Background: Lucas was born and raised in Modesto, California, the son of Dorothy Ellinore Lucas (nee Bomberger) and George Walton Lucas, Sr., who owned a stationery store. He is of German, Swiss-German, English, Scottish, and distant Dutch and French descent. Growing up, Lucas had a passion for cars and motor racing, which later inspired his films 1:42.08 and American Graffiti. Long before Lucas became obsessed with filmmaking, he yearned to be a race-car driver, and he spent most of his high school years racing on the underground circuit at fairgrounds and hanging out at garages.
Context: Following the release of the first Star Wars film, Lucas worked extensively as a writer and producer, including on the many Star Wars spinoffs made for film, television, and other media. Lucas acted as executive producer for the next two Star Wars films, commissioning Irvin Kershner to direct The Empire Strikes Back, and Richard Marquand to direct Return of the Jedi, while receiving a story credit on the former and sharing a screenwriting credit with Lawrence Kasdan on the latter. He also acted as executive producer and story writer on all four of the Indiana Jones films, which his colleague and good friend Steven Spielberg directed. Other successful projects where Lucas acted as a producer or writer in this period include Kurosawa's Kagemusha (1980), Lawrence Kasdan's Body Heat (1981), Jim Henson's Labyrinth (1986), Godfrey Reggio's Powaqqatsi (1986), Don Bluth's The Land Before Time (1988), and the Indiana Jones television spinoff The Young Indiana Jones Chronicles (1992-96). There were unsuccessful projects, however, including More American Graffiti (1979), Willard Huyck's Howard the Duck (1986), which was the biggest flop of Lucas's career, Ron Howard's Willow (1988), Coppola's Tucker: The Man and His Dream (1988), and Mel Smith's Radioland Murders (1994). The animation studio Pixar was founded in 1979 as the Graphics Group, one third of the Computer Division of Lucasfilm. Pixar's early computer graphics research resulted in groundbreaking effects in films such as Star Trek II: The Wrath of Khan and Young Sherlock Holmes, and the group was purchased in 1986 by Steve Jobs shortly after he left Apple Computer. Jobs paid Lucas US$5 million and put US$5 million as capital into the company. The sale reflected Lucas' desire to stop the cash flow losses from his 7-year research projects associated with new entertainment technology tools, as well as his company's new focus on creating entertainment products rather than tools. A contributing factor was cash-flow difficulties following Lucas' 1983 divorce concurrent with the sudden dropoff in revenues from Star Wars licenses following the release of Return of the Jedi. The sound-equipped system THX Ltd. was founded by Lucas and Tomlinson Holman. The company was formerly owned by Lucasfilm, and contains equipment for stereo, digital, and theatrical sound for films, and music. Skywalker Sound and Industrial Light & Magic, are the sound and visual effects subdivisions of Lucasfilm, while Lucasfilm Games, later renamed LucasArts, produces products for the gaming industry.
Question: What did Steve Jobs purchase?
Answer: The animation studio Pixar was founded in 1979 as the Graphics Group, one third of the Computer Division of Lucasfilm.

Background: James was born in Holton, Kansas; his mother, died in 1954 when he was five. His father was a janitor and a handyman. After four years at the University of Kansas residing at Stephenson Scholarship hall, James joined the Army in 1971. He was the last person in Kansas to be sent to fight in the Vietnam War, although he never saw action there.
Context: An aspiring writer and obsessive fan, James began writing baseball articles after leaving the United States Army in his mid-twenties. Many of his first baseball writings came while he was doing night shifts as a security guard at the Stokely-Van Camp's pork and beans cannery. Unlike most writers, his pieces did not recount games in epic terms or offer insights gleaned from interviews with players. A typical James piece posed a question (e.g., "Which pitchers and catchers allow runners to steal the most bases?"), and then presented data and analysis written in a lively, insightful, and witty style that offered an answer. Editors considered James's pieces so unusual that few believed them suitable for their readers. In an effort to reach a wider audience, James began self-publishing an annual book titled The Bill James Baseball Abstract beginning in 1977. The first edition, titled 1977 Baseball Abstract: Featuring 18 categories of statistical information that you just can't find anywhere else, presented 68 pages of in-depth statistics compiled from James's study of box scores from the preceding season and was offered for sale through a small advertisement in The Sporting News. Seventy-five people purchased the booklet. The 1978 edition, subtitled The 2nd annual edition of baseball's most informative and imaginative review, sold 250 copies. Beginning in 1979, James wrote an annual preview of the baseball season for Esquire, and continued to do so through 1984. The first three editions of the Baseball Abstract garnered respect for James's work, including a very favorable review by Daniel Okrent in Sports Illustrated. New annual editions added essays on teams and players. By 1982 sales had increased tenfold, and a media conglomerate agreed to publish and distribute future editions. While writers had published books about baseball statistics before (most notably Earnshaw Cook's Percentage Baseball, in the 1960s), few had ever reached a mass audience. Attempts to imitate James's work spawned a flood of books and articles that continues to this day.
Question: What reviews did he get?
Answer:
a very favorable review by Daniel Okrent in Sports Illustrated.