document_title: For Whom the Bell Tolls

question_text: who dies in for whom the bell tolls

question_tokens: who dies in for whom the bell tolls

text: For Whom the Bell Tolls

text: Background[edit]

text: Ernest Hemingway wrote For Whom the Bell Tolls in Havana, Cuba; Key West, Florida; and Sun Valley, Idaho in 1939.[2][3] In Cuba, he lived in the Hotel Ambos-Mundos where he worked on the manuscript.[4][5] The novel was finished in July 1940 at the InterContinental New York Barclay Hotel in New York City[6] and published in October.[7][8] It is based on Hemingway's experiences during the Spanish Civil War and features an American protagonist, named Robert Jordan, who fights with Spanish soldiers for the Republicans.[9] The characters in the novel include those who are purely fictional, those based on real people but fictionalized, and those who were actual figures in the war. Set in the Sierra de Guadarrama mountain range between Madrid and Segovia, the action takes place during four days and three nights. For Whom the Bell Tolls became a Book of the Month Club choice, sold half a million copies within months, was nominated for a Pulitzer Prize, and became a literary triumph for Hemingway.[9] Published on 21 October 1940, the first edition print run was 75,000 copies priced at $2.75.[10]

text: Title[edit]

text: The book's title is taken from the metaphysical poet John Donne's series of meditations and prayers on health, pain, and sickness (written while Donne was convalescing from a nearly fatal illness) published in 1624 as Devotions upon Emergent Occasions, specifically Meditation XVII. Hemingway quotes part of the meditation (using Donne's original spelling) in the book's epigraph, which in turn refers to the practice of funeral tolling:

text: The point made by the choice of this title and epigraph is that the Spanish Civil War of 1936-1939, a major topic of debate in Western intellectual and political circles, is not of importance only to Spaniards; it matters to everyone. Furthermore, the title and epigraph can be interpreted as a reference to the themes of death within the novel, particularly between the characters of Robert Jordan and Anselmo.

text: Plot summary[edit]

text: The novel graphically describes the brutality of the civil war in Spain during this time. It is told primarily through the thoughts and experiences of the protagonist, Robert Jordan. It draws on Hemingway's own experiences in the Spanish Civil War as a reporter for the North American Newspaper Alliance.[citation needed]

text: Jordan is an American who had lived in Spain during the pre-war period, and fights as an irregular soldier for the Republic against Francisco Franco's fascist forces. An experienced dynamiter, he is ordered by a Soviet general to travel behind enemy lines and destroy a bridge with the aid of a band of local anti-fascist guerrillas, in order to prevent enemy troops from responding to an upcoming offensive. On his mission, Jordan meets the rebel Anselmo who brings him to the hidden guerrilla camp and initially acts as an intermediary between Jordan and the other guerrilla fighters.

text: In the camp, Jordan encounters María, a young Spanish woman whose life had been shattered by her parents' execution and her rape at the hands of the Falangists (part of the fascist coalition) at the outbreak of the war. His strong sense of duty clashes with both the unwillingness of the guerrilla leader Pablo to commit to an operation that would endanger himself and his band, and Jordan's own new-found lust for life which arises from his love for María. Pablo's wife, Pilar, with the support of the other guerillas, displaces Pablo as the group leader and pledges the allegiance of the guerrillas to Jordan's mission. When another band of anti-fascist guerrillas, led by El Sordo, is surrounded and killed during a raid they conducted in support of Jordan's mission, Pablo steals the dynamite detonators and exploder, hoping to prevent the demolition and thereby avoid fascist reprisals. Although he disposes of the detonators and exploder by throwing them down a gorge into the river, Pablo regrets abandoning his comrades and returns to assist in the operation.

text: The enemy, apprised of the coming offensive, has prepared to ambush it in force and it seems unlikely that the blown bridge will do much to prevent a rout. Regardless of this, Jordan understands that he must still demolish the bridge unless he receives explicit orders not to. Lacking the detonation equipment stolen by Pablo, Jordan plans an alternative method to explode the dynamite by using hand grenades with wires attached so that their pins can be pulled from a distance. This improvised plan is considerably more dangerous because the men must be nearer to the explosion. While Pilar, Pablo, and other guerrilla members attack the posts at the two ends of the bridge, Jordan and Anselmo plant and detonate the dynamite, costing Anselmo his life when he is hit by a piece of shrapnel. While escaping, Jordan is maimed when a tank shoots his horse out from under him. Knowing that his wound is severe enough that he is highly unlikely to survive, and that he would slow the others down, he bids goodbye to María and ensures that she escapes to safety with the surviving guerrillas. He refuses an offer from Agustín to shoot him and lies in agony, hoping to kill an enemy officer and delay their pursuit of his comrades before dying. The narrative ends right before Jordan launches his ambush.

text: Characters[edit]

text:
Robert Jordan – American university instructor of Spanish language and a specialist in demolitions and explosives.
Anselmo – Elderly guide to Robert Jordan.
Golz – Soviet officer who ordered the bridge's demolition.
Pablo – Leader of a group of anti-fascist guerrillas.
Rafael – Well-intentioned yet incompetent and lazy guerrilla, and a gypsy.
María – Robert Jordan's young lover.
Pilar – Pablo's wife. An aged but strong woman, she is the de facto leader of the guerrilla band.
Karkov – Soviet agent and journalist in Madrid, and a friend of Jordan's.
Agustín – Foul-mouthed, middle-aged guerrilla.
El Sordo – Leader of a fellow band of guerrillas.
Fernando – Middle-aged guerrilla.
Andrés and Eladio – Brothers and members of Pablo's band.
Primitivo – Young guerrilla in Pablo's band.
Joaquin – Enthusiastic teenaged communist, a member of Sordo's band.

text: Main themes[edit]

text: This section is written like a personal reflection or opinion essay that states a Wikipedia editor's personal feelings about a topic. Please help improve it by rewriting it in an encyclopedic style. (August 2012) (Learn how and when to remove this template message)

text: Death is a primary preoccupation of the novel. When Robert Jordan is assigned to blow up the bridge to coincide with the commencement of the Republic's early attack, he knows that he may not survive it. Pablo, Pilar, and El Sordo, leaders of the Republican guerrilla bands, see that likelihood also. Almost all of the main characters in the book contemplate their own deaths. Before the operation, Pilar reads Robert Jordan's palm, and after seeing it, refuses to comment on what she saw, foreshadowing his untimely demise.

text: Camaraderie and sacrifice in the face of death abound throughout the novel. Robert Jordan, Anselmo and others are ready to do "as all good men should" – that is, to make the ultimate sacrifice. The oft-repeated embracing gesture reinforces this sense of close companionship in the face of death. An incident involving the death of the family of the character Joaquín serves as an example of this theme; having learned of this tragedy, Joaquín's comrades embrace and comfort him, saying they now are his family. Surrounding this love for one's comrades is the love for the Spanish soil. A love of place, of the senses, and of life itself is represented by the pine needle forest floor—both at the beginning and, poignantly, at the end of the novel—when Robert Jordan awaits his death feeling "his heart beating against the pine needle floor of the forest."

text: Suicide always looms as an alternative to suffering, likely if captured as prisoners were often tortured. Many of the characters, including Robert Jordan, would prefer death over capture and are prepared to kill themselves, be killed, or kill to avoid it. As the book ends, Robert Jordan, wounded and unable to travel with his companions, awaits a final ambush that will end his life. He prepares himself against the cruel outcomes of suicide to avoid capture, or inevitable torture for the extraction of information and death at the hands of the enemy. Still, he hopes to avoid suicide partly because his father, whom he views as a coward, committed suicide. Robert Jordan understands suicide but doesn't approve of it, and thinks that "you have to be awfully occupied with yourself to do a thing like that."[11]

text: The novel explores political ideology and the nature of bigotry. After noticing how he so easily employed the convenient catch-phrase "enemy of the people," Jordan moves swiftly into the subjects and opines, "To be bigoted you have to be absolutely sure that you are right and nothing makes that surety and righteousness like continence. Continence is the foe of heresy."[12] Later in the book, Robert Jordan explains the threat of fascism in his own country. "Robert Jordan, wiping out the stew bowl with bread, explained how the income tax and inheritance tax worked. 'But the big estates remain. Also, there are taxes on the land,' he said. 'But surely the big proprietors and the rich will make a revolution against such taxes. Such taxes appear to me to be revolutionary. They will revolt against the government when they see that they are threatened, exactly as the fascists have done here,' Primitivo said. 'It is possible.' 'Then you will have to fight in your country as we fight here.' 'Yes, we will have to fight.' 'But are there not many fascists in your country?' 'There are many who do not know they are fascists but will find it out when the time comes.'"[13] In the same conversation Robert Jordan is having with the others, he also realizes how there are populist policies right in America, namely homesteading which was widely used by American settlers to settle the West from 1863 onward:[14] "Robert Jordan explained the process of homesteading. He had never thought of it before as an agrarian reform. 'That is magnificent,' Primitivo said. 'Then you have a Communism in your country?' 'No. That is done under the Republic.'"[15]

text: Divination emerges as an alternative means of perception. Pilar, "Pablo's woman," is a reader of palms and more. When Robert Jordan questions her true abilities, she replies, "Because thou art a miracle of deafness.... It is not that thou art stupid. Thou art simply deaf. One who is deaf cannot hear music. Neither can he hear the radio. So he might say, never having heard them, that such things do not exist."[16]

text: Imagery[edit]

text: Hemingway frequently used images to produce the dense atmosphere of violence and death his books are renowned for; the main image of For Whom the Bell Tolls is the automatic weapon. As he had done in "A Farewell to Arms", Hemingway employs the fear of modern armament to destroy romantic conceptions of the ancient art of war: combat, sportsmanlike competition and the aspect of hunting. Heroism becomes butchery: the most powerful picture employed here is the shooting of María's parents against the wall of a slaughterhouse. Glory exists in the official dispatches only; here, the "disillusionment" theme of A Farewell to Arms is adapted.

text: The fascist planes are especially dreaded, and when they approach, all hope is lost. The efforts of the partisans seem to vanish and their commitment and their abilities become meaningless, especially the trench mortars that already wounded Lt. Henry ("he knew that they would die as soon as a mortar came up").[17] No longer would the best soldier win, but the one with the biggest gun. The soldiers using those weapons are simple brutes, they lack "all conception of dignity"[18] as Fernando remarked. Anselmo insisted, "We must teach them. We must take away their planes, their automatic weapons, their tanks, their artillery and teach them dignity."[18]

text: The novel also contains imagery of soil and earth.[19] This imagery appears rather famously at the start of chapter thirteen. Jordan and María have sex in a meadow in the forest. He feels "the earth move out and away from under them." Then afterwards he asks María, "Did thee feel the earth move?", to which she responds affirmatively. Variants of this phrase have become a cultural cliché,[20] often used humorously.[21]

text: Literary significance and critical reaction[edit]

text: Language[edit]

text: Since its publication, the prose style and dialogue in Hemingway's novel have been the source of controversy and some negative critical reaction. For example, Edmund Wilson, in a tepid review, noted the encumbrance of "a strange atmosphere of literary medievalism" in the relationship between Robert Jordan and Maria.[22] This stems in part from a distinctive feature of the novel, namely Hemingway's extensive use of archaisms, implied literal translations and false friends to convey the foreign (Spanish) tongue spoken by his characters. Thus, Hemingway uses the archaic "thou" (particularly in its oblique and possessive form) to highlight the differences in Spanish between the more formal and archaic, but popular "vos" (singular) and "vosotros" (plural) forms from the pronominal "tú" (familiar) and "Usted" (formal). Additionally, much of the dialogue in the novel is an implied direct translation from Spanish, producing an often strained English equivalent. For example, Hemingway uses the construction "what passes that",[23] which is an implied translation of the Spanish construction lo que pasa. This translation extends to the use of linguistic "false friends", such as "rare" (from raro) instead of "strange" and "syndicate" (from sindicato) instead of trade union.[24] In another odd stylistic variance, Hemingway referenced foul language (used with some frequency by different characters in the novel) with "unprintable" and "obscenity" and substitutes "muck" for fuck in the dialogue and thoughts of the characters, although foul language is used freely in Spanish even when its equivalent is censored in English (e.g. joder, me cago). The Spanish expression of exasperation me cago en la leche (which translates to "I shit in the milk") repeatedly recurs throughout the novel, translated by Hemingway as "I obscenity in the milk."

text: Narrative style[edit]

text: The book is written in the third person limited omniscient narrative mode. The action and dialogue are punctuated by extensive thought sequences told from the viewpoint of Robert Jordan. The novel also contains thought sequences of other characters, including Pilar and Anselmo. The thought sequences are more extensive than in Hemingway's earlier fiction, notably A Farewell to Arms, and are an important narrative device to explore the principal themes of the novel.

text: Pulitzer Prize controversy[edit]

text: In 1941 the Pulitzer Prize committee for letters unanimously recommended For Whom the Bell Tolls be awarded the prize for that year. The Pulitzer Board agreed. However, Nicholas Murray Butler, president of Columbia University ex officio head of the Pulitzer board at that time, found the novel offensive and persuaded the board to reverse its determination; no award was given for letters that year.[25]

text: Allusions/references to actual events[edit]

text: The novel takes place in late May 1937 during the second year of the Spanish Civil War.[26] References made to Valladolid, Segovia, El Escorial and Madrid suggest the novel takes place within the build-up to the Republican attempt to relieve the siege of Madrid.

text: The earlier battle of Guadalajara and the general chaos and disorder (and, more generally, the doomed cause of Republican Spain) serve as a backdrop to the novel: Robert Jordan notes, for instance, that he follows the Communists because of their superior discipline, an allusion to the split and infighting between anarchist and communist factions on the Republican side.

text: The famous and pivotal scene described in Chapter 10, in which Pilar describes the execution of various fascist figures in her village is drawn from events that took place in Ronda in 1936. Although Hemingway later claimed (in a 1954 letter to Bernard Berenson) to have completely fabricated the scene, he in fact drew upon the events at Ronda, embellishing the event by imagining an execution line leading up to the cliff face.[27]

text: A number of actual figures that played a role in the Spanish Civil War are also referenced in the book, including:

text:
Andreu Nin, one of the founders of the Workers' Party of Marxist Unification (POUM), the party mocked by Karkov in Chapter 18.
Mikhail Koltsov, soviet journalist was the Karkov character in the story
Indalecio Prieto, one of the leaders of the Republicans, is also mentioned in Chapter 18.
General José Miaja, in charge of the defense of Madrid in October 1936, and General Vicente Rojo, together with Prieto, are mentioned in Chapter 35
Dolores Ibárruri, better known as La Pasionaria, is extensively described in Chapter 32.
Robert Hale Merriman, leader of the American Volunteers in the International Brigades, and his wife Marion, were well known to Hemingway and served possibly as a model for Hemingway's own hero.[28][29]
André Marty, a leading French Communist and political officer in the International Brigades, makes a brief but significant appearance in Chapter 42. Hemingway depicts Marty as a vicious intriguer whose paranoia interferes with Republican objectives in the war.

text: Adaptations and in popular culture[edit]

text:
A film adaptation of Hemingway's novel, directed by Sam Wood, was released in 1943 starring Gary Cooper and Ingrid Bergman. It was nominated for nine Academy Awards, including Best Picture, Best Actor and Best Actress; however, only the Greek actress Katina Paxinou won an Oscar for her portrayal of Pilar.
In 1959, a television adaptation, directed by John Frankenheimer, was broadcast in two parts on CBS's Playhouse 90, starring Jason Robards and Maria Schell as Robert Jordan and Maria, with Nehemiah Persoff as Pablo, Maureen Stapleton as Pilar, and Eli Wallach as the gypsy Rafael.
In 1965, the BBC produced another adaptation, as a four-part serial (miniseries in American English).
In 1978, the Takarazuka Revue adapted the novel as a musical drama, produced by Star Troupe and starring Ran Ootori as Robert Jordan and Kurara Haruka as Maria. Cosmos Troupe revived the show in 2010.
Metallica's second album Ride the Lightning (1984), features a song entitled "For Whom the Bell Tolls," which can be seen as a lyrical adaptation of a particular scene from the book (chapter 27).
In 1988, the film of 1943 was rereleased with the inclusion of scenes cut from the original release.
In 1993 The Bee Gees released “For Whom The Bell Tolls,” from the album Size Isn’t Everything. It was The Bee Gees second Hemingway inspired title after “Islands in The Stream.”

text:
American rapper Canibus's 2010 album is titled "For Whom the Beat Tolls".
The 2012 film Hemingway and Gellhorn depicts Hemingway's time in Spain during Spanish Civil War when he was completing work on For Whom the Bell Tolls, and his relationship with the American novelist, travel writer and war correspondent Martha Gellhorn,[30] who he credited with having inspired him to write the novel, and to whom he dedicated it.[31]
In October 2014 the novel was dramatised in a two part series on BBC Radio 4.
J. Cole's fourth album 4 Your Eyez Only (2016), features a song titled "For Whom The Bell Tolls".
In 2014, power metal band Sabaton, made a cover of the song originally created by Metallica.


document_title: Hawaiian alphabet

question_text: how many hawaiian letters are in the alphabet

root

text: Hawaiian alphabet

text: Origins[edit]

text: In 1778, British explorer James Cook made the first reported Europe voyage to Hawaiʻi. In his report, he wrote the name of the islands as "Owhyhee" or "Owhyee". In 1822, a writing system based on one similar to the new New Zealand Grammar was developed and printed by American Protestant missionary Elisha Loomis.[1] The original alphabet included five vowels and twelve consonants:

tag: p

text: and seven diphthongs:

text: In addition, the letters F, G, S, Y, and Z were used to spell foreign words.

text: In 1826, the developers voted to eliminate some of the letters which represented functionally redundant interchangeable letters, enabling the Hawaiian alphabet to approach the ideal state of one-symbol-one-sound, and thereby optimizing the ease with which people could teach and learn the reading and writing of Hawaiian.[2][3]

text:
Interchangeable B/P. B was dropped, P was kept
Interchangeable L/R/D. L was kept, R and D were dropped
Interchangeable K/T. K was kept, T was dropped
Interchangeable V/W. V was dropped, W was kept

tag: ul

text: ʻOkina[edit]

text: Due to words with different meanings being spelled alike, use of the glottal stop became necessary. As early as 1823, the missionaries made limited use of the apostrophe to represent the glottal stop, but they did not make it a letter of the alphabet. In publishing the Hawaiian Bible, they used the ʻokina to distinguish koʻu ('my') from kou ('your'). It was not until 1864 that the ʻokina became a recognized letter of the Hawaiian alphabet.[2]

text: Kahakō[edit]

text: As early as 1821, one of the missionaries, Hiram Bingham, was using macrons in making handwritten transcriptions of Hawaiian vowels. The macron, or kahakō, was used to differentiate between short and long vowels.

text: Modern alphabet[edit]

text: The current official Hawaiian alphabet consists of thirteen letters: five vowels (A a, E e, I i, O o, U u) and eight consonants (H h, K k, L l, M m, N n, P p, W w, ʻ).[2] Alphabetic order differs from the normal Latin order in that the vowels come first, then the consonants.  The five vowels with macrons – Ā ā, Ē ē, Ī ī, Ō ō, Ū ū – are not treated as separate letters, but are alphabetized immediately after unaccented vowels. The ʻokina is ignored for purposes of alphabetization.

text: Pronunciation[edit]

text: The letter names were invented for Hawaiian specifically, since they do not follow traditional European letter names in most cases. The names of M, N, P, and possibly L were most likely derived from Greek, and that for W from the deleted letter V.

text:
Letter
Name
IPA

A   a
ʻā
/a/

E   e
ʻē
/e/

I   i
ʻī
/i/

O   o
ʻō
/o/

U   u
ʻū
/u/

H   h
hē
/h/

K   k
kē
/k ~ t/

L   l
lā
/l ~ ɾ ~ ɹ/

M   m
mū
/m/

N   n
nū
/n/

P   p
pī
/p/

W   w
wē
/w ~ v/

ʻ
ʻokina
/ʔ/

tag: table

text: Diphthongs[edit]

text:
Diphthongs

Diphthongs
Pronunciation
Examples

ai

i in ride

kai = sea water

ae

I or eye

Maeʻole = never-fading

ao

ow in how
with lower offglide

Maoli = true
Kaona = hidden meaning

au

ou in loud or out

Au = I, I am

ei

ei in eight

Lei = garland

eu

eh-(y)oo

ʻEleu = lively

iu

ee-(y)oo
similar to ew in few

Wēkiu = topmost

oe

oh-(w)eh

ʻOe = you

oi

oi in voice

Poi = a Hawaiian staple

ou

ow in bowl

Kou = your

ui

oo-(w)ee in gooey

Hui = together, team, chorus


document_title: Encoding (memory)

question_text: what part of the brain is involved in encoding words or pictures

text: Encoding (memory)

text: Types[edit]

text: Visual, elaborative, organizational, acoustic, and semantic encodings are the most intensively used. Other encodings are also used.

text: Visual encoding[edit]

text: Visual encoding is the process of encoding images and visual sensory information. This means that people can convert the new information that they stored into mental pictures (Harrison, C., Semin, A.,(2009). Psychology. New York p. 222) Visual sensory information is temporarily stored within our iconic memory[1] and working memory before being encoded into permanent long-term storage.[2][3] Baddeley's model of working memory states that visual information is stored in the visuo-spatial sketchpad.[1] The amygdala is a complex structure that has an important role in visual encoding. It accepts visual input in addition to input from other systems and encodes the positive or negative values of conditioned stimuli.[4]

text: Elaborative encoding[edit]

text: Elaborative encoding is the process of actively relating new information to knowledge that is already in memory. Memories are a combination of old and new information, so the nature of any particular memory depends as much on the old information already in our memories as it does on the new information coming in through our senses.[citation needed] In other words, how we remember something depends on how we think about it at the time. Many studies have shown that long-term retention is greatly enhanced by elaborative encoding.[5]

text: Acoustic encoding[edit]

text: Acoustic encoding is the encoding of auditory impulses. According to Baddeley, processing of auditory information is aided by the concept of the phonological loop, which allows input within our echoic memory to be sub vocally rehearsed in order to facilitate remembering.[1] When we hear any word, we do so by hearing to individual sounds, one at a time. Hence the memory of the beginning of a new word is stored in our echoic memory until the whole sound has been perceived and recognized as a word.[6] Studies indicate that lexical, semantic and phonological factors interact in verbal working memory. The phonological similarity effect (PSE), is modified by word concreteness. This emphasizes that verbal working memory performance cannot exclusively be attributed to phonological or acoustic representation but also includes an interaction of linguistic representation.[7] What remains to be seen is whether linguistic representation is expressed at the time of recall or whether the representational methods used (such as recordings, videos, symbols, etc.) participate in a more fundamental role in encoding and preservation of information in memory.[7]

text: Other senses[edit]

text: Tactile encoding is the processing and encoding of how something feels, normally through touch. Neurons in the primary somatosensory cortex (S1) react to vibrotactile stimuli by activating in synchronisation with each series of vibrations.[8] Odors and tastes may also lead to encode.

text: Organizational encoding is the course of classifying information permitting to the associations amid a sequence of terms.

text: In general encoding for short-term storage (STS) in the brain relies primarily on acoustic rather than semantic encoding.

text: Semantic encoding[edit]

text: Semantic encoding is the processing and encoding of sensory input that has particular meaning or can be applied to a context. Various strategies can be applied such as chunking and mnemonics to aid in encoding, and in some cases, allow deep processing, and optimizing retrieval.

text: Words studied in semantic or deep encoding conditions are better recalled as compared to both easy and hard groupings of nonsemantic or shallow encoding conditions with response time being the deciding variable.[9] Brodmann's areas 45, 46, and 47 (the left inferior prefrontal cortex or LIPC) showed significantly more activation during semantic encoding conditions compared to nonsemantic encoding conditions regardless of the difficulty of the nonsemantic encoding task presented. The same area showing increased activation during initial semantic encoding will also display decreasing activation with repetitive semantic encoding of the same words. This suggests the decrease in activation with repetition is process specific occurring when words are semantically reprocessed but not when they are nonsemantically reprocessed.[9] Lesion and neuroimaging studies suggest that the orbitofrontal cortex is responsible for initial encoding and that activity in the left lateral prefrontal cortex correlates with the semantic organization of encoded information.[10]

text: Long-term potentiation[edit]

text: Encoding is a biological event that begins with perception. All perceived and striking sensations travel to the brain's thalamus where all these sensations are combined into one single experience.[11] The hippocampus is responsible for analyzing these inputs and ultimately deciding if they will be committed to long-term memory; these various threads of information are stored in various parts of the brain. However, the exact way in which these pieces are identified and recalled later remains unknown.[11]

text: Encoding is achieved using a combination of chemicals and electricity. Neurotransmitters are released when an electrical pulse crosses the synapse which serves as a connection from nerve cells to other cells. The dendrites receive these impulses with their feathery extensions. A phenomenon called long-term potentiation allows a synapse to increase strength with increasing numbers of transmitted signals between the two neurons. For that to happen, NMDA receptor, which influences the flow of information between neurons by controlling the initiation of long-term potentiation in most hippocampal pathways, need to come to the play. For these NMDA receptors to be activated, there must be two conditions. Firstly, glutamate has to be released and bound to the NMDA receptor site on postsynaptic neurons. Secondly, excitation has to take place in postsynaptic neurons.[12] These cells also organise themselves into groups specializing in different kinds of information processing. Thus, with new experiences the brain creates more connections and may 'rewire'. The brain organizes and reorganizes itself in response to one's experiences, creating new memories prompted by experience, education, or training.[11] Therefore, the use of a brain reflects how it is organised.[11] This ability to re-organize is especially important if ever a part of the brain becomes damaged. Scientists are unsure of whether the stimuli of what we do not recall are filtered out at the sensory phase or if they are filtered out after the brain examines their significance.[11]

text: Mapping activity[edit]

text: Positron emission tomography (PET) demonstrates a consistent functional anatomical blueprint of hippocampal activation during episodic encoding and retrieval. Activation in the hippocampal region associated with episodic memory encoding has been shown to occur in the rostral portion of the region whereas activation associated with episodic memory retrieval occurs in the caudal portions.[13] This is referred to as the Hippocampal memory encoding and retrieval model or HIPER model.

text: One study used PET to measure cerebral blood flow during encoding and recognition of faces in both young and older participants. Young people displayed increased cerebral blood flow in the right hippocampus and the left prefrontal and temporal cortices during encoding and in the right prefrontal and parietal cortex during recognition.[14] Elderly people showed no significant activation in areas activated in young people during encoding, however they did show right prefrontal activation during recognition.[14] Thus it may be concluded that as we grow old, failing memories may be the consequence of a failure to adequately encode stimuli as demonstrated in the lack of cortical and hippocampal activation during the encoding process.[14]

text: Recent findings in studies focusing on patients with post traumatic stress disorder demonstrate that amino acid transmitters, glutamate and GABA, are intimately implicated in the process of factual memory registration, and suggest that amine neurotransmitters, norepinephrine and serotonin, are involved in encoding emotional memory.[15]

text: Molecular perspective[edit]

text: The process of encoding is not yet well understood, however key advances have shed light on the nature of these mechanisms. Encoding begins with any novel situation, as the brain will interact and draw conclusions from the results of this interaction. These learning experiences have been known to trigger a cascade of molecular events leading to the formation of memories.[16] These changes include the modification of neural synapses, modification of proteins, creation of new synapses, activation of gene expression and new protein synthesis. However, encoding can occur on different levels. The first step is short-term memory formation, followed by the conversion to a long-term memory, and then a long-term memory consolidation process.[17]

text: Synaptic plasticity[edit]

text: Synaptic plasticity is the ability of the brain to strengthen, weaken, destroy and create neural synapses and is the basis for learning. These molecular distinctions will identify and indicate the strength of each neural connection. The effect of a learning experience depends on the content of such an experience. Reactions that are favoured will be reinforced and those that are deemed unfavourable will be weakened. This shows that the synaptic modifications that occur can operate either way, in order to be able to make changes over time depending on the current situation of the organism. In the short term, synaptic changes may include the strengthening or weakening of a connection by modifying the preexisting proteins leading to a modification in synapse connection strength. In the long term, entirely new connections may form or the number of synapses at a connection may be increased, or reduced.[17]

text: The encoding process[edit]

text: A significant short-term biochemical change is the covalent modification of pre-existing proteins in order to modify synaptic connections that are already active. This allows data to be conveyed in the short term, without consolidating anything for permanent storage. From here a memory or an association may be chosen to become a long-term memory, or forgotten as the synaptic connections eventually weaken. The switch from short to long-term is the same concerning both implicit memory and explicit memory. This process is regulated by a number of inhibitory constraints, primarily the balance between protein phosphorylation and dephosphorylation.[17] Finally, long term changes occur that allow consolidation of the target memory. These changes include new protein synthesis, the formation of new synaptic connections and finally the activation of gene expression in accordance with the new neural configuration.[18] The encoding process has been found to be partially mediated by serotonergic interneurons, specifically in regard to sensitization as blocking these interneurons prevented sensitization entirely. However, the ultimate consequences of these discoveries have yet to be identified. Furthermore, the learning process has been known to recruit a variety of modulatory transmitters in order to create and consolidate memories. These transmitters cause the nucleus to initiate processes required for neuronal growth and long term memory, mark specific synapses for the capture of long-term processes, regulate local protein synthesis and even appear to mediate attentional processes required for the formation and recall of memories.

text: Encoding and genetics[edit]

text: Human memory, including the process of encoding, is known to be a heritable trait that is controlled by more than one gene. In fact, twin studies suggest that genetic differences are responsible for as much as 50% of the variance seen in memory tasks.[16] Proteins identified in animal studies have been linked directly to a molecular cascade of reactions leading to memory formation, and a sizeable number of these proteins are encoded by genes that are expressed in humans as well. In fact, variations within these genes appear to be associated with memory capacity and have been identified in recent human genetic studies.[16]

text: Complementary processes[edit]

text: The idea that the brain is separated into two complementary processing networks (task positive and task negative) has recently become an area of increasing interest.[vague] The task positive network deals with externally oriented processing whereas the task negative network deals with internally oriented processing. Research indicates that these networks are not exclusive and some tasks overlap in their activation. A study done in 2009 shows encoding success and novelty detection activity within the task-positive network have significant overlap and have thus been concluded to reflect common association of externally oriented processing.[19] It also demonstrates how encoding failure and retrieval success share significant overlap within the task negative network indicating common association of internally oriented processing.[19] Finally, a low level of overlap between encoding success and retrieval success activity and between encoding failure and novelty detection activity respectively indicate opposing modes or processing.[19] In sum task positive and task negative networks can have common associations during the performance of different tasks.

text: Depth of processing[edit]

text: Different levels of processing influence how well information is remembered. These levels of processing can be illustrated by maintenance and elaborate rehearsal.

text: Maintenance and elaborative rehearsal[edit]

text: Maintenance rehearsal is a shallow form of processing information which involves focusing on an object without thought to its meaning or its association with other objects. For example, the repetition of a series of numbers is a form of maintenance rehearsal. In contrast, elaborative or relational rehearsal is a process in which you relate new material to information already stored in Long-term memory. It's a deep form of processing information and involves thought of the object's meaning as well as making connections between the object, past experiences and the other objects of focus. Using the example of numbers, one might associate them with dates that are personally significant such as your parents' birthdays (past experiences) or perhaps you might see a pattern in the numbers that helps you to remember them.[20]

text: Due to the deeper level of processing that occurs with elaborative rehearsal it is more effective than maintenance rehearsal in creating new memories.[20] This has been demonstrated in people's lack of knowledge of the details in everyday objects. For example, in one study where Americans were asked about the orientation of the face on their country's penny few recalled this with any degree of certainty. Despite the fact that it is a detail that is often seen, it is not remembered as there is no need to because the color discriminates the penny from other coins.[21] The ineffectiveness of maintenance rehearsal, simply being repeatedly exposed to an item, in creating memories has also been found in people's lack of memory for the layout of the digits 0-9 on calculators and telephones.[22]

text: Maintenance rehearsal has been demonstrated to be important in learning but its effects can only be demonstrated using indirect methods such as lexical decision tasks,[23] and word stem completion[24] which are used to assess implicit learning. In general, however previous learning by maintenance rehearsal is not apparent when memory is being tested directly or explicitly with questions like " Is this the word you were shown earlier?"

text: Intention to learn[edit]

text: Studies have shown that the intention to learn has no direct effect on memory encoding. Instead, memory encoding is dependent on how deeply each item is encoded, which could be affected by intention to learn, but not exclusively. That is, intention to learn can lead to more effective learning strategies, and consequently, better memory encoding, but if you learn something incidentally (i.e. without intention to learn) but still process and learn the information effectively, it will get encoded just as well as something learnt with intention.[25]

text: The effects of elaborative rehearsal or deep processing can be attributed to the number of connections made while encoding that increase the number of pathways available for retrieval.[26]

text: Optimal encoding[edit]

text: Organization can be seen as the key to better memory. As demonstrated in the above section on levels of processing the connections that are made between the to-be-remembered item, other to-be-remembered items, previous experiences and context generate retrieval paths for the to-be-remembered item. These connections impose organization on the to-be-remembered item, making it more memorable.[27]

text: Mnemonics[edit]

text: For simple material such as lists of words, mnemonics are the best strategy.[citation needed] Mnemonic Strategies are an example of how finding organization within a set of items helps these items to be remembered. In the absence of any apparent organization within a group organization can be imposed with the same memory enhancing results. An example of a mnemonic strategy that imposes organization is the peg-word system which associates the to-be-remembered items with a list of easily remembered items. Another example of a mnemonic device commonly used is the first letter of every word system or acronyms. When learning the colours in a rainbow most students learn the first letter of every colour and impose their own meaning by associating it with a name such as Roy. G. Biv which stands for red, orange, yellow, green, blue, indigo, violet. In this way mnemonic devices not only help the encoding of specific items but also their sequence. For more complex concepts, understanding is the key to remembering. In a study done by Wiseman and Neisser in 1974 they presented participants with picture (the picture was of a Dalmatian in the style of pointillism making it difficult to see the image).[28] They found that memory for the picture was better if the participants understood what was depicted.

text: Chunking[edit]

text: Another way understanding may aid memory is by reducing the amount that has to be remembered via chunking. Chunking is the process of organizing objects into meaningful wholes. These wholes are then remembered as a unit rather than separate objects. Words are an example of chunking, where instead of simply perceiving letters we perceive and remember their meaningful wholes: words. The use of chunking increases the number of items we are able to remember by creating meaningful "packets" in which many related items are stored as one.

text: State-dependent learning[edit]

text: For optimal encoding, connections are not only formed between the items themselves and past experiences, but also between the internal state or mood of the encoder and the situation they are in. The connections that are formed between the encoders internal state or the situation and the items to be remembered are State-dependent. In a 1975 study by Godden and Baddeley the effects of State-dependent learning were shown. They asked deep sea divers to learn various materials while either under water or on the side of the pool. They found that those who were tested in the same condition that they had learned the information in were better able to recall that information, i.e. those who learned the material under water did better when tested on that material under water than when tested on land. Context had become associated with the material they were trying to recall and therefore was serving as a retrieval cue.[29] Results similar to these have also been found when certain smells are present at encoding.[30]

text: However, although the external environment is important at the time of encoding in creating multiple pathways for retrieval, other studies have shown that simply creating the same internal state that you had at the time of encoding is sufficient to serve as a retrieval cue.[31] Therefore, putting yourself in the same mindset that you were in at the time of encoding will help recall in the same way that being in the same situation helps recall. This effect called context reinstatement was demonstrated by Fisher and Craik 1977 when they matched retrieval cues with the way information was memorized.[32]

text: Encoding specificity[edit]

text: The context of learning shapes how information is encoded.[33] For instance, Kanizsa in 1979 showed a picture that could be interpreted as either a white vase on a black background or 2 faces facing each other on a white background.[34] The participants were primed to see the vase. Later they were shown the picture again but this time they were primed to see the black faces on the white background. Although this was the same picture as they had seen before, when asked if they had seen this picture before, they said no. The reason for this was that they had been primed to see the vase the first time the picture was presented, and it was therefore unrecognizable the second time as two faces. This demonstrates that the stimulus is understood within the context it is learned in as well the general rule that what really constitutes good learning are tests that test what has been learned in the same way that it was learned.[34] Therefore, to truly be efficient at remembering information, one must consider the demands that future recall will place on this information and study in a way that will match those demands.

text: Computational models of memory encoding[edit]

text: Computational models of memory encoding have been developed in order to better understand and simulate the mostly expected, yet sometimes wildly unpredictable, behaviors of human memory. Different models have been developed for different memory tasks, which include item recognition, cued recall, free recall, and sequence memory, in an attempt to accurately explain experimentally observed behaviors.

text: Item recognition[edit]

text: In item recognition, one is asked whether or not a given probe item has been seen before. It is important to note that the recognition of an item can include context. That is, one can be asked whether an item has been seen in a study list. So even though one may have seen the word "apple" sometime during their life, if it was not on the study list, it should not be recalled.

text: Item recognition can be modeled using Multiple trace theory and the attribute-similarity model.[35] In brief, every item that one sees can be represented as a vector of the item's attributes, which is extended by a vector representing the context at the time of encoding, and is stored in a memory matrix of all items ever seen. When a probe item is presented, the sum of the similarities to each item in the matrix (which is inversely proportional to the sum of the distances between the probe vector and each item in the memory matrix) is computed. If the similarity is above a threshold value, one would respond, "Yes, I recognize that item." Given that context continually drifts by nature of a random walk, more recently seen items, which each share a similar context vector to the context vector at the time of the recognition task, are more likely to be recognized than items seen longer ago.

text: Cued recall[edit]

text: In cued recall, one is asked to recall the item that was paired with a given probe item. For example, one can be given a list of name-face pairs, and later be asked to recall the associated name given a face.

text: Cued recall can be explained by extending the attribute-similarity model used for item recognition. Because in cued recall, a wrong response can be given for a probe item, the model has to be extended accordingly to account for that. This can be achieved by adding noise to the item vectors when they are stored in the memory matrix. Furthermore, cued recall can be modeled in a probabilistic manner such that for every item stored in the memory matrix, the more similar it is to the probe item, the more likely it is to be recalled. Because the items in the memory matrix contain noise in their values, this model can account for incorrect recalls, such as mistakenly calling a person by the wrong name.

text: Free recall[edit]

text: In free recall, one is allowed to recall items that were learned in any order. For example, you could be asked to name as many countries in Europe as you can. Free recall can be modeled using SAM (Search of Associative Memory) which is based on the dual-store model, first proposed by Atkinson and Shiffrin in 1968.[36] SAM consists of two main components: short-term store (STS) and long-term store (LTS). In brief, when an item is seen, it is pushed into STS where it resides with other items also in STS, until it displaced and put into LTS. The longer the item has been in STS, the more likely it is to be displaced by a new item. When items co-reside in STS, the links between those items are strengthened. Furthermore, SAM assumes that items in STS are always available for immediate recall.

text: SAM explains both primacy and recency effects. Probabilistically, items at the beginning of the list are more likely to remain in STS, and thus have more opportunities to strengthen their links to other items. As a result, items at the beginning of the list are made more likely to be recalled in a free-recall task (primacy effect). Because of the assumption that items in STS are always available for immediate recall, given that there were no significant distractors between learning and recall, items at the end of the list can be recalled excellently (recency effect).

text: Incidentally, the idea of STS and LTS was motivated by the architecture of computers, which contain short-term and long-term storage.

text: Sequence memory[edit]

text: Sequence memory is responsible for how we remember lists of things, in which ordering matters. For example, telephone numbers are an ordered list of one digit numbers. There are currently two main computational memory models that can be applied to sequence encoding: associative chaining and positional coding.

text: Associative chaining theory states that every item in a list is linked to its forward and backward neighbors, with forward links being stronger than backward links, and links to closer neighbors being stronger than links to farther neighbors. For example, associative chaining predicts the tendencies of transposition errors, which occur most often with items in nearby positions. An example of a transposition error would be recalling the sequence "apple, orange, banana" instead of "apple, banana, orange."

text: Positional coding theory suggests that every item in a list is associated to its position in the list. For example, if the list is "apple, banana, orange, mango" apple will be associated to list position 1, banana to 2, orange to 3, and mango to 4. Furthermore, each item is also, albeit more weakly, associated to its index +/- 1, even more weakly to +/- 2, and so forth. So banana is associated not only to its actual index 2, but also to 1, 3, and 4, with varying degrees of strength. For example, positional coding can be used to explain the effects of recency and primacy. Because items at the beginning and end of a list have fewer close neighbors compared to items in the middle of the list, they have less competition for correct recall.

text: Although the models of associative chaining and positional coding are able to explain a great amount of behavior seen for sequence memory, they are far from perfect. For example, neither chaining nor positional coding is able to properly illustrate the details of the Ranschburg effect, which reports that sequences of items that contain repeated items are harder to reproduce than sequences of unrepeated items. Associative chaining predicts that recall of lists containing repeated items is impaired because recall of any repeated item would cue not only its true successor but also the successors of all other instances of the item. However, experimental data have shown that spaced repetition of items resulted in impaired recall of the second occurrence of the repeated item.[37] Furthermore, it had no measurable effect on the recall of the items that followed the repeated items, contradicting the prediction of associative chaining. Positional coding predicts that repeated items will have no effect on recall, since the positions for each item in the list act as independent cues for the items, including the repeated items. That is, there is no difference between the similarity between any two items and repeated items. This, again, is not consistent with the data.

text: Because no comprehensive model has been defined for sequence memory to this day, it makes for an interesting area of research.

text: History[edit]

text: Encoding is still relatively new and unexplored but origins of encoding date back to age old philosophers such as Aristotle and Plato. A major figure in the history of encoding is Hermann Ebbinghaus (1850–1909). Ebbinghaus was a pioneer in the field of memory research. Using himself as a subject he studied how we learn and forget information by repeating a list of nonsense syllables to the rhythm of a metronome until they were committed to his memory.[38] These experiments lead him to suggest the learning curve.[38] He used these relatively meaningless words so that prior associations between meaningful words would not influence learning. He found that lists that allowed associations to be made and semantic meaning was apparent were easier to recall. Ebbinghaus' results paved the way for experimental psychology in memory and other mental processes.

text: During the 1900s further progress in memory research was made. Ivan Pavlov began research pertaining to classical conditioning. His research demonstrated the ability to create a semantic relationship between two unrelated items. In 1932 Bartlett proposed the idea of mental schemas. This model proposed that whether new information would be encoded was dependent on its consistency with prior knowledge (mental schemas).[39] This model also suggested that information not present at the time of encoding would be added to memory if it was based on schematic knowledge of the world.[39] In this way, encoding was found to be influenced by prior knowledge. With the advance of Gestalt theory came the realisation that memory for encoded information was often perceived as different from the stimuli that triggered it. It was also influenced by the context that the stimuli were embedded in.

text: With advances in technology, the field of neuropsychology emerged and with it a biological basis for theories of encoding. In 1949 Hebb looked at the neuroscience aspect of encoding and stated that "neurons that fire together wire together" implying that encoding occurred as connections between neurons were established through repeated use. The 1950s and 60's saw a shift to the information processing approach to memory based on the invention of computers, followed by the initial suggestion that encoding was the process by which information is entered into memory. George Armitage Miller in 1956 wrote his paper on how short-term memory is limited to seven items, plus-or-minus two, called The Magical Number Seven, Plus or Minus Two. This number was appended when studies done on chunking revealed that seven, plus or minus two could also refer to seven "packets of information". In 1974, Alan Baddeley and Graham Hitch proposed their model of working memory, which consists of the central executive, visuo-spatial sketchpad, and phonological loop as a method of encoding. In 2000, Baddeley added the episodic buffer.[1] Simultaneously Endel Tulving (1983) proposed the idea of encoding specificity whereby context was again noted as an influence on encoding.


document_title: Dick Tracy

question_text: what kind of hat did dick tracy wear

question_tokens: what kind of hat did dick tracy wear

text: Dick Tracy

text: Comic strip[edit]

text: Characters and story[edit]

text: The neutrality of this section is disputed. Relevant discussion may be found on the talk page. Please do not remove this message until conditions to do so are met. (May 2013) (Learn how and when to remove this template message)

text: Tracy uses forensic science, advanced gadgetry, and wits, in an early example of the police procedural mystery story—although stories often end in gunfights just the same. Stories typically follow a criminal committing a crime and Tracy's relentless pursuit of said criminal. The strip's most popular villain was Flattop Jones, a freelance hitman hired by black marketeers to murder Tracy. When Flattop was killed, fans went into public mourning, and the Flattop story was reprinted in DC's series of Oversize Comic Reprints in the 1970s[citation needed]. The villains' small crimes led to bigger, out of control situations, reflecting film noir. Similarly, innocent witnesses were frequently killed, and Tracy's paramour Tess Trueheart was often endangered by the villains. As the story progressed, Tracy adopted an orphan under the name Dick Tracy Jr., or "Junior" for short, who appeared in investigations until becoming a police forensic artist in his father's precinct. He also cultivated a professional partner, ex-steel worker Pat Patton, who gradually became a detective of skill and courage enough to satisfy Tracy's requirements.

text: This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (November 2014) (Learn how and when to remove this template message)

text: Tracy characters were often caricatures of celebrities. There was Breathless Mahoney, modeled after Veronica Lake.[3] Likewise, B.O. Plenty was inspired by George "Gabby" Hayes (with perhaps a nod to Al St. John also), Vitamin Flintheart by John Barrymore,[4] and Spike Dyke by Spike Jones. Others include villains like Rughead (Robert Montgomery), Oodles (Jackie Gleason) and Mumbles (Bing Crosby). Gould even parodied himself as the out-of-shape Pear Shape.[citation needed]

text: Evolution of the strip[edit]

text: On January 13, 1946,[5] the 2-Way Wrist Radio became one of the strip's most immediately recognizable icons, worn as a wristwatch by Tracy and members of the police force, and may have inspired later smartwatches.[citation needed] The 2-Way Wrist Radio was upgraded to a 2-Way Wrist TV in 1964. This development also led to the introduction of an important supporting character, Diet Smith, an eccentric industrialist who financed the development of this equipment. In a conspicuous coincidence, the idea of a radio built into a wrist watch played an important role in the story line of "Superman – The Talking Cat" broadcast on the Mutual Broadcasting System on January 9 through 28, 1946 (episodes 878 through 891).

text: In late 1948, a botched security detail led to the death of the semi-regular character Brilliant, the blind inventor of the 2-Way Wrist Radio (among other devices) whereupon Chief Brandon, Dick Tracy's superior on the police force and a presence in the strip since 1931, resigned in shame and Pat Patton was promoted to police chief in Brandon's place, previously having been Tracy's buffoonish partner. A new character was introduced named Sam Catchem to take Patton's place as Tracy's sidekick.

text: The 1950s[edit]

text: Gould introduced topical story lines about television, juvenile delinquency, graft, organized crime, and other developments in American life during the 1950s; and elements of soap opera depicted Dick, Tess, and Junior (along with the Tracys' baby daughter Bonnie Braids) at home as a family. Depictions of family life alternated with the story's crime drama, as in the kidnapping of Bonnie Braids by fugitive Crewy Lou, or Junior's girlfriend Model being accidentally killed by her brother.

text: Gould incurred some controversy when he had Tracy live in an unaccountably ostentatious manner on a police officer's salary, and responded with a story wherein Tracy was accused of corruption and had to explain the origin of his possessions in detail. In his book-length examination of the strip, Dick Tracy – The Official Biography, Jay Maeder suggested that Gould's critics were unsatisfied by his explanation. Nevertheless, the controversy eventually faded, and the cartoonist reduced exposure to Tracy's home life.

text: Tracy's cases generally incriminated independent operators rather than organized crime—with a few exceptions, such as Big Boy, a fictionalized version of Al Capone and the strip's first villain. Tracy opposed a series of big-time mobsters in the 1950s, such as the King, George "Mr. Crime" Alpha, Odds Zonn, and Willie "The Fifth" Millyun, after events like the Kefauver Hearings. As Tess faded into the background, Tracy assumed as assistant the rookie policewoman Lizz Worthington.

text: From 1956 to 1964, the Dick Tracy Sunday page was accompanied by a topper humor strip called The Gravies and drawn by Gould and his assistants.

text: Space period[edit]

text: As technology progressed, the methods that Tracy and the police used to track and capture criminals took the form of increasingly fanciful atomic-powered gadgets developed by Diet Smith Industries. This eventually led to the 1960s advent of the Space Coupe, a spacecraft with a magnetic propulsion system. This marked the beginning of the strip's "Space Period," which saw Tracy and friends having adventures on the Moon and meeting Moon Maid, the daughter of the leader of a race of humanoid people living in "Moon Valley" in 1964. After an eventual sharing of technological information, Moon technology became standard issue on Tracy's police force, including air cars, flying cylindrical vehicles. The villains became even more exaggerated in power, resulting in an escalating series of stories that no longer resembled the urban crime drama roots of the strip. During this period, Tracy met famed cartoonist Chet Jade, creator of the comic strip Sawdust, in which the only characters are talking dots.

text: One of the new characters, Mr. Intro, was only manifested as a disembodied voice. His goal was world domination in the vein of a James Bond villain. Tracy eventually used an atomic laser beam to annihilate Intro and his island base.

text: Junior married Moon Maid in October 1964. Their daughter Honey Moon Tracy had antennae and magnetic hands. In the spring of 1969, Tracy was offered the post of Chief of Police in Moon Valley. However, he ended up back on Earth when the Apollo 11 mission in 1969 showed that the moon was barren of all life. Many of the accoutrements of the space period stories remained for many years afterward, such as the Space Coupe and much of the high-tech gadgetry. Moon Maid receded from the storyline.

text: The stories of this period took an increasingly condemnatory tone pertaining to contemporary court decisions concerning the rights of the accused, which often involved Tracy being frustrated by legal technicalities. For example, having caught a gang of diamond thieves red-handed, Tracy was forced to let them walk because he could not prove beyond a reasonable doubt that the diamonds were stolen. As he saw the thieves get off without penalty, Tracy was heard to grumble, "Yes, under today's interpretation of the laws, it seems it's the police who are handcuffed!"

text: In the 1970s, Gould modernized Tracy by giving him a longer hair style and mustache, and added a hippie sidekick, Groovy Grove. Groovy's first appearance in print, as it happened, occurred during the same week as the Kent State shootings. Groovy remained with the strip, off and on until his death in 1984.

text: Shortly before his retirement, Gould drew a strip in which Sam, Lizz, and Groovy held Tracy down to shave off his mustache.

text: At this time, the standard publication size and space of newspaper comics was sharply reduced; for example, the Dick Tracy Sunday strip, which had traditionally been a full-page episode containing 12 panels, was cut in size to a half-page format that offered, at most, eight panels—these new restrictions created challenges for all comic artists.

text: Plenty family[edit]

text: The Plenty family was a group of goofy redneck yokels headed by the former villain Bob Oscar ("B.O."), along with Gertrude ("Gravel Gertie") Plenty. Gravel Gertie was introduced as the unwitting dupe (accessory) of the villain the Brow, who was on the run from Dick Tracy. The family provided a humorous counterpoint to Tracy's adventures. The Plenty sub-story was decades long, and saw Sparkle Plenty grow from an infant to a young married lady, eventually becoming a beautiful fashion model. Sparkle Plenty's May 30, 1947 birth became a significant mainstream media event, with spinoff merchandising and magazine coverage.[6]

text: The Plenty family appeared with Tracy in a story that occurred in a bank, where "B.O." found a way to prevent thieves from snatching an envelope of money from a counter.

text: In the April 24, 2011 strip, B.O. and Gertie had a second child, Attitude,[7] a boy who is as ugly as Sparkle is beautiful. His face has yet to be shown.

text: Crimestoppers' Textbook[edit]

text: Beginning in the early 1950s, the Sunday strip included a frame devoted to a page from the "Crimestoppers' Textbook", a series of handy illustrated hints for the amateur crime-fighter. This was named after a short-lived youth group seen in the strip during the late 1940s, led by Junior Tracy, called "Dick Tracy's Crimestoppers." This feature ended when Gould retired from the strip in 1977, but Max Allan Collins reinstated it, and it is still part of the comic strip. After Gould's retirement, Collins initially replaced the Textbook with "Dick Tracy's Rogues Gallery," a salute to memorable Tracy villains of the past.

text: Later years[edit]

text: Chester Gould retired from comics in 1977; his last Dick Tracy strip appeared in print on Sunday, December 25 of that year. The following Monday, Dick Tracy was taken over by Max Allan Collins and longtime Gould assistant Rick Fletcher. Gould's name remained in the byline for a few years after his retirement as a story consultant.

text: In one of Collins' first stories as the strip's writer, the gangster known as "Big Boy" learned that he was dying and had less than a year to live. Big Boy was still seeking revenge on the plainclothesman who sent him up the river, and he wanted to live just long enough to see Tracy's death. He put out an open contract on Tracy's head worth one million dollars, knowing that every small-time hood in the City would take a crack at the famous cop for that amount of money. One of the would-be collectors rigged Tracy's car to explode, but inadvertently killed Moon Maid instead of Tracy in the explosion. A funeral strip for Moon Maid explicitly stated that this officially severed all ties between Earth and the Moon in the strip,[8] thus eliminating the last remnants of the Space Period. Honey Moon received a new hairstyle that covered her antennae, and she was ultimately phased out of the strip. Junior later married Sparkle Plenty (the daughter of B.O. and Gravel Gertie Plenty), and had a daughter named Sparkle Plenty Jr. In the 1990s, Tracy's son Joseph Flintheart Tracy took on a role similar to Junior's in the earlier strips.

text: In addition, Collins removed other Gould creations of the 1960s and 1970s (including Groovy Grove, who was gravely wounded in the line of duty and later died in the hospital; Lizz married him before his death). On a more philosophical level, Collins took a generally less cynical view of the justice system than Gould; Tracy came to accept its limitations and requirements as a normal part of the process which he could manage. Extreme technology was phased out, such as the Space Coupe, in favor of more realistic advanced tools such as the 2-Way Wrist Computer in 1987.

text: New semi-regular characters introduced by Collins and Fletcher included: Dr. Will Carver, a plastic surgeon with underworld ties who often worked on known felons; Wendy Wichel, a smarmy newspaper reporter/editorialist with a strong anti-Tracy bias in her articles; and Lee Ebony, an African-American female detective. Vitamin Flintheart reappeared occasionally as a comic-relief figure, the aged ham actor created by Gould in 1944 who had not been seen in the strip for almost three decades. The Plenty family (B.O., Gravel Gertie, and Sparkle) were also brought back as semi-regulars; Junior and Sparkle were married following the death of Moon Maid, and soon gave birth to their own daughter Sparkle Plenty, Jr.

text: Original villains seen during this period included Angeltop (the revenge-seeking, psychopathic daughter of the slain Flattop), Torcher (whose scheme was arson-for-profit), and Splitscreen (a video pirate). Collins brought back at least one "classic" Gould villain or revenge-seeking family member per year. The revived Gould villains were often provided with full names, and marriages, children, and other family connections were developed, bringing more humanity to many of the originally grotesque brutes. "Flattop", particularly, had a number of relatives, all with his characteristic head structure and facial attributes, who turned up one by one to avenge their ancestor on Tracy.

text: Rick Fletcher died in 1983 and was succeeded by editorial cartoonist Dick Locher, who had assisted Gould on the strip in the late 1950s and early 1960s. Locher was assisted by his son John, who died in 1986.

text: Max Allan Collins was fired from the strip in 1992, following a financial reorganization of their comic strip holdings, and Tribune staff writer and columnist Mike Kilian took over the writing. Kilian was paid less than half of what Collins was making per strip[citation needed], but continued until his death on October 27, 2005. Locher was both author and artist for over three years, beginning on January 9, 2006. On March 16, 2009, Jim Brozman began collaborating with Locher, taking over the drawing duties while Locher continued to write the strip.[9]

text: In 2005, Tracy was a guest at Blondie and Dagwood's 75th anniversary party in the comic strip Blondie. Later, Dick Tracy appeared in the comic strip Gasoline Alley.

text: On January 19, 2011, Tribune Media Services announced that Locher was retiring from the strip and handing the reins to artist Joe Staton and writer Mike Curtis.[10][11] The new creative team has previously worked together on Scooby-Doo, Richie Rich, and Casper the Friendly Ghost.[12] Their first Dick Tracy strip was published March 14, 2011. Staton and Curtis are assisted by Shelley Pleger, who inks and letters Staton's drawings, along with Shane Fisher, who provides the coloring on the Sunday strips, and Chicago-area policeman Jim Doherty, who provides "Crimestopper" captions for the Sunday strips and acts as the feature's technical advisor. Doherty also introduced a new feature, "Tracy's Hall of Fame" (which replaces the "Crimestopper" panel approximately once each month), in which a real-life police officer is profiled and honored.

text: They reintroduced many of the characters of the forties through the sixties, including a second Mr. Crime and a reformed Mole, while introducing more deformed and grotesque villains such as Abner Kadaver, Panda, and The Jumbler. They have also brought back all the gadgets and plot elements of the 1960s space era, starting in early 2013. They have also done crossovers, with cameos from Popeye and Brenda Starr, and a long sequence involving Little Orphan Annie.

text: Awards and honors[edit]

text: Chester Gould won the Reuben Award for the strip in 1959 and 1977.

text: The Mystery Writers of America honored Gould and his work with a Special Edgar Award in 1980. This was the first time MWA ever honored a comic strip.

text: In 1995, the strip was one of 20 included in the Comic Strip Classics series of commemorative postage stamps and postcards.[13]

text: On May 2, 2011, the Tennessee Senate passed Resolution 30, congratulating Mike Curtis and Joe Staton on their professional accomplishments, including Dick Tracy.

text: On September 7, 2013, at the Baltimore Comics Convention, Dick Tracy was awarded the Harvey in the "Best Syndicated Strip or Panel" category. Tracy was simultaneously the oldest continually running strip, and the first adventure strip ever to win the Harvey Award in this category.[14] On September 6, 2014, Tracy was awarded a second Harvey Award in the newspaper strip category, becoming one of only three strips to win in this category in consecutive years. On September 26, 2015, Tracy won a third Harvey in the same category, becoming one of only three strips to win in three consecutive years.

text: On November 6, 2016 at their panel at Akron Comicon, Mike Curtis and Joe Staton were each presented with an Akron Comicon Excellence Award. The inscription on the plaques reads: 2016 AKRON COMICON EXCELLENCE AWARD PRESENTED TO MIKE CURTIS AND JOE STATON FOR THEIR CONTRIBUTION TO ONE OF THE LONGEST RUNNING NEWSPAPER STRIPS IN THE HISTORY OF NEWSPAPER COMICS!

text: In other media[edit]

text: Radio[edit]

text: Dick Tracy had a long run on radio, from 1934 weekdays on NBC's New England stations to the ABC network in 1948. Bob Burlen was the first radio Tracy in 1934, and others heard in the role during the 1930s and 1940s were Barry Thomson, Ned Wever and Matt Crowley. The early shows all had 15-minute episodes.

text: On CBS, with Sterling Products as sponsor, the serial aired four times a week from February 4, 1935 to July 11, 1935, moving to Mutual from September 30, 1935 to March 24, 1937 with Bill McClintock doing the sound effects. NBC's weekday afternoon run from January 3, 1938 to April 28, 1939 had sound effects by Keene Crockett and was sponsored by Quaker Oats, which brought Dick Tracy into primetime (Saturdays at 7 pm and, briefly, Mondays at 8 pm) with 30-minute episodes from April 29, 1939 to September 30, 1939. The series returned to 15-minute episodes on the ABC Blue Network from March 15, 1943 to July 16, 1948, sponsored by Tootsie Roll, which used the music theme of "Toot Toot, Tootsie" for its 30-minute Saturday ABC series from October 6, 1945 to June 1, 1946. Sound effects on ABC were supplied by Walt McDonough and Al Finelli.

text: On February 15, 1945, Command Performance broadcast the musical comedy Dick Tracy in B-Flat with Bing Crosby as Tracy, Bob Hope as Flattop, Dinah Shore as Tess Trueheart, among the cast. Dick Tracy's wedding is repeatedly interrupted as Tracy chases after one villain after another. In the strip, his marriage wasn't until 1950 and his honeymoon was disrupted by his going after Wormy.

text: Recordings[edit]

text: Jim Ameche portrayed Tracy in a two-record set recorded by Mercury Records in 1947. The record sleeves were illustrated with Sunday strips reprinted in black-and-white for children to color.[15]

text: Comic books[edit]

text: Tracy made his first comic book appearance in 1936 as one of the features included in the first issue of Dell's Popular Comics. These were reprints from the newspaper strip, reconfigured to fit the pages of a comic book, as was the case with most Tracy comic book appearances. Tracy remained a regular feature in Popular Comics through the publication's 21st issue.

text: The first comic book to feature Tracy exclusively was the Dick Tracy Feature Book, published in May 1937 by David McKay Publications. McKay's Feature Books were magazines that rotated several popular characters from comics strips through 1938. Three more of McKay's Feature Books starred Tracy in the following months.

text: In 1939, Dell started a comic magazine series called "Black and White Comics," essentially identical to McKay's "Feature Books." Six of the 15 issues featured Tracy. In 1941, Dell's "Black and White" series was replaced by the "Large Feature Books," the third issue of which featured Tracy. As with the McKay series, the Dell "Black and White" and "Large Feature" series were abridged reprints of the strip.

text: In 1938, Tracy became one of several regular newspaper strips featured in Dell's regular monthly Super Comics, remaining a regular part of that publication until 1948. In 1939, Tracy was the sole feature in the very first issue of Dell's Four-Color Comics, which put out more than 1,300 issues starring hundreds of characters between 1939 and 1962. Tracy was featured in seven more Four-Color issues throughout the 1940s.

text: Tracy was frequently featured in comic books used as promotional items by various companies. In 1947, for example, Sig Feuchtwanger produced a comic book that was a giveaway prize in boxes of Quaker Puffed Wheat cereal, sponsor of the popular Dick Tracy radio series.

text: In January 1948, Dell began the first regular Dick Tracy comic book series, Dick Tracy Monthly. This series ultimately ran for 145 issues, the first 24 of which were published by Dell, after which it was picked up by Harvey Comics. Continuing the same numbering, Harvey published the series until 1961. As with most previous Tracy comic book incarnations, these were, with the exception of the last few Dell issues which featured original material, slightly abridged and reconfigured reprints of the newspaper strips.

text: Dick Tracy was revived in 1986 by Blackthorne Publishing and ran for 99 issues. Disney produced a series of three issues as a tie-in for their 1990 film. This miniseries, True Hearts and Tommy Guns, was drawn by Kyle Baker and edited by Len Wein. The third issue was a direct adaptation of the film.

text: Books[edit]

text: Over the years, many reprints of Dick Tracy newspaper strips have been published. Beginning in 2007, IDW Publishing started reprinting the complete strip in hardcover volumes, now being done under their "Library of American Comics" imprint. Other collections include:[16]

text:
The Exploits of Dick Tracy, Detective: The Case of the Brow. Rosdon, hardcover, 1946.
The Celebrated Cases of Dick Tracy, 1931–1951. Chelsea House, hardcover, 1970
Dick Tracy: The Thirties—Tommy Guns and Hard Times. Chelsea House, hardcover, 1978.
Dick Tracy: His Greatest Cases, No. 1—Pruneface. Gold Medal, paperback, 1975.
Dick Tracy: His Greatest Cases, No. 2—Snowflake and Shaky plus The Black Pearl. Gold Medal, paperback, 1975.
Dick Tracy: His Greatest Cases, No. 3—Mrs. Pruneface plus Crime, Inc.. Gold Medal, paperback, 1975.
Dick Tracy: Meets Angeltop. Berkeley, paperback, 1990.
Dick Tracy #2: Meets the Punks. Berkeley, paperback, 1990.
The Dick Tracy Casebook: Favorite Adventures 1931-1990. St. Martin's Press, paperback, 1990.
Dick Tracy's Fiendish Foes! A 60th Anniversary Celebration. St. Martin's Press, paperback, 1991.

text: Other editions:[16]

text:
The first Big Little Book was a Dick Tracy title and many subsequent ones in the series followed. Some were reprintings of newspaper strips and some alternate between text and original black-and white drawings.[17]
Dick Tracy and The Spider Gang, a novelization of the Republic serial, Big Little Book #1446, the pages alternate between text and black-and-white photos from the movies.
Dick Tracy, Ace Detective. Whitman, hardcover, 1943.
Dick Tracy Meets The Night Crawler. Whitman, hardcover, 1945.
Dick Tracy and the Woo Woo Sisters, Dell, un-numbered paperback with a pictorial back cover but not a mapback, 1947.

text: Film[edit]

text: Film serials[edit]

text: Dick Tracy made his film debut in Dick Tracy (1937), a 15-chapter movie serial by Republic Pictures starring Ralph Byrd.[18] The Spider Gang was on the loose, tired of Dick Tracy's cunning skills. Through the 15-chapter serial, 15 different cases were solved, all plots by the Spider Gang. Dick Tracy was also in search for his missing brother, Gordon Tracy (Carleton Young). The Dick Tracy character proved very popular, and a second serial, Dick Tracy Returns, appeared in 1938 (reissued in 1948). Dick Tracy's G-Men was released in 1939 (reissued in 1955). The last was Dick Tracy vs. Crime Inc. in 1941 (reissued as Dick Tracy vs. the Phantom Empire in 1952).

text: The sequels were produced under an interpretation of the contract for the first Dick Tracy serial, which gave license for "a series or serial". As a result, Chester Gould received no further money for the sequel serials.[citation needed]

text: In these serials, Dick Tracy is portrayed as an FBI agent, or "G-Man", based in California, rather than as a detective in the police force of a Midwestern city resembling Chicago, and, aside from himself and Junior, no characters from the strip appear in any of the four films.

text: However, comic relief sidekick "Mike McGurk" bears some resemblance to Tracy's partner from the strip, Pat Patton; Tracy's secretary, Gwen Andrews (played by several actresses in the course of the series, including Jennifer Jones under a variation of her real name, Phyllis Isley), provides the same kind of feminine interest as Tess Trueheart; and FBI Director Clive Anderson (Francis X. Bushman and others) is the same kind of avuncular superior as Chief Brandon.

text: The first serial, Dick Tracy, is now in the public domain.

text: Early feature films[edit]

text: Six years after the release of the final Republic serial, Dick Tracy headlined four feature films, produced by RKO Radio Pictures. Dick Tracy (aka Dick Tracy, Detective) (1945) was followed by Dick Tracy vs. Cueball in 1946, both with Morgan Conway as Tracy. Ralph Byrd returned for the last two features, both released in 1947: Dick Tracy's Dilemma and Dick Tracy Meets Gruesome. Gruesome is probably the best known of the four, with the villain portrayed by Boris Karloff. All four movies had many of the visual features associated with film noir: dramatic, shadowy photographic compositions, with many exterior scenes filmed at night (at the RKO Encino movie ranch). Lyle Latell co-starred in all four films as Pat Patton. Anne Jeffreys played Tess Trueheart in the first two, succeeded by Kay Christopher and finally Anne Gwynne; Ian Keith joined the cast as the actor Vitamin Flintheart for two films; Joseph Crehan played Chief Brandon. RKO stocked the films with familiar faces, creating a veritable rogues' gallery of characters: Mike Mazurki as Splitface, Dick Wessel as Cueball, Esther Howard as Filthy Flora, Jack Lambert as hook-handed villain The Claw; baldheaded, pop-eyed Milton Parsons, mild-mannered Byron Foulger, dangerous Trevor Bardette, pockmarked, gently sinister Skelton Knaggs.

text: 1990 film[edit]

text: In 1990, Warren Beatty directed and starred as the title character in a live action all-star cast film, along with Al Pacino, Dustin Hoffman, and Madonna.

text: Filmography[edit]

text:
Dick Tracy (1937, serial, 15 episodes, starring Ralph Byrd)
Dick Tracy (1937, feature version of the above serial, starring Ralph Byrd)
Dick Tracy Returns (1938 serial, 15 episodes starring Ralph Byrd)
Dick Tracy's G-Men (1939, serial, 15 episodes, starring Ralph Byrd)
Dick Tracy vs. Crime Inc.(1941, serial, 15 episodes, starring Ralph Byrd)
Dick Tracy (1945, film starring Morgan Conway)
Dick Tracy vs. Cueball (1946, film starring Morgan Conway)
Dick Tracy's Dilemma (1947, film starring Ralph Byrd)
Dick Tracy Meets Gruesome (1947, film starring Ralph Byrd)
Dick Tracy (1950–1951, live action television series starring Ralph Byrd)
The Dick Tracy Show (1961, animated television series with various voices including Everett Sloane and Mel Blanc)
The Famous Adventures of Mr. Magoo, "Dick Tracy and the Mob" (1965 animated half-hour TV episode with the voices of Everett Sloane and Jim Backus)
Dick Tracy (1967, television pilot starring Ray McDonnell)
Archie's T.V. Funnies, Dick Tracy episodes, 1971
Dick Tracy (1990, film starring Warren Beatty and Madonna)

text: Television[edit]

text: The strip has had limited exposure on television with one early live-action series, two animated series, one unsold pilot that was never picked up, and a proposed TV series currently held up in litigation.

text: First live-action series[edit]

text: Ralph Byrd, who had played the square-jawed sleuth in all four Republic movie serials, and in two of the RKO feature-length films, reprised his role in a short-lived live-action Dick Tracy series that ran on ABC from 1950 to 1951. Additional episodes intended for first-run syndication continued to be produced into 1952. Produced by P. K. Palmer, who also wrote many of the scripts, the series often featured Gould-created villains such as Flattop, Shaky, the Mole, Breathless Mahoney, Heels Beals, and Influence, all of whom appeared on film for the first time on this series. Other cast members included Joe Devlin as Sam Catchem, Angela Greene as Tess Tracy (née Trueheart), Martin Dean as Junior, and Pierre Watkin as Chief Patton. Criticized for its violence, the series remained popular. It ended, not in response to criticism, but because of Byrd's unexpected, premature death in 1952. The series was filmed on a low budget, with many long hours and a rushed shooting schedule. Many episodes of this series have been released on various Public Domain TV Detective DVD sets.

text: Animated cartoons[edit]

text: The first cartoon series was produced from 1960 to 1961 by UPA. Tracy employed a series of cartoon-like subordinate flatfoots to fight crime each week, contacting them on his two-way wrist radio. Everett Sloane voiced Tracy and supporting characters and villains were voiced by Jerry Hausner, Mel Blanc, Benny Rubin, Johnny Coons, Paul Frees, and others. These subordinates included "Go-Go" Gomez, Joe Jitsu, Hemlock Holmes, and Heap O'Calorie. 130 five-minute cartoons were designed and packaged for syndication, usually intended for local children's shows.

text: UPA was also the production company behind the Mr. Magoo cartoons, so it was possible for them to arrange a meeting between Tracy and Magoo in a 1965 episode of the season-long TV series The Famous Adventures of Mr. Magoo. In that episode "Dick Tracy and the Mob," Tracy persuades Magoo (a well-known actor in the context of the Famous Adventures series) to impersonate an international hit man whom he resembles and infiltrate a gang of criminals made up of Flattop, Pruneface, Itchy, Mumbles, and others. Unlike the earlier animated Tracy shorts, this longer episode was played relatively straight, with Tracy getting much more screen time. Pitting Tracy against a coalition of several of his foes was adopted more than two decades later in the 1990 film.

text: A second cartoon series was produced in 1971 and was a feature in Archie's TV Funnies, produced by Filmation. It adhered more closely to the comic strip, although it was hampered by cruder animation than the UPA shorts, typical of the studio's production standards.

text: Live-action television pilot[edit]

text: William Dozier produced a pilot for a live-action Dick Tracy series in 1967 starring Ray MacDonnell in the title role. (Dozier was the producer responsible for the 1966 Batman television series.) The pilot was "The Plot To Kill NATO", featuring "Special Guest Villain" Victor Buono as 'Mr. Memory'. The quality was slightly above-average, but the series was not purchased by either ABC or NBC, as ratings for the Batman series were dropping and a similar series featuring The Green Hornet had recently flopped. To the networks, the "Hero Camp" or Batmania craze was dying, and they chose not to take a risk on another series.

text: The pilot is notable for the non-appearance of the future Jan Brady (Eve Plumb) as Bonnie Braids. She was cast in the role but only appears in the title credits at the opening of the show.

text: Licensed products[edit]

text: In the 1960s, Aurora produced a plastic model kit of Dick Tracy sliding down a fire escape ladder into an alley, in hot pursuit with gun drawn. A Dick Tracy Space Coupe model came next. Both have been reissued by Polar Lights. Also in the market were Mattel's Dick Tracy range of toy weapons.[19]

text: In 1990, Playmates Toys released a line of action figures called Dick Tracy: Coppers and Gangsters to coincide with the Dick Tracy movie. The figures were 5" tall, stylized with exaggerated comicy looks and came with lots of accessories.[20] Two figures in the line had limited availability; Steve the Tramp (called "The Tramp" on the package front) was pulled from the assortment after complaints of portrayal of a homeless person as a criminal. The figure of "The Blank" was added to the assortment well after the film's release to keep the secret of the identity of the character. As a result, only limited quantities made it to store shelves.

text: The Dick Tracy video game was developed by Titus Software in 1990. It was ported to many platforms including Amiga, Commodore and MS-DOS. Dick Tracy is a side scrolling action shooting game. Player controls Dick Tracy through five stages.[21]

text: There were also games made for the Nintendo Entertainment System (1990), Sega Master System (1990), Sega Genesis (1990), and the Game Boy (1991).[22]

text: In 2009, Shocker Toys released a monochromatic Dick Tracy action figure as an exclusive product for the San Diego Comic-Con. The figure appears in a suit with two-way wrist radio. There was also a variant figure released of Dick Tracy in his signature trench coat and fedora with a tommy gun accessory.[23]

text: Rights to adapt in other media[edit]

text: Media outlets reported a legal battle being waged over rights to the Dick Tracy character. Warren Beatty announced plans to make a sequel to his 1990 movie. At the same time, television producers announced plans for a new Dick Tracy TV series. Both sides claimed that they were the legal owners of the rights to Dick Tracy. In May 2005, Beatty sued the Tribune Company, claiming he has owned the rights to the Dick Tracy character since 1985.[24] Pressure from Beatty led to the cancellation of a proposed collaboration between artist Mike Oeming and writer Brian Bendis on a new serialized Dick Tracy comic.[25]

text: The lawsuit was resolved in Beatty's favor, with a US District judge ruling that Beatty did everything contractually required of him to keep the rights to the character.[26]

text: In popular culture[edit]

text:
The superhero The Tick had several villains that made fun of the disfigurements of Dick Tracy villains, including Chairface.
The artist Jess Collins used an X-Acto knife and rubber cement to reassemble Gould's strip into Tricky Cad. Gould threatened to sue if the Tricky Cad collages were published.[27]
In Al Capp's satiric comic strip Li'l Abner, there was a long-running parody of Dick Tracy called Fearless Fosdick. An intermittent, strip-within-the-strip feature in Li'l Abner, Fosdick lampooned every aspect of Dick Tracy—from Fosdick's impossibly square-jawed profile to his propensity for bullet-riddled "ventilation." The style of the Fosdick sequences closely burlesqued Tracy, complete with outrageous villains, ludicrously satirical plotlines, and ramped-up cartoon violence. Whatever Capp really thought of Dick Tracy, he was always careful to praise Gould and his strip in conversation and in print, invariably referring to it as "Chester Gould's magnificent Dick Tracy."
On February 15, 1945, Command Performance presented "Dick Tracy in B Flat," or "For Goodness Sakes, Isn't He Ever Going To Marry Tess Trueheart?" Billed as "the world's first comic strip operetta", it starred Bing Crosby as Dick Tracy, Dinah Shore as Tess Trueheart, and Bob Hope as Flattop Jones. The cast also included Jerry Colonna (police chief), Frank Morgan (Vitamin Flintheart), Jimmy Durante (The Mole), Judy Garland (Snowflake Falls), The Andrews Sisters (The Summer Sisters—May, June & July), Frank Sinatra (Shaky), Cass Daley (Gravel Gertie), and Harry Von Zell (narrator).The storyline has Dick Tracy's wedding with Tess Trueheart repeatedly interrupted by major villains putting Tracy in elaborate deathtraps.
Dick Tracy is also spoofed in the comic strip Red Meat by Max Cannon. The character of Stacy is a down on his luck alcoholic kicked off the force.
A classic Warner Bros. cartoon with Daffy Duck called The Great Piggy Bank Robbery spoofed Dick Tracy as "Duck Twacy". The cartoon was directed by WB legend Bob Clampett in 1946. Daffy wore Dick's yellow hat again in a Tiny Toons episode where Plucky Duck becomes the protagonist of a Dick-Tracy-themed dream sequence just like Daffy did in TGPBR. Also, in Easter Yeggs, Elmer Fudd says "I can't miss with my Dick Twacy hat!"
The "Crimestopper's Textbook" was parodied in two editions of The Stan Freberg Show in 1957, both in a discussion sketch called "Face the Funnies." In the first, a self-proclaimed Dick Tracy expert (voiced by Daws Butler) advised, "If vandals kidnap you, look for fingerprints on or about your person." In the second example, Butler said, "If someone shoots you in the chest, extract the bullet and look for small tell-tale bore markings on the slug, and then call a doctor."
Mad once eulogized Tracy as having died from lead poisoning, which resulted from being shot in the left shoulder 47 times (noting Gould's repeatedly showing Tracy being wounded in that spot). Other issues of Mad showed Tracy identifying Pruneface despite a facelift (by viewing his still-wrinkled buttocks), or ranting in Doonesbury style about changing trends in police procedures. (In the latter, Junior suggests "There's always the CIA!") A parody of the 1990 film was also made, where Warren Beatty's Tracy is killed in the end by the Blank, who reveals himself to be the original comic-style Dick Tracy.
In issue No. 5, October/November 1954, Mad's sister magazine, Panic, ran a full-length Tracy parody titled "Tick Dracy."
Parody show Robot Chicken parodied the Dick Tracy strips labeling of villains based on their facial features. Tracy nicknames everybody, in an insulting way. It is later revealed that Tracy himself is named Dick because his head looks like the head of a penis.
Parodying a period when Tracy was blind, The Fabulous Furry Freak Brothers Underground comix books featured Tricky Prickears, a very conservative blind and deaf detective. These comic-within-a comic episodes appeared under the heading Crime Stoppers, Mein Kampf.
Maxwell House's 'hug-a-mug' 80's TV commercials sometimes featured cartoon Dick Tracy cameos, including one where he is sitting at a live action diner counter along with some live action cops. As Tracy raises his coffee mug, his wrist radio sounds. He tilts his wrist to listen, only to have the coffee spill to the amusement of the cops.
The February 1949 issue of The Yale Record (cover titled Record Comics) contains several full-color comics parodies, including the Dick Tracy parody called "Hotshot Stacy". In this two-page feature, the detective pursues "The Head", a man with a giant egg-shaped head, and corners him at the head, literally, an outhouse. During the strip, The Head puts "Bright Boy" through a meat grinder. The art is signed by Sylvester Goul, in the style of Chester Gould's signature. The whole magazine is a precursor to the comics parodies in early issues of Mad.
In 1960, American Pop artist Andy Warhol made several paintings, each called Dick Tracy, reproducing Gould's hero in a faux Abstract Expressionist style.
In 1974, Tracy appeared with Clark Kent, and Shazam! in a commercial for Gillette's "The Dry Look" men's hair spray.
In the 80's, Spanish cartoonist Marti Riera updated the style with his graphic pastiche "The Cabbie", an even grittier take on Dick Tracy's world.[28]
In The Simpsons episode, "Hurricane Neddy", Ned shows his "Prune Tracy" remark, which is a pun on Dick Tracy and Pruneface, while Dr. Foster had stopped the name, "Dick Face".
In the novel Trueman Bradley, by Alexei Maxim Russell, the autistic detective who is the hero of the story becomes obsessed with classic comic book detectives and seeks to emulate Dick Tracy, specifically, in order to motivate him and help unlock his own detective powers.
From 2006 to 2012 there was an indie rock band by the name of Plainclothes Tracy based out of Knoxville, TN. Their name was based on the original Dick Tracy Comic, "Plainclothes Tracy", and their first single was called "Dicky T".