The art of baseball: Dick Perez, Marq Evans, and The Diamond King

For over 20 years, Dick Perez was the official artist of the National Baseball Hall of Fame, painting the game’s history and every Hall of Fame ballplayer—a project he continues into his 80s. Marq Evans (Claydream, The Glamour & The Squalor) directed The Diamond King, a documentary that tells the fascinating story of Perez, the “Picasso of Baseball,” whose portraits transformed the commemoration of America’s most iconic pastime.

In this episode, Evans talks with Washington State Magazine editor Larry Clark about Perez’s life, making the documentary, baseball, and art.

Find out more

The Diamond King official website

Trailer for The Diamond King

Dick Perez’s website

“Collecting the Diamond Kings” (Summer 2025, Washington State Magazine)

Transcript

Ep 39 The art of baseball

Marq Evans: [00:00:00] The way that I'm kind of describing is that it's a history of baseball, as told through the life and work of baseball's, Picasso, Dick Perez. So Dick Perez has painted literally thousands and thousands of baseball paintings. 

Larry Clark: Dick Perez has illustrated baseball cards for decades, and as the official artist of the National Baseball Hall of Fame for over 20 years, pinged the game's history in every Hall of Fame ball player, a project.

He continues into his eighties. In his new documentary, the Diamond King Director Mark Evans tells the inspiring story of Perez whose portraits transformed the commemoration of America's most iconic pastime.

Welcome to the Washington State Magazine podcast. Bringing you stories of Washington State University alumni and more. I'm Larry Clark, editor of the magazine. I talked with [00:01:00] Mark a WSU business alum about making the documentary Perez Baseball and Art.

Marq Evans: My name is Mark Evans. I'm a documentary filmmaker. Um, mostly I al I also teach film. I also work on other projects that I think are fun. But, uh, you know, we're here talking about a documentary and that's kinda what I spend most of my time on. Uh, Washington State business graduate in 2003. 

Larry Clark: Really excited to talk to you, Terry, today about the Diamond King, which is your third documentary.

Is that correct? Yeah. 

Marq Evans: Uh, thir third or fourth, depending on how you wanna count it. We, I've got a film that I made with my brother that we started in 2010. That was a 15 year journey. That's just now, we just now started submitting it to film festivals. So depending on where you wanna put that, that was the very first film I ever started working on.

But, you know, so I made three feature films, couple of you know, short films and stuff in the meantime. And then now we finally finish that one. [00:02:00] 

Larry Clark: So before we start about the Diamond can, talking about the Diamond King in particular, what's, what's that film that, um, that you're now getting out to festivals?

Marq Evans: Yeah, so, um, it, it was really, this film was like my film school. So 2010, um, I had, uh, kind of already had a career going in with like sales and sales management and um, you know, I was doing pretty well professionally, but not. Loving what I was doing. Um, you know, not feeling, feeling super fulfilled and wanted to do something, maybe a little bit more creative, maybe a little more entrepreneurial.

Uh, it just so happened that my older stepbrother had been in the film industry, you know, kind of like, you know, started sweeping floors, getting people coffee, and he'd started to kind of work his way up. He made a film and like 2007, I think called Americano that he directed and produced that starred, um, Dennis Hopper or Joshua Jackson.

And so, um, you know, he kind of did all that, uh, you know, the, the, the heavy grunt work to, to, to get going in that career. And I was doing my other thing and then, but we had kind of talked about maybe doing something together and I had started, [00:03:00] started, um, being involved with some of his commercials that he was doing and really liked that process.

And so, um, what happened was in January, 2010, um. There was the big earthquake that struck Haiti right around that same time, like, I think it was four days later, uh, my stepdad, so my, my stepbrother's dad passed away. And so there was like something like kind of emotionally that connected us, um, as we're together, you know, for like funeral and everything to that story that was happening in Haiti eventually drew us there.

Uh, for what we didn't know. We, we just, so we, we kind of decided, um, let's go take some cameras and, and film and see what happens. 

Larry Clark: Well, let's turn to the documentary that I, that I've watched pretty recently, uh, the Diamond King, and this is a, a fascinating story. I am really curious about how you found this story, how you ended up doing it, and then learning a little bit more about the process as well.

So, first of [00:04:00] all, have you always been interested in baseball? 

Marq Evans: Always been a baseball fan, played baseball all through my youth, played through high school, um, went to Richland High School. Um. 1999, we won the state championship. So, and kind of, you know, that was like the beginning of a bit of a dynasty that Richland has had.

I think there's like six state championships now. Um, and so, and, and had some opportunities to play in college. Um, I was a little bit burned out by then. I had a, i, I was a pitcher, had an arm injury that I was gonna have to kind rehab from and decided, decided to, uh, hang up the cleats and, which is, you know, and then ended up at Washington State, which I, I wasn't gonna play baseball there.

I was, it was kind of smaller schools that I was being recruited for. And, but, but baseball's always been my favorite sport. Um, I got away from it a little bit, like in my, maybe like. Late t mid to late twenties, early thirties, but then started getting back into it. And then, uh, my wife and I had our son who's 14 now, but he didn't really get into it until like four or five years ago.

And, uh, so once he got into it and [00:05:00] we're, you know, Seattle Mariners fans, um, we all as a family really got back into it. So that, that's been a lot of fun. And then also it directly led to this film, the Diamond King, which is about, um, an artist named Dick Perez. So it's the, the way that I'm kind of describing is that it's the history.

It, it's. It's a history of baseball, as told through the life and work of baseball's, Picasso, Dick Perez. So Dick Perez has painted literally thousands and thousands of baseball paintings. Um, he was the official artist of the National Baseball Hall of Fame for over 20 years, which has kind of, which had afforded him a lot of his opportunities to paint the whole history of the game from the 18 hundreds until today.

And, uh, but, but when I first kind of came across this story, I didn't know any of that. Um, how it happened was. My son and I were looking through my old baseball cards and I came across some cards that Dick Perez painted in the eighties and nineties when I was a kid collecting, and those cards were called the Diamond Kings.

So he painted those from, uh, 1982 to 1996. And they were hugely popular cards as part of [00:06:00] the, the brand that made those was Don Russ. And, um, he did one player for every team every year. Uh, and one thing I just kind of put together recently was when you do the math, because. So he did 30 paintings or 26 paintings.

And then when there was expansion, he ended up doing 30, um, every year. But those were printed each one of them millions of times because the baseball card explosion happened around then. So he, he has literally billions of these cards of his work that had been reproduced, which probably puts him right in the top, just handful of artists in the history of art, um, when it, when it comes to reproductions, which I, I, I find kind of fascinating, but.

When, when I was looking through these cards with my son, uh, it just, you know, right away it took me back to my childhood. I hadn't seen him for a long time and, you know, here's a, a painted baseball card of like King Griffey Jr. Bo Jackson, some of my favorite players as a kid. And it was just the thought of, oh, I wonder what the story about this artist is Like, that's, that's, you know, that's how it all started.

And then he's got a [00:07:00] great website, Dick perez.com, where you can get kind of lost for days just looking at all the art that he's got on there, which is what I did. I, I went to the website and. Had I had, I discovered that this was the guy that did the Diamond Kings, I would've been like, oh, cool. And I learned a little bit more about him, but that would've been.

It, you know, I, I wouldn't have thought like, oh, that's, you know, this is a documentary film, but that's where I found out about, you know, that he had painted the whole history of baseball. Thousands and thousands and thousands of paintings. He had, he had a really unique and interesting life story that was kind of detailed on the website a little bit.

And so pretty quickly, like that day I started thinking that this could be, um, something a little bit bigger than just, you know, curiosity. Like it could be an actual movie and, um. I emailed him, I think that day. I found an email address on his website, emailed him that day. He got back to me within like a day or two, and then we had a conversation and hit it off on the phone and we just kept it really casual, which was, um, I was gonna, he, he lives in Brooklyn and so I was gonna be in New York already in like a month and a half.

And so [00:08:00] I said, why don't I just stay a couple extra days, bring my camera and we'll shoot, you know, we'll shoot a little bit and see how it goes and, and see if we get along. And we did. We hit it off right away. Got along really well, and um, that's how it all started. 

Larry Clark: Oh, that's, that's great. Don't you just love it when you find a story like that?

Marq Evans: Yeah. And, and I think that's what it is. Like you've got to love the process and enjoy. And you kind of asked about that too, like what was the process? I mean, really that's gotta be first and foremost, is just enjoying what you're doing. Um, you know, in documentary film. Any sort of art, right? There's, um, you know, there are ways to make money.

There's certain projects that are financially lucrative, but also, like, you never know. You never know what those are gonna be. And so beca and there's so many things that you can't control or predict in the marketplace. And so, uh, first and foremost, you've gotta really find something that you're gonna enjoy doing and, and.

Getting back into baseball, have, you know, getting into this story because of my son and then hitting it off with Dick and just being able to make something, you know, where I'm surrounded with [00:09:00] baseball art, I, I felt like, you know, this, this will be a fun project to do. And then, and then the, and, and Dick and his family are just great people, so getting to know them and, and, um.

You know, the, the, the process was actually pretty fast for me. It was just a little over two years to make the film, which seems like a long time. But it's also not for a documentary for a feature links documentary. Yeah. So I mean, the process really is like what's gotta be most important first and foremost having, having fun with it and that's the part that you can control.

Larry Clark: This film really kind of shows. The other side of that too, with Dick Perez himself and the joy he had in his work. You know, I, that's one of the things that really struck me about the documentary is how warm it was and how enthusiastic he was, not just about baseball, but also his role as an artist in creating these.

Beautiful pieces that, yeah, I, I asked him when, I don't, it's in, 

Marq Evans: I don't think it's in the film, but I asked him, you know, would you, would you, uh, would you prefer to be thought of, remembered as a great artist [00:10:00] or for your contributions in the history of baseball? And, and immediately he just said, artist, you know, like he's an artist First, his subject matter just happened to be baseball.

He loved baseball, loves baseball still. I mean, it's his kind of first love. He wanted to be a baseball player before he was a painter, but. Ultimately, it's also just the thing that kind of like Fortuity led him to these jobs, painting, baseball, and, um, but you know, he's a painter first, and Yeah. And you see the, the love, I mean, somebody in the movie, um, John Thorn, who's the, um, official historian for Major League Baseball, he says, um, you know that, that his work is love on canvas.

You know, and, and I think you really see that. And, and that was one of the things that we had to kind of figure out in the making of the film is how do we honor the art? And is there a way to kind of even like, um, do something to it? As a film where we're not hopefully distracting, but we're even elevating a little bit.

So you, I'm sure you notice there's like, you know, subtle movement in the paintings. You know, like if a ball's being pitched, like it's moving. And so trying to bring it to life a little [00:11:00] bit, even though like the work, even though it's a painting and it's static, it has life. But we wanted to see like, can we bring it to life a little bit?

Um, and uh. And I think we did a pretty good job with that. So does Dick. Uh, which is good. You know, I, I did wonder, like, what's he gonna, what's he gonna think when he sees, um, you know, what we did to his art? But, uh, one of the things that was awesome about this whole process was from early on and throughout, he, you know, would, would reiterate like, no matter what I want to do, it's mine to do.

He's not gonna step on anything or make anything difficult or say no to anything because as an artist, he doesn't want, he wants that freedom. And so he wanted to make sure that I was afforded that freedom as well too. Which was, which is great. 

Larry Clark: That's great actually. I had that on on my mind. I asked to ask you about the effects, which I found really good.

Very subtle. But at the same time, just that little bit of movement that brought the, the already lively paintings to defer their life. So I really appreciated the, the effects in there. 

Marq Evans: Yeah. Thanks. And, and I think what I wanted to [00:12:00] kind of try to do was allow people to imagine even more that, that.

Painting is happening and it's live and it, and, and it's like you're, you're at this game that just, you know, is happening in, in, in a painting because there's not actually one frame of Major League baseball in the whole movie, you know? Um, it's all, it's all painting. There's a little bit of baseball archival, like 1950s Harlem, which was, you know, would've like, kind of been.

Dick playing in the streets with his friends in the, in, you know, the early 1950s in Harlem when he came there from Puerto Rico. Um, but there's no, there's no actual like, professional baseball being played in the whole movie. It's all, it's all shown through paintings. But I wanted to kind of have the viewer feel like they're watching baseball.

Larry Clark: Yeah, I, I could definitely sense that. And I also really liked how you told the history of baseball, like you said, through art and really looking at, at every aspect, including, you know, when baseball [00:13:00] had to break out of its older traditions and start accepting, you know, black players and expanding and becoming even more of America's game.

Was that always in your mind, you know, as a way of kind of storytelling alongside maybe parallel with Dick Perez's story, the story of baseball and his transformation? 

Marq Evans: Yeah, really from like the day that I had an idea that this could be a film I. That component was, in my mind it was, it was what, what can I add on top of like, Dick's story, which I was inspired by, but I felt like, I, I don't wanna say it wasn't like enough for the film, but I just felt that the best film had to have like another layer to it.

And so, and, and when I realized that he had painted again thousands of paintings and that literally, you can look. At his work, and you can get a history of baseball. You see how the game started in the, in the late 18 hundreds. How it changed from the uniforms and the signs at the fields and the stadiums themselves to the, the players on the field, you know, starting out, you know, [00:14:00] entirely white.

And then, and then, you know, with black players, with Latin players, um, how it's all changed scoreboards, people in the stands, you know, all of the, how they dress. You can see the entire history through his work. And, and one thing I realized. Kind of more recently too, we're getting ready probably in um, July.

I think we're gonna do a couple screenings in San Francisco with the San Francisco Giants. And so I thought, oh well. What does it look like if we look at Giants paintings that Dick did, going back to the New York Giants, which, you know, they were, you know, from the late 18 hundreds, early 19 hundreds, uh, before they moved to San Francisco.

And sure enough, you can see a whole history of the Giants franchise in his work and. And, and, um, you know, I've looked to some other teams too. It's like, yep, you can, uh, he, he has an exhibit at Citizens Bank Park, which is the, where the Philadelphia Phillies play. He's got, I think, 35 paintings there now of Hall of Famers that played for the Philadelphia Phillies, the Philadelphia a's, or that were like Native [00:15:00] Philadelphia area players that made the Hall of Fame.

Again, you see the whole history of baseball when you walk through that exhibit there. So, um, so it was pretty early on. I wanted to do that. Um, a book that had come out fairly recently at the time when I, when I first started this project was called The Baseball 100, written by Joe Kozinski and it was a big time number one New York Times bestselling book and he.

He, um, structured the book by the hundred greatest players. So number 100, for instance, was the first chapter, and it was, um, I think he had hurro as number 100. And, but the way that he writes is, you know, he might not say the name Hurro until like page five of that chapter. It's like got all these other things about baseball that lead up to it, and then ultimately he gets to his little e intro thing, and so.

I liked that idea of, like, in his book, you get a whole history of baseball, even though you're only talking about 100 players, um, or, or focusing on 100 players. So I thought, can we do a ba, a history of baseball, kind of inside of this [00:16:00] Dick Perez movie as, as somebody who's painted the whole history. And we're not touching, of course, on, you know, the whole history, but I think.

When you watch this film, if you're paying attention both with the stories we tell and the visuals that you'll see, it, it's all, it all, it all plays out. So that was, that was kind of what I had in mind from the very beginning. And, and the way to do that was, you know, with Dick's story show as much art as possible.

And, and having this idea of an on-camera narrator that would, from time to time pop up in these scenes that were more specific about baseball, he'd be surrounded by Dick's work of whatever he's talking about. And so we, we were able to, so, so that same rider, the baseball 100, Joe Poz, Naski, I got to write those scenes that ended up being in the Diamond King.

And, um, and then they were acted by John Ortiz, who's an actor that I've, you know, admired and were lucky enough to get from the film as well too. So, yeah, that was all, uh, you know, I didn't have John and Joe like signed on, you know, until later, but that whole concept was from pretty much day one. 

Larry Clark: [00:17:00] Well, I really liked, and I loved, uh, John Ortiz and the way that he presented to as a narrator, you know, added kind of these.

Almost chapter breaks in the documentary. 

Marq Evans: Yeah. The idea was like different things. They'd be like a little bit separate. Still, you know, hopefully not take you out. And then they kind of come together at the end, um, when we kind of break the fourth wall. And it's like, why, you know, why am I narrating the film?

It's, you know, he's, he's a huge baseball fan. And, um, we actually made kind of a dream of his come true recently, uh, last month, uh, in, at a Mariners' game. We, he threw out the first pitch, um, I think it was the, it's the, the movie came out on VOD April 25th, and I think it was April 26th the next day. Um. We, uh, he, he threw out the first pitch in Mariners game for the Diamond King.

We had a little clip up there, but as such a big baseball fan, and as somebody, you know, he gr he dreamt about being a major league player to be on that field and, and throw, throw, you know, maybe not a strike, but a pretty good pitch. He was, um, he was like a little kid out there. I. 

Larry Clark: Kind of speaking of Mariners and stepping back [00:18:00] to Ichi Suzuki, who's, you know, great, great player.

Uh, one of the things I really enjoyed in the documentary were some of these little mini stories that you had captured in there, like the story about Ichi wanting, you know, the, the, the one painting and having himself in that painting. Yeah. Um, I, I loved that, that and the Joe DiMaggio story, which yeah.

Both really fun. Can you talk a little bit about those mini stories within the story? 

Marq Evans: Yeah. And you know, the ER one comes to mind. I'll see if I can think of a few others as we're talking. But those, those just kind of come in the, the interview. So process wise, you know, not, not, certainly not every documentary has interviews.

Um, all mine. Have and do, um, versus, you know, you could do something that's like pure verite where you're just capturing whatever's happening. Um, or, or there's films that are maybe all archival and so you're telling a story that happened in the past all with, you know, archival footage that had been documented during that story.

But, um, [00:19:00] but generally the stories I guess, that I'm attracted to there is gonna be some sort of like, um. Interview component, especially of course if the people are still living, you know, you spend time with them. But let's, you know, I always start out with an interview and you could always, there, there's always, uh, an idea that you could like throw the interview away.

It could just end up being research purposes. Um, but in this case, I think we had like. The, the, the, the main master interview was maybe an eight hour, you know, 4, 2, 4 hour days, back to back days. And then we shot several other ones, like as we were editing, as we realized we needed some things we'd, you know, schedule some times too.

But, um, but those stories just come outta the interview. So, you know, I do as much research as I possibly can to know everything that I could possibly know about. The subject and their story, but then you're just also, and, and then there's things too asking that are like, not, you know, like biographical at all, but more like, kind of deeper.

Um, and, and then you just gotta always be alert and aware of like where the story's going. [00:20:00] What do they reveal that you didn't know, that you were surprised by? And so. Certainly there were some of these, like fun little stories like the I story of Iro seeing a painting of Dick Perez's at the Hall of Fame and wanting to buy it.

Um, they said, well, you can't buy it. It's, it's a gift. It's a, it's the museum owns, you know, it's not for sale. And so. He ended up getting Dick Perez's name and contacted him and said, you know, can you like do this painting for me essentially? And, and, and Dick at first didn't want to really do it 'cause he doesn't, you know, like duplicate his paintings like that.

But ultimately he, he, he talked him into it. And, uh, but before he started he said, but I want you to put me and my dog and my wife in there. And dick's like, well, this painting is 1950s Harlem. You're, uh, you know, you weren't. Hm. Born yet, and you're from Japan. And, uh, and he is, yeah, I know. But, but I love it.

So anyway, so, so he sends dick pictures of him and his wife and his dog, and, and Dick paints him in there. And so it's a fun story. I did try to get a quick interview with I Giro, uh, for the film. And, and he sent a ni you know, a nice to note just saying how [00:21:00] much he cherishes that painting it, you know, hangs in his place in Seattle, but he just never does interviews.

Um, he, I, I'm sure he will be, he's done one with Bob Costas, I think for, um. For a Ken Burns like the, the updated baseball documentary that he did a, a while back. Um, and then, and I'm sure he'll be doing some, he's going in the Hall of Fame this year, so I'm sure he'll be doing some more. But, um, but he just, you know, basically said, I say no to everything, so I gotta keep saying no to this.

And there's, there's a nice moment where Dick talks about, um. Like, uh, Hank Greenberg, who was a star player for the Detroit Tigers in the thirties, um, he ended up getting a portrait, uh, that Dick Perez did of him. And he wrote Dick a nice note saying that he's gonna hang it up next to his go gone painting that he had.

And, and so just kind of fun stories like that. Or when Dick talks about his World Series ring and, you know, uh. P Picasso doesn't have a World Series where Matisse doesn't have one. But, but Dick, but Dick does. So like part humor, part just kind of like telling the story and then, and, and I think it reveals, you know, fun [00:22:00] things about, you know, Dick's character as well too.

And then, and then there are other things like, um. You know, not to give it away to people, you know, listening that haven't seen it. But, uh, there's a thread about his relationship with his mom that, you know, that's not published anywhere. That's not like something that Dick had talked about in interviews or put on his website, and it was just something that came out of our.

Interviews and our conversations and, and it was curiosity for me because I would pick up on some things about their relationship and I just felt like there's something more there that I want to kind of pursue. And it ends up being, um, you know, the leads you to the very end of the film, which is one of my favorite, you know, scenes of the entire film.

And that's something that I had no idea going into. Dick didn't think we, you know, have any idea that that was gonna be the kind of thing that was in this film, but you just kind of, you know, uncover that as you go. 

Larry Clark: Yeah, those kind of revelations were, you know, they really gave some emotional resonance to the, to the story.

And uh, and I loved the, the [00:23:00] comment in the ring. I laughed out loud about that one. 

Marq Evans: Yeah. 

Larry Clark: World Series ring. So do you still collect baseball cards? 

Marq Evans: A little bit, yeah. Um. You know, my son, so he, he, you know, he didn't get into it like when he was like seven, like I did. He, it wasn't until he was like 11, and so he had a couple years where he, where he was really into it and I got back into it with him.

And then this, he's 14 now and this year he hasn't been quite as into it. So I'm, I'm off screen here. I'm looking at like, I got these stacks of cards that would either need to be like. Filed away, or, or we would also like, um, this is kind of fun, like we would sell cards too that like, you know, didn't really mean much to us.

Mostly to be able to buy more, you know, it was something that kind of had to like fund itself. Um, so, so I've gotta kind of feel, I gotta kind of figure out what to do here, but, but I still, I. Definitely am interested. I think I, I'd be interested in starting to get into more like vintage cards from, um, you know, like the beginning days of baseball cards, late 18 hundreds, early 19 hundreds cards.

I, I love that era of baseball. Um, [00:24:00] and I know like it was also Dick's favorite era to paint just because the uniforms are so cool. And, um, so I think that's where in the future my, my interest would lie with collecting is, is just like some really old cards. 

Larry Clark: They had, they show up in the documentary too.

Remind me of, what was the name? Something in Ter? 

Marq Evans: Yeah, Alan and Ginter was one of the, Alan and was one of the early card sets. Um, and it was actually cigarette packs, so, um, they, they started doing cards of like baseball players. Um, and just kinda like, I guess if pop culture was a thing then, like kind of people that were big in pop culture.

Somehow athletically, like there was like a, um, Sumo wrestler was in the set. There was a, a sharp shooter. Annie Oakley was in the set and there was like eight baseball players or something. So those were, those were some of the first baseball cards. And those were paintings, you know, they didn't have photography yet.

So those were paintings made into cards. And those were an inspiration that Dick Perez had when he first started and wanted to do. [00:25:00] Art in baseball cards was because it hadn't been done, you know, for, for a long time. And so, but tho, those Allen Ganter cards were definitely one of his major inspirations.

Um, I don't have any of those. I've got a couple, um, cards that are T 2 0 6 cards, which the most famous one of those is the Ho Wagner card that's worth, you know, millions of dollars. Um, I have one card from that set. Which is Fred Merkel, who, um, is famous for a play called Merkel's. Boner in 1908. And I've always just thought that was a funny play and um, and so I got the Fred Merkel card from that set.

Larry Clark: Do you have any other favorite cards? 

Marq Evans: Yeah, I mean, the one card like that, that I guess is sentimental, it turns out that it's not that rare because, you know, there were so many cards being printed when I was a kid, but as the 1989 Ken Griffey Jr. Upper deck rookie, just because he was mine and you know, everybody's hero.

Um, then, and that was like the hottest cards that would be like the card that kind of, you know, takes me back like the, you know, we all wanted that card and, um. So that, that would probably be [00:26:00] one. And, and I've started collecting a lot of Dick's work since doing this project. Just 'cause I started, you know, I fell in love with it.

I fell in love with the work. So 

Larry Clark: I've learned a lot from the documentary, which is one of the things I love about documentaries is when I learned something that I didn't really know about. You know, I've seen, I didn't collect baseball cards, but thank you for kind of bringing that story to light because it's a fascinating tale of, of a sport and art all combined.

Marq Evans: Do my favor. Thanks. It's available now. You can watch it on VOD. So it's a, it's, it's a rental or purchase. It's 4 99 to rent 1299 to buy. Um, and that can be found on like Apple, Amazon, Google Play. Um, I think even YouTube now has a rental. Um, so, uh, if, if you're a fan of baseball, fan of art, um, just an inspiring story, which is what I think this is.

It's somebody that, you know, battled. A lot of adversity at a young age to reach the very pinnacle of a career and a profession. Um, so I'm, I'm super inspired by Dick's story in a lot of different ways and, and, [00:27:00] um, and I've heard from a lot of people that are like, I don't really care about baseball, but you know, I love this movie.

And so, um, so I hope people will check it out. 

Larry Clark: Thanks for listening. You could find links to a magazine story about the Diamond King documentary Perez's website and more in the show notes. If you want to hear more WSU stories about interesting alums, campus life and research, please subscribe on your favorite podcast directory.

And if you have an idea for an episode, let us know at magazine.wsu.edu/contact. This episode was produced by me, Larry Clark. Our music is by WSU, emeritus Music Professor and composer, Greg [00:28:00] Yasinitsky.