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Talk:Boy soprano

[Untitled]
Boy Soprano. My grandson is interested in singing. What age would tuition normally start, Liam O'Leary, olearyls@eircom.net.
 * The above unsigned comment was added by 194.125.161.16 in December 2004.

As the article (now) says, training often begins around 7 or 8 years of age. I joined the Chapel Choir at Newington College, a Uniting Church school around age 10. ralmin 02:44, 24 August 2006 (UTC)

The list of "popular" boy choirs seems rather arbitrary, as it certainly does not include some of the major superb English choirs that are about as popular as can be. Should this list be greatly expanded or eliminated?

-- Are there ANY references for the explanation surrounding Bach and the "hiatus" between puberty and change of voice. Sounds a bit odd to me...  --80.136.185.6 04:44, 7 January 2007 (UTC)

Boys' Choirs
Wikipedia currently lacks an article on boys' choirs - whch are NOT (as this article points out!) the same as the boy sopranos (and boy altos, not to mention - in many cases - the newly minted tenors and basses) who sing in them. Since my son joined the Zürich Sängerknaben I've been fascinated with this tradition and its history, and I'll try to put something together - if only a stub. It's high time Wikipedia had something! —Preceding unsigned comment added by 217.162.103.253 (talk) 07:12, 2 May 2008 (UTC)
 * Maybe you should look here first. —Wahoofive (talk) 16:15, 2 May 2008 (UTC)

Falsetto
Regarding
 * Occasionally boys whose voices have changed can continue to sing in the soprano range for a period of time.

In fact all boys can continue to sing in their upper range their entire lives, a technique called falsetto. While few men cultivate the skill, at least in America, it's rare for it to be impossible. True, a falsettist's top range is not as high as a boy soprano, but this sentence is woefully inadequate. —Wahoofive (talk) 04:05, 3 May 2007 (UTC)

Good point, although it would be more accurate to say a falsettist's top range is usually not as high as a boy soprano: some men can reach extremely high notes in falsetto. Contains Mild Peril (talk) 00:08, 7 October 2009 (UTC)

 * this is an interesting one. I was a boy soprano and could sing up to E6 and go down to B3. I was one of those people who's voices broke in a week and i had a wobbly voice. I could for a month or so throw my voice into my childhood register and sing soprano but it was cut down by about a fifth. Then when i was unable to do that I was left with a Bass/bass-baritone voice with my highest note being A4. It seems i have the lower half of my childhood range as my 'falsetto'. This is only anecdotal, i know, but from what i remember of the tone changes that occurred over my childhood voice, i find my head voice starts to kick in around that A/B3 area. — Preceding unsigned comment added by 80.176.89.230 (talk) 11:23, 19 April 2013 (UTC)

Treble/Boy soprano
Excuse me, the term "Boy Soprano" does not exist. It is slang for the correct word: Treble. You say treble is british english, I'm afraid to say that the terms boy and soprano contradict each other anyway. A soprano is and remains to be a female singer with a high range. "Soprano" does not mean "range". This is why I'm changing the title of this article to treble.--Brainsurgeonrocketscientist 05:21, 4 June 2007 (UTC)

 * I love Wikipedia. Every time I get depressed I can come on and get a laugh out a comment like that. —Wahoofive (talk) 15:16, 4 June 2007 (UTC)

Paul Chapman
I wonder if anyone knows of Paul Chapman, who performed a treble solo on Michael Nyman's "Miserere", which was composed for the soundtrack to the film entitled "The Cook, The Thief, His Wife, and Her Lover". Would it be appropriate to mention him in this article at all? Oberschlesien 14:39, 23 September 2007 (UTC)

Cathedral Choristers
It may be worthwhile, perhaps on a new related page, to discuss cathdral choristers and some of the traditions and roles, such as auditions, years of service, religious duties, ranks such as Head Boy (Head Chorister), choristers of the year, etc. —Preceding unsigned comment added by 124.148.80.10 (talk) 21:54, 19 December 2007 (UTC)

boy alto
I notice there is no page for a "boy alto" although such a voice type is referred to in various works, sch as Menotti's Chip and His Dog, an opera intended to be played by children. Is the definition of such a voice even more nebulous?--19:15, 30 June 2009 (UTC) —Preceding unsigned comment added by Scottandrewhutchins (talk • contribs)

Photographs
This article would be much improved by the addition of some photographs.Das Baz 16:58, 22 August 2009 (UTC)

trebles singing christian liturgy in pre-christian times
someone might want to take a look at this claim. most christian liturgy dates from the christian era, don't sure how much christian liturgy is known to be pre-christian...70.26.6.134 (talk) 21:59, 21 January 2013 (UTC)Joe

Article Editing, cleanup and thoughts
I am very near tempted to remove the sentence: "The fact that boys are no longer trained to sing in the head voice is a significant factor in the demise of the older boy soprano." This is, in fact, not sourced from any document, and I personally train my boys to sing in their upper registers well into the age of 15-16. This sentence doesn't help the article.

Secondly, if this article is going to be linked with the WikiProject-Opera, I believe all content relating to Trebles and liturgical functions should be removed and a second more liturgically friendly page about Trebles created. I'm happy to create the page, but I wanted to check on discussion first. I've left the article intact, but sources are readily available for citing. Perhaps also, elements from Choirboy should also be combined. — Preceding unsigned comment added by Dragoonboy (talk • contribs) 01:07, 17 December 2014
 * I suggest the oppoite: any aspects of boy soprano or trebles lacking in this articles should be added here; a banner on an article's talk page doesn't confer exclusivity. -- Michael Bednarek (talk) 23:03, 16 December 2014 (UTC)

 * I read the previous discussion under the project-opera talk page and can more or less agree about the banner. I'll see if I can add some information to this page. I am now aware that Treble redirects here, I believe.  — Preceding unsigned comment added by Dragoonboy (talk • contribs) 00:06, 17 December 2014 (UTC)

Requested move 7 February 2015

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: not moved. Number   5  7  15:28, 27 February 2015 (UTC)

Boy soprano → Treble (voice) – I believe that this is the more common term for a "boy soprano"; certainly it is in the UK (in fact I had not come across the term "boy soprano" before without the explanation that a treble was a young male soprano). Google shows 54000 results for "treble voice" but only 10000 for "boy soprano voice"  so I suggest that this is moved. --Relisted. Number   5  7  14:48, 18 February 2015 (UTC) JZCL 20:58, 7 February 2015 (UTC)

Update: "The soprano part is sung by women or girls, or by boys with unbroken voices: traditionally church and cathedral choirs used boys' voices, though they are more often called trebles rather than sopranos." - Eric Taylor: The AB guide to music theory part II (revised 2011) section 14/1 p. 106. ISBN 978-1-85472-447-2

 * Comment: the Google result is not useful, because publishers routinely identify sheet music as being for "treble voice(s)" so as to appeal to both genders, and that likely represents a large chunk of the hits. —Wahoofive (talk) 05:59, 8 February 2015 (UTC)

 * Oppose. Firstly, you are comparing the wrong Google searches; you need to compare ""boy soprano" (301,000) with "treble voice"  (58,900). "Boy soprano" is more clearly descriptive and more easily understood. "Treble" refers to instruments and to the treble cleft; thus it's too confusing to use only the British term (even with the added word "voice") as the article title. Lastly, there is already a redirect in place, for anyone searching for the British usage. This move request does however point up the fact that the whole article needs vast improvement, cleanup, and citing. Softlavender (talk) 06:39, 8 February 2015 (UTC)
 * I see what you are saying about the unhelpfulness of the Google search. However, another point to note is that the article actually uses the term "treble" more than the term "boy soprano" (although it is close to 50:50). The other thing is that there is in fact a section on Girl trebles, which just makes the article title seem even more confusing. Compare to the simple English Wikipedia's article whose name is perhaps more accessible. I believe that treble (voice type), treble (singing) or perhaps even treble (vocal range) (though admittedly the last one is slightly ambiguous since the article is not primarily about the range) are more appropriate titles than Boy soprano, especially considering the fact there is a girl treble section. JZCL 08:51, 8 February 2015 (UTC)

 * The girl treble "section" is not a section, it's a single uncited sentence (a violation of MOS). Boy sopranos are boys because of the unique range, timbre, power, and character of the young male falsetto voice, which has little relation to the young female voice. Softlavender (talk) 08:20, 10 February 2015 (UTC)

 * Be it a single, uncited sentence or not, it is still a section. The term seems to exist; see this for instance p. 21. The section is simply confusing with the article title. JZCL 15:39, 11 February 2015 (UTC)

 * Support - this article is too brief. I looked at the corresponding articles in other languages and a few NOT titled "boy soprano" are much more thorough, discussing either children's voices or treble voice overall, particularly the Italian one (it:Voci bianche). If there isn't enough sufficient information only on boy sopranos, it should be expanded to all treble voices. Wikimandia (talk) 18:25, 8 February 2015 (UTC)

 * Not true, the foreign language articles are overwhelmingly called and about boy sopranos. What on earth do you mean do you mean by "all treble voices"? You don't seem to have any idea what you are talking about. Softlavender (talk) 08:16, 10 February 2015 (UTC)

 * I think that what Wikimandia is perhaps trying to say is that this article should be expanded to information about trebles in musical genres other than in the Classical style, in which they may be more likely called trebles. Although there is a (terrible) list which mentions some non-classical boy sopranos, there is no information elsewhere about the role in non-classical music, and is perhaps suggesting that the page be renamed so that more genres in which the treble is used can be encompassed. And I think that personal remarks should be avoided whenever possible; saying someone "clearly doesn't know what [they're] talking about" can hardly be the most collaborative way to speak. JZCL 15:33, 11 February 2015 (UTC)

 * What I wrote was pretty clear: "a few NOT titled 'boy soprano'..." would indicate that most of the non-English articles are called boy soprano, no? Apparently Softlavender clearly doesn't know what he/she is talking about. JZCL has a clue. Wikimandia (talk) 03:55, 18 February 2015 (UTC)

 * Comment. I'm a bit mystified by the suggestion (here and in the article itself) that "boy soprano" isn't used in the UK. I've lived here all my life and I've heard it many, many times. It used to be the common name for a choirboy soloist with a particularly high, clear voice. Maybe less so now. It wasn't, however, used for any old treble. -- Necrothesp (talk) 13:54, 11 February 2015 (UTC)

 * Comment The soprano article states that "The term "boy soprano" is often used as well, but this is just a colloquialism and not the correct term." Either that article needs to be changed on the matter, or this one does. JZCL 21:18, 11 February 2015 (UTC)

 * Oppose. Boy soprano is a good topic with an unambiguous title, while the proposed title is confusing and possibly ambiguous. Treble is heavily dependent for its meaning on context, as the need to disambiguate shows. Depending on varieties of English there may be a case for moving to treble voice, but that seems to me to be a wider topic including for example castrato voices. It's currently a redlink and we should fix that, either way. Andrewa (talk) 16:34, 26 February 2015 (UTC)
 * Oppose as explained by Andrewa. -- Michael Bednarek (talk) 12:00, 27 February 2015 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Range
Apparently A3-F5 - any sources to back this up? The only thing I could find was this which seemed to be suggesting that they rarely go into anything below E4 (because they do not make use of chest voice) and use the upper part of the soprano register more than anything else. I am, however, currently very dissatisfied with the range section, and will improve it when I find out what the vocal range is. JZCL 16:09, 9 February 2015 (UTC)

 * How tall are trees? Voices aren't like instruments which have some solid cutoff point: e.g. a violin can play down to G3 and then physically can't go any lower. Voices (whether boys or girls, adults or children) gradually fade out and become inaudible at the bottom; the lowest notes composers choose to use is a matter of judgment, not science. Such ranges are always suggestions.
 * Similar considerations arise at the top. Exceptionally well-trained boys can sing above high C, almost as high as a woman coloratura soprano, but composers rarely write up there because few boys are that highly skilled.
 * And boys are perfectly capable of singing in chest voice, although many conductors discourage it. Indeed, the article you linked to refers to several schools of thought in boys' vocal training, with corresponding differences in range; only one school mentioned doesn't allow chest voice and so has a higher low end.
 * Really, it might be best not to open this can of worms. —Wahoofive (talk) 21:17, 9 February 2015 (UTC)

 * I understand completely what you are saying, but what I am asking is whether there is a tessitura for these boys which is often thought of. For instance, the soprano range is often thought of as C4 to A5, though many can sing lower and higher, and some repertoire, as you said, can call for C6 or even higher. So what I am wondering is: is there a clear range which many people deem the treble to have? Because currently this article lists both C4-A5 and A3-F5 as common ranges for the treble, and I am wondering if one of these is considered more "standard" than the others. — Preceding unsigned comment added by JZCL (talk • contribs) 22:07, 9 February 2015 (UTC)

 * I guess it depends whether you mean music written for modern children's choirs (which usually have pretty limited ranges to maximize sales) or music written historically for the soprano parts in church music (e.g. Bach), which would have been sung by boys. The latter would go up to A routinely (though Bach's A might have been a good half step lower than our A) and up to B in spots; the Allegri Miserere goes up to high C. I'd guess that difference is the source of the discrepancy you mention. —Wahoofive (talk) 07:25, 11 February 2015 (UTC)

 * OK, so would a summary such as:

 * Historically, music written for the treble part would have had a similar range to that of a female soprano (roughly C4-A5), since the treble would have sung the soprano part in Church choirs and other related contexts. However, in its more contemporary form, trebles are not always called upon for quite such a demanding range.

 * be OK to add to the range section in your opinion? JZCL 20:46, 11 February 2015 (UTC)

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Bach's motets

 * I read somewhere that some of Bach's motets cannot be sung nowadays as Bach intended, because their music is so complicated that nowadays by the time that a choirboy is intelligent enough to understand the music, his voice has broken. Is there a reference to this? Anthony Appleyard (talk) 04:55, 23 April 2018 (UTC)

 * What Bach "intended" is a matter of substantial dispute, but if you mean it can't be sung today with boys on the top part, a little Googling would easily dispel that idea. —Wahoofive (talk) 20:35, 23 April 2018 (UTC)

title: Talk:Boy soprano


text:
Swissair Flight 306

Swissair Flight 306, a Sud Aviation SE-210 Caravelle III, named Schaffhausen, was a scheduled international flight from Zürich to Rome, via Geneva. It crashed near Dürrenäsch, Aargau, on 4 September 1963, shortly after take-off, killing all 80 people on board.

Timeline

Zurich Airport was in dense fog when the plane was due to take off at 06:00 UTC. At 06:04 the flight was allowed to taxi to runway 34 behind an escorting vehicle. At 06:05 the crew reported that they would taxi halfway down runway 34 to inspect the fog and then return to the take off point. This was done using high engine power in order to disperse the fog. Around 06:12 the aircraft returned to runway 34 and was allowed to take off, which it did 06:13, and started to climb to flight level 150 (about 15,000 ft), its cruising height.

Four minutes later people on the ground noticed a white trail of smoke coming from the left side of the aircraft. Shortly after, a long flame erupted from the left wing. Around 06:20 the aircraft reached a height of about 2700 m. It then began to descend, entering a gentle left turn before losing height more quickly. It then went into a final, steep dive.

At 06:21 a Mayday message was issued. At 06:22 the aircraft crashed into the ground on the outskirts of Dürrenäsch, approximately 35 km from Zürich Airport.

Probable cause
The aircraft's brakes overheated due to the application of full engine power during taxiing. This caused the magnesium wheels to burst, one of them on the runway prior to departure. Upon retraction of the landing gear, the hydraulic lines in the gear bay were damaged. This was caused either by the wheels that had exploded, or the bursting of the other wheel rims during the climb. Subsequently, spilled hydraulic fluid ignited when it came in contact with the overheated landing gear rims. The fire damaged the gear bay, followed by the wing. The data from the airplane's flight recorder combined with a lack of radio calls from the crew suggested that they likely began experiencing difficulties at 06:18. Irregularities in the data beginning roughly two minutes later indicated that the fire was causing electrical problems, while wreckage analysis suggested that parts of the airplane were detaching "with increasing frequency" around this time. The left engine had shut down prior to the crash; whether this was from crew action or a failure caused by the fire is unknown. The cause for the final loss of control was not conclusively determined. The rigidity of the left wing and rear fuselage, the integrity of the hydraulic flight control system, and the elevator control unit were all noted as possible areas the fire may have affected in the final portion of the flight to an extent which would have caused a rapid loss of control.

Result
As a result of this accident, all Caravelles were modified to use non-flammable hydraulic fluids.

Casualties and aftermath
There were 74 Swiss nationals on board as well as two Americans (one dual citizenship with Iran), one Briton, one Egyptian (Olympic rower Ibrahim Abdulhalim), one Israeli, and one passenger was either from Belgium or Austria.

This crash severely affected the small village of Humlikon in the Canton of Zürich: 43 of its 217 citizens (20% of the population) had boarded the plane to visit a farm test site near Geneva. Among those who perished were the entire local council, all members of the local school board, and the village's post office clerk. A number of children who were orphaned were looked after at home by relatives, and six of these children had to move, all but one of whom went to live with relatives nearby.

Further problems arose with the upkeep of the local farms, but people from the nearby villages helped. Apprentices came from local firms, students, firemen, soldiers, boy scouts, railroad workers and policemen, as well as volunteer school children, and even from abroad to help. Approximately 600 tons of potatoes were harvested manually, corn was threshed and the new crop seeds were sown in time. Just over a month after the crash, a new council was elected by the 52 remaining eligible voters.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Swissair Flight 306


text: Category:284 deaths

title: Category:284 deaths


text:
Jakks Pacific

Jakks Pacific, Inc. is an American toy manufacturer founded in January 1996. The company is best known for producing licensed action figures, playsets, dolls, plush toys and dress-up sets.

The company was founded by Jack Friedman, who had previously founded the toy and video game companies LJN and THQ, and presided over the company until retiring as CEO and chairman after March 31, 2010, a month before his death on May 3, 2010.

History
Jack Friedman had previously founded THQ (Toy Headquarters), with the business producing both toys and interactive software. In 1994, the business would become solely focused around interactive software, with Friedman feeling discontentment from this. He decided he wanted to go back to toys, so founded Jakks Pacific in January 1995. His first master toy license was a fourteen-year deal with the World Wrestling Federation (WWF) to mainly produce figurines and playsets, similar to how Hasbro grew to success with the G.I. Joe toy line.

In 1997, Jakks Pacific purchased the defunct Remco brand from Azrak-Hamway International (AHI).

Child Guidance, and Road Champions in 1997; Berk and Flying Colors in 1999; Pentech in 2000; Toymax, Go Fly A Kite, and Funnoodle in 2002; Color Workshop and Trendmasters in 2003; Play Along Toys in 2004; Pet Pal Corp. in 2005; Creative Designs International in 2006; and Kids Only Toys, Tollytots, and Disguise in 2008.

In 1998, Jakks Pacific entered into a joint-license agreement with THQ to produce World Wrestling Federation (WWF) video games, with publishing being handled by THQ, and development being handled by Yuke's. In October 2004, it emerged that the (since renamed) WWE had filed a lawsuit against Jakks Pacific, alleging that they had given bribes to the WWF's Stanley Shenker and Jim Bell to hide 'superior' pitches from other publishers, such as Activison. The federal suit was dismissed in December 2007, the state court litigation was dismissed in August 2008 and an appeal was dismissed by the court of appeals in May 2009. In January 2010, the joint-license agreement ended, with Jakks Pacific removed from the deal and THQ solely holding the license going forward.

In February 2005, Jakks Pacific was instructed to restate the financial statements for fiscal year 2003 to account for the acquisition of Toymax, Trendmasters, and P&M Products.

In February 2006, Jakks Pacific announced it had signed a partnership with Metro-Goldwyn-Mayer (MGM) to make toys and playsets based on the Rocky franchise.

In February 2008, it was announced that Jakks Pacific would sign a five-year deal with Total Nonstop Action Wrestling (TNA), to commence in 2010. The existing WWE deal would expire in December 2009.

In March 2008, the company announced it had signed a deal with Taylor Swift and the Creative Artists Agency (CAA) to produce a licensed series of dolls.

In June 2008, Jakks Pacific announced it had signed a four-year deal with Ultimate Fighting Championship (UFC) to produce action figures and licensed toys.

In 2010, the company formed Pacific Animation Partners LLC, a joint venture between that company and Dentsu Entertainment USA, Fremantle, and Topps, to launch the Monsuno property in 2012.

In 2012, Jakks Pacific announced the successful negotiation of licences for The Dark Knight Rises and The Amazing Spider-Man, promoting new toy ranges at the New York and other International Toy Fairs.

In 2014, the company launched Jakks Meisheng Trading, a joint venture with Meisheng Culture and Creative Corp., to bring its toys to China. In 2016, the two created Studio JP, a joint venture to produce animation.

In September 2015, it was announced that Jakks Pacific had signed a new licensing deal with WWE, but this time with Jakks making role-play sets and action figures, but only for Asian-Pacific region. Jakks would also work alongside Vivid Imaginations and Headstart Toys to make Oooshies, collectible rubber penciltips.

In January 2023, Jakks Pacific signed a deal with Nintendo and Illumination to create toys for The Super Mario Bros. Movie.

In October 2023, Sega and Jakks Pacific formed a deal to make toys for Sonic the Hedgehog 3.

Products
Jakks produces action figures, electronics, dolls, dress-up, role play, Halloween costumes, kids' furniture, vehicles, plush, art activity kits, seasonal products, infant/preschool, construction toys, and pet toys sold under various proprietary brands including Jakks Pacific, Creative Designs International, Road Champions, Funnoodle, Go Fly a Kite, Jakks Pets, EyeClops, Plug It In & Play TV Games, Girl Gourmet, Kids Only!, Tollytots, and Disguise.The company also licenses various brands for toy production, including Black & Decker, Cabbage Patch Kids, Care Bears, DC Universe, Marvel Universe, Sonic the Hedgehog, Disney, Star Wars, and Nintendo.

Handheld games include vMigo - A handheld virtual pet game, which can be docked into a TV adapter, BioBytes - A handheld game, where the player uses their animal to attack the computer's, or a friend's (wirelessly), Eyeclops and Telestory. Toy vehicles include Fly Wheels, Xtreme Performance Vehicle (XPV), Custom Garage, Shock Racers, MXSGX Racers, and GX SkatePower Trains. Infant and toddler toys include Child Guidance and KnotWud. Girls' activities include It's a Girl Thing, If you Say Sew!, Lucky Bee Bee, Girl Gourmet and Style Six. Boys' activities include Max Force, Real Construction and Spy Net Toys. Stationery products include BloPensVivid and VelvetPentech. Seasonal toys include FunnoodleGo, Fly a Kite, The Storm, Disguise, Halloween Costumes, PetWhite Bites and Naturally Convenient. Action figures include Dragon Ball Z, Pokémon, Real Steel and Ryuji Juwara.

, the original TV Games device from Jakks Pacific sold over 350,000 units. By 2004, the TV Games series had sold 1 million units. , Pac-Man TV Games sold over 15 million units.

title: Jakks Pacific


text:
D. R. Bendre

Dattātreya Rāmachandra Bēndre (31 January 1896 – 26 October 1981), popularly known as Da Rā Bēndre, is generally considered the greatest Kannada lyric poet of the 20th century and one of the greatest poets in the history of Kannada literature. A pioneering poet of Kannada's Navōdaya movement and a leading figure in the linguistic renaissance of Kannada in the region of North Karnataka (then part of the Bombay Presidency), Bendre forged a new path in Kannada literature and modern Kannada poetry through his original use of desi Kannada, particularly Dharwad Kannada – the form of Kannada spoken in the North Karnataka region of Dharwad. The richness, originality, and euphony of his poetry, his preternatural feel for the Kannada language, and his charismatic personality would result in him being hailed as a Varakavi (lit. 'boon-gifted poet-seer') by the Kannada people. In a poetic journey that spanned almost 70 years (~ 1914 – 1981), Bendre engaged continuously in what he called Kāvyōdyōga or 'The High Yoga of Poetry'.

A multidisciplinary genius, his library is said to have held books spanning 102 subjects, including Quantum Physics, Mathematics, and Physiology. From very early on, Bendre published his poetry as Ambikātanayadatta (lit. 'Datta, son of Ambika'). Often mistaken for a pseudonym or pen name (in the western sense), Bendre described Ambikatanayadatta as the "universal inner voice" within him that dictated what he, Bendre, then presented in Kannada to the world.

In 1973, Bendre was awarded the Jnanapitha, India's highest literary award, for his 1964 poetry collection, Naaku Tanti (ನಾಕು ತಂತಿ) (lit. 'Four strings'). Recognized as Karnataka's Kavikula Tilaka ("Crown-jewel among Kannada Poets") by Udupi's Adamaru Matha, he would also be called a Kāvya Gāruḍiga (~ poet-sorcerer) for his ability to create magical poetry. He was awarded the Padma Shri in 1968 and made a fellow of the Sahitya Akademi in 1969.

Early years
Dattatreya Ramachandra Bendre was born into a Chitpavan Brahmin family in Dharwad, Karnataka. He was the eldest son of Ramachandrabhatta and Parvatibai (nee Ambavva). The Bendres, also known as Thosars for some time, originally belonged to Kumbaru, a village in the Colaba district of Maharashtra, but a series of migrations which took them to Kalasi, Nasik and Tasgaon would see them finally settle down, along with the Lagu family, their patrons, in Shirahatti, a town that was formerly part of the princely state of Sangli and is now a part of Dharwad district, Karnataka.

Bendre's paternal grandfather, Appashastri (called Appabhatta) (1840–1914), was a Dashagranthi ("Master of ten volumes of sacred lore") who composed several kirtans in Marathi. He was also a Vedic scholar who wrote a treatise on the Arya metre, titled Chhandodaharana. Bendre's father, Ramachandra Bendre (?–1907), was a Sanskrit scholar who died of scrofula when Bendre was only 12 years old. Bendre's mother Parvatibai (name before marriage was Ambavva), who died in 1924, was Ramachandra Bendre's second wife. She was the youngest child of her mother, Godubai.

Bendre's maternal grandmother, Godubai, was related to the Dixit family of Naragund on her father's side and the Natu family of Mulagund on her husband's side. Extraordinarily strong-willed, she confronted being cast out by her in-laws following her husband's death (in 1887–88) by moving, on her own, to Dharwad with her newborn child (Bendre's mother, Ambavva) and her two older daughters. Over there, she set up a khanavali (eatery) to support herself and her three daughters. Later in life, given her son-in-law Ramachandra Bendre's ill-health and early death, she became a substantial provider (along with Ramachandra Bendre's brother) for her daughter's family of four sons also. Consequently, Bendre would grow up under the aegis of his mother and grandmother. In his autobiographical essay titled 'The High Yoga of Poetry', Bendre says that "deprived by fate of my father's and his family's closeness, it was by direct observance of my mother's and grandmother's conduct that I realised my manhood." In a poem he wrote in his seventies, Bendre would pay tribute to Godubai's courage by remembering her as someone who has "fed him [on] tiger's milk".

The oldest of four boys, Bendre completed his primary and high school education in Dharwad. Matriculating in 1913, he joined Fergusson College, Pune, and graduated in 1918 with a BA in Sanskrit and English. While in Pune, he lived with Bandopant Bendre, his father's younger brother. With no children of his own, Bandopant would, until the end of his life, act as a great support to his older brother's wife and children. Upon finishing his BA, Bendre returned immediately to Dharwad, where he became a teacher at the Victoria High School, thereby transforming into "Bendre Maastaru" (ಬೇಂದ್ರೆ ಮಾಸ್ತರ), a title he held for the rest of his life.

College years
Bendre left for pune in 1913 to attend Fergusson College. Joining him was Shridhar Khanolkar, a classmate from his very first day of primary school. A poet himself, Khanolkar too would return to Dharwad after his BA and work alongside Bendre at Victoria High School. Bendre would "with affection" dedicate his 1938 poetry collection ಉಯ್ಯಾಲೆ (Uyyaale) to Khanolkar's friendship and encouragement and their warm relationship would last until Khanolkar's death in 1965.

During his years in Pune, Bendre came in contact with Professor B. V. Patwardhan. Patwardhan had taught at the Basel Mission High School in Dharwad and was an influential person in Pune's literary circles. Through Patwardhan's cousin, K. R. Paranjape, Bendre would come to know Ram Ganesh Gadkari (Govindagraja), a pioneering poet of modern Marathi literature. While in college, Bendre would also become very involved in the 'Sharada Mandal', a group built by Prabhakar Hari Khadlikar and his friends. The Mandal was dedicated to the promotion of national identity and the mother tongue. This 'Sharada Mandal' would serve as a model for (and sow the seed of) the famous "ಗೆಳೆಯರ ಗುಂಪು (Geleyara Gumpu)", the "literary circle" that Bendre would put together in the years following his return to Dharwad.

Young Poet
Bendre's first published poem was "Tutoori" (Trumpet). This poem was probably inspired by the Marathi poet's Keshavasuta's "Tutaari" – but there are important differences between the two. Bendre's poem is a lot shorter and lacks the revolutionary ardour of Keshavasuta's poem. It is possible that Bendre felt a kinship with Keshavasuta based on their common admiration for Keats. Govindagraja too might have exercised an influence on Bendre: the similarity in theme between 'Raatrige (To the Night) and 'Manatali Divasa Ratra' makes this a plausible supposition. However, in the total context of Bendre's poetry, the influence of modern Marathi poetry is limited. Bendre himself was of the opinion that the influence of Marathi poetry on modern Kannada poetry was negligible. Indeed, Bendre had his own views about "influence". In his opinion, "it is not imitation of theme or style that elevates a poet or his poetry. [He] must constantly meditate on the lives of great souls". Drawn deeply to Sri Aurobindo's idea of 'Fourfold Beauty', Bendre would come to see the world and the universe in terms of the number four. (His naming his poetry collection Four Strings is evidence of this.) This "idea of four" included what Bendre called his "guruchatururmukha" or "the four faces of the guru". For Bendre, these four gurus were the Irish mystic and poet, A.E., the Lebanese poet-philosopher, Khalil Gibran, "Gurudeva" Rabindranath Tagore, and the Indian revolutionary and seer, Sri Aurobindo. According to Bendre, A.E. showed him a new way of experiencing nature while Gibran deepened his awareness of the metaphorical depth of the avatara concept. Tagore, who was an earlier and much wider influence than either A.E. or Gibran, helped Bendre develop a strong sense of community besides "teaching [him] to love [his] mother" through the exquisite poems of 'The Crescent Moon' collection. In an early poem of praise titled "Gurudeva", Bendre calls Tagore 'the world's eye'. But Sri Aurobindo's was the greatest and longest-lasting influence. In his early years, his introduction to Sri Aurobindo was through the articles in "Arya" regarding "The Future Poetry". These articles would inspire Bendre to work towards the creation of a mantra-like poetry himself. In later years, his visit to the Pondicherry Ashram for a darshana of Sri Aurobindo and The Mother would make a profound impression and influence the trajectory of his post-1956 poetry.

Public Recognition, Publication, and Elevation to "Varakavi" Status
Unlike poets like Tagore and Yeats and certainly unlike Keats, Shelley, and Rimbaud, Bendre's recognition as a poet came rather late, when he was in his early 30s. Though he began writing poetry in his late teens, published his first poem when he was twenty, and his first book (titled Krishṇakumaari, a mid-length narrative poem) came out in 1922, it was only after the public reading of his poem "Hakki Haarutide Nodidiraa" at the Belagavi Sahitya Sammelana in 1929 that he became famous, almost overnight. Like Masti Venkatesh Iyengar would say later, "...it is impossible now to describe the ecstasy [the poem's] listeners felt that day. [While] that one reading was hardly sufficient to understand the various meanings the poem suggested, it was enough to astonish the thousand-strong audience. It was clear to everyone of standing in the “poetry world" that here was a new poet whose poetic shakti (~power) was his very own." This performance would be followed by the release of Bendre's poetry collection Gari in 1932. Like Shankar Mokashi Punekar says in his wonderful essay about Bendre's poetry, to read the poems in the Gari collection is to see "how much further along Bendre has cartwheeled in the ten years since [the publication of] Krishṇakumaari".

This profound change in Bendre's poetry was not lost on critics. Despite their unfamiliarity with the Dharwad dialect that Bendre had used in Gari (and which he would soon come to master completely), critics like V. Seetharamaiah and Ti. Nam. Sri praised the collection, with Ti. Nam. Sri even going so far as to say that some poems in it were "deserving of a place in world literature". The publication of Gari would cause the floodgates to open, as it were, and the river of lyric poetry that rushed forth – in the form of the collections Moorthi mattu Kaamakastoori (1934), Sakheegeeta (1937), Uyyaale (1938), and Naadaleele (1938) – would overwhelm the Kannada literary world with its newness, innovation, and originality. At the same time, it would appeal to the common people through its inherent naada (~ euphony) and musicality. Writing the foreword to Naadaleele, Masti, whose keen critical sense had taken note of Bendre's work as early as 1926 and been stirred to actively support it after the Belagavi performance of 1929, would note that Bendre's poetry "[is] not simply promising but [has] achieved fulfillment".

In an essay written examining Bendre's "poetics", Shankar Mokashi offers an excellent presentation of the idea of a varakavi. He says, "...[t]his is an important description of an important experience! The simultaneous blossoming of [the] necessary words and rhyme with the blossoming of an idea [in the poet's mind] is the experience of very very few poets. ... But that this is part of creation in poetry is evidenced by the poetry of Valmiki, Shelley and supported by the theory of "expressionism" put forth by the Italian philosopher, Croce. We can also look to understand this [inner experience] through a number of Bendre's poems and the experience of other poets. Basically, what we are saying is that no sooner does a feeling and a word enter the poet's mind than a rhyme, a rhythm, and a euphony descend simultaneously. ... This is a very piquant matter. This experience is at the root of the distinction made between the narakavi and the varakavi (the earthbound-poet and the heaven-touched poet) in our ancient poetics. In a varakavi, feeling-euphony-word descend in effortless simultaneity and take on form singly-doubly-triply."

The Evolution of Bendre's Poetry
According to G.S Amur, the evolution of Bendre's poetry can be seen as having happened over three phases. Amur calls the first phase the "early experimental phase" and avers that it spanned from about 1917 to 1923. The second phase is what he calls "the first flowering", which began in 1923 and continued until 1956. The third phase, per Amur, began in 1956 and lasted until Bendre's death in 1981. Amur calls this phase "the second flowering". Given Bendre's voracious interest in everything under the sun, it is not surprising that these phases present themselves as a mix of continuity and change.

The elements of growth and change in Bendre's poetry can be seen understood in terms of theme, form, and imagery. The early phase, despite being one of experimentation, nonetheless referenced several of Bendre's central poetic concerns and can be thought of as having laid the ground for the poetry that was to come. For instance, there is an "aspirational" quality to the poems of this phase: several poems are suffused with an idealism that desires a regional and national awakening as well as a poetic inspiration. The form and language of Bendre's earliest poems (including Krishṇakumaari) are reasonably conventional. However, the poems of Gari show the first signs of Bendre's experiments with Dharwad's "earthy" vulgate as well as his preoccupation with naada or euphony. The themes that dominate the poetry of this first flowering are too varied to count and span the human experience. Nothing is excluded; all life is a leele (divine play) in which "nothing is fruitless". Or, as Mokashi Punekar says, Bendre "was a true bhaavageetakaara (lyric poem creator)" – in the sense that everything was 'material' for a bhaavageeta or a lyric poem. This phase involved endless experimentation and resulted in some of the finest lyric poetry produced in modern Kannada literature. The poetry of the final phase may be called "the visionary phase". In this phase, we see Bendre looking to explore the roots of language (or vak) and its four degrees (or manifestations) as described in Indic poetics – vaikari, madhyama, pashyanti, and parā – and to create new poetic forms capable of articulating his vision. In a bid to achieve the quality of the mantra, Bendre experimented with a variety of metres including Vedic metres.

Ambikatanayadatta
The phenomenon of Ambikatanayadatta is an especially interesting one, but one that has been seldom discussed in critical appraisals regarding Bendre and his poetry. In his autobiographical essay, Bendre says that " this name [Ambikatanayadatta] is not some sobriquet meant to conceal the name 'Bendre'. In a poem with that name, you can find clues that illuminate [the phenomenon's] piquancy. Right by this poem's side is the poem 'ನಾನು (I)'. " Like the last two lines of the poem "ನಾನು (I)" say: "“The Nārayaṇa of the lotus-heart has himself turned into the mortal Datta / as Ambikātanaya he mirrors in Kannada the universe's inner voice.” Bendre's mother's name was Ambika (known affectionately as Ambavva) and "Ambika_tanaya_datta" means "Son of son of Ambika."

Perhaps the only critic who has seriously attempted to understand the phenomenon of Ambikatanayadatta is Shankar Mokashi Punekar. In one of his essays following Bendre's death, he writes: "Has Bendre gone heavenwards? Yes. But it is impossible for 'Ambikatanayadatta' to ever leave this earth, this language, this town of Sadhanakeri. To paraphrase Bendre, his poems are living and breathing examples of recipients of the 'Ambikatanayadatta' touch. Occasionally, this touch used to happen in [Bendre's] dreams. In his poems, [Bendre] has put such lines [that came to him in dreams] within quotation marks. Once in a while, when a couple of stanzas came after much effort, the 'Ambikatanayadatta' that flashed [within] would come and, relieving Bendre of his burden, move forward with sure-footed swiftness." In the concluding part of the same essay, Punekar says that "Bendre's mother tongue was Marathi. However, his Marathi poems do not even "reach the knee-height" of his Kannada poems. But the Marathi people must not consider these words an 'insult'. [Because] while Bendre's mother tongue was Marathi, Ambikatanayadatta's mother tongue was Kannada. He was a Kannadiga. [This cannot be explained] Only those who get what I mean will get it."

Punekar's description fits well with Bendre's own estimation of Ambikatanayadatta and his conviction that it was "the universal inner voice" within him. For example, in his foreword to Gari, his very first collection of poems, he says: "I have talked so far of my poems. This is simply a matter of habit. In truth these are not my poems; they are Kannada's poems. The Kannada-language's incorporeal voice is actualizing itself through a thousand throats. That my throat is one among this thousand is itself my blessing. That I am one among the group of poets singing in the dawn of Kannada's renaissance is itself my source of pride. For if it were not so, why should anybody care about my poems? To say ‘my poems’ or ‘his poems’ is fallacious; for Kannada to lay claim to these poems is the truth." Later, many years after he had earned the varakavi honorific and was secure in his position as the doyen of modern Kannada poetry, he would say in the foreword to Naaku Tanti: "...to all those sahrudayas who have continued to welcome the poems of ‘Ambikatanayadatta,’ ‘Bendre’ conveys his gratitude: that his scribesmanship is not simply a waste, that his happy, wanton singing is not completely fruitless." In addition to these writings, stories of Bendre going up on stage and conveying "Bendre's salutations to the great poet Ambikatanayadatta" are also in circulation.

Marriage and Family life
Bendre married Lakshmibai (nee Rangoobai) (1906–1966) in 1919 in Ranebennuru. He was 23 at the time and Lakshmibai was 13. They would go on to have nine children and stay married for 47 years until Lakshmibai's death in 1966.

To Bendre, marriage was its own form of sadhana. With Bendre unemployed for long durations between 1924 and 1942, the burden of managing the family and finances fell on Lakshmibai who bore them stoically. The primary reason for this "jangama life", as Bendre called it, was his imprisonment (in 1932) by the British government on charges of sedition. The excuse given was that his poem "Narabali" (Human Sacrifice) was a poem that could possibly incite violence. Despite having to stay in jail for only three months (and having to spend another nine months under house arrest), the British government's injunction that "nobody [was] allowed to employ Bendre for up to eight years after his release" meant giving up the hope of any permanent job during that period. All these misfortunes meant that Lakshmibai was taxed with keeping the family fed and clothed on the little money that Bendre was able to bring home. It is worth mentioning that Masti was a great help to Bendre in these years, both as a friend and financially. He appointed Bendre the (unofficial) editor of his magazine, Jeevana, and paid him a monthly sum to help him tide through those years. Bendre would always remain grateful for Masti's generosity and come to think of and refer to him as aṇṇa (big brother).

Although she had been educated only up to the fourth grade, Bendre involved Lakshmibai in his poetry and she was always the first one to listen to Bendre's poems. In 1937, Bendre wrote his famous Sakheegeeta, a descriptive account of his married life up to that point. In it, he refers to his wife Lakshmibai as his sakhee, a first in Kannada literature (and possibly Indian literature). In the foreword to the poem, Bendre says that he has "let spread the happy-sad vine of the ordinary married life upon the trellis of [his] personal experience." Written in a metre of his own invention, the poem is especially striking for its (rooted) universality and for its prolific use of non-Sanskritized Kannada.

The Bendres' married life was a difficult one. They were unfortunate enough to lose six of their nine children. One of them, Ramachandra, a budding poet himself, died of an infection at 20, on the cusp of manhood and just when he was beginning to be the dependable support his parents were looking for. The elegy Bendre composed for Rama (as he was known) is considered one of the greatest poems of its kind in Kannada. Another poem, "ನೀ ಹೀಂಗ ನೋಡಬ್ಯಾಡ ನನ್ನ (Don't Look at Me This Way)", written as a lament at the loss of his daughter Lalitha, is one of 20th-century Kannada literature's most popular as well as critically acclaimed song-poems.

Lakshmibai's constitution was not strong and she suffered periodically from illnesses. According to her younger son (of the two who survived), Dr. Vamana Bendre, the loss of Ramachandra plunged her into a despondence she was never quite able to overcome. With Bendre's job never being well-paying, Lakshmibai stoically endured a life of hardship. Her memory, though, has been immortalized in a number of Bendre's 'love poems'. In an especially touching gesture, Bendre dedicated his dazzling Kannada translation of Kalidasa's Meghadoota to Lakshmibai, calling her his "Lakshmi of good fortune" and asking that she "accept this garland made of pearls picked from Kalidasa's sea" and "become a partner in his prosperity".

In some ways, despite the western cultural mores that underpin the statement, it would not be wrong to say that Bendre, through his art, brought to life Eliot 's assertion that  the more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates; the more perfectly will the mind digest and transmute the passions which are its material". There is no doubt that while Bendre the man suffered, the creative mind (Ambikatanayadatta?) digested and transmuted Bendre's suffering into some of the finest lyric poetry in modern Kannada. Or to say it using Bendre's own words, "rasika'', let my troubles stay my own / I will give you just their song! / And if that melts your sugar-heart / send drops of sweetness back along!"

Lakshmibai finally passed away on 17 August 1966, after another illness. Deeply saddened by Lakshmibai's death (at a time when things were finally beginning to look up financially), Bendre found solace in the company of Swami Nityananda of Vajreshvari. He would, some years later, address his departed sakhee in his Matte Shravana Bantu collection (1973), where he returned to the metre of Sakheegeeta to narrate the story of his boyhood and youth up until he married his sakhee.

Dr. Vamana Bendre (1935–2017), Panduranga Bendre (1929–2004), and Mangala (b. 1939) were the only children of Bendre's who lived to be adults. Upon Bendre's death in 1981, Dr. Vamana Bendre took over as his 'literary executor' and edited the 18-volume Audumbaragaathe, a compilation of all of Bendre's poetry and prose writings. With his siblings Panduranga Bendre and Mangala and his colleague K.S. Sharma, Dr. Vamana Bendre was also responsible for the creation of the Ambikatanayadatta Vedike, a platform to promote Bendre's work. With the help of a grant from the Karnataka government, a portion of Bendre's 'Shrimaata' home was used to build the 'Bendre Bhavana' as a memorial to the Ambikatanayadatta, the poet.

Bendre and Dharwad
According to Bendre himself, his relationship with Dharwad was an umbilical one. His affection for Dharwad and its people and the inspiration he drew from it has been compared to the inspiration Lake District provided Wordsworth. Closer home, it has been compared to the Adikavi Pampa's affection for his beloved Banavasi (which, says Pampa in one verse, he wishes to be reborn in, if only as a little bee.) With his firm belief in the "mother principle", Bendre would address the land of Dharwad as Dharawada taayi or 'Mother Dharawada' and ask her, when he had to go away for a period on work, to await his coming like she would her child's. Having grown up in different homes in Dharwad, he would settle in a house (gifted to him by his uncle, Bandopant Bendre) in the Sadhanakeri area of Dharwad and make the area famous through his famous song-poem "Baaro Saadhanakerige".

Here is an account by Keerthinath Kurtakoti, who along with Shankar Mokashi and G.S Amur is considered one of the three finest critics of Bendre's poetry, of Bendre's relationship with Dharwad and its people. "It was when I was ... filming a documentary of Bendre that this idea of the relationship Bendre had with Dharwad struck me of a sudden. [That is] the style of Dharwad's development is the style of Bendre's poetry. Dharwad's culture is a mixture of folk-culture and city-culture. Bendre had once heard someone say that Dharwad's natural beauty – in particular, its rains and its lush greenness – was capable of making anybody who lived there a poet. In the foreword he wrote to Chennaveera Kanavi's Nela-Mugilu poetry collection, Bendre would answer this by saying that "despite Dandeli's thick forests having more rain and greenness than Dharwad, not a single poet has come out of the region". Now it might seem astonishing that a poet who has immortalized Dharwad's scenic beauty in his poetry has such little faith in the inspiring power of the region's natural beauty. But it is only the Dharwad people's "divine vigour" that Bendre has faith in. He has, with his own eyes, seen how Dharwad has put back and rebuilt the Kannada [language and culture] that at the beginning of this century was lying waste. He has himself participated in this rebuilding." ... Every inch of the Dharwad land has revealed its history to Bendre. For him, both the classical and the modern have to present themselves through Dharwad [alone]."

Post-retirement years, old age, and death
Upon his retirement from D.A.V College, Solapur, in 1956, Bendre returned to Sadhanakeri. Fortunately for him, no sooner did he return than he was made the adviser to the Dharwad branch of Akashvani. This was, in large part, thanks to the generosity and foresight of P.M. Lad, the then Secretary to the Government of India in the Ministry of Information and Broadcasting. During his stint there, Bendre wrote a great deal for A.I.R, including a number of radio plays, of which only a few have been published so far. Meanwhile, his association with a publisher friend, Bhalachandra Ghanekar, led to the publication of five new books of poetry. These books were soon combined into a single-volume and published in 1957 under the title Aralu-Maralu. The collection would win the Sahitya Academy award in 1958.

In 1965, Bendre, who also wrote poetry and prose in Marathi, received the Kelkar Prize for Samvada, a selection of his Marathi prose writing. In 1966, Bendre turned 70. The event was marked by a grand celebration in Shirahatti, his ancestral hometown.

This period also saw Bendre receive with a number of well-deserved honours. The University of Mysore gave him an Honorary Doctorate in 1966 and Karnatak University followed suit in 1968. 1968 was also the year that he received the Padma Shri from the Government of India. Elected a Fellow of the Sahitya Akademi in 1969, he was awarded India's highest literary award, the Jnanapitha, in 1974. Kashi Vidyapitha presented him with his third Honorary Doctorate in 1976.

Through all of this, Bendre's 'High Yoga of Poetry' continued unabated and he brought out eleven collections of poetry between 1957 and 1978. As was his wont from the very beginning, he continued to mingle with all kinds of people, accept invitations to speak from all over, and talk uninterruptedly for hours together.

Towards the end of his life, Bendre became deeply absorbed in numbers. Interested from early on itself in numbers and their representation, the theory of Sankhya, and the Katapayadi system, they now became his central concern. In fact, he was known to waylay hapless travellers and hold forth for hours about this or that new idea regarding numbers that had come to him. When Dom Moraes visited Bendre in 1976, he found him completely immersed in numbers. He was still a Gārudiga, but the Gārudi had been replaced by a calculator. "Only great poets", wrote Moraes, "have such interests and ideas as Dr. Bendre."

Bendre died in Mumbai's Harkishandas hospital on 26 October 1981, aged 85. He was cremated that very evening in accordance with Hinduism's last rites. His ashes were later taken to Dharwad where a procession gathered to mourn and celebrate Karnataka's and Dharwad's favourite poet.

Critical reception, influence, and legacy
Bendre is widely recognized the greatest and most influential Kannada poet of the 20th century, by his peers of the Navodaya period, younger contemporaries, and the later poets of the Navya, Bandaya, Dalit, and other movements. While he has been criticized by some for the lack of "social concern" in his poetry and others have called the poetry of the post-Naaku Tanti period incomprehensible and "meaningless wordplay", there is near-unanimous agreement about the originality and inventiveness of his poetry, his position as the trailblazer of modern Kannada poetry, and his remarkable use of the Kannada language. The well-known critic, L. S. Seshagiri Rao, has written that it is "doubtful that anybody in Kannada's literary history has explored the Kannada language as comprehensively as Bendre". In an essay written a few years before Bendre's death, Gopalkrishna Adiga, often called the leader of Kannada's Navya movement, would say that, "After Pampa and Naranappa, nobody has grasped the very quick of the Kannada language and, strumming the language's life-chord itself, written poetry the way [our] Bendre has." He would add in the same essay that, no matter what differences of opinion one might have with Bendre, "he is the guru of every poet writing [in Kannada] now. ... There is no poet who has not, either directly or indirectly, come within the sphere of his influence. That he showed the way [forward] not just to imitators but to poets possessed of great talent themselves or that he nourished their poetry [with his own] is a matter of importance. Bendre is the most important poet-creator of this century. Every poet writing now is a child, grandchild, or great-grandchild of Bendre's poetry. ... Not only has Bendre's poetry become a part of our culture, it has become one with our essence."

V. K. Gokak, a younger contemporary of Bendre's, one of the members of Bendre's "Geleyara Gumpu", and himself a Jnanapitha awardee, confesses in his book, Bendre: Poet and Seer, that it was Bendre's acquaintance that ensured "[Gokak's] muse did not perish in the deserts of Indo-Anglian verse" and goes on to say that "Bendre's poetry has ushered in a tradition of its own in modern Kannada literature ... [his] poetic style has an intricate pattern of its own ... [his] is an epic style harnessed to [sic] lyric uses ... every great modern writer illustrates [the synthesis of India and Europe, ancient and modern culture, science and art] in his own way ... and this is what Bendre does [which puts him] among the best writers that the modern world has produced."

Interestingly, Bendre's remarkable poetry for responsible for the critical development of three of Kannada's best-known thinkers, viz. Keertinath Kurtakoti, Shankar Mokashi, and G.S Amur. Each of these younger-by-a-generation contemporaries of his used his poetry as the whetstone to sharpen their critical acumen on. In doing so, each of them made a notable contribution to modern Kannada criticism. In particular, their insights about Bendre include Mokashi's statement that "of those [Kannada] poets to whose study one may capably and successfully devote a whole lifetime, Shri Bendre is the most modern ... his is a poetry that may be thought of as 'out-topping knowledge'".

Meanwhile, G.S Amur writes in his Sahitya Akademi award-winning book, Bhuvanada Bhaagya, that "no matter what criteria we use to measure Bendre's poetry – vision, richness of language, the ability to create images, the successful use of metre, the variety of poetic style, it is evident that his poetry stands shoulder to shoulder with the poetry of any epic poet who has [ever] lived." In the book he wrote for the Sahitya Akademi, Amur concludes by saying that "the bhaavageeta was [Bendre's] chief mode of expression but in his hands it assumed many forms, from a folk lyric to Mantra [sic] and expressed itself in a variety of a rhythms and an amazing range of symbolic imagery. He was undoubtedly the greatest lyrical poetic genius of the century."

Written as early as 1962, Kurtakoti's essay, on the other hand, offers us an understanding of the influence that Bendre's poetry would have on 20th century Kannada poetry and beyond. Kurtakoti says that "from every point of view, Bendre is the leading poet of the age. Later critics can discuss the merits of Bendre's own poetry and the style of its beauty in more detail. For the time being, all we can is this: that Bendre's poetry is rich in a way that does justice to the Kannada language's natural rhythms, to the present-day's sensibilities, and to the inner-essence of the Kannada literary tradition. In this fashion, his Kannada poetic creation has given new life to the Kannada poetic tradition. When Bendre first began to write poetry, there was nothing before him [to model his poetry on]. But the poets of the future will have Bendre's poetry [to refer to] ... this alone tells us clearly of the importance of Bendre's poetry."

Bendre himself was not unaware of the depth, range, and brilliance of his poetry. In his foreword to Naaku Tanti, he speaks about "the poetry of wordly effort and the poetry of yogic effort" and says that "we must not by holding on tight to the ignorance and egotism of ordinariness give it up to the curse of petrification" before adding that "complexity and incomprehension are the result of one's natural sensibilities. It is only through comprehensive learning that old bonds can be shaken off, and new relationships created." In another essay of his, he says "The process of understanding literature is a living, breathing process. It may take centuries even. Understanding me is left to the future". Having said this, he quotes Bhavabhuti's famous "time is endless and the world is large" statement in the foreword to his 1972 collection Vinaya and goes on to say that the statement is the maxim a poet has to live by until his readers garner the necessary "cultural capital" that is needed to understand his work. "A critical examination of the work of a born poet can only be done by a born [literary] critic."

Bendre's legacy as a popular poet remains secure, mostly on account of the immense popularity of Kannada's bhaavageete tradition and his play with the Kannada language's sound. His poetry, including his post-Naaku Tanti work, also continues to attract new writers and critics. Like Shankar Mokashi once said of Ambikatanayadatta, "[he] will live on forever in Shri Bendre's work. He will remain a favoured son of the world. As Shri Bendre himself once said about poetry: ‘Oh vision seen by the men of god!’ To have known such a man of god is our good fortune; to attempt to understand him is futile: like Gommata, ‘ಅತ್ಯತಿಷ್ಠತ್ ದಶಾಂಗುಲಂ’ (अत्यतिष्ठत् दशाङ्गुलं) – he stands ten angulas above us all.”

In popular culture
In 1972, film director and playwright Girish Karnad directed a Kannada documentary film, Da Ra Bendre, for the Government of Karnataka. The script was written by Keertinath Kurtakoti. Bendre is also the primary character of the semi-fictional novel Dharawadada Dattu Master by N. K. Kulkarni.

Awards and honours

 * President of the 27th Kannada Sahitya Sammelana (held in Shimoga in 1943)
 * Sahitya Academy award – 1958
 * Kelkar Prize – 1965
 * Padma Shri award – 1968
 * Fellowship of the Sahitya Academy – 1968
 * Jnanpitha Award – 1973 (For the collection of poems Naaku Tanti)

title: D. R. Bendre


text:
Rob Newman (comedian)

Robert Newman (born 7 July 1964) is an English comedian, author and political activist. Newman found mainstream fame with The Mary Whitehouse Experience before forming a successful partnership with one of the programme's other comedians, David Baddiel, in the early 1990s.

In 1993, Newman and Baddiel, supported by Sean Lock, became the first comedians to play and sell out the 12,000-seat Wembley Arena in London. Newman's first speaking appearance was with Third World First (now known as People and Planet), the student political organisation.

Early life and education
Newman was adopted into a working-class family who lived in a Hertfordshire village. His adoptive father died when he was nine. Newman attended a comprehensive school, received poor A-level grades and was not offered a place at university until two years later, when he was admitted to Selwyn College, Cambridge, to read English on the strength of an essay about T. S. Eliot.

Newman has worked as a farmhand, warehouse-man, house-painter, teacher, mail-sorter, social worker and mover.

Comedy career
Newman began his comedy career as an impressionist in the late 1980s before gaining fame when he appeared alongside fellow Cambridge alumni David Baddiel, Hugh Dennis and Steve Punt in the BBC radio and TV programme The Mary Whitehouse Experience (1989–92). The title referred to the main campaigner for "moral decency" on television, Mary Whitehouse. With The Mary Whitehouse Experience Newman and Baddiel had become "unlikely pin-ups as, in the early 1990s, comedy was being fêted as 'the new rock and roll'," leading to their own series, Newman and Baddiel in Pieces (1993).

The partnership with Baddiel was widely reported as being fraught with tension. Unlike most double acts, their shows (both on TV and stage) were characterised by the two alternately delivering monologues, rarely appearing together except in sketches (most famously, History Today). During the "Live and in Pieces" tour, relations deteriorated further and the Wembley Arena show was their last appearance together.

After the break-up, the two men took wildly differing career paths. While Baddiel became part of the "new lad" phenomenon of the mid-1990s, fronting shows like Fantasy Football League, Newman largely disappeared from public life, reappearing with solo work marked by a clear social conscience and anti-establishment views. He covered the anti-globalisation Seattle protests of 1999 for the UK's Channel 4 News. He has been politically active with Reclaim the Streets, the Liverpool Dockers, Indymedia and People's Global Action.

His later work is characterised by a very strong political element and parallels the work of contemporaries such as Mark Thomas. In 2001, with actress Emma Thompson, he called for a boycott of the Perrier Comedy Award, because Perrier is owned by Nestlé who market powdered baby milk in developing countries; an alternative competition called the Tap Water Awards was set up the following year. In 2003, Newman toured with From Caliban to the Taliban, which was released on CD and DVD. In 2005, the show Apocalypso Now or, from P45 to AK47, How to Grow the Economy with the Use of War debuted at the Bongo Club during the 2005 Edinburgh Festival Fringe. Apocalypso Now toured nationally, sometimes as part of a double-bill where Newman was joined by Mark Thomas. The show was filmed at the Hoxton Hall in Hoxton, east London and shown on More4 under the title A History of Oil, with a later release on CD and DVD. A mixture of stand-up comedy and introductory lecture on geopolitics and peak oil, in Apocalypso Now Newman argues that twentieth-century Western foreign policy, including World War I, should be seen as a continuous struggle by the West to control Middle Eastern oil. Newman draws from Richard Heinberg's book The Party's Over: Oil, War, and the Fate of Industrial Societies as source material for portions of the show dealing with peak oil.

In 2006, Newman performed a new show, No Planet B or, The History of the World Backwards, at the Tricycle Theatre in Kilburn, north-west London. In 2007, the BBC commissioned a six-part series, The History of the World Backwards based on No Planet B, for transmission on BBC Four. The script of the stage version show is accessible on Newman's official website.

In 2015, his BBC Radio 4 programme Robert Newman's Entirely Accurate Encyclopaedia of Evolution attempted to challenge some of the concepts of Richard Dawkins's book The Selfish Gene. It won the Best Scripted Comedy with a Live Audience award at the 2017 BBC Audio Drama Awards.

Writing
Newman co-wrote The Mary Whitehouse Experience Encyclopedia (1991), with David Baddiel, Hugh Dennis, and Steve Punt.

He has written four novels: Dependence Day (1994); Manners (1998); The Fountain at the Centre of the World (2003); and The Trade Secret (2013).

In 2015 his book The Entirely Accurate Encyclopaedia of Evolution, based on his stand-up show "Robert Newman's New Theory of Evolution", was published by Freight Books.

In April 2017 his book Neuropolis is published by HarperCollins.

The Fountain at the Centre of the World
Dwight Garner, an editor of The New York Times Book Review, reviewed The Fountain at the Centre of the World favourably, saying "I wouldn't be surprised, in fact, if [it] became the talismanic Catch-22 of the anti-globalisation protest movement, the fictional complement to Naomi Klein's influential exposé No Logo: Taking Aim at the Brand Bullies".

Newman's process of writing the book was the subject of a 2008 BBC Two television documentary entitled Scribbling.

The Mary Whitehouse Experience

 * 1989 – The Mary Whitehouse Experience (radio series).
 * 1990 – The Mary Whitehouse Experience (television series).
 * 1991 – The Mary Whitehouse Experience Encyclopedia (series companion book) (Co-authored with David Baddiel, Hugh Dennis, and Steve Punt.)

Newman and Baddiel

 * 1991 – From the Mary Whitehouse Experience (live VHS release).
 * 1992 – History Today (live VHS release).
 * 1993 – Newman and Baddiel in Pieces (television series).
 * 1993 – Live and in Pieces (live VHS release).

Solo career

 * 1994 – Dependence Day (novel).
 * 1994 – The Dependence Day Video (live VHS release).
 * 1998 – Manners (novel).
 * 2001 – Resistance is Fertile (live VHS release).
 * 2003 – Scribbling (television special).
 * 2003 – The Fountain at the Centre of the World (novel). ISBN 1-85984-573-8 (10).
 * 2004 – From Caliban to the Taliban: 500 Years of Humanitarian Intervention (live DVD release).
 * 2004 – From Caliban to the Taliban: 500 Years of Humanitarian Intervention (live limited edition handmade 2 cd release).
 * 2005 – Apocalypso Now or, from P45 to AK47, how to Grow the Economy with the Use of War (live 2 cd release).
 * 2006 – A History of Oil (television special).
 * 2007 – A History of Oil (live DVD release).
 * 2007 – The History of the World Backwards (television series).
 * 2013 – The Trade Secret (novel) ISBN 1-90888-517-3 (10)
 * 2017 – Neuropolis (radio series)
 * 2018 – Rob Newman's Total Eclipse of Descartes (radio series)
 * 2020 – Rob Newman's Half-Full Philosophy Hour (radio series)
 * 2022 – Rob Newman On Air (radio series)

title: Rob Newman (comedian)


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Gimbels

Gimbel Brothers (known simply as Gimbels) was an American department store corporation that operated for over a century, from 1842 until 1987. Gimbel patriarch Adam Gimbel opened his first store in Vincennes, Indiana, in 1842. In 1887, the company moved its operations to the Gimbel Brothers Department Store in Milwaukee, Wisconsin. It became a chain when it opened a second, larger store in Philadelphia, Pennsylvania, in 1894, moving its headquarters there. At the urging of future company president Bernard Gimbel, grandson of the founder, the company expanded to New York City in 1910.

The company is known for creating the oldest Thanksgiving parade, the Gimbels Thanksgiving Day Parade, originating in 1920 in Philadelphia. Gimbels was also considered the chief rival of Macy's with their feud popularized in American culture. As of 1930, Gimbels had grown to 20 stores, whose sales revenue made it the largest department store chain in the world. The company expanded to a peak of 53 stores by 1965, and closed in 1987 with 35 stores in Pennsylvania, New York, New Jersey, Wisconsin, and Connecticut.

Early history
The company was founded by a young Bavarian Jewish immigrant, Adam Gimbel, who opened a general store in Vincennes, Indiana. After a brief stay in Danville, Illinois, Gimbel relocated in 1887 to Milwaukee, Wisconsin, which was then a boomtown heavily populated by German immigrants. The new store quickly became the leading department store there. However, with seven sons, Adam Gimbel saw the opportunity to expand elsewhere.

In 1894, Gimbels—then led by the founder's son, Isaac Gimbel—acquired the Granville Haines store (originally built and operated by Cooper and Conard) in Philadelphia, Pennsylvania, and in 1910, opened another branch in New York City. With its arrival in New York, Gimbels prospered, and soon became the primary rival to the leading Herald Square retailer, Macy's, whose flagship store was located a block north. This rivalry entered into the American popular argot as "Does Macy's tell Gimbels?", an idiom used to brush off any query about matters the speaker didn't wish to divulge. To distinguish itself from Herald Square neighbors, Gimbels' advertising promised more: "Select, don't settle."

Gimbels became so successful that in 1922 the chain went public, offering shares on the New York Stock Exchange (though the family retained a controlling interest). The stock sales provided capital for expansion, starting with the 1923 purchase of across-the-street rival Saks & Co., which operated under the name Saks-34th Street; with ownership of Saks, Gimbel created an uptown branch called Saks Fifth Avenue. Moving into radio, Gimbels purchased WGBS in New York and WIP in Philadelphia. In 1925, Gimbels entered the Pittsburgh market with the purchase of Kaufmann & Baer's, acquiring WCAE in the deal. Although expansion spurred talk of the stores becoming a nationwide chain, the Great Depression ended that prospect. Gimbel did increase the number of more upscale (and enormously profitable) Saks Fifth Avenue stores in the 1930s, opening branches in Chicago, Boston and San Francisco.

Success
By 1930, Gimbels had seven flagship stores throughout the country and sales of $123 million ($ billion today) across 20 stores; this made Gimbel Brothers Inc. the largest department store corporation in the world. By 1953, sales had risen to $300 million ($ billion today). In 1962, Gimbels acquired Milwaukee competitor Schuster's, and in that region operated stores from both chains for a while as Gimbels Schuster's. By 1965, Gimbel Brothers Inc. consisted of 53 stores throughout the country, which included 22 Gimbels, 27 Saks Fifth Avenue stores, and four Saks 34th St.

Gimbels and the middle class
Gimbels' principles and merchandise sought to reflect the ideals of middle class America. Their principles consisted of "courtesy, reliability, good value, and enlightened management". By using middle class values Gimbels attracted shoppers to a store that also could fit their budgets. Keeping the store plain and less extravagant than some of its competitors, Gimbels used the slogan "the customer pays for fancy frills." Gimbels was about the product, not the aesthetics. By offering a wide range of cutting-edge technology in its merchandise, Gimbels reflected the ideals held by the middle class of staying up to date with technologies and carrying new appliances and merchandise at an affordable price.

Merchandise
Gimbels Department Store offered a variety of merchandise and products, including home appliances, outdoor equipment, furniture, clothing, and much more. With multiple floors in its flagship stores, each floor offered a given category of merchandise. The Philadelphia Gimbels specifically offered fine jewelry, men's clothing, women's clothing, children's clothing, furniture, toys, art supplies, and appliances for the house. This store also contained The Gimbel Auditorium, Television Headquarters, a salon, and music center. With a wide variety of options Gimbels was a one stop shop that made shopping easy and accessible.

Publicity
Despite its limited presence, Gimbels was well-known nationwide, in part because of the carefully cultivated rivalry with Macy's, but also thanks to an endless stream of publicity. The New York store received considerable attention as the site of the 1939–1940 sale of art and antiquities from the William Randolph Hearst collection. Gimbels also gained publicity from the 1947 film Miracle on 34th Street, the 1967 film Fitzwilly, and was frequently mentioned as a shopping destination of Lucy Ricardo and Ethel Mertz on the hit 1950s TV series I Love Lucy.

The Slinky made its debut at the northeast Philadelphia Gimbels store. The Philadelphia Gimbels was also the first department store in the world to move customers from floor to floor via the escalator.

Gimbels Thanksgiving Day Parade
The idea of a department-store parade originated in 1920 with Gimbels Department Store in Philadelphia with the parade now known as the 6abc Dunkin' Donuts Thanksgiving Day Parade. The Gimbel family saw the parade as a way to promote holiday shopping at its various store locations. Macy's did not start a parade until 1924. When Gimbels ceased operating in 1986, television station WPVI assumed responsibility for the parade, with sponsorship by Reading, Pennsylvania–based Boscov's. Currently, Dunkin' Donuts is the chief sponsor of the parade.

Acquisition and closure
Brown & Williamson, the American subsidiary of British American Tobacco, a diversified conglomerate based in Louisville, Kentucky, acquired Gimbels in 1973. Brown & Williamson also owned Marshall Field's (purchased in 1982), Frederick & Nelson, The Crescent stores, and Kohl's (purchased in 1972). Brown & Williamson later created the BATUS Retail Group as a subsidiary company for its retail holdings.

BATUS initially left the Gimbels chain in the four autonomous divisions that had been established under Gimbel family ownership: Gimbels New York, Gimbels Philadelphia, Gimbels Pittsburgh, and Gimbels Milwaukee. Each division operated independently of each other in advertising and buying. Each division offered their own charge card which could only be used at Gimbels stores in the same division. In 1983, Gimbels New York and Gimbels Philadelphia were combined into a single entity, Gimbels East, in an attempt to reduce corporate overhead.

Deciding that Gimbels was a marginal performer with little potential for increased profitability, BATUS in 1986 decided to close its Gimbels division and sell its store properties. Some of the more attractive branches were taken over by Stern's (Allied Stores), Pomeroy's (Allied Stores), Kaufmann's (May Department Stores), or Boston Store. The cornerstone of the chain, the downtown Milwaukee store where Adam Gimbel had first found success (and supposedly the most profitable Gimbel store), was handed to BATUS sister division Marshall Field's, but eventually closed in 1997.

Store divisions
Gimbels flagship stores were located in New York City, Philadelphia, Pittsburgh, Milwaukee.

New York flagship store
The Gimbels New York City flagship store was located in the cluster of large department stores that surrounded Herald Square, in Midtown Manhattan. Designed by architect Daniel Burnham, the structure, which once offered 27 acre of sales space, has since been modernized and entirely revamped. When this building opened, on September 29, 1910, a major selling point was its many doors leading to the Herald Square New York City Subway station. Due to such easy access, by the time Gimbels closed in 1986, this store had the highest rate of "shrinkage", or shoplifting losses, in the world. Doors also opened to a pedestrian passage under 32nd Street, connecting Penn Station to the 34th Street (New York City Subway) and 33rd Street (PATH) stations. This Gimbels Passageway was closed in the 1990s for security reasons during a period of high crime.

The structure was converted in 1989 to A&S Plaza, a mall named for its anchor department store, a midtown branch of Brooklyn's A&S. The store became a Stern's in 1995, and the mall was renamed Manhattan Mall. The anchor store closed in 2001 and the space was subdivided within the mall, while the upper levels were converted to offices. A new JCPenney anchor store opened in 2009, in the lower two levels. That anchor store closed in 2020 and by 2021 all stores in the mall had closed, and the building served only as office space.

The building that housed a Gimbels branch at 86th Street and Lexington Avenue remains, but has been converted to apartments.

Philadelphia flagship
The Philadelphia flagship opened in 1893 when the Gimbel brothers bought the bankrupt Haines and Company dry goods store at Ninth and Market Streets. The store gradually expanded eastward to Eighth Street. In 1927 an extension south to Chestnut Street was completed and the store now comprised an entire city block, making it for a time the largest department store in the world. In 1977 Gimbels moved to The Gallery mall across Market Street. The original buildings were demolished in 1979-1980 except for the 1927 addition which was converted to professional office spaces. The Gallery location closed in 1986.

Pittsburgh flagship
In Pittsburgh, Starrett & van Vleck designed the downtown flagship of the Gimbels Department Store, which was built in 1914 at 339 Sixth Avenue. After Gimbels ceased operations in the late 1980s, the building sat vacant for several years and was redeveloped in the 1990s for retail, home to, among other shops, the first Barnes & Noble to open in Pittsburgh. In 2002, another redevelopment changed the building to offices, and is now home to the Heinz 57 Center. In 1997, it was added to the list of historic landmarks by the Pittsburgh History and Landmarks Foundation.

Relationship to Saks
Saks was founded by Horace Saks in New York City. In 1923, Gimbels purchased Saks, which became a subsidiary of Gimbel Brothers, Incorporated, a publicly traded company. Adam Long Gimbel, grandson of the founder of Gimbels, Adam Gimbel, turned Saks into a national brand. In 1973, Brown & Williamson, who later formed BATUS Inc., acquired Gimbel Bros. and the Saks Fifth Avenue brand. BATUS closed Gimbels in 1986, and subsequently sold Saks to Investcorp S.A. in 1990.

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Shapiro

Shapiro, and its variations such as Shapira, Schapiro, Schapira, Sapir, Sapira, Spira, Spiro, Sapiro, Szapiro/Szpiro in Polish and Chapiro in French (more at "See also"), is a Jewish Ashkenazi surname.

Etymology
The surname is derived from Spira, the medieval name of Speyer in Germany;  compare with Spire, the French name for that city. Other name variants based on the city name "Spira" include Spira, Spire, Spiro, Spear, Szpir, Szpiro, Spero, Sapir, Sapiro, Chapiro and Sprai. The Jewish community of Speyer was one of three leading cities central to the development of Ashkenazi culture, referred to as the ShUM-cities, an acronym based on the names of the cities of Speyer/Spira, Worms and Mainz. The family name Speyer (based on the modern German name for the same city) has also become a well-known surname that was spread by Jews from Frankfurt to England, the United States and Canada in the late 19th and early 20th century.

Notable people surnamed Shapiro

 * Adam Shapiro (disambiguation), several people
 * Alan Shapiro (b. 1952), American poet
 * Alan Shapiro (education reformer), American education reformer
 * Alan N. Shapiro (born 1956), American science fiction and media theorist
 * Alex Shapiro, American composer
 * Allen Shapiro, American investor
 * Andrew H. Schapiro, American diplomat
 * Anna D. Shapiro (born 1966), American theatre director
 * Ari Shapiro, American reporter with National Public Radio
 * Arnold Shapiro (born 1941), American television producer and writer
 * Arnold S. Shapiro, American mathematician
 * Arthur Shapiro, entomologist and ecologist
 * Arthur K. Shapiro, psychiatrist and expert on the Tourette syndrome (1923–1995)
 * Artie Shapiro (1916–2003), American jazz bassist
 * Ascher H. Shapiro, MIT professor and expert in fluid dynamics (1916–2004)
 * Ben Shapiro (director), Peabody winning media expert and director.
 * Ben Shapiro, American conservative political commentator
 * Bernard Shapiro, Canadian academic, civil servant
 * Beth Shapiro, evolutionary biologist
 * Cal Shapiro, vocalist, Timeflies
 * Carl Shapiro, (born 1955) UC Berkeley economist and mathematician
 * Carl J. Shapiro (1913–2021), Boston philanthropist
 * Carol Harris-Shapiro, Reconstructionist rabbi
 * Charles S. Shapiro, American diplomat
 * Daniel B. Shapiro, U.S. ambassador to Israel
 * David Shapiro (disambiguation), several people
 * Dmitry Shapiro, entrepreneur, inventor, Googler
 * Ehud Shapiro, Israeli computer scientist
 * Florence Shapiro, American politician
 * Francine Shapiro, American psychologist
 * Fred R. Shapiro, American legal librarian and editor
 * George Shapiro, American talent producer
 * Gerald Shapiro (disambiguation), several people
 * Harold S. Shapiro (1928–2021), mathematics professor
 * Harold T. Shapiro, president of Princeton University
 * Harvey Shapiro (disambiguation), several people
 * Helen Shapiro, British singer
 * Ian Shapiro, American political scientist
 * Ilya Piatetski-Shapiro, mathematician (1929–2009)
 * Irving Shapiro (1904–1931), one of the Shapiro Brothers, New York City labor racketeers
 * Irving S. Shapiro, attorney, former CEO of Dupont
 * Irwin Shapiro (1911–1981), American writer and translator
 * Irwin I. Shapiro, astrophysicist
 * J. David Shapiro, American filmmaker and stand-up comedian
 * Jacob Shapiro, mobster
 * James S. Shapiro (born 1955), American professor of English Literature
 * Jeremy J. Shapiro, professor at Fielding Graduate University.
 * Jesse Shapiro, American economist
 * Jim Shapiro (attorney), attorney
 * Jim Shapiro (drummer), American musician, drummer of Veruca Salt
 * Joel Shapiro, artist and sculptor
 * Jonathan Shapiro (born 1958), South African political cartoonist known as Zapiro
 * Jordan Shapiro, American author and educator
 * Joseph N. Shapiro (1887–1961), urologist, one of the founders of the urologic oncology in Russia
 * Josh Shapiro (b. 1973), Pennsylvania governor, politician, and lawyer
 * Judith Shapiro, former president of Barnard College
 * Judy Shapiro-Ikenberry (born 1942), American long-distance runner
 * Justine Shapiro, Documentary Filmmaker and Globe Trekker host
 * Karl Shapiro, United States poet
 * Laurie Gwen Shapiro, American novelist and filmmaker
 * Lee Shapiro, American film maker, killed by the Soviet military in Afghanistan
 * Lee Shapiro (musician), American keyboardist, member of The Four Seasons and founder of The Hit Men
 * Les Shapiro (1956–2022), American sports announcer
 * Linda Hopkins Shapiro, better known as Tera Patrick, former American pornographic actress
 * Lisa Shapiro (born 1967), American and Canadian philosopher
 * Louis Shapiro (communist), American Communist Party organizer
 * Louis Shapiro, Connecticut Supreme Court justice
 * Marc B. Shapiro, professor of Judaic Studies at University of Scranton
 * Mark Shapiro (disambiguation), several people
 * Marla Shapiro, Canadian medical doctor, author and health journalist (print, television)
 * Meir Shapiro, Orthodox rabbi
 * Mendel Shapiro, Modern Orthodox rabbi
 * Meyer Shapiro (1908–1931), one of the Shapiro Brothers, New York City labor racketeers
 * Michael Shapiro (disambiguation), several people
 * Mordechai Shapiro, American singer
 * Nat Mayer Shapiro, American visual artist
 * Neal Shapiro, president of PBS station Thirteen/WNET New York City.
 * Neal Shapiro (equestrian) (born 1945), American equestrian and Olympic medalist
 * Nevin Shapiro (born 1969), convicted American fraudster and central figure in the 2011 University of Miami athletics scandal
 * Nina Gordon Shapiro, American singer
 * Norma Levy Shapiro, United States federal judge
 * Norman Shapiro (1932–2021), American mathematician and computer scientist
 * Paul Shapiro (disambiguation), several people
 * Peter Shapiro (disambiguation), several people
 * Ralph Shapiro (1908–1974), New York politician
 * Refael Shapiro, Orthodox rabbi
 * Rick Shapiro, comedian and actor
 * Robert Shapiro (disambiguation), several people
 * Robert Schapire, computer scientist who co-invented AdaBoost, a widely used machine learning meta-algorithm.
 * Roy D. Shapiro, Professor of Business Administration at the Harvard Business School
 * Samantha Shapiro (born 1993), American gymnast
 * Samantha Harris Shapiro, American TV host (Dancing with the Stars, Entertainment Tonight)
 * Samuel Shapiro (disambiguation), several people
 * Saul Shapiro, president of the Metropolitan Television Alliance, LLC (MTVA)
 * Scott Shapiro, American political philosopher
 * Seymour Shapiro, American chemist who pioneered development of pharmaceuticals for use against diabetes
 * Sharon Shapiro, American gymnast
 * Shmuel Shapiro (born 1974), French Chassidic-Jewish singer and Hazan.
 * Sidney Shapiro, Chinese author and translator of American descent
 * Stanley J. Shapiro, professor emeritus of Marketing at Simon Fraser University
 * Stewart Shapiro, philosopher and logician
 * Stuart Loren Shapiro, better known as Todd Loren (1960–1992), American publisher
 * Stuart S. Shapiro, producer, writer, director, and Internet entrepreneur
 * Sumner Shapiro, U.S. Navy Rear Admiral and former director of the Office of Naval Intelligence
 * Susan Shapiro, American author and educator
 * Ted Shapiro (1899–1980), U.S. popular music composer, pianist, and sheet music publisher
 * Theodore Shapiro (psychiatrist), psychiatrist and psychoanalyst in New York
 * Theodore Shapiro (composer), American composer
 * Todd Shapiro, Canadian radio show host
 * Victor L. Shapiro (1924–2013), American mathematician
 * Walter Shapiro, American journalist and columnist
 * William "Willie" Shapiro (1911–1934), one of the Shapiro Brothers, New York City labor racketeers

Other uses

 * "Miss Shapiro", a song by 801 from the album 801 Live

title: Shapiro