>> From the Library of Congress in Washington D.C. [ Silence ] >> Good afternoon everyone. I'm Peggy Pearlstein, head of the Hebraic section in the African Middle Eastern Division. Welcome to today's program, cosponsored with the Library's Packard Campus of the National Audio Visual Conservation Center. Our program marking Jewish American heritage month features an introduction by filmmaker Aviva Kempner and film clips from her newly expanded documentary about the Detroit Tigers baseball hero, Hank Greenberg, who was a beacon of hope to American Jews who faced bigotry during the Depression and the Second World War I remarked to someone as the audience was beginning to fill up in the seats and I said, "I've never had an audience of mostly men before." [Laughter] But, of course, it's the subject today. And I don't think I've ever had an audience with such a wonderful age range too, from someone who must be about 6 or 7-years-old, all the way up to people I know in their mid-80's. It just goes to show that baseball appeals to everyone. Aviva's first full-length documentary told the story of the Partisan's of Vilna, the Jewish men and women who were fighting the Nazi occupation in Vilna, Lithuania in World War II. In 2009, Aviva came to the Library and discussed and showed film clips from her film "Yoo-Hoo, Mrs. Goldberg" about Gertrude Berg, the well-known radio and television personality who created, wrote, and starred in the 1930's radio show and 1950's television comedy show called "The Goldberg's". Last year, to celebrate African American History Month, the Hebraic section and the rare book and special collections division cosponsored a preview of the Rosenwald Schools. This is Aviva's project about Sears, Roebuck founder and philanthropist, Julius Rosenwald, who joined with African American communities in the South to build some 5,000 schools for them in the early 20th century. And that film should be out by the end of the year. Aviva's currently working on a film about Larry Casuse, drawing attention to the plight of the Navajo peoples in this country. Today's film focuses on the ballplayer whose achievements rivaled those of Babe Ruth and Lou Gehrig, who helped to break down the barriers of discrimination in American sports and society. When it was first released in 2001, the film received several awards and was nominated for an Emmy. The newly released DVD edition, for sale following the program, includes over 2 hours of new extras and interviews with Ted Williams, Walter Matthau, and Justice Ruth Bader Ginsburg, for example. I want to welcome Aviva who will talk a bit before showing film clips and then she'll be able to answer your questions following the clips. Aviva, welcome. [ Applause ] >> Thanks so much Peggy. It's a real honor to be here because quite frankly I could not make my historical-driven films without institutions like the Library of Congress, so thanks so much. And joining me and taking a picture right now is Michael Grohls [phonetic], my associate, who's a researcher and also Janet Freeze, my lawyer and friend, so it's nice to be among friends and let me start off by saying, asking, how many have seen the film? [Pause] Whoa, not enough. Well there's DVD's out there. I want to explain why a new DVD of Hank Greenberg, and if you read the Sunday New York Times it was listed as, you know, a new release. What happened is the film was finished in 2000. And it actually took me 13 years to make and it's about raising the money, I called it my bar mitzvah film [laughter], and in recent years, I would be at events and there'd be young boys sitting in the audience and one raised their hand and said to me, "Was Hank on steroids?" And I was so taken aback thinking this is the modern-day context about baseball players. And this is, they don't know about the wonderful golden age of baseball when games were played during the day and players made, you know, very little money and they went by buses between stadiums and no one played beyond St. Louis. So I decided, you know, I really want this new generation of kids to see, to see the film. Because one thing I was very proud of is how grandparents would take their kids and then their grandchildren to, to see the film. The second thing happened is there was a deal made to distribute the DVD and to suffice it to say it was not a very good deal, they stopped doing it, it's still in contention and I realized that unless I, my 501c3, went back and did a new DVD it would be lost to generations. And as we speak today, the Avalon Theater, which is the oldest theater in Washington, is switching from reels and showing 35 millimeter to digital. So, you know, that era of prints, you know, the prints I still have left are donated to different institutions, so it was going to be the only place people will see the film unless I did something like this. Well, the other thing is, me, as a filmmaker, is I shoot too many interviews. There's so many people I want to talk to and they tell so many stories, and I decided that the film would be a tight 90-minute film, but then I had all these extras that I had never used before, including a phone interview with Ted Williams, and that's with Ted before he died. For those of you [laughter] for those of you who know about how he's frozen, yes. You know, I just said that joke at USC among young kids, no one laughed at all, they totally did not get it. So I, I was worried about even using that line today. Now the other thing is when you're going to do a film about Hank Greenberg, and that's been a beauty about making my films, I didn't know, like when I did the film on Gertrude Berg and the Goldberg's, that the end story would be the blacklist story and a new dramatic story that I didn't know about. When I started to do the film on Hank Greenberg, and how many people besides myself grew up in Detroit. Ah. We'll have to talk later about what high school you went to. In any event, when I grew up in Detroit, my father, who was an immigrant Jew, would always tell my brother and I about Hank Greenberg, especially now playing on Yom Kippur. As a matter of fact, our holiest service is Kol Nidre and when my dad would drive us to Kol Nidre, he would talk about Hank Greenberg so much year after year I thought Hank Greenberg was part of Kol Nidre services. [Laughter] So when I heard on September 5, 1986 that Hank had died, I decided that I had to make this film. So when I made the film, as I said, I, I did way too many interviews, but I also stopped at a certain point, and I'm going to specially mention that today, the film ends with this great story, Hank is unfairly traded from the Tigers, that's not the great story but I'll set it up, his last year he's waived into the National League to the Pittsburgh Pirates, which means in 1947, which is his sunset year, the, he's in the National League and back then only the National League teams played each other and only the American League teams, which I actually think should still be true, [background conversations] but that's another whole discussion. In any event, it turns out it's the first year of Jackie Robinson. And they're playing the Dodgers May 15, 1947, so it's this week, and Jackie, wait, hits a ball and comes to first and Hank's playing first base, and they collide. So here we have the players colliding. If it had been any other player, for those of you, how many people have seen 42, it probably would have been, you know, a brawl on the team. But it was Hank and he went out of his way to help Jackie out and also help him just saying, you know, just keeping going as you're going, I really admire you, don't let them get to you. Because no other player besides Jackie Robinson understood greater what it meant to play with horrible catcalling from the stands, from the opposing team. And afterwards, Jackie was interviewed and he said, you know, they said what did he say to you? And he said, he has class. He encouraged me, he has class all over him. It was like the one opposing player. Now, of course, I would have loved that scene be in 42, but it sort of didn't fit in, sort of what's happening in terms of the dramatic [inaudible]. In any event, that's how I ended the film, which means I never talked about Hank's great managerial years, especially with Bill Veeck with Cleveland and the Chicago White Sox, and of course we know the great story of Jackie Robinson, but did you know that Larry Doby was the first African American to play in the American League and it was Hank Greenberg and Bill Veeck who hired him and also Satchel Page bringing him from the Negro Leagues. So they're, they were the first ones to integrate the American League. They also brought all kinds of unique things like Women's Day and the scoreboard flashing in the stands. So that's a new thing that I have on the new DVD. And then I said, of course, I have Ted Williams and, not far from here, our Senator Levin and Congressman Levin who grew up in Detroit. So more of them, more of Walter Matthau. And then, out of the blue, I go to film, Justice Ginsburg at the Supreme Court across the street, as a matter of fact, I go in and I say Justice Ginsburg, I've just made a film about Greenberg, now I'm doing Goldberg, maybe I should do Ginsburg next [laughter]. It would be like a Jewish law firm [laughter]. So anyhow. And actually people asked me why did I go into filmmaking and I always say that I thank the D.C. bar for making me a filmmaker because I actually came here to go to law school, but I didn't pass the bar, I don't test well. So after I filmed Justice Ginsburg, because she said to me, you know, we have a Hank Greenberg rule here at the Supreme Court and I said what is it? And you're about to see it, because it's in the extras, and then I went home that night and e-mailed everyone I knew who I went to law school with or was a lawyer and I said, you know, Aviva finally made it to the lawyer's lounge of the Supreme Court. I just did it my way [laughter]. That's always my best joke, so, in terms of the Ginsburg film. Also I was able to get an interview with Jerry Reinsdorf, the owner of the White Sox, and Minnie Minoso also one of the first player's to be hired. Are we showing that? No we're not showing that today. And like I said, there was a whole concept of the golden age of baseball, a whole philosophy hitting in that period, you're about to hear about that. But I think Yom Kippur, [inaudible] the department that's interviewing me today, and Jewish Heritage Month. Although I have to say growing up, does anyone remember Jewish Heritage Month? >> It's only 7-years-old. >> Oh okay, you know, it's good for me in terms of my films. In any event, I would say that Hank not playing on Yom Kippur, let me set this up for those who haven't seen the movie, but are going to buy the DVD when you go out [laughter]. Or those who don't remember the movie is going to buy the DVD. Hank Greenberg in '34, he's in Detroit playing. It's a pennant race and he's their top hitter. And he's got to decide whether to play on Yom Kippur or not. He does not, he goes to synagogue, they lose the game, but they still win the pennant. In any event, it was for the first time America really heard about what Yom Kippur was. And it's even more significant because in Detroit then, Henry Ford was [pause] sending out the pamphlets of protocols of Zion, free, at his dealerships and Father Coughlin was beginning to spout both anti-Semitism and racism in his radio broadcast. So it's sort of ironic that the most openly Jewish player didn't change his name or anything, would be playing in Detroit and making that stand. There's also, how many of us are Senators/Nats fans? Well, I had this great Nats, a Senator story, and that's now in the DVD. And we'll see a little bit about that. And then the whole significance of what Hank meant in terms of Jewish pride. I mean what I liken it today is remember when Lin was playing for the Knicks? This Chinese basketball player, and very much, I think like Latin players today, I mean it just really means a lot. Anyhow, I'll have some more comments. Let me just make one caveat. I did go back and did these extras, which meant that I had to go Coopers, raise the money, go to Cooperstown, bring back the work print. This film was shot on film. And then we worked, and worked print, which is copies from that, so there are some scratches on it. It isn't the pristine quality of the film, and then we edited it together, but I didn't really have a budget, so in the film itself we have the great music of the 30's and 40's, the Andrews sisters, Benny Goodman, etc. etc. In the extras we don't, but it's really the stories. We tried to put together as much as possible and I think we actually looked for some photos here too. So I do thank the Library of Congress. So we're just, there's over two and half hours of extras. I made about 20 minutes that's going to skip to different topics, so enjoy the extras. As I told Peggy, this audience is the first audience to see the longest version of the extras ever. [Laughter] [ Silence ] >> We had 8 teams in each league. And the average baseball fan knew the lineups of every [pause] team in the league. Because you only covered 8 teams in your league, you got to know the ballplayers, you got to know the managers, you got to know the cities. We were in each city 3 times a year, and all on trains, and you began to have a intimacy with the ballplayers. We had our own dining cars and club cars and the trains always ran on time as distinguishably horrible waits you have in the airports. >> Hank Greenberg played in what might be termed the golden age of baseball back in the late 30's and early 40's and the competition in homerun hitting was really intense then. Hank went up against guys like Lou Gehrig and Jimmy Fox and Babe Ruth a little bit before Henry came along, but still a contemporary and they're all a great homerun hitters and the competition was really terrific. And Hank held his own against those great sluggers. And he was one of the great homerun hitters of all times, there's no question about that. >> There was a religion in baseball, perpetuated by John McGraw, the Giants manager, and Ty Cobb, the great Tiger hitter, that said, in effect, that homeruns were sort of sacrilegious. That the way baseball was supposed to be played was to get one run at a time. You singled, you stole second or were bunted to second. You moved up on a ground ball to the second baseman and scored on a sacrificed plot. >> Of course I led on for the Tigers and I had two people behind me, left-hand hitters. It was Charlie Gehringer and Mickey Corcoran. And I was not a base stealer, for the simple reason, they wanted me to hold the first baseman on first base and that's when we had to hit and run. We played a lot of that. Today, they run with 10 runs behind, 10 runs in front. It's a different game entirely. >> Well, here came Babe Ruth hitting all these homeruns in the 20's and these traditionalists thought it was evil. Thought it would destroy the game. Well, fans thought otherwise. They came out to watch that and so other young men, boys like Hank Greenberg, like Jimmy Fox, started to emulate Ruth. They realized homeruns were not only had you made money, but how you won games. There's rather common sense to this. A four-base hit scores more runs than a one-based hit. So baseball evolved rather rapidly from the one run at a time style of John McGraw, the old Giants manager, and Ty Cobb the great slash and run Detroit outfielder, into the power game, which won pennants. The Yankees had done it and continued to do it with Ruth and Gehrig and then with DiMaggio and then came the Tigers with young Hank Greenberg in 1930 and 1935 and again in 1940. Greenberg was the power centerpiece in a lineup that was otherwise a great hitting lineup, but not a great power lineup. Greenberg provided the power, enough of the power to put the Tigers almost on a par with that great Yankee dynasty team. >> I think Hank wanted, the number one hit the most homeruns and number two, have the most RBI's. So that each time he went up to the plate with what he wanted to do in mind. And every time a guy got on first base and Gehringer hit in front of Greenberg, and there were less than two out, Greenberg would say get him to third Charlie. So that he could hit the long fly ball. I don't think the long fly ball was a sacrifice fly in those days. So when you hit a lot of runs in and a lot of more fly balls and you hit 320 besides, you were doing quite a job and to Hank, those were the two things he wanted and those were the two things he did. >> I recall many times that Hank hit balls up in the centerfield bleachers. Which isn't done. There are players that have done it, but fellows like Jimmy Fox did it. [Pause] Hank, it wasn't unusual if he hit one up there. And when he hit a ball, you could really tell that it was going into the seats. It wasn't a case that, very seldom did he hit a ball that it just made it into the seats. It was 20 rows back. >> He didn't hit those smashing line drives that just got into seats real fast. He was a fly ball hitter. But he hit long fly and of course he's got to hit a long fly to get a homerun. And he was conscious that when he hit the ball good in the air, things happened. [Inaudible] and I think it's just a big fly, I've got to go back a little more, then a little more. And it kept going and hell it's in the third deck! His ball carried. >> No question, Ted Williams was a finer hitter. He was probably the most scientific batter that ever lived. He, as you know, detested the pitch that was an inch outside and other players like DiMaggio would have turned it into a winning hit and [pause] Ted insisted that he be pitched to in his own way. Hank was not averse to jumping on a high pitch sort of thing. He wasn't a smooth hitter that Ted Williams was. But in terms of power, [pause] Hank was the big winner in that department. In those times, you know, they used to measure who hit the longest homeruns, Gehrig, Ruth, and they also mentioned Fox and Greenberg. And he was among that fellow. So at one time I asked Walter Johnson [pause] who he thought was the longest hitter and in his typical country way, Walter says to me, well Shirley, let me tell you this, he said, all I can say is those balls Ruth hit got smaller quicker than anybody else's. But for Hank Greenberg to be in that bracket was an importance all on its own and Williams was never classified thusly. >> Pretty near all hitter, they've got God-gifted ability. They hit the ball and they got the good position and bam, they got everything going. But what separates a lot of guys that have that ability and becoming great is their thinking and correcting and making every time at bat or every swing a better one and a corrective swing over the time before. I got to shorten up and quicken up. [ Inaudible talking ] >> Greenberg could be struck out. A lot of pitchers used to say, just give me a chance, that's all. All I have to do is throw a good high, tight fastball. I heard them talk about that, but I also saw him when he talked like that, there's another one going in the upper deck and it might have been a curve, it might have been anything, but he had such good all-around power and ability and smarts. And smarts. And smarts. That he just didn't let him get by with the same thing all the time. And that was one thing, if anything impressed me, was the fact about Greenberg. I knew he was a smart hitter. >> Both Ted Williams and Hank Greenberg had a similar approach to hitting. It was both scientific and artistic and I would imagine that in any field, both those elements have to combine. I mean scientists have to have a certain sense of poetry and art and I guess artists have to have a certain sense of science. And in baseball, particularly in hitting, these two elements combined. Both of them worked hard, sweated at their, at their jobs, and both of them thought a lot about what they were doing, but also, they knew that they had to have a certain ease, a certain grace, a certain beauty to what they're doing to be effective. >> He always wanted to talk about the game and always wanted to talk about the pitchers and the hitters. >> Well, I don't know it's just a swing and it happened to hit the ball in the right spot and why you have a homerun. >> Just an absolutely great guy. I thought an awful lot of him. >> Hank would always tell him, you just have all this talent, you run like a gazelle, but why don't you work on your fielding? You're a terrible fielder! And Ted would say, I'm paid for hitting, not fielding. And he couldn't care less about the fielding. And they'd have these arguments. He said, Hank you're paid for hitting, you're not paid for fielding. >> Hank was [pause] not a real fancy fielding first baseman who's a big guy, a wonderful target, he was dependable. But hitting was what Hank Greenberg was really known for. >> He was a good first baseman. He was a good first baseman because he was so tall. He could reach so far. And he was so competitive. You'd never win a pennant with a first baseman who had short arms. >> In 1940 when the Tigers moved Hank from first base to the outfield because Rudy York could only play first base, they wanted his bat in the lineup and Hank was not really happy with it, but once in the outfield he was determined to be the best outfielder he could be and he asked various players for advice. One of them was Joe DiMaggio who was probably the best outfielder of his time or maybe of any time. Joe DiMaggio told Hank, when you come in on a ball that's been hit like a single, you sort of float in. Hank, I know, thought this was humorous because where DiMaggio was this beautiful, graceful player, Hank was a little clunky. DiMaggio could float in on a hit, but Greenberg was, as he said, he was lucky if the ball didn't bounce past him so he just wanted to catch it. >> He thought DiMaggio was the greatest all-around player that he ever saw, bar none, with Willy Mayes a close second. Ted Williams I think he thought was the greatest pure hitter that he ever played against or saw. I think he would not put himself in their league, although I should tell you that far above both of them, or all of them, he would put Babe Ruth in a different league all together. >> When you look at the right-handed hitters in history, you got to first go to Willy Mays who may have been the greatest player of all time. I personally think Babe Ruth was for reasons of charisma and what he did, charisma, it's my New York accent. What he did for the game. Mays first, possibly Aaron second, but somewhere in there, you got to put Roger Swansby [phonetic]. Roger Swansby was a, was demonic kind of hitter. He was awesome. Joe DiMaggio because of his greatness. But maybe in rounding out the top five, and I don't think you can put Mantle in there, because he batted both ways. Frank Robinson, a great hitter, maybe Frank Robinson and Hank tie for fifth place. And that's the way I would put them, in that order, but can you imagine being ranked with men like that? [ Silence ] >> I remember him telling me something that really made an impact with me. He said in all of the time he was playing, he always tried to keep his nose clean, which meant that he'd never wanted to get into any kind of trouble or anything, because he always knew that the Jewish community was not only looking at him, but other people were looking at him and whatever his [inaudible] was going to be, people were going to say, ah hah! This is the Jews act. >> I believe he was the one figure who restored the greatest pride for all people of the Jewish faith. Because they had so much to, to admire in this man who outside of being a nice guy, which may or may not have been generally known, there he was out performing with a big stick. You know? And that's one way to get your attention. Even at 58 homeruns. >> In many ways Hank Greenberg was the most important Jew of the 1930's. More important than Felix Frankfurter and Louis Brandeis and Bernard Baruch and Benjamin Cardozo and the various professors and Nobel Prize winning scientists. They were all very important, but they played to type. They all fit into the Jewish stereotype of the brilliant Albert Einstein type, but not Hank Greenberg. He was the big, giant lug of a man who made it through the strength of his, of his arms. He wasn't even that refined a ballplayer. He was a big, powerful hitter who made it by strength. And defying that stereotype is the first step to ending prejudice. >> My dad is the subject of quite a bit of methodology, especially in the Jewish community. There are people who have heard stories about him for generations literally, and read about him. And many people I think want to make him a very simplistic character. He was the man who stood up against anti-Semitism and who hit homeruns during Hitler's heyday, and tell a simple story of Hank Greenberg. Almost a morality play. In fact, he was a very complicated person and a very complicated person to be the son of. I love him for his public myth and legend and some of its true, but I love him more for his humanity. He was a complex person who had insecurities like everyone else. He was a father who wanted to pass on really the lessons from his mistakes more than his success to his children. And he did that with my sister and my brother and me. Certainly with me, and I will remember him more for his private side and that human side than I will for the, the mythology of Hank Greenberg, as much as I try to perpetuate from time to time, but he really was a complex person who achieved an incredible amount during very, very difficult times through sheer determination. >> We are able to cheer for the best regardless of what they look like or what they're religion is, because guys like Hank Greenberg, guys like Joe Lewis. Those other minority athletes ripped those barriers down and all we cared about is kids was who could hit, who could field, who could throw a football, who could throw a baseball. That's what counted for us and we learned the lessons of democracy watching people of different origin, different race succeed and overcome barriers and making it clear to us what counted was how good you were on the field and not whether you were black, white, Jewish, non-Jewish, or whatever. [ Applause ] >> So, again, everything you just saw is not in the film. So you can see all these rich, wonderful interviews. Although I have to say, I wished I had used Ted's voice. You know, if I have one regret, I wish I had been able to do that, and what's also fascinating, you know, 45, people know about the Holocaust, the war ends and still you would have those kind of players saying things in '45. Of course now we wouldn't have that. I think the other, just because there was something wrong with the sound, there's one more story Hank Cohen told about his father. He was saying, you know, his father was wined and dined when he came and played for the Giants. In fact, he gained so much weight, he couldn't, he wasn't, he wasn't in shape anymore to play, but the famous story of his dad was that he was playing in the minor leagues and one of, someone from the stands kept on yelling, you Christ killer, you Christ killer. And it so unnerved him he turned around with his bat in his hand and started running up into the stands and saying, okay, now I'm going to kill you [laughter]. I mean he just couldn't take it anymore. I just think that what we'd try to choose, was give you a sense of how baseball was played back then, but also because it's Jewish heritage month, about how much he was, he was in the country and I think what's really good for me having grown up in Detroit, is it is also the most positive thing about Detroit to come out in film and otherwise, so I keep on wanting to do that. There's also a new book on Hank Greenberg, John Rosengrant's, that I hope you'll get. Again, the DVD's are out there, it's not too early to buy, well it's too late for the Mother's Day present, but the Father's Day present, the birthday present. And what I like most of all is that different generations do watch it. Anyhow, I'm open for any questions either on that or the new film. [Pause] Yes? >> In the, the scene where he leaves the synagogue, now in my synagogue, that, on that day services would end at 3:30. Is there some knowledge of where he was going? >> He didn't play that day, but he was there most of the game. That, we just happen to have a still of him going down some steps. We don't really have him leaving that actual synagogue, but there's not a lot of shots I have of him in a suit, so we can only imagine that day, but, all we know is he left early. What was interesting, which is in the film, is on Rosh Hashanah he did come to services again, you know, earlier, but then he went and played and hit two homeruns. And the canto [phonetic] turned around and said, you know, asked some of the people, how's Hank doing? [Laughter] So. It was, I always make the joke that I think the transistor radio was infected by a Jewish man so he could put in his towel, his prayer shawl bag and to listen to the game. But back then what they did, there wasn't, they would, they'd send the young kids to go to the car radio to listen while it was happening. And actually it's very interesting and seen in 42, you hear a game being played on the radio in the African American neighborhood and every, house-by-house you could hear the radio going on, which is, is a line in the Hank Greenberg, that you would go in the Jewish neighborhood and you could just hear on every porch, you could hear the game going on. I could remember my dad sitting there with the transistor and listening to a game. Because I think that was, I'm sure back in the 50's and 60's, not all games were televised, especially away games. I don't think home games. Oh by the way, Hank was part of, and Bill Veeck, part of a revenue share. And since we're in the Library of Congress, we have a scene from, the kid from, or scenes from Cleveland in the DVD where he and Bill Veeck appear talking very stiffly about, to this young boy who's come to the stadium. So, it's fun. Again, I was not able to get, and Paramount was very nice about, not only allowing me to have the scenes for free, but also transferring them. Of course I wrote a letter saying, you know, this is a nonprofit, etc., so it was very nice. And [phonetic] happens to have grown up in the Bronx, so maybe that worked. Jewish in the Bronx, so. Any other questions? Yes? >> I grew up when Hank Greenberg was playing. >> Great. >> And there were six Jewish ballplayers in the Major Leagues at that time. Harry Islerstaff [phonetic] was one of them and Greenberg was one. And I have trouble remembering. >> Well there's someone named Reese that, but his last name wasn't Reese, he changed his name. I know that. >> Buddy Myer. >> Buddy Myer, yeah. >> Moe Burg was playing. >> Moe Burg, well a little later. Yeah, Moe Burg. >> Moe Burg. >> Who you know could speak 12 languages, but not hit well in one of them or [laughter]. Bad joke, yeah. >> Is Greenberg memorialized in the new ballpark? >> Yes. There is a statue of him there. And, if you go to Nats Stadium there's a nice painting of, you know, a column with his painting on it. >> When Greenberg was traded to Pittsburgh, they moved the left field stands in. >> Right. Greenberg guidance. That's in the film. So if you haven't. Yes sir? >> For your next project, you should do a film on Moe Burg based on the book, The Catcher was a Spy. >> Yeah, no, I know Nicky Dawidoff, it's a great book. If you want to fund it, I'll do it in a minute. [Laughter] But my understanding is that there has been several projects in the work to make the dramatic film, including one that George Clooney was involved with. So, but it would make a great film. [Background Comment] Yeah, no. It is a great story. Yeah. Well thank you all for coming. [Applause] There's hopefully DVD's out there. Oh, by the way, because employees get a discount, you'll get, you'll get the DVD cheaper here than ordering it online so. Remember that. Such a deal. Yes. Thank you. [ Applause ] >> This has been a presentation of the Library of Congress.