{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://queenslibrary.aviaryplatform.com/iiif/dn3zs2mr10/manifest","type":"Manifest","label":{"en":["John Kriskiewicz Oral History"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/010/original/Aviary_QPLlogo_192x192.png?1578574261","metadata":[{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003e\u003cstrong\u003eClip 1:\u003c/strong\u003e John Kriskiewicz discusses the Unisphere and the Vatican Pavilion at the 1964-1965 New York World's Fair. The Vatican Pavilion was important to Kriskiewicz's Catholic family, and it was the first time Michelangelo's Pietà was ever moved from the Vatican. Thousands came to see it, behind bullet proof glass, viewing it from several tiers of moving sidewalks.\u003c/p\u003e\r\n\u003cp\u003ePhoto: View of the Unisphere with world flags, New York (USA), World's Fair, 1965. By Ron White, Public Domain, Wikimedia Commons, \u003ca href=\"https://commons.wikimedia.org/w/index.php?curid=17879874\"\u003ehttps://commons.wikimedia.org/w/index.php?curid=17879874\u003c/a\u003e\u003c/p\u003e\r\n\u003cp\u003e \u003c/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eClip 2:\u003c/strong\u003e According to John Kriskiewicz, Queens in 1964 was mostly white, middle class, and second generation immigrants. The 1964-1965 New York World's Fair exposed Kriskiewicz to foods and customs of other countries. Riding the subway and seeing women in saris was all new, as was overhearing various foreign languages being spoken.\u003c/p\u003e\r\n\u003cp\u003e \u003c/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eClip 3:\u003c/strong\u003e John Kriskiewicz speaks about the design of the 1939-1940 New York World's Fair and how there was a strong overall theme and color scheme. But the 1964 -1965 New York World's Fair was called the \"laissez faire\" because it did not have a strong sense of design. Robert Moses wanted to have money left over to make Flushing Meadows Corona Park a 20th century Central Park. Many pavilions had corporate sponsors; U.S. Steel sponsored the Unisphere, which is why the old pictures of it have a trademark symbol.\u003c/p\u003e\r\n\u003cp\u003e \u003c/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eSummary of Full Interview\u003c/strong\u003e\u003c/p\u003e\r\n\u003cp\u003eJohn Kriskiewicz speaks about what it was like attending the 1964-1965 New York World's Fair as a child. Kriskiewicz, who was approximately 5 years old at that time, shares memories of the technology exhibitions, the pavilions of various states and countries, the exhibition of Michelangelo's Pietà, and getting exposed to culturally diverse peoples. Kriskiewicz discusses the history of Flushing Meadows Corona Park before and after the fair, the goals of the fair's president Robert Moses, and efforts to preserve and restore the New York State Pavilion. Furthermore, Kriskiewicz deconstructs common criticisms of the fair (e.g. its celebration of consumerism), examines how the fair coincided with the dawn of a postmodern world, and explains how the fair inspired Kriskiewicz to become an architect.\u003c/p\u003e"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCC BY-NC-SA Contact digitalarchives@queenslibrary.org for research and reproduction requests.\u003c/p\u003e"]}},{"label":{"en":["Source Metadata URI"]},"value":{"en":["http://digitalarchives.queenslibrary.org/search/browse/40562"]}},{"label":{"en":["Date"]},"value":{"en":["2016-12-05 (created)"]}},{"label":{"en":["Type"]},"value":{"en":["Audio"]}},{"label":{"en":["Agent"]},"value":{"en":["John Kriskiewicz (Interviewee)","Daniel Kopeloff (Interviewer)"]}},{"label":{"en":["Source"]},"value":{"en":["Collected as part of Queens College Fall 2016 American Studies 110W Course: Introduction to American Society and Culture taught by Prof. Douglas Manson."]}},{"label":{"en":["Coverage"]},"value":{"en":["1939-2016 (temporal)","Flushing Meadows Corona Park, Queens, NY (spatial)"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}}],"summary":{"en":["\u003cp\u003e\u003cstrong\u003eClip 1:\u003c/strong\u003e John Kriskiewicz discusses the Unisphere and the Vatican Pavilion at the 1964-1965 New York World's Fair. The Vatican Pavilion was important to Kriskiewicz's Catholic family, and it was the first time Michelangelo's Piet\u0026agrave; was ever moved from the Vatican. Thousands came to see it, behind bullet proof glass, viewing it from several tiers of moving sidewalks.\u003c/p\u003e\r\n\u003cp\u003ePhoto: View of the Unisphere with world flags, New York (USA), World's Fair, 1965. By Ron White, Public Domain, Wikimedia Commons, \u003ca href=\"https://commons.wikimedia.org/w/index.php?curid=17879874\"\u003ehttps://commons.wikimedia.org/w/index.php?curid=17879874\u003c/a\u003e\u003c/p\u003e\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eClip 2:\u003c/strong\u003e According to John Kriskiewicz, Queens in 1964 was mostly white, middle class, and second generation immigrants. The 1964-1965 New York World's Fair exposed Kriskiewicz to foods and customs of other countries. Riding the subway and seeing women in saris was all new, as was overhearing various foreign languages being spoken.\u003c/p\u003e\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eClip 3:\u003c/strong\u003e John Kriskiewicz speaks about the design of the 1939-1940 New York World's Fair and how there was a strong overall theme and color scheme. But the 1964 -1965 New York World's Fair was called the \"laissez faire\" because it did not have a strong sense of design. Robert Moses wanted to have money left over to make Flushing Meadows Corona Park a 20th century Central Park. Many pavilions had corporate sponsors; U.S. Steel sponsored the Unisphere, which is why the old pictures of it have a trademark symbol.\u003c/p\u003e\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\u003cp\u003e\u003cstrong\u003eSummary of Full Interview\u003c/strong\u003e\u003c/p\u003e\r\n\u003cp\u003eJohn Kriskiewicz speaks about what it was like attending the 1964-1965 New York World's Fair as a child. Kriskiewicz, who was approximately 5 years old at that time, shares memories of the technology exhibitions, the pavilions of various states and countries, the exhibition of Michelangelo's Piet\u0026agrave;, and getting exposed to culturally diverse peoples. Kriskiewicz discusses the history of Flushing Meadows Corona Park before and after the fair, the goals of the fair's president Robert Moses, and efforts to preserve and restore the New York State Pavilion. Furthermore, Kriskiewicz deconstructs common criticisms of the fair (e.g. its celebration of consumerism), examines how the fair coincided with the dawn of a postmodern world, and explains how the fair inspired Kriskiewicz to become an architect.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCC BY-NC-SA Contact digitalarchives@queenslibrary.org for research and reproduction requests.\u003c/p\u003e"]}},"provider":[{"id":"https://queenslibrary.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Queens Public Library"]},"homepage":[{"id":"https://queenslibrary.aviaryplatform.com/","type":"Text","label":{"en":["Queens Public Library"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/010/original/Aviary_QPLlogo_192x192.png?1578574261","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/202/252/small/640px-1965_new_york_world_fair.jpg?1723216190","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202252","type":"Canvas","label":{"en":["Media File 1 of 4 - 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So John, what can you tell me about your first glimpse of the fair","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1.0,14.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: As a five-year-old? Very excited. It was like no place I had ever seen before. I grew up in New York City in a sort of traditional brownstone neighborhood in Brooklyn, so most of the buildings that I knew dated from the late 19th century, early 20th century. So here was a completely new sort of environment that was trying to show me things with new sorts of media as well.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=14.0,48.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: Just right off the bat, what exhibit did you see when you got into the fair?","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=48.0,55.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: I think the thing that probably impressed me the most as a child were the technological exhibits. Like for instance, exhibits like the Hall of Science and Rocket Park. And then the automotive exhibits like Ford and General Motors and Chrysler. The international pavilions were new and strange. We saw African dancers doing traditional dance and music. That was interesting. The Belgian Village. And everybody, of course, has fond memories of the Belgian waffles, which have become a staple across the country in diners. But they were very new. It's a curious thing. It's sort of halfway between a breakfast food and a dessert item. [laughter] Again, a lot of the industrial exhibits like DuPont and General Electric and Bell Telephone, the gas companies, the power companies, those were very exciting because they were very visual. So I think that was one of the thing about the fair. It was something that people of all ages could enjoy. There was something for adults, there was something for children. As actually Robert Moses, the president of the fair, was quoted as saying there's something for everyone here.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=55.0,167.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: When you went to the fair, did you see, saw the Unisphere and what were people's general reaction about it? Were they all in awe or were they just walked by it?","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=167.0,175.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: I think they, maybe the first time they saw it, they were in awe. There were so many people walking by anyway, because it was at the center of the fair. It was a logical meeting place for people that stood in as a landmark. I kept wondering as a kid growing up in the space age, if they would keep adding rings because it seemed like we were constantly sending rockets into space. And I think I grew up in an era where change was the constant. So I expected it not to be static. I grew up in a Catholic family, so the Vatican Pavilion had a lot of special meaning, and my maternal grandparents were Italian immigrants. So seeing the Pieta had a lot of personal meaning for them. But I remember one of the things that critics were upset about was the way you experienced Michelangelo's masterpiece was by standing on a moving sidewalk because they were afraid that they couldn't get enough people through.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=175.0,243.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: And there were some days when there were tens of thousands of people going through, so they had several tiers of moving sidewalks, and it was behind bulletproof glass because they were afraid something would happen. It was the first time ever it had ever been moved from the Vatican, so just shipping across the ocean, and they didn't want anything to happen to it here. So you saw it at a distance through glass and you were moving, so you really didn't have to get a chance to see it. And since I was so small, the thing I remember were all of these discarded flashbulbs and wrappers from film and stuff like that on the ground. It's something that I remember more than the actual being in awe of this great masterpiece.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=243.0,291.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: So you said that you grew up in New York and in this fair, a lot of other states are presented. So do you feel that those states were well-represented? Did you get—","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=291.0,303.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: A sense of other [states]? Yeah. Again, it was at a time when the average New Yorker didn't travel as much as they probably do now. So that was one of the things that the World's Fair allowed us to do. It allowed us to visit different countries or even different states. So the state I remember as a kid was West Virginia because they had live glass blowing demonstrations. I had never seen that done before. And I remember my mother said I could pick out something and I still have this little glass that I saw being blown. It was very exciting to see the process they had. Oregon had log rollers, lumberjacks that scaled these huge poles and then log rolled and did things like that. So that was a whole different experience from someone growing up in New York City. And food was also, a lot of the international pavilions offered food venues, and I remember going to the Spanish pavilion and having paella, which I never had before, but it also was a very fancy restaurant, and that was a new experience for me too. I knew it was a very special occasion. I had never seen a wine sommelier before.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=303.0,392.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: So we were talking before about your journey to the actual World's Fair and how it introduced you to many new immigrants or new people that you've never seen before. Do you feel the fair was an effective way to bring people together?","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=392.0,408.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: I think it was, as I had related to you even going to the fair, the New York of 1964, and certainly the Queens of 1964, 65 is very different from what it is today. We think of New York City and Queens in particular as being this amazing mosaic. The people from all over the world, the most diverse county in the United States, but the demographics of Queens in the mid sixties was largely white, mostly middle class, and mostly second generation immigrants. So to ride the subway and see women in sarees for instance, was something really that I'd never seen before. I had to ask my mother to explain their dress and why they were dressed that way. And you'd hear different languages on the subway, which you didn't hear. The only foreign language that you heard on a regular basis in New York in the sixties was Spanish. But to hear Japanese or Chinese or African languages, you would never hear that.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=408.0,487.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: So this fair gave you more of a international sense of the world.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=487.0,491.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: Yes, there was a broader world. I mean, I was just entering elementary school, so I was beginning to read, and of course, television programs brought that into your home, but here you are actually seeing live people doing authentic things, and that left an indelible memory.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=491.0,517.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: We were talking before about the state of Flushing Meadow Park. The state today it's not so great, but during this timeframe it was really good. So how does it make you feel to see it be, to go from something so amazing such as the World's Fair to something that it is today?","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=517.0,536.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: Right, yeah. Flushing Meadow is an interesting place. It's so huge. If you put it in Manhattan, it would stretch from SoHo up to Central Park. It's like 1200 acres or so. And it really was designed to be a World's Fairgrounds. You can see that all of the radial avenues lead to the center where either the Trylon and Perisphere was for the 39-40' Fair or the Unisphere for the 64-65' Fair was. It makes it difficult for park planners to put things in like soccer fields and things like that. They're sort of cut up designed for pavilions. And when the park is empty, it feels really eerie because the memory of all those 50 million people who went to the 64 fair and all the excitement is no longer there. But on the other hand, if you go there on a summer afternoon, on a weekend, and it's filled with families enjoying themselves, you get a kind of a feeling that happy feeling you get when you're surrounded by people having a good time. As I mentioned earlier, the park was created from the Corona Ash Dump for the 39' World's Fair, and then served as the temporary home of the United Nations while they were waiting for their headquarters to be completed in Manhattan. And then for the 64-65 Fair, it was designed to complete what was not complete, creating a 20th century Central Park out of the ash dump and to complete the Arterial Highway program that was such an integrated part of Robert Moses' plan for New York City and the metropolitan area.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=536.0,654.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: When the World's Fair Corporation turned it back to the city in 1967, and it cleared away all the pavilions and replanted all the lawns and the fountains were working, and the New York State Pavilion was retained for park use, it was all intact. There was a skating rink, ice skating rink in the New York City Pavilion, and the Hall of Science was open to the public that same year. It was pristine. But unfortunately, the world of 1967 was very different from the world of 1964. We were deep into Vietnam. That was the summer, not only the summer of love, but summer of riots across the country. Crime was rising in the city. City seemed out of control. And just a few years later in the early seventies, the park had really declined because the city was losing population, was losing its tax base, and there was no money to maintain the park.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=654.0,725.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: And by the mid seventies, they had fallen into literally decrepitude with pavilions abandoned, the United States Pavilion was kept after the fair, but no use had been provided for it. It had been left unsecured. People would just wander in. Of course, that time period was time period of crime and drug addiction. And junkies would go in there and rip out all the wiring and the plumbing. There were still exhibits in there. It was just an incredible waste of taxpayer money. And finally, it was in such a bad state, the city spent the money to demolish it. You can see on this axonometric map, the multicolored fiberglass roof of the New York State Pavilion that was still intact until the early seventies when some panels got loose and fell down. And instead of repairing the roof, the city, in their lack of wisdom, decided that it'd be cheaper to remove the roof.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=725.0,787.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: And of course, you know what happens when you remove a roof from a structure. So it went into a decline. A lot of short-sighted decisions caused the park to go into a tailspin, but that began to be reversed by the eighties, and money began to be put into maintenance and refurbishing. And also as time passed, we got a better sense of the value of the past. So for instance, the Unisphere was declared a New York City landmark in the 1980s, and just a few years ago, the New York State Pavilion became an official New York City landmark as well as being on the National Register of Historic Places.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=787.0,832.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: So obviously the Unisphere is such a, the landmark is a very important place. So seeing it today in the state that it is today, do you think that New York State should maybe refurbish it or try and do something new with it or keep it the way it is?","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=832.0,847.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: That's a good question. I think the iconic things like the Unisphere, the New York State Pavilion, they should remain the same physically, but that doesn't mean the uses can't change. So for instance, the New York State Pavilion was designed to be a very flexible kind of space, open air, sheltered from the sun and the rain by the translucent panels on the roof, but open to the public so that you could have a concert there, you could have an exhibit there, you could have some sort of festival there. There's nothing fixed about it. The theater in the park, those people have maintained a presence there for, oh, at least 30 years or more. And that provides a very valuable venue for Queens. It'd be great if the people for the pavilion and those that love the pavilion can raise the money to bring it back. So there would be not only the building would be renovated and maintained, but also it would provide a wonderful opportunity to create a useful amenity in the park. I know there's a new aquatic center, which I'm sure is a really great addition. I'd love to see the fountains restored. I think it would provide a great focus. I know when they're on, people get really excited and people are excited when they're taking pictures of it, or they're posing their kids in front of the fountains to take pictures. And again, that brings back that feeling that the fair had, that it was a celebration and everybody was a part of that celebration.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=847.0,957.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: So one of the major parts of the fair was the company, such as Ford, General Motors. Do you feel that they were well represented at the fair?","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=957.0,966.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: Yeah, it's a very interesting thing. I know people can be very critical of commercialism, but this fair was celebrating a consumer world, and you always have to look at things in their context. So this is a post World War II fair. Many of the people that were attending this fair as adults, even if they were young adults, had experienced firsthand The Great Depression and its deprivations, had gone through the Second World War, either as veterans or even children growing up. There wasn't a lot. There were shortages of everything. So this is just 15 years after the end of World War II, and people were finally, enjoying the ability to maybe own a home for the first time, own a car for the first time, have enough disposable income to buy the products that they saw on the TVs that they had in their home for the first time.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=966.0,1036.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: And so it's easy to be critical of the commercialism of the fair, but people were really excited about it and they saw it as a celebration of America's triumph over the adversity of the depression and the threat of fascism and communism and kind of a reward for those hard times. Actually, there's, in this World's Fair souvenir book, there's some great photos and one of the shows, the Industrial Architectural Wonders, and another one, Testimonial to America's Industrial Strength. And there's some really interesting, being an architectural historian, I should mention, a lot of important architects like George Nelson designed this sort of pop art Chrysler where you walk through a giant engine and you sat in bucket seats that were made of buckets. It's kind of an architectural joke. This is Philip Johnson and Richard Foster, the New York State Pavilion. Wallace Harrison, the project architect for the United Nations complex and Lincoln Center designed the Hall of Science. So there were some interesting people. You can take a look. Page through that. If anything catches your eye, I'll talk about it.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1036.0,1127.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: So before the interview, you told me that this fair actually encouraged you to become an architect. Could you expand on that?","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1127.0,1133.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: Sure. So I was one of those annoying kids that had a million questions about everything, and I think my mother recognized that. So she would take me to museums occasionally. We're a working class family. No one had ever gone to college before. But I knew I wanted to be an architect and I wanted to do something with, I was interested in buildings and cities. So I think the World's Fair was a natural because not only did it have this really innovative architecture, but it was very visual stimulating. The international exhibits, the industrial exhibits, the state and federal exhibits, the transportation exhibits, a lot of the exhibits were multimedia. So as a kid, it was really visually stimulating, especially I was just really beginning to read. I was five, turning six. I was kindergarten, I was just leaving kindergarten in June of 64', and then I'd be in first grade in the fall of 64', in the spring of 65'. And the fair closed. I was seven years old in the second grade. So I was an early reader, and that was very exciting to be able to go to the fair and be able to read everything. Funny how we're so used to being literate. You forget how exciting it is to be able to do that for yourself.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1133.0,1226.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: So before we mentioned the layout of the fair and how Robert Moses did it. So what I heard was that he gave the people land and they were like, he was just go knock yourself out, do what you got to do. Do you feel that that was an effective way to run the fair?","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1226.0,1244.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: Well, it's interesting. He was criticized because compared to the 39' Fair where there was a clear overall guiding theme to the fair and architecturally, there were guidelines even down to the colors of the pavilion. The only place that could be pure white was the Trylon and Perisphere at the center, and then the colors went from light pastels to more intense as you got away from the thing. So it would give you a overall sense of the fair. What critics call the 64' 65' fair, the laissez-faire, because Moses allowed people to do pretty much what they wanted. There was actually a board of design that had come up with a proposal. Gordon Bunshaft was the head of that committee, and he came up with this design for a mile in diameter donut shaped structure. And that exhibitors would wrench slices like slices of Bundt cake around the side, and then there'd be a landscaped park in the middle.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1244.0,1315.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: But Moses said, well, that's not a new idea. Baron Haussmann did that in one of the Paris exhibitions in the 19th century. It's true, but the fact that his concept was to have the Fair Corporation build the least amount possible so that any money that was left was left over to restore the site to this park, that was his vision. So the fair was a goal, not the goal, but a device to get to his goal, which was to create this 20th century Central Park. So he was really happy, for instance, when U.S. Steel said they would sponsor the Unisphere, so they didn't have to pay for the Unisphere. And if you look at any of the photos, you'll see this registration mark because it was a registered trade, the Unisphere was a registered trademark of U.S. Steel for a number of years, and then it went off trademark. So then now anybody can use the Unisphere. It's in every photograph. It's really strange. Any photograph you see of the Unisphere will have that mark.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1315.0,1381.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: Wow.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1381.0,1389.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: Yeah. So the fair was criticized as being commercial, but for Moses, it was the device to get the fair built in a way that would leave money aside for the post fair park. He learned the lesson at the 39' World Fair. He was Parks Commissioner, but he wasn't in charge of the fair. He was the person that is the reason why the 39' World's Fair is at Flushing Meadows Park. But he didn't have control over it, and the Fair lost money, and there was barely enough money left to demolish the exhibits and cart away the debris, let alone create the park that he had wanted. Part of the fair that's isolated from the bulk is the amusement area, and that had a really hard time financially because of its isolation. A lot of people stayed within the zone and didn't make the trip over the Long Island Express site.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1389.0,1460.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: So there is roller coasters and amphitheater.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1460.0,1463.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: Right. And there was the monorail. A lot of that in a way was an opportunity missed. The monorail could have been not just a ride where you got on and then it made a loop and then you got off. I mean, there was a novelty to riding a monorail, but it could have been actually a device to move people around the fair. And it wasn't. The Swiss sky ride got you from one side of the fair to the other, and it gave you an aerial view, and that was great. But in terms of mass transportation around the fair, moving those 75, a hundred thousand people a day around this mile square fairgrounds, it was mostly buses, which if you ever see a film of the fair, it's very strange to see crowds of people in a bus like moving through the throngs of people. It's a very strange mix of pedestrians and vehicles.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1463.0,1523.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: So do you feel that the 1964', 65' fair had a lasting impact on New York City and maybe Flushing in particular?","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1523.0,1532.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: That's a good question. I think at the time it didn't seem very important, especially to people in the arts or culturally elite people. But I think for people who were more middle class, I think certainly for children of my generation, it was a happy memory, but also the first glimpse at a world that was larger than the world they grew up with. So for me, you brought up the fact that I had said that I think it really inspired me to explore architecture and urban planning, which I did, and history, because the thing about the fair was pavilions often were about the movement of time or progress. So both in the Ford Pavilion where you went from the Stone Age to the Space Age, that was the theme of a number of pavilions. So I see both the past and the future. And when you're a child, you only know the present. So that was a glimpse in that things were not always the same and that things can change. People are always saying, oh, the future that they predicted was so absurd. We don't have flying cars. That's the thing they always say. But I think that because technology was changing so quickly, we went from propeller planes in the beginning of the fifties to jets, and we were now doing space travel. And the first satellites were launched two years before the fair opened, and you had suddenly simultaneous communication across the world, which you didn't have before.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1532.0,1646.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: The revolution would become the information revolution. So for instance, at the IBM Pavilion, one of the critics at the time said, I don't know why IBM is bothering to show consumers how computers work. They're never going to buy a computer. The computers are something that a corporation would buy. Here we are walking around with more computing power in our pocket than the lunar module had.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1646.0,1670.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: Yeah.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1670.0,1672.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: Right? So in many ways, the fair got it right, but at the time, it didn't seem very important to those that were criticizing it. The other thing that it got was that we live in a world that was very much like the fair. We accept that the world has no overall plan.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1672.0,1690.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: That it's going to be really diverse. You're going to see one thing after the other, and they might not have anything to do with each other. This is the essence of what postmodernism is. You're going to see these crazy juxtapositions. The thing that the critics said is, here you have this pavilion that's designed like a Chinese pagoda, and then Mexico is modern, and the Philippines is sort of traditional, but then you have the New York State Pavilion, which looks like a circus tent. And what is all this about? This doesn't make any sense. But people were beginning to live in a world where they could flip through television channels and see different things. So our minds were beginning to process information in a different way. The IBM Pavilion and the Bell Telephone Building showed information through multiple screens. And it's the way that, for instance, you're used to getting information from lots of different sources really quickly. I don't think the critics who were probably middle-aged or older got that. So in many ways, the fair did predict what our world would be like in a surprising way.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1690.0,1766.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: So in a sense, this fair is kind of underappreciated because its critics are all, it didn't really have a purpose. I mean, it had a purpose, but it didn't really achieve what it wanted to do. But in the grand scheme of things, it basically just spilled out the entire world for us.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1766.0,1782.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: In many ways. It did. When you read the criticism, it's interesting, some of the criticism was aimed at Robert Moses and his high-handed approach to things. He tended to not like criticism very much and wasn't very diplomatic and often made things worse. In some ways, he was the right person because he could get things done, and he did get this done. But on other hand, he was not a showman. He was not very good with public relations, and he tended to be very heavy handed. And a lot of the critics also, again, were looking at this as a kind of a downmarket mass—at the time, they would call it middlebrow culture, which today we are used to seeing this juxtaposition. For instance, at Philip Johnson and Richard Foster's New York State Pavilion, and they showed pop art for the first time, which is very controversial. And what does pop art do?","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1782.0,1841.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: It takes consumer culture icons and puts them in a museum. So you're taking things from the everyday world and taking them out of context, and now they have new meaning. And this was something that those critics maybe miss. So in many ways, this was the first pop art fair. And in many ways, the first postmodern fair. It was conceived during a period of consensus and opens in this period of conflict. So it also marks that change from one era to another. It, six months after President Kennedy's assassination, the civil rights movement was heating up and the war in Vietnam as well. So there were these conflicts. Also, the city was changing. Infamous Kitty Genovese murder was just a month before the opening of the fair, and that gained national headlines showing a New York that seemed to be crime-ridden and uncaring. So all of those things, this sort of dark, dark clouds approaching on the horizon, to a lot of critics the fair, I think Life Magazine said it, the fair is all, their quote was, the fair is all candy colored and bright in a world that is in fact harsh. And Life Magazine was a middlebrow mass magazine. And for them to even say that is showing that the world is changing.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1841.0,1937.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: So this kind of provided an escape for people.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1937.0,1939.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: It provided an escape. It was a celebration. Yeah. The world was getting increasingly complex, and the news was not always as happy as we had hoped. And I think that was also changing our world too, because the years before the fair, most people got their news from newspapers, and it was during this period that networks started to expand their television news coverage. Before the fair, 1963, it was only 15 minutes of news a day on television, and it was being expended to a half hour. And now there were specials where they would spend an hour on different issues. And I mean, it's a long way from the 24 hour news cycle, but still people were beginning to see the world through pictures rather than through text. I think that was changing as well.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1939.0,1995.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: So I also want to bring back up the idea of consumerism. So do you remember any specific examples of how some pavilions integrated consumerism into their exhibits?","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=1995.0,2006.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: Okay, that's a really good question. Some were very much hard sell. General Motors, when you got off their ride, they left you into what they call their avenue of progress. So you saw late model cars and General Motors also made household appliances through Frigidaire. So refrigerators and ovens and dishwashers and things like that. But then there were exhibits like Johnson Wax where there was no commercial message, except you got a free shoe shine if you want it. But there was a film called To Be Alive, and it was shown on a, three curve screens so that you could see one big image or three different images. And it won an Academy Award in 1965, I think. It was called To Be Alive. And there was no commercial message. It was just a celebration of the peoples of the world. And so it had that sort of one world theme, very positive theme, and people loved it. People would wait 45 minutes to two hours just to see this. It was a 15 minute film, but it had a great word of mouth.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=2006.0,2076.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: So one final question. If let's say there was a new World's Fair today, during next year, what would you want to see in that World's Fair?","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=2076.0,2087.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: It's interesting. The reason why, there are still world fairs. And people often ask me, \"But I don't hear about them.\" They've sort of been replaced by television and the internet and international travel and trade fairs and theme parks. This was all of that. This was a trade fair and a theme park all rolled up in one. I think what would be great is if the fair planners of a new World's Fair could show the latest in technology and architectural design and planning and address some of the challenging issues through that, like green design. How do you provide quality food for more and more people at an affordable price? How can you deal with climate change? All of these issues that we're facing, it's a responsibility of fairs to do them, but do it in a way that's entertaining and engaging so that the little kid, the grandmother, the college student, the college professor, there's something there for everybody that can take away a very positive message, and maybe ask questions and maybe see something that will inspire them and entertain them as well. You don't want it to be a lecture. Nobody wants to be preached at. And I think that's the thing that World's Fairs did, successful World's Fairs did really well. It gave people a memorable experience. For many people, they only went one time because they had to travel to come here. And look here it is where it's more than 50 years ago, we're still talking about it. I think a lot of the critics thought it would just fade away.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=2087.0,2199.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: Yeah, well, it definitely didn't. And there's some lasting memories such as the Unisphere, Hall of Science and the New York State Pavilion.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=2199.0,2206.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: I think the Queens Museum does really amazing things because they really represent Queens as it is today.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=2206.0,2216.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: This really exciting, very diverse place. One of the current art critics came out for a show recently and she said, I have to admit, I'm ashamed to admit I've never been to the Queens Museum before. But she says they're doing the kinds of shows that MoMA used to do before MoMA decided they were going to be a place for tourists. Ouch. But very good. It's true. They can take the chances and they do some really, really good work. So I am really happy about that. And the renovation that they did of the building, it's respectful to the building and brings it into the 21st century. And buildings should be living things and they should change, but in a way that doesn't destroy their architectural integrity. And that's what I hope we'll be able to see at the New York State Pavilion. That's what we've seen with the renovation of the Great Hall at the Hall of Science.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=2216.0,2274.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Daniel Kopeloff: Alright, well thank you very much. I think that's it.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=2274.0,2278.0"},{"id":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255/transcript/61582/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"John Kriskiewicz: Great.","format":"text/plain"},"target":"https://queenslibrary.aviaryplatform.com/collections/21/collection_resources/102662/file/202255#t=2278.0,2280.80327"}]}]}]}