab "Class A" dress uniform—which in many cases varied to a rich "chocolate" brown tunic worn with khaki trousers. There was a khaki version of the Class A dress uniform for summer wear. The war started with American combat troops wearing combat shoes with "spats" (a form of gaiters), replaced later in the war with 2-buckle combat boots.


title: Military uniform

text: In Germany the Nazi regime retained uniforms with many traditional features from Imperial Germany for its army uniforms, such as field grey cloth, marching boots (a taller version for officers), collar litzen (braiding) and breeches (for officers and NCOs); German Panzer (tank) troops had a special combat uniform made of black wool and German troops serving in tropical climates had uniforms in a shade of khaki. Later in the war, severe leather shortages led to the replacement of marching boots with ankle height shoes worn with gaiters (Gemäsch).


title: Military uniform

text: Imperial Japan used a light brown or khaki colour for most Imperial army uniforms — though there was also a green service dress tunic for officers. Footwear was reddish brown jack boots (restricted for wear only by officers), while soldiers wore shoes with leg wrappings puttees).


title: Military uniform

text: From 1935 to 1943, Soviet Army uniforms for all troops (except than tank troops) were an intermediate shade of brown; uniforms included a field uniform ("gymnasterka" shirt with collar tabs and a 2-button breast opening, belt, breeches, garrison cap, and boots), a service dress "kittel" tunic worn with breeches or trousers, and a dress uniform "mundir" tunic (worn with deep blue breeches). Soviet tank troops wore the gymnastyrka shirt, kittel (dress tunic) in a bluish grey (rather than brown) colour. In 1943, the Soviet Army began to re-adopt many Tsarist Army features, notably braided shoulder boards, which had previously been forbidden (since the founding of the Soviet Army) as a sign of an undesirable "social class" mentality. The reintroduction of these epaulettes in 1943 was a relatively inexpensive means of boosting Soviet troop morale. Once reintroduced to the Soviet Army, the use of shoulder boards was never rescinded and they remained part of the uniform until the dissolution of the Soviet Union. The distinct bluish grey colour for tankers was eliminated in 1943, from which point on all units of the Soviet Army wore brown.


title: Military uniform

text: Most military forces have developed several different uniform types, including combat dress, working dress, service or ordinary duty uniforms and (to a very limited extent) ceremonial full dress.


title: Military uniform

text: Today, all armies wear some form of camouflage uniforms for training and combat duty purposes. Armies facing service in different theatres may need several different camouflage uniforms.