input: In accordance with Navy attrition regulations, Hopper retired from the Naval Reserve with the rank of commander at age 60 at the end of 1966. She was recalled to active duty in August 1967 for a six-month period that turned into an indefinite assignment. She again retired in 1971 but was again asked to return to active duty in 1972. She was promoted to captain in 1973 by Admiral Elmo R. Zumwalt, Jr. After Republican Representative Philip Crane saw her on a March 1983 segment of 60 Minutes, he championed H.J.Res. 341, a joint resolution originating in the House of Representatives, which led to her promotion to commodore by special Presidential appointment. She remained on active duty for several years beyond mandatory retirement by special approval of Congress. Effective November 8, 1985, the rank of commodore was renamed rear admiral (lower half) and Hopper became one of the Navy's few female admirals. Following a career that spanned more than 42 years, Admiral Hopper took mandatory retirement from the Navy on August 14, 1986. At a celebration held in Boston on the USS Constitution to commemorate her retirement, Hopper was awarded the Defense Distinguished Service Medal, the highest non-combat decoration awarded by the Department of Defense. At the time of her retirement, she was the oldest active-duty commissioned officer in the United States Navy (79 years, eight months and five days), and had her retirement ceremony aboard the oldest commissioned ship in the United States Navy (188 years, nine months and 23 days). (Admirals William D. Leahy, Chester W. Nimitz, Hyman G. Rickover and Charles Stewart were the only other officers in the Navy's history to serve on active duty at a higher age. Leahy and Nimitz served on active duty for life due to their promotions to the rank of fleet admiral.)

Answer this question "Any other important aspects of her life after retirement?"
output: had her retirement ceremony aboard the oldest commissioned ship in the United States Navy (188 years, nine months and 23 days). (

input: Wentz has written a book entitled The Boy With the Thorn in His Side, a story based on nightmares he had as a child. The title is a reference to a track on The Smiths' album The Queen Is Dead. Wentz explained that writing books serves as another mode of self-expression other than songwriting: "My inspiration and my ideas don't begin and end at the beginning and the ending of a song. It is too limiting." It was reported that he was to publish another book, entitled Rainy Day Kids, but years went by without any word on the book's progress, and Wentz even expressed on his Twitter account that he didn't think it would ever come to fruition. However, in February 2012, he posted a photo on his personal blog of what appeared to be a rough draft of the book's manuscript, explaining that he was currently in the process of editing Rainy Day Kids and that it would be 40-50 pages longer than he originally expected. On December 13, 2012, Wentz revealed the cover for the book, now titled Gray, on his personal blog. The book, which was written with MTV News writer and former FNMTV co-host James Montgomery, was released on February 26, 2013. In June 2009, it was announced that Wentz was working on a five-issue comic book mini-series called Fall Out Toy Works, to be published by Image Comics. The idea was conceived by Wentz and designer Darren Romanelli. The plot is loosely based on the Fall Out Boy song "Tiffany Blews" and focuses on "a mysterious toymaker, a cyborg gal named Tiffany and a kid in a bear suit that looks lifted from the cover of Fall Out Boy's Folie a Deux." With writing by Brett Lewis, and art by Sam Basri, the first issue was released on September 2, 2009.

Answer this question "Who's nightmares"
output: had as a child.

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 "Any intresting thing about the article?"
output:
Spacemen 3 managed to obtain a record deal shortly after producing their new demos.