Problem: Bill Veeck was born on February 9, 1914, in Chicago, Illinois. While Veeck was growing up in Hinsdale, Illinois, his father, William Veeck Sr., became president of the Chicago Cubs. Veeck Sr. was a local sports writer who wrote several columns about how he would have run the Cubs differently, and the team's owner, William Wrigley Jr., took him up on it. While growing up, the younger Veeck worked as a popcorn vendor for the Cubs.

Veeck had been a fan of the Negro Leagues since his early teens. He had also admired Abe Saperstein's Harlem Globetrotters basketball team, which was based in Chicago. Saperstein saved Veeck from financial disaster early on in Milwaukee by giving him the right to promote the Globetrotters in the upper Midwest in the winter of 1941-42.  In the fall of 1942, Veeck met with Gerry Nugent, president of the Philadelphia Phillies, to discuss the possibility of buying the struggling National League team. He later wrote in his memoirs that he intended to buy the Phillies and stock the team's roster with stars from the Negro Leagues. Veeck quickly secured financing to buy the Phillies, and agreed in principle to buy the team from Nugent. While on his way to Philadelphia to close on the purchase, Veeck decided to alert MLB Commissioner Kenesaw Mountain Landis of his intentions. Although Veeck knew Landis was an ardent segregationist, he did not believe Landis would dare say black players were unwelcome while blacks were fighting in World War II. By the time he arrived in Philadelphia, Veeck discovered the Phillies had been officially taken over by the National League and that a new owner was being sought (the Phillies were ultimately sold to lumber baron William D. Cox).  The authors of a controversial article in the 1998 issue of SABR's The National Pastime argued that Veeck invented the story of buying the Phillies and filling their roster with Negro leaguers, claiming Philadelphia's black press made no mention of a prospective sale to Veeck. Subsequently, the article was strongly challenged by the late historian Jules Tygiel, who refuted it point-by-point in an article in the 2006 issue of SABR's The Baseball Research Journal, and in an appendix, entitled "Did Bill Veeck Lie About His Plan to Purchase the '43 Phillies?", published in Paul Dickson's biography, Bill Veeck: Baseball's Greatest Maverick. Joseph Thomas Moore wrote in his biography of Doby, "Bill Veeck planned to buy the Philadelphia Phillies with the as yet unannounced intention of breaking that color line."

Did he have enough money to buy the team?

Answer with quotes: The National Pastime argued that Veeck invented the story of buying the Phillies

Question:
Thomas Cowperthwait Eakins (July 25, 1844 - June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important artists in American art history. For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy.
Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists.  In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector.  After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism.  An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired.  The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Answer this question using a quote from the text above:

What else made Eakins pursue photography?

Answer:
In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement.