input: Cheney's most immediate issue as Secretary of Defense was the Department of Defense budget. Cheney deemed it appropriate to cut the budget and downsize the military, following the Reagan Administration's peacetime defense buildup at the height of the Cold War. As part of the fiscal year 1990 budget, Cheney assessed the requests from each of the branches of the armed services for such expensive programs as the Avenger II Naval attack aircraft, the B-2 stealth bomber, the V-22 Osprey tilt-wing helicopter, the Aegis destroyer and the MX missile, totaling approximately $4.5 billion in light of changed world politics. Cheney opposed the V-22 program, which Congress had already appropriated funds for, and initially refused to issue contracts for it before relenting. When the 1990 Budget came before Congress in the summer of 1989, it settled on a figure between the Administration's request and the House Armed Services Committee's recommendation. In subsequent years under Cheney, the proposed and adopted budgets followed patterns similar to that of 1990. Early in 1991, he unveiled a plan to reduce military strength by the mid-1990s to 1.6 million, compared with 2.2 million when he entered office. Cheney's 1993 defense budget was reduced from 1992, omitting programs that Congress had directed the Department of Defense to buy weapons that it did not want, and omitting unrequested reserve forces. Over his four years as Secretary of Defense, Cheney downsized the military and his budgets showed negative real growth, despite pressures to acquire weapon systems advocated by Congress. The Department of Defense's total obligational authority in current dollars declined from $291 billion to $270 billion. Total military personnel strength decreased by 19 percent, from about 2.2 million in 1989 to about 1.8 million in 1993. Notwithstanding the overall reduction in military spending, Cheney directed the development of a Pentagon plan to ensure U.S. military dominance in the post-Cold War era.

Answer this question "Why did he downsize the military?"
output:

input: Higgins and Xenomania were once again given free rein for Girls Aloud's third album, Chemistry. The album's second single, "Biology", was critically acclaimed, being called "the best pop single of the last decade". Despite the group's near total obscurity in the United States, the song was listed at number 245 on Pitchfork Media's "The Top 500 Tracks of the 2000s" list. It was also listed at number 23 on The Observer Music Monthly's 75 best singles of the decade. Chemistry was praised by critics upon its release. BBC Music decided that the album was "quirky, modern and dripping with attitude" and "holds no disappointments." Virgin Media gave the album five stars, saying it was "bursting [...] with invention, quirky lyrics, tongue-in-cheek sauciness and [...] appeals to grown-up pop fans and music critics as well as to the teenyboppers." In 2008, Slant Magazine said that "Chemistry is probably still their crowning glory". Xenomania worked with other British artists such as Bananarama, Texas, and Rachel Stevens. They contributed tracks to Stevens' album Come and Get It, a commercial failure that The Guardian listed among its "1000 Albums to Hear Before You Die" and hailed as "a riot, thanks to a stellar team of pop producers [...] who seem to have taken the precarious state of Stevens' career as an excuse to let their imaginations run amok". Xenomania continued their work with both Saint Etienne and Sugababes, producing the latter's UK top five single "Red Dress" (from the 2005 album Taller in More Ways), described by The Observer as "a thumping tour de force from Xenomania [...] Not unexpectedly, it flirts vivaciously with pop songwriting convention, boasting not one but two killer choruses". Xenomania also produced Totally Frank stars Frank's 2006 debut album; the group was dropped after their album failed to perform well. In 2006, Girls Aloud released their first greatest hits collection, The Sound of Girls Aloud, which featured their singles to date--all produced by Xenomania--including the new track "Something Kinda Ooooh". The song was referred to as "another head-spinningly innovative number from the Xenomania team." The Sound of Girls Aloud has been recognised by the IFPI as a million-seller. Their fourth studio album, 2007's Tangled Up, was labelled "yet another unrelenting pop masterpiece." The Times included it at number 62 on a list of the decade's best pop albums. The single "Call the Shots" was critically acclaimed, with pop music journalist Peter Robinson calling it the "greatest pop song of the 21st century." Xenomania also worked with Alesha Dixon (on the single "Knockdown"), Sophie Ellis-Bextor, and produced two songs for Sugababes' fifth studio album, Change.

Answer this question "did the album do well?"
output: BBC Music decided that the album was "quirky, modern and dripping with attitude" and "holds no disappointments.

input: Magazine and newspaper profiles of Reilly throughout the 1970s and 1980s did not mention his personal life or sexuality. Many years after the cancellation of Match Game, he revealed his homosexuality in his theatrical one-man show, Save It for the Stage: The Life of Reilly. Much like fellow game-show regular Paul Lynde of the same era, despite Reilly's off-camera silence, he gave signals on-camera of a campy persona. In many episodes of Match Game, he lampooned himself by briefly affecting "YO!" in a deep voice and the nickname "Chuck" and self-consciously describing how "butch" he was. Many years after his game show career ended, he mentioned in a 2002 interview with Entertainment Tonight that he felt no need to explain his joke about "Chuck", and that he never purposely hid being gay from anyone. Patrick Hughes III, a set decorator and dresser, was Reilly's domestic partner; the two met backstage while Reilly appeared on the game show Battlestars, although their partnership was not revealed publicly. They lived together in Beverly Hills. Despite sporting what appeared to be a full head of hair for most of the prime of his television career, Reilly was in fact bald, wearing a toupee throughout most of his appearances in the 1970s and 1980s. During the taping of Match Game 74, his toupee became the joke of the filming when Reilly had to go to New York City to have his toupee adjusted. During the taping of several episodes, Reilly was seen wearing different hats because his toupee was back in New York waiting for him to be fitted. This was the start of the long-running jokes on Match Game about his hair. He abandoned the toupee in the late 1990s and appeared bald in public for the rest of his life. He dramatized the experience in his stage show The Life of Reilly. In one episode of Match Game '78, he took off his toupee and gave it to a bald contestant by putting it on his head. One can briefly see Reilly's bald head as he rushed back to his seat and put on a hat to cover up. In one of his several appearances on The Tonight Show, Reilly publicly discussed having to fix or adjust his toupee before going out for the evening. Among his revelations to Carson while a guest on the show were: that he had nothing to wear but a specific tuxedo; his stories as a director of a play; and how wonderful many of the other guests on that night's panel were when Reilly had worked with them, either in film or in the theater.

Answer this question "What is mentioned about his sexuality?"
output:
he revealed his homosexuality in his theatrical one-man show, Save It for the Stage: The Life of Reilly.