Tony Hadley was the lead singer with which 1980s new romantic band?
TagMe TagMe
Tony_Hadley.txt New_Romanticism.txt
Tony Hadley New Romanticism
Anthony Patrick "Tony" Hadley (born 2 June 1960) is an English pop singer-songwriter, occasional stage actor and radio presenter who first rose to fame in the 1980s as the lead singer of the new wave band Spandau Ballet. Hadley is recognisable for his suave image,  as well as his powerful blue-eyed soul voice, which has been described by AllMusic as a "dramatic warble".  He has also been characterised as a "top crooner" by the BBC.  

Early life

Anthony Patrick Hadley was born the eldest of three children at Royal Free Hospital in the Hampstead area of Inner London. He has a sister, Lee, and a brother, Steve. His father, Patrick Hadley, worked as an electrical engineer for the Daily Mail, and his mother, Josephine, worked for the local health authority.  Hadley attended Dame Alice Owen’s Grammar School in England.

Spandau Ballet

Spandau Ballet was formed in 1976 as The Cut, with Gary Kemp, Steve Norman, John Keeble, Michael Ellison and Tony Hadley, all of whom were students at the same grammar school. As a member of Spandau Ballet, Hadley went on to enjoy international success in the 1980s, including hits such as "True", "Gold" and "Through the Barricades", as well as appearing at Live Aid in 1985.  Spandau Ballet disbanded in 1989 after their final studio album, Heart Like a Sky, failed to live up to the critical and commercial success of their earlier albums, such as True and Parade. Heart Like a Sky was not released in the United States.

In April 1999, Hadley, along with fellow band members Steve Norman and John Keeble, failed in their attempt to sue Gary Kemp, the band's principal songwriter, for a share of his royalties.    However, in recent years Norman is again on good terms with Gary and his brother, Martin Kemp, who at one time played bass guitar in the band. In early 2009, newspaper reports claimed that Spandau Ballet was set to reform later that year.    On 25 March 2009, it was confirmed that the band had reformed and were embarking on a tour of the UK and Ireland in October 2009.

Solo career

1989–2000

After Spandau Ballet disbanded, Hadley pursued a solo career, signing to EMI and recording his first album, The State of Play, in 1992. After leaving EMI, Hadley formed his own record company, SlipStream Records,  and his first release was the single "Build Me Up", from the film When Saturday Comes. Shortly after that, in December 1996, Hadley embarked on an orchestral tour of Europe, along with Joe Cocker, Paul Michiels, Dani Klein and Guo Yue, playing to 500,000 concertgoers in six weeks.

On his return from that tour, Hadley signed a joint deal with PolyGram TV, and released his next eponymous solo album, Tony Hadley, in 1997, which included covers and songs that were chosen to match his voice. The album also featured some of his own self-penned songs, such as "She", which he wrote for daughter Toni. 

In 1996, Hadley performed in a BBC Radio 2 live performance of Jesus Christ Superstar, playing the title role opposite Roger Daltrey's Judas. 

To plug the gap between studio albums, Hadley also released Obsession (later re-released as Obsession Live), a live album recorded in just one night in 2001 at the club Ronnie Scott's in Birmingham. 

He also collaborated, in the past and present, with various dance acts and DJs, such as Tin Tin Out, Eddie Lock, Marc et Claude, Regi Penxten (Milk Inc.) and the Disco Bros, and played alongside people such as Alice Cooper, Paul Young, Jon Anderson, and Brian May. In 1999 Alan Parsons chose him as lead singer for the track "Out of the Blue" on the album The Time Machine.  Hadley's usual band line up features John Keeble (drums), Phil Taylor (keyboards), Phil Williams (bass guitar), Richie Barrett (guitar), and Dawn Joseph on backing vocals. His early band, with whom he realised his debut album, included instead, besides himself and Keeble, Spandau Ballet's regular keyboard player, Toby Chapman, Jerry Stevenson (guitar) and Kevin Miller (bass guitar).

2000–present

Hadley was the subject of some newfound respect in the 2000s, rooted in an "ironic" appreciation for Spandau Ballet; John Darnielle of the indie folk rock group The Mountain Goats wrote about his admiration for Hadley's vocal strengths.  In 2000 his solo greatest hits album was issued, entitled Debut, made up of some early solo songs.

In 2003 Hadley was the winner of the ITV reality television series Reborn in the USA, appearing alongside other singers, such as Elkie Brooks, Peter Cox from Go West and Leee John from Imagination.  Capitalizing on his victory of the American reality show, his Debut compilation was re-issued, and his second collection was also released in the same year, True Ballads, including some of his solo tracks, most of the cover songs which were already contained in his second studio album, and historical hits from the Spandau Ballet period.

Hadley has continued with a busy performing schedule and also toured with both Cox and Martin Fry from the band ABC. He released a jazz-swing album in 2006, titled Passing Strangers,  and traveled on a "by request" tour from March to May 2006. This was followed by a big band tour in late the same year.

In January 2007, Hadley performed in the West End musical Chicago as crooked lawyer Billy Flynn, at the Cambridge Theatre.  Hadley took over from ex-Emmerdale actor Ian Kelsey, and featured from 29 January to 14 April 2007. He said: "Three months was long enough, I didn't want to out-stay my welcome. I got a phone call offering me the part. I went to see the show, which I thought was great. While I was in it, I got great reviews. Chicago tied in with my swing album, Passing Strangers, so the whole thing worked well."

Hadley performed a set with other 1980s acts at Retro Fest on 1 September 2007 at Culzean Castle in Ayrshire, Scotland. This appearance included a rendition of "Addicted to Love", with Fry and Cox. 

In February 2008, Hadley took part in the Italian Sanremo Festival, where he duetted in both English and Italian with contestant Paolo Meneguzzi on Meneguzzi's song, "Grande" ("Big"), during the third day of the contest (where all contestants re-interpreted their songs with guest artists). On 22 February 2008, he performed as an interval act at the semi-final of Dora 2008, the selection of the Croatian entry for the Eurovision Song Contest. 

Hadley has revealed that his solo career has been more financially rewarding than his period at the top of the charts with Spandau Ballet. He said that 2008 was his best-ever earning year, having performed in over 220 shows.

In 2013 Hadley and his 1980s chart peers Kim Wilde, Bananarama and Go West set a new world record for Comic Relief when they performed the highest ever gig, singing on a Boeing 767 aeroplane at 43,000 ft (13,000 m). 

In 2014 Hadley took part in the prime-time RAI TV show La Pista as team leader of the Tacco 10 female dance troupe.  Over the course of the competition, Hadley performed both Spandau Ballet's "Gold", as well as "Rio", originally a hit for rival band Duran Duran. Other well known singer-contestants taking part in the weekly show included Amii Stewart and Sabrina Salerno.

Other work

Hadley worked as a radio presenter with Virgin Radio, taking over the Friday Night Virgin Party Classics show from Suggs (of the band Madness) in August 2007. In January 2008, he was given the Saturday Night Virgin Party Classics show as well. He left both shows in September 2008. In 2015 he is listed as a presenter for Absolute Radio. 

Hadley appeared, sang and gave advice in Pinoy Dream Academy, a singing reality show in the Philippines. He also appeared in RocKwiz, an Australian TV programme that aired in November 2008. 

Hadley also appears in the British short movie Shoot The DJ, in which he plays Eddie Richards. The film also featured Hadley's daughter, Toni.  Hadley's song "After All This Time" was used as the theme song for the popular BBC series Down to Earth, which ran from 2000 until 2005.

Hadley took part in the 2015 series of I'm a Celebrity...Get Me Out of Here!, beginning on 10 November 2015. He was eliminated on 4 December, finishing in sixth place.

Personal life

Hadley is the father of five children: Thomas, Toni and Mackenzie with his first wife, Leonie Lawson,  then Zara (born 21 December 2006) and Genevieve (born 6 February 2012) with Alison Evers, whom he married in July 2009 at Cliveden House.  Hadley split from Leonie in 2003, after twenty years of marriage. Hadley lives in Buckinghamshire with wife Alison and his youngest two children, Zara and Genevieve.

Hadley is also an Arsenal fan and plays for the Arsenal ex-Professional and Celebrity XI team. He also runs, and enjoys skiing.

Hadley is a regular act in The East Festival. He is also a patron of the UK Huntington's Disease Association. 

Hadley stated on the television show Loose Women (22 February 2007) that he is 6 ft and . He is proud of his work ethic, which he claims was instilled into him from a young age by his parents, and he says he has never claimed benefits.

In 2006, Hadley became a co-owner of the Red Rat Craft Brewery, where he issued Hadley’s Golden Ale, Hadley’s Crazy Dog Stout, Hadley’s Gold and Hadley’s SB. The business closed in 2013, but Hadley went on to issue a golden lager in association with The Great Yorkshire Brewery.

Political affiliations

Hadley is a supporter of the Conservative Party and an admirer of former Prime Minister Margaret Thatcher.  Journalist Andrew Pierce, in a 2014 piece for the Daily Mail, described Hadley as "the Tories' biggest celebrity backer".  He has attended the party's annual conference and was once reported to be interested in standing as an MP.  The New Statesman has described Hadley as one of the few openly right-wing rock stars. 

Discography

Studio albums

* 1992 – First studio album: The State of Play (debut album)
* 1997 – Second studio album: Tony Hadley (cover album, also including some self-penned songs) – UK number 45
* 2006 – Third studio album: Passing Strangers (jazz/swing album)
* 2015 – Fourth studio album: The Christmas Album (Christmas album)

Live albums

*2000 – First live album: Obsession (subsequently re-issued as Obsession Live)

Compilation albums

*2000 – First greatest hits collection: Debut (with early solo tracks, as performed live on German TV in 1992)
*2003 – Second greatest hits collection: True Ballads (including solo tracks, cover songs, and Spandau Ballet's classic hits) – UK number 31

Singles

*1992 – "Lost in Your Love" / "Why Can't We Fall in Love" / "Theme No. 7" – UK number 42 
*1992 – "For Your Blue Eyes Only" / "Tonight" / "Close-up" – UK number 67
*1992 – "The Game of Love" / "Fever" (acoustic version) / "On and On" – UK number 72
*1993 – "Absolution" / "Through the Barricades" / "The Boys of Summer" / "Rock'n'Roll Suicide" UK number 86
*1996 – "Build Me Up" / "One to One" / "Jealous Mind" / "Build Me Up" (instrumental) [soundtrack for the film When Saturday Comes]
*1997 – "Dance with Me" (Tin Tin Out featuring Tony Hadley) – UK number 35
*1998 – "First of May" (radio edit) / "The First Cut Is the Deepest" / "Love Affair" / "Maybe You and I" [withdrawn release]
*1998 – "Save a Prayer" (radio edit) / "She" / "Have You Seen Her" / "Save a Prayer" (album version) [only released in Belgium in early April]
*1998 – "Dance with Me" / "She" [only released in the Netherlands on 16 February]
*1998 – "Dance with Me" (radio edit) [only released in Italy]
*1999 – "Dance with Me" (radio edit mix) / (extended mix) / (angels of love break) [remix CD single only released in Italy]
*2000 – "Will U Take Me" (single mix) / (Tony Hadley's a cappella) / (DJ Wout's level mix) [techno version only released in Benelux in November]
*2000 – "Will U Take Me" (single mix) / (extended mix) / (DJ Wout's level mix) / (Tony Hadley's a cappella) [techno version only released in Spain in November]
*2001 – "Tony Hadley EP": "Get So Lonely", "Beautiful Girl", "Follow Me", "Have I the Right" [released on 17 September]
*2002 – "Sweet Surrender" (Milk Inc. radio remix) / (Mr. Sam remixes) [released in May]
*2006 – "The Mood I'm In" [promo released in November]
*2007 – "Wives & Lovers" [released in January]
*2007 – "The Good Life" [released in April]
*2011 – "Goodbye Malinconia" (ft. Caparezza)

Literature

* New Romanticism (also called Blitz Kids and a variety of other names)T. Cateforis, [https://books.google.com/books?id
-MVrM3zKrHQC&pgPA48 Are We Not New Wave?: Modern Pop at the Turn of the 1980s] (University of Michigan Press, 2011), ISBN 0-472-03470-7, pp. 47–8. was a pop culture movement in the United Kingdom that began as a nightclub scene around 1979 and peaked around 1981. Developing in London and Birmingham, at nightclubs such as Billy's and the Blitz,D. Johnson, [http://www.guardian.co.uk/music/2009/oct/04/spandau-ballet-new-romantics "Spandau Ballet, the Blitz kids and the birth of the New Romantics"], Observer, 4 October 2009, retrieved 24 July 2011. and fashion boutiques such as PX in London and Kahn and Bell in Birmingham, it spread to other major cities in the UK and was characterised by flamboyant, eccentric fashion.

Several music acts at the start of the 1980s adopted the style of the movement and became known to epitomise it within the music and mainstream press, including Visage, Duran Duran, Spandau Ballet, and Boy George (of Culture Club). Ultravox were also often labelled as New Romantics by the press though did not exhibit the same visual styles of the movement, despite their link to the band Visage.  Japan and Adam and the Ants were also labelled as New Romantic artists by the press, although both refuted this and neither had any direct connection to the original scene. A number of these bands adopted synthesizers and helped to develop synthpop in the early 1980s, which, combined with the distinctive New Romantic visuals, helped them first to national success in the UK, and then, with help of MTV, to play a major part in the Second British Invasion of the U.S. charts.

By the end of 1981, the original movement had largely dissipated and, although some of the artists associated with the scene continued their careers, they had largely abandoned the aesthetics of the movement. There were attempts to revive the movement from the 1990s, including the short-lived romo movement.

Characteristics

New Romanticism can be seen as a reaction to punk,S. Borthwick and R. Moy, [https://books.google.com/books?id
r4bmVbNSnk4C&pgPA132&dq
%22new+romantic%22+duran&hlEn&ei
lFgrTsbUK9S78gOOvZ3mCw&saX&oi
book_result&ctbook-thumbnail&resnum
3&ved0CDQQ6wEwAjgU#v
onepage&q%22new%20romantic%22%20duran&f
false Popular Music Genres: an Introduction] (Edinburgh: Edinburgh University Press, 2004), ISBN 0-7486-1745-0, p. 132. and was heavily influenced by former glam rock stars of the 1970s such as David Bowie and Roxy Music.D. Buckley, [https://books.google.com/books?id
ZwzbCdn9zc0C&pgRA4-PA114&dq
%22new+romantic%22+%22glam+rock%22&hlEn&ei
axQsTu24JZSq8QP3wLCfDA&saX&oi
book_result&ctbook-thumbnail&resnum
4&ved0CD0Q6wEwAw#v
onepage&q%22new%20romantic%22%20%22glam%20rock%22&f
false Strange Fascination: David Bowie, the Definitive Story] (London: Random House, 2005), ISBN 0-7535-1002-2, p. 318. In terms of style it rejected the austerity and anti-fashion stance of punk.  Both sexes often dressed in counter-sexual or androgynous clothing and wore cosmetics such as eyeliner and lipstick, partly derived from earlier punk fashions. This "gender bending" was particularly evident in figures such as Boy George of Culture Club and Marilyn (Peter Robinson).

Fashion was based on varied looks based on historical romantic themes, including frilly fop shirts in the style of the English Romantic period,D. C. Steer, [https://books.google.com/books?id
cgU5OQuHTRcC&pgPA37&dq
androgyny+%22new+romantic%22&hlen&ei
WIUtTuD4CsKp8QOMzpiMDA&saX&oi
book_result&ctresult&resnum
7&ved0CEkQ6AEwBg#v
onepage&q&ffalse The 1980s and 1990s] (Infobase Publishing, 2009), ISBN 1-60413-386-4, p. 37. Russian constructivism, Bonnie Prince Charlie, French Incroyables and 1930s Cabaret, Hollywood starlets, Puritans and the Pierrot clown, with any look being possible if it was adapted to be unusual and striking.V. Steele, ed., [https://books.google.com/books?idHemsvn9ZbRkC&pg
PA525&dqnew+romantic+fashion&hl
En&eiYh8tToPnG8Sw8gOf1bGYDA&sa
X&oibook_result&ct
book-thumbnail&resnum2&ved
0CDkQ6wEwAQ#vonepage&q
new%20romantic%20fashion&ffalse The Berg Companion to Fashion] (London: Berg, 2010), ISBN 1-84788-592-6, p. 525. Common hairstyles included quiffs, mullets and wedges. Soon after they began to gain mainstream attention, however, many New Romantic bands dropped the eclectic clothes and make-up in favour of sharp suits.

New Romantic looks were propagated from fashion designer Helen Robinson's Covent Garden shop PX, began to influence major collections and were spread, with a delay, through reviews of what was being worn in clubs via magazines including i-D and The Face. The emergence of the New Romantic movement into the mainstream coincided with Vivienne Westwood's unveiling of her "pirate collection", which was promoted by Bow Wow Wow and Adam and the Ants, who were managed by her then partner Malcolm McLaren.  However, the post-punk Adam Ant himself has always denied being a New Romantic, and reiterated this in 2012.D. Aitkenhead, [http://www.guardian.co.uk/music/2012/feb/19/adam-ant-sex-style-humour "Adam Ant: To be a pop star you need sex, subversion, style and humour"], "The Guardian", 19 Feb 2012, retrieved 26 May 2012.

The band Japan also refuted any connection with the New Romantic movement, having adopted an androgynous look incorporating make-up ever since their inception in the mid-1970s at the tail-end of the glam rock era, many years before the New Romantic movement began. In an October 1981 interview, vocalist David Sylvian commented "There's a period going past at the moment that may make us look as though we're in fashion."  In another interview, he stated "I don't like to be associated with them (New Romantics). The attitudes are so very different." Of Japan's fashion sense, Sylvian said "For them (New Romantics), fancy dress is a costume. But ours is a way of life. We look and dress this way every day." 

Similarly, the electronic duo Soft Cell also denied any connection to the New Romantic scene. In an interview published in January 1984, keyboardist Dave Ball reflected back on their first year of success (1981) and stated "At this time we were linked to the whole New Romantics thing, but we were never a part of that. It was just a trendy London club thing with Steve Strange." 

While some contemporary bands, particularly those of the 2 Tone ska revival, dealt with issues of unemployment and urban decay, New Romantics adopted an escapist and aspirational stance.Simon Reynolds, Rip It Up and Start Again Postpunk 1978–1984 (London: Faber and Faber, 2005), ISBN 0-571-21570-X, pp. 326 and 410. With its interest in design, marketing and image, the movement has been seen by some as an acceptance of Thatcherism and style commentator Peter York even suggested that it was aligned with the New Right.S. Borthwick and R. Moy, [https://books.google.com/books?idr4bmVbNSnk4C&pg
PA132&dq%22new+romantic%22+duran&hl
En&eilFgrTsbUK9S78gOOvZ3mCw&sa
X&oibook_result&ct
book-thumbnail&resnum3&ved
0CDQQ6wEwAjgU#vonepage&q
%22new%20romantic%22%20duran&f=false Popular Music Genres: an Introduction] (Edinburgh: Edinburgh University Press, 2004), ISBN 0-7486-1745-0, p. 124.

Names

In its early stages the movement was known by a large number of names, including "new dandies", "romantic rebels", "peacock punk", "the now crowd", "the futurists", "the cult with no name" and eventually as the "Blitz Kids". As the scene moved beyond a single club the press settled on the name New Romantics.T. Russell, ed., Encyclopedia of Rock (Crescent Books, 1983), ISBN 0-517-40865-1, p. 119.

History

Origins

The New Romantic movement developed almost simultaneously in London and Birmingham.  In London it grew out of David Bowie and Roxy Music nights, run during 1978 in the nightclub Billy's in Dean Street, London.  In 1979, the growing popularity of the club forced organisers Steve Strange and Rusty Egan to relocate to a larger venue in the Blitz, a wine bar in Great Queen Street, Covent Garden, where they ran a Tuesday night "Club for Heroes". Its patrons dressed as uniquely as they could in an attempt to draw the most attention.

Steve Strange worked as the club's doorman and Egan was the DJ at the Blitz. The club became known for its exclusive door policy and strict dress code. Strange would frequently deny potential patrons admission because he felt that they were not costumed creatively or subversively enough to blend in with those inside the club. In a highly publicised incident, Mick Jagger tried to enter the club while under the influence of alcohol, but was denied entry by Strange.S. Strange, [http://www.highbeam.com/doc/1G1-83638154.html "The most decadent nightclub in the world"], Originally from the Mail on Sunday, 10 March 2002, Highbeam Research, retrieved 26 July 2011. The club spawned several spin-offs and there were soon clubs elsewhere in the capital and in other major British cities, including Manchester, Liverpool and Birmingham.

While still at Billy's, Strange and Egan joined Billy Currie and Midge Ure of Ultravox to form the band Visage. Before forming Culture Club, Boy George and Marilyn worked as cloakroom attendants at the Blitz.  The video for David Bowie's 1980 UK number one single "Ashes to Ashes" included appearances by Strange with three other Blitz Kids and propelled the New Romantic movement into the mainstream.

In Birmingham the origins of the New Romantic movement lay in the opening in 1975 of the Hurst Street shop of the fashion designers Kahn and Bell,  whose elaborate and theatrical designs brought together futuristic visual elements and influences as diverse as Egyptian, African and Far Eastern art,  and would largely define the movement's look.  By 1977 a small scene featuring Jane Kahn and Patti Bell themselves, Martin Degville, Boy George and Patrick Lilley had emerged in pubs such as The Crown and clubs such as Romulus and Barbarella's. 

Styles of music

Many bands that emerged from the New Romantic movement became closely associated with the use of synthesizers to create rock and pop music. This synthpop was prefigured in the 1960s and 1970s by the use of synthesizers in progressive rock, electronic art rock, disco, the "Kraut rock" of bands like Kraftwerk, the three albums made by Bowie with Brian Eno in his "Berlin period", and Yellow Magic Orchestra's early albums.

After the breakthrough of Tubeway Army and Gary Numan in the British Singles Chart in 1979, large numbers of artists began to enjoy success with a synthesizer-based sound and they came to dominate the pop music of the early 1980s. Bands that emerged from the New Romantic scene and adopted synthpop included Duran Duran, Visage, and Spandau Ballet.Simon Reynolds, Rip It Up and Start Again Postpunk 1978–1984 (London: Faber and Faber, 2005), ISBN 0-571-21570-X, pp. 334–5.

Early synthpop has been described as "eerie, sterile, and vaguely menacing", using droning electronics with little change in inflection. Later the introduction of dance beats made the music warmer and catchier and contained within the conventions of three-minute pop.. Duran Duran, who emerged from the Birmingham scene, have been credited with incorporating a dance-orientated rhythm section into synthpop to produce a catchier and warmer sound, which provided them with a series of hit singles.

Of groups associated with the New Romantic movement, Culture Club avoided a total reliance on synthesizers, producing a sound that combined elements of Motown, the Philly sound and lovers rock.Simon Reynolds, Rip It Up and Start Again Postpunk 1978–1984 (London: Faber and Faber, 2005), ISBN 0-571-21570-X, pp. 412–3. Adam and the Ants utilised the African influenced rhythms of the "Burundi beat".Simon Reynolds, Rip It Up and Start Again Postpunk 1978–1984 (London: Faber and Faber, 2005), ISBN 0-571-21570-X, pp. 306–7 and 311.

The second British invasion

In the US the cable music channel MTV reached the media capitals of New York City and Los Angeles in 1982..  Style conscious New Romantic synthpop acts became a major staple of MTV programming. They would be followed by a large number of acts, many of them employing synthpop sounds, over the next three years, with Duran Duran's glossy videos symbolising the power of MTV and this Second British Invasion. The switch to a "New Music" format in US radio stations was also significant in the success of British bands.

During 1983, 30% of the US record sales were from British acts. On 18 July 1983, 18 singles in the top 40, and 6 in the top 10, were by British artists. Newsweek magazine ran an issue which featured Annie Lennox and Boy George on the cover of one of its issues, with the caption "Britain Rocks America – Again", while Rolling Stone would release an "England Swings" issue with Boy George on the cover. In April 1984, 40 of the top 100 singles, and in a May 1985 survey 8 of the top 10 singles, were by acts of British origin. Von R. Serge Denisoff and W. L. Schurk, [https://books.google.com/books?id
JWdMOZGNOHUC&pgPP1&dq
Tarnished+gold:+the+record+industry+revisited#vonepage&q
british%20invasion&f=false Tarnished Gold: the Record Industry Revisited]" (Transaction, 1986),
ISBN 0-88738-618-0, p. 441.

Decline and revivals

Music journalist Dave Rimmer considered the Live Aid concert of July 1985 as the peak for the various acts that rose from the New Romantic scene of the early 80s, commenting that after which "everyone seemed to take hubristic tumbles".  Simon Reynolds also notes the "Do They Know Its Christmas" single in late 1984 and Live Aid in 1985 as turning points, with the acts that the movement spawned as having become decadent, with "overripe arrangements and bloated videos" for songs like Duran Duran's "The Wild Boys" and Culture Club's "War Song".  The proliferation of acts using synthesisers had led to an anti-synth backlash, with groups including Spandau Ballet, Soft Cell and ABC incorporating more conventional influences and instruments into their sounds by 1983.Simon Reynolds, Rip It Up and Start Again Postpunk 1978–1984 (London: Faber and Faber, 2005), ISBN 0-571-21570-X, p. 342.

An American reaction against European synthpop and "haircut bands" has been seen as beginning in the mid-1980s with the rise of heartland rock and roots rock.  In the UK, the arrival of indie rock bands, particularly The Smiths, has been seen as marking the end of synth-driven new wave and the beginning of the guitar rock that would come to dominate rock into the 1990s.   By the end of the 1980s many acts had been dropped by their labels and the solo careers of many artists who had been associated with the New Romantic scene gradually faded. 

In the mid-1990s, New Romanticism was the subject of nostalgia-oriented club nights — such as the Human League inspired "Don't You Want Me", and "Planet Earth", a Duran Duran-themed night club whose promoter told The Sunday Times "It's more of a celebration than a revival".  In the same period New Romanticism was also an inspiration for the short-lived romo musical movement. It was championed by Melody Maker, who proclaimed on its front cover in 1995 that it was a "future pop explosion" that had "executed" Britpop, and including bands Orlando, Plastic Fantastic, Minty, Viva, Sexus, Hollywood, Dex Dexter. None made the British top 75,  and after an unsuccessful Melody Maker-organised tour, most of the bands soon broke up.
List of awards and nominations received by Spandau Ballet Spandau Ballet Spandeau Ballet Spanadu Ballet Spandou Ballet
list of awards and nominations received by spandau ballet spanadu ballet spandau ballet spandeau ballet spandou ballet
spandau ballet
WikipediaEntity
Spandau Ballet
 Tony had the lead singer with which I think I'd never romantically banned. 

 It sounds like you with lead singer singing with that didn new new laid that didn didn be a band letter played to back back done. It looks like you you it is in in May May didn vast and suggestions and to new or any error about your laid during this kit plan.