input: In November 1985, Spacemen 3 played a gig at a leisure centre in Coventry to an audience of fewer than ten people. Nevertheless, encouraged by the support of Pat Fish, they determined that they ought to record a new demo tape. By this time they had reconfigured and honed their musical style, and their repertoire consisted of newer songs and re-worked older ones. "The band's sound had crystallised into the intense, hypnotic, overloaded psychedelia which characterised their early [record] output, and which would serve as a template for their live act throughout their existence" (Ian Edmond, Record Collector).  At Pierce's instigation, Pete Bain rejoined the band on bass in order to fill out their sound. Despite being a 4-piece again, they would retain the name 'Spacemen 3'. Kember and Pierce opted to upgrade their guitar equipment ahead of recording the new demos. Kember purchased a Burns Jazz electric guitar and 1960s Vox Conqueror amplifier; whilst Pierce bought a Fender Telecaster and a 1970s HH amplifier. Both of their new amplifiers included distortion/fuzz and tremolo; these two effects were key components of Spacemen 3's signature sound.  In January 1986, Spacemen 3 attended the home studio of Carlo Marocco at Piddington, outside Northampton, to record their new demo tape. They spent three-and-a-half days at the 16-track studio. Recording live as a group, with minimal overdubs, they managed to get demos for approximately seven songs. Kember and Pierce handled the production. These "fine set of performances" (Ned Raggett, AllMusic) would later be unofficially released as the vinyl album Taking Drugs to Make Music to Take Drugs To on the Father Yod label in 1990 (albeit described incorrectly as "rehearsals in Rugby").  Spacemen 3 managed to obtain a record deal shortly after producing their new demos. Pat Fish had given a copy of the demo tape to Dave Barker, the owner of the independent record label Glass Records, to whom Fish's band The Jazz Butcher were signed. Spacemen 3 signed a three-year, two-album recording contract with Glass Records in early 1986.

Answer this question "What was their style?"
output: intense, hypnotic, overloaded psychedelia

Problem: Background: Diosdado Macapagal was born on September 28, 1910, in Lubao, Pampanga, the third of five children in a poor family. His father, Urbano Macapagal y Romero (c. 1883 - 1946), was a poet who wrote in the local Pampangan language, and his mother, Romana Pangan Macapagal, daughter of Atanacio Miguel Pangan, a former cabeza de barangay of Gutad, Floridablanca, Pampanga and Lorenza Suing Antiveros. Urbano's mother, Escolastica Romero Macapagal is a midwife and schoolteacher who taught catechism. He is a distant descendant of Don Juan Macapagal, a prince of Tondo, who was a great-grandson of the last reigning Lakan of the Kingdom of Tondo, Lakan Dula.
Context: Macapagal excelled in his studies at local public schools, graduating valedictorian at Lubao Elementary School, and salutatorian at Pampanga High School. He finished his pre-law course at the University of the Philippines, then enrolled at Philippine Law School in 1932, studying on a scholarship and supporting himself with a part-time job as an accountant. While in law school, he gained prominence as an orator and debater. However, he was forced to quit schooling after two years due to poor health and a lack of money.  Returning to Pampanga, he joined boyhood friend Rogelio de la Rosa in producing and starring in Tagalog operettas patterned after classic Spanish zarzuelas. It was during this period that he married his friend's sister, Purita de la Rosa in 1938. He had two children with de la Rosa, Cielo and Arturo.  Macapagal raised enough money to continue his studies at the University of Santo Tomas. He also gained the assistance of philanthropist Don Honorio Ventura, the Secretary of the Interior at the time, who financed his education. He also received financial support from his mother's relatives notably from the Macaspacs who owned large tracts of land in barrio Sta. Maria, Lubao, Pampanga. After receiving his Bachelor of Laws degree in 1936, he was admitted to the bar, topping the 1936 bar examination with a score of 89.95%. He later returned to his alma mater to take up graduate studies and earn a Master of Laws degree in 1941, a Doctor of Civil Law degree in 1947, and a PhD in Economics in 1957.
Question: Was there any one particular instance that had a lot of influence on him?
Answer: He also gained the assistance of philanthropist Don Honorio Ventura, the Secretary of the Interior at the time, who financed his education.

Question: Sir Lawrence Alma-Tadema,  (; born Lourens Alma Tadema Dutch pronunciation: ['l^ur@ns 'alma: 'ta:d@,ma:]; 8 January 1836 - 25 June 1912) was a Dutch painter of special British denizenship.

Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted - indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. By the human interest with which he imbues all his scenes from ancient life he brings them within the scope of modern feeling, and charms us with gentle sentiment and playfulness.  From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he would see at museums - such as the British Museum in London - in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used for the most precise accuracy in the details of his compositions.  Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One humorous story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his adversaries to take up arms against his almost encyclopaedic works.  Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning to their paintings.

Using a quote from the above article, answer the following question: Was there anything else unique?
HHHHHH
Answer:
By the human interest with which he imbues all his scenes from ancient life he brings them within the scope of modern feeling,