Individuals who enjoyed successful pop careers in this period included Gilbert O'Sullivan, David Essex, Leo Sayer and Rod Stewart. Perhaps the most unusual British development in pop was glam or glitter rock, characterised by outrageous clothes, makeup, hairstyles, and platform-soled boots. The flamboyant lyrics, costumes, and visual styles of glam performers were a campy playing with categories of sexuality in a theatrical blend of nostalgic references to science fiction and old movies, all over a guitar-driven hard rock sound. Pioneers of the genre included Marc Bolan and T. Rex, David Bowie, Roxy Music, Mott the Hoople. These, and many other acts, straddled the divide between pop and rock music, managing to maintain a level of respectability with rock audiences, while enjoying success in the singles chart, including Queen and Elton John. Other performers aimed much more directly for the popular music market, where they were the dominant groups of their era, including and Slade and Sweet. The glitter image was pushed to its limits by Gary Glitter and The Glitter Band. Largely confined to the British, glam rock peaked during the mid-1970s, before it disappeared in the face of punk rock and new wave trends. The initial impact of punk on pop music, even when not banned from the charts, was not overwhelming, but by the end of the decade the British pop music industry was becoming dominated by post-punk new wave acts like Ian Dury and the Blockheads. Other successful new wave pop bands included XTC, Squeeze and Nick Lowe, as well as songwriters like Elvis Costello, rock & roll influenced bands like the Pretenders, and the reggae influenced music of bands like The Police. By the end of the decade, many of these bands, most obviously the Police, were beginning to make an impact in American and world markets. The British charts at the opening of the 1980s were dominated by the usual mix of imports, novelty acts, oddities (including rock and roll revivalist and Elvis impersonator Shakin' Stevens) and survivors like Queen and David Bowie, but there were also more conventional pop acts, including Bucks Fizz, whose light lyrics and simple tempos gave them three number ones after their Eurovision Song Contest victory in 1981. Frankie Goes to Hollywood's, initially controversial, dance-pop gave then three consecutive number ones in 1983 and 1984, until they faded away in the mid-1980s. Probably the most successful British pop band of the era were the duo Wham! with an unusual mix of disco, soul, ballads and even rap, who had eleven top ten hits in the UK, six of them number ones, between 1982 and 1986.