input: The federal budget ran a deficit every year Ford was President. Despite his reservations about how the program ultimately would be funded in an era of tight public budgeting, Ford signed the Education for All Handicapped Children Act of 1975, which established special education throughout the United States. Ford expressed "strong support for full educational opportunities for our handicapped children" according to the official White House press release for the bill signing.  The economic focus began to change as the country sank into the worst recession since the Great Depression four decades earlier. The focus of the Ford administration turned to stopping the rise in unemployment, which reached nine percent in May 1975. In January 1975, Ford proposed a 1-year tax reduction of $16 billion to stimulate economic growth, along with spending cuts to avoid inflation. Ford was criticized greatly for quickly switching from advocating a tax increase to a tax reduction. In Congress, the proposed amount of the tax reduction increased to $22.8 billion in tax cuts and lacked spending cuts. In March 1975, Congress passed, and Ford signed into law, these income tax rebates as part of the Tax Reduction Act of 1975. This resulted in a federal deficit of around $53 billion for the 1975 fiscal year and $73.7 billion for 1976.  When New York City faced bankruptcy in 1975, Mayor Abraham Beame was unsuccessful in obtaining Ford's support for a federal bailout. The incident prompted the New York Daily News' famous headline "Ford to City: Drop Dead", referring to a speech in which "Ford declared flatly ... that he would veto any bill calling for 'a federal bail-out of New York City'".

Answer this question "what did that act do?"
output: which established special education throughout the United States.

input: Mendes was born in Niteroi, Brazil, the son of a physician. He attended the local conservatory with hopes of becoming a classical pianist. As his interest in jazz grew, he started playing in nightclubs in the late 1950s just as bossa nova, a jazz-inflected derivative of samba, was emerging. Mendes played with Antonio Carlos Jobim (regarded as a mentor) and many U.S. jazz musicians who toured Brazil.  Mendes formed the Sexteto Bossa Rio and recorded Dance Moderno in 1961. Touring Europe and the United States, Mendes recorded albums with Cannonball Adderley and Herbie Mann and played Carnegie Hall. Mendes moved to the U.S. in 1964 and cut two albums under the Sergio Mendes & Brasil '65 group name with Capitol Records and Atlantic Records.  Sergio became full partners with Richard Adler, a Brooklyn-born American who had previously brought Bossa Tres plus two dancers, Joe Bennett and a Brazilian partner, to appear on The Ed Sullivan Show, in 1963. He was also accompanied by Jobim; Flavio Ramos, and Aloisio Olivera, a record and TV producer from Rio. The Musicians Union only allowed this group to appear on one TV show and one club appearance (Basin Street East) before ordering them to leave the U.S. When the new group, Brasil '65 was formed, Shelly Manne, Bud Shank and other West Coast musicians got Sergio and the others into the local musicians union. Adler and Mendes formed Brasil '65, which consisted of Wanda Sa and Rosinha de Valenca, as well as the Sergio Mendes Trio. The group recorded albums for Atlantic and Capitol.

Answer this question "What did he do next?"
output: Mendes formed the Sexteto Bossa Rio and recorded Dance Moderno in 1961.

input: Preminger decided to release the finished film prior to submitting it for a Code seal of approval. He contended that his film would not entice any viewers to take drugs, since drug use was depicted as having severely negative consequences. The black-and-white film was also the first to portray heroin use as a serious literary topic, rejecting the standard "dope fiend" approach of the time. United Artists, which had invested $1 million in the film's production, opted to distribute the film, even though doing so could result in the company being fined $25,000 by the Motion Picture Association of America (MPAA). The president of United Artists, Arthur Krim, expressed the company's hope that the PCA would make an exception to its usual rules and grant the film approval because of the film's "immense potential for public service." The film received several advance bookings in November and early December 1955, before the PCA had made a decision on whether to grant a Code seal.  However, in early December 1955, the PCA denied the film a Code seal, and the decision was upheld upon appeal to the MPAA. As a result, United Artists resigned from the MPAA that same month (although the company re-joined a few years later). The National Legion of Decency also showed disagreement with the PCA ruling by rating the film as a "B" meaning "morally objectionable in part for all", instead of a "C" meaning "condemned", which was the rating normally given to films that were denied a Code seal. Large theater circuits including Loews also refused to ban the film and instead showed it despite the lack of a Code seal. As a result of the controversy, the MPAA investigated and revised production codes, allowing later movies more freedom to deeply explore hitherto taboo subjects such as drug abuse, kidnapping, miscegenation, abortion, and prostitution.  In the end, The Man With The Golden Arm finally received the Production Code seal number 17011 in June 1961, which permitted the film to be reissued and sold for television broadcast.

Answer this question "why did they do that?"
output:
Preminger decided to release the finished film prior to submitting it for a Code seal of approval.