Grammy Award For Best Male Pop Vocal Performance
The Grammy Award for Best Male Pop Vocal Performance was awarded between 1966 and 2011 (the final year it was awarded for records issued in 2010). The award had several minor name changes:
- In 1966 the award was known as Best Contemporary (R&R) Vocal Performance - Male
- In 1967 the award was combined with the equivalent award for women as the Grammy Award for Best Contemporary (R&R) Solo Vocal Performance – Male or Female
- In 1968 it was awarded as Best Contemporary Male Solo Vocal Performance
- In 1969 it was awarded as Best Contemporary-Pop Vocal Performance, Male
- From 1970 to 1971 it was awarded as Best Contemporary Vocal Performance, Male
- From 1972 to 1994 it was awarded as Best Pop Vocal Performance, Male
- Since 1995 it has been awarded as Best Male 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, instrumentalist) will be shifted to the newly formed Best Pop Solo Performance category.
A similar award for Best Vocal Performance, Male was awarded from 1959 to 1968. This was also in the pop field, but did not specify pop music.
Years reflect the year in which the Grammy Awards were presented, for works released in the previous year.
John Mayer, Sting and Stevie Wonder are the biggest winners in this category with 4 wins.
Read more about Grammy Award For Best Male Pop Vocal Performance: 2010s, 2000s, 1990s, 1980s, 1970s, 1960s, 1950s, Category Stats
Famous quotes containing the words award, male, 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)
“As humans have a prior right to existence over dogs by virtue of being more highly evolved and having a superior consciousness, so women have a prior right to existence over men. The elimination of any male is, therefore, a righteous and good act, an act highly beneficial to women as well as an act of mercy.”
—Valerie Solanas (b. 1940)
“Every man has been brought up with the idea that decent women don’t pop in and out of bed; he has always been told by his mother that “nice girls don’t.” He finds, of course, when he gets older that this may be untrue—but only in a certain section of society.”
—Barbara Cartland (b. 1901)
“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)