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)
“We felt often that we were perceived as mothers trying to be lawyers, while a male colleague of ours who had a young child was perceived as a lawyer who also happened to be a father.”
—Anne C. Weisberg (20th century)
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)
“If I feel strongly, I say it. I know I can do more good by being vocal than by staying quiet. I’d have a whole lot more money if I lied, but I wouldn’t enjoy spending it.”
—Martina Navratilova (b. 1956)
“The audience is the most revered member of the theater. Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.”
—Viola Spolin (b. 1911)