The Grammy Award for Best Female Pop Vocal Performance is the latest in a series of awards recognizing superior vocal performance by a female in the pop category, the first of which was presented in 1959. The award goes to the artist. Singles or tracks only are eligible.
The awards have quite a convoluted history:
- From 1959 to 1960 there was an award called Best Vocal Performance, Female, which was for work in the pop field
- In 1961 the award was separated into Best Vocal Performance Single Record Or Track and Best Vocal Performance Album, Female
- From 1962 to 1963 the awards from the previous year were combined into Best Solo Vocal Performance, Female
- From 1964 to 1968 the award was called Best Vocal Performance, Female
- In 1966 there was also an award for Best Contemporary (R&R) Vocal Performance - Female
- In 1967 the award from the previous year was combined with the equivalent award for men as the Grammy Award for Best Contemporary (R&R) Solo Vocal Performance - Male or Female
- In 1968 the previous award was once again separated by gender, with the female award known as called Best Contemporary Female Solo Vocal Performance
- In 1969, the awards were combined and streamlined as the award for Best Contemporary-Pop Vocal Performance, Female
- From 1970 to 1971 the award was known as Best Contemporary Vocal Performance, Female
- From 1972 to 1994 the award was known as Best Pop Vocal Performance, Female
- Since 1995 it has been awarded as Best Female Pop Vocal Performance
The award will be discontinued from 2012 in a major overhaul of Grammy categories. From 2012, all solo performances in the pop category (male, female, and instrumental) will be shifted to the newly formed Best Pop Solo Performance category.
Years reflect the year in which the Grammy Awards were presented, for works released in the previous year.
Read more about Grammy Award For Best Female Pop Vocal Performance: Recipients, Category Facts
Famous quotes containing the words award, female, pop, vocal and/or performance:
“The award of a pure gold medal for poetry would flatter the recipient unduly: no poem ever attains such carat purity.”
—Robert Graves (1895–1985)
“To be sure he’s a “Man,” the male must see to it that the female be clearly a “Woman,” the opposite of a “Man,” that is, the female must act like a faggot.”
—Valerie Solanas (b. 1940)
“I don’t pop my cork for ev’ry guy I see.”
—Dorothy Fields (1904–1974)
“The sound of tireless voices is the price we pay for the right to hear the music of our own opinions. But there is also, it seems to me, a moment at which democracy must prove its capacity to act. Every man has a right to be heard; but no man has the right to strangle democracy with a single set of vocal chords.”
—Adlai Stevenson (1900–1965)
“Having an identity at work separate from an identity at home means that the work role can help absorb some of the emotional shock of domestic distress. Even a mediocre performance at the office can help a person repair self-esteem damaged in domestic battles.”
—Faye J. Crosby (20th century)