New Romantic emerged as the dominant force in the singles charts at the beginning of the 1980s. Originally part of the new wave music movement in London nightclubs including Billy's and The Blitz Club towards the end of the 1970s and influenced by David Bowie and Roxy Music, it further developed glam rock fashions, gaining its name from the frilly fop shirts of early Romanticism. Among the commercially most successful acts associated with the movement were Adam and the Ants, Culture Club, Spandau Ballet and Duran Duran. By about 1983, the original movement had dissolved with surviving acts dropping most of the fashion elements to pursue mainstream careers. New Romantic music often made extensive use of synthesizers, merging into synthpop, which followed electronic rock pioneers in the 1970s like Kraftwerk, Jean Michel Jarre, and Tangerine Dream. Tubeway Army, a little known outfit from West London, dropped their punk rock image and topped the UK charts in 1979 with the single "Are Friends Electric?", prompting their singer, Gary Numan to go solo and release the album, "The Pleasure Principle" from which he gained a number one in the single charts with "Cars", and which much to popularize the synth-pop sound. Trevor Horn of The Buggles captured the changing scene in the international hit "Video Killed the Radio Star". New Romantic acts that made extensive use of synthesizers included Visage, Ultravox, Duran Duran and Japan. There were also more straight forwardly pop acts like The Human League, Depeche Mode, Soft Cell, and Yazoo. Other key artists from the early to mid-1980s include Eurythmics, Talk Talk, A Flock of Seagulls, New Order, Tears for Fears, Pet Shop Boys, OMD, Thomas Dolby, Thompson Twins, Bronski Beat, Heaven 17, Howard Jones and Blancmange. Having emerged from the post-punk and reggae scenes in the West Midlands in the 1970s, the ska revival associated with 2 Tone records was a remarkable commercial success in the early years of the 1980s. Bands like The Specials, The Selecter, The Beat, Madness, Bad Manners and The Bodysnatchers all enjoyed chart success, with Madness and The Specials managing number ones. The Specials' "Ghost Town" (1981) is often seen as summarizing the disillusionment of Thatcherite, post-industrial urban youth. Madness managed to sustain a career that could still chart into the second half of the 1980s, but the 2-Tone movement faded early in the decade, and would have a longer term impact through American bands of the third wave of ska.