New Deal Project: San Jose Civic

Auditorium

Sachin Radhakrishnan

War, Prosperity, and Depression 1917-1945

31 May 2012

The New Deal at Work: San Jose’s Civic Auditorium

Franklin Delano Roosevelt entered the oval office following Hoover’s

failed responses to the Great Depression. Faced with problems of

unemployment, ailing sectors of agriculture, construction, and capital, plus

a rough economic outlook, Roosevelt took great strides in his first 100 days

to instill stability for his depressed nation. Aside from such cordial methods

of assuring public confidence through the airwaves, FDR pushed his New

Deal policy to aid recovery. The legislation included the National Industrial

Recovery Act, Agricultural Adjustment Act, Federal Emergency Relief Act,

and Emergency Banking Act. These created unprecedented agencies of

oversight to stabilize the economy and put America on the path towards

recovery. One such agency, the Public Works Administration managed

billions of dollars into the construction sector and oversaw the widespread

development of national infrastructure. Much of their work remains

relevant long after their birth in 1933 and is considered inseparable from

the national identity (Brinkley, 1993, 676-686).

Although the PWA was responsible for projects on a grand scale, its

funding of small projects garnered just as much success and relevance at

the time to the recovery. One such project is San Jose’s Civic Auditorium,

which still stands today in the heart of the city. This project has had its ups

and downs of usage, but its venerable contributions to the city’s cultural,

political, and economic processes have put it in a reverent position in

society. It is a prime example of the importance of FDR’s New Deal

legislation.

The Public Works Administration funding of San Jose’s Civic

Auditorium is miniscule relative to its entire budget but exemplifies the

importance of this government agency to the economic recovery. The PWA

was the first substantial arm of the government to aid the hurt construction

sector which was marred by an unemployment rate pushing past 20%. It did

this by pushing forth public projects that enhanced infrastructure and

constructed essential buildings. Over the course of its lifetime, the PWA

would funnel close to $7 billion through private contractors into various

projects across the nation, such as the Boulder Dam and Tennessee Valley

Authority. Its goals of infiltrating 75% of all counties and states, especially

the important construction states of California, Illinois, Indiana, New York,

Ohio, and Pennsylvania, did much to fuel economic growth (Smith, 2006, 1-

4, 31-51).

The PWA’s presence in reviving the economy was grand and

widespread. Their goal of penetrating most counties gave countless

opportunities to cities like San Jose to focus on vital projects, instead of

simply bolstering the economies of big urban centers. Also, working directly

with local governments created a strong connection that only helped the

success of projects as local involvement sparked passionate sentiment. The

decision to utilize existing firms to hire workers rather than employ workers

directly left more money to be used directly for public projects rather than

paying government personnel to do the hiring. This move only further

enhanced the multiplier effect at work and kept government involvement at

a minimum. The far-reaching PWA helped fund the San Jose Civic

Auditorium and for same reasons mentioned above, this small project

produced grand returns as the city and surrounding region found pride in

this jewel. Overall, the PWA’s success should not be marked by its massive

funds, but instead of how it chose to allocate its funds throughout the nation

by uniting public with private and national with local. Their methods

intrinsically fostered a heightened sense of community and pride in public

works projects.

Long before the New Deal was underway, San Jose had its sights on

building the Civic Auditorium, but it took the funds of the PWA to bring the

project to light. As the city was growing and receiving more traffic into its

burgeoning downtown they saw the “need for more space for conventions

and performances” (Johnson, 2010, 69). “Initially the citizens of San Jose

twice voted against bond measures to pay for a venue, but along came T.S.

Montgomery, who donated his 52,000-square-foot patch of land to the city

of San Jose on July 6, 1933. The feds kicked in $117,000, and the public

then passed a $375,000 bond measure” (Singh, 2009). Right after the Great

Depression hit the nation, San Jose still saw a need for increased

development but the construction sector in California was hit hard as well

as the funds of local governments. Though the city paid the lion’s share of

the $492,000 to construct the Civic Auditorium, the PWA’s funds made the

project feasible and allowed the job to be done without sacrificing quality.

The immediate passage following the PWA’s offering exemplifies how

important the extra funds were and how without it the project would have

been delayed or axed altogether.

After the overwhelming passage of the bond measure to construct the

SJCA, the impact of this new project resonated throughout the economically

important Bay Area. Immediately businesses in the construction sector in

San Francisco, Sacramento and San Jose were given the opportunity to lend

a hand. The general contractor Charles A. Thomas along with the

superintendent Knut Jensen had hundreds of men working for 50,000 days.

From San Francisco, important contributions to the project include: Fred

Turner, superintendent George N. Smith, Walter & Co., and Worley & Co.

Workers from Sacramento include the firm Hately and Hately and

superintendent E.C. Lucy. Lastly, much of the work was homegrown from

San Jose, which included: Superintendent J. Mauk, Rockwood Sprinkler

Company, American Seating Company. superintendent J.H. Lewis,

Heywood-Wakefield, superintendent J.E. Ranson, Sheet Metal Service of SJ,

superintendent Herbert Hofendahl, Guilbert Brothers of San Jose, and

superintendent L.W. Branch (Mercury Herald, 1936). Although this was a

small project for the PWA, San Jose by no means took this as a small project

and brought in the best from all over Northern California. The SJCA is a fine

example of how a local project can revitalize surrounding areas and arouse

pride in places other than the locale.

On April 14, 1936, there was a great sense of importance and

euphoria in the city of San Jose over their newly constructed Civic

Auditorium. The SJCA hit the headlines of major newspapers and was met

with utmost respect for the men who built it as well as the city and national

agencies responsible for the project. “These men have made a definite

community contribution, not only in the honest work that has gone into

every square inch of the building…but in giving San Jose the best that can

be bought for the money” (Mercury Herald, 1936). It was lauded as “a

milestone in the development of San Jose's civic consciousness…and for the

first time, the city gives itself something not absolutely essential, but

necessary if it is going to be anything more than just a place to live and

make a living” (Singh, 2009). Construction of the SJCA revived the city’s

image and gave it something to be proud about. The fact that those who

worked on it made sure the auditorium received only the best they could

offer shows the positive environment surrounding this project before its

construction, which translated well past the completion date. This positivity

pushed the SJCA to the forefront of conversation and immediately increased

the attractiveness of the downtown area, which brought in business and

visitors to the auditorium and other local places.

Still standing today on the corner of San Carlos Blvd. and Market St.

in downtown San Jose, the Civic Auditorium has had a long history of usage

as a sports arena, center for political events, and performing arts and music

venue. It has had its history of ups and downs in terms of use but

nevertheless has captured regional and national importance in its 75-year

existence.

As a sports arena, the “Golden State Warriors played their home

games here as did the hoopsters of San Jose State and Santa Clara

University. Heavyweight champions Joe Louis, Max Baer and Jack Dempsey

all had prize fights at the Civic, as did the highly-regarded San Jose State

and 1960 U.S. Olympic boxer Harry Campbell” (Cost, 2007). Many athletes

in San Jose had the chance to call themselves homegrown because of the

facilities the SJCA had to offer. Aptly sized and located in the Bay Area,

several teams used the SJCA due to its ability to host multiple events and

central location in a hotspot of sporting activity. Teams from across the

nation faced California’s best in the SJCA. Though left behind amongst

contemporary arenas, it was grand during its time and gave home teams a

sense of pride while playing.

San Jose has used the Civic Auditorium as a primary center for

political activity, from local city-planning events to major political rallies.

One of the biggest political events to put SJCA and the city into national

prominence was “President Richard Nixon’s appearance at the Republican

Party rally at the San Jose Civic Auditorium on October 29, 1970, which

proved to be a defining moment in San Jose’s history…the stoning of the

President generated both national and international coverage resulting in

considerable negative, unfair publicity for the City of San Jose” (Philp, 2005,

4-5). With the Vietnam War issue at stake, San Jose stamped its name in the

historical anti-war movement as the SJCA proudly played host during this

pivotal event. Though the event marred the city’s image, it still showed how

important the city was in political matters as Nixon’s stop in San Jose was to

gather support in a heated presidential campaign. Still, the notoriety did not

deter visitors from San Jose and possibly aroused interest in the city.

The SJCA has a storied past “as a major concert stop for acts touring

the West Coast, hosting such legends as the Rolling Stones, Bob Dylan, The

Who, Jefferson Airplane, Frank Sinatra, Duke Ellington, and The Grateful

Dead. In recent years, Beck, Interpol, Switchfoot, Reliant K, and Snoop Dog

have headlined the stage” (San Jose Civic, 2012). Though San Francisco has

taken much credit for California’s music scene, bands such as The Grateful

Dead and Jefferson Airplane have their roots deeply placed in San Jose, and

others like Bob Dylan had played in San Jose long before San Francisco.

This famous array of artists catapulted the SJCA into national fame but

more importantly provided the surrounding downtown restaurants and

hotels with hungry, sleep-deprived musicians and fans. The culture of music

has embedded itself quite well into the city and is seen as a source of

inspiration for the next generation of Bay Area talent.

While evident that the SJCA found its place in history during the

turbulent times of the 40’s to the 70’s, the latter part of the 20th century into

the 21st century has reduced the flair of this historic building as newer

facilities usurped its role as a major event center. Fortunately for the SJCA

and the city, current plans of an “$11 million project to an upgrade the

landmark will feature dramatic new interior and exterior lighting, cushioned

theater-style seating, seismic strengthening, modern video and sound

systems, and renovated restrooms, concession areas and performer

dressing rooms” are already underway (Goll, 2010, 1). The city’s goal is to

retrofit the SJCA to compete with modern venues. With its historic past as a

valuable tool, the director of the city’s redevelopment agency Harry

Mavrogenes is confident that artists will line up to play this historic venue.

Following the revival and return of the SJCA’s musical past, the rest of San

Jose will reap the benefits of increased traffic into its city center.

In conclusion, the 75-year existence of the Civic Auditorium in

Downtown San Jose has garnered a rich and fruitful history that has

brought this New Deal project a great deal of pride and importance for the

city, the state, and the nation. Though it was a small project of the Public

Works Administration when compared to its massive endeavors at the time,

the benefits that it brought people make this historic building just as

important as other New Deal works to the economic recovery of the nation

and the building of a strong American culture. Its past has not only been

iconic and interesting, but has laid the foundations for a long and successful

future as a major part of San Jose’s historic city center. Furthermore, as a

resident of the city and citizen of the nation, this writer believes in honoring

America’s past through the safeguarding of our historic buildings and

bridges to commemorate the vast struggles and successes our nation has

experienced throughout its lifetime.

Works Cited

1. Brinkley, Alan. The Unfinished Nation: A Concise History of the

American People. Columbia University, 1993: 676-686.

2. Cost, Jud. ” San Jose Civic Auditorium: A South Bay Treasure

Chest.”2006: http://www.sanjoserocks.org/f_civic.htm.

3. Goll, David. “San Jose Civic Auditorium’s Upgrade Promises Jobs,

New Business.” 2010:

http://www.bizjournals.com/sanjose/stories/2010/04/26/story5.html.

4. Johnson, Bob. San Jose. Arcadia Publishing, 2010: 69.

5. Mercury Herald. 1936:

http://www.engstromarchitecture.com/Knud%20Jensen%20Civic

%20A ditorium.htm.

6. Philp, Kathryn. “The President, Politics, and the Police.” 2005: 4-5.

7. San Jose Civic. “Venue Overview” & “Civic Concert Series.” 2012:

http://www.sanjosecivic.com/about/index.asp

8. Singh, Gary. “Civic Lesson.” 2009:

http://www.metroactive.com/metro/07.22.09/cover-civic-

0929.html

9. Smith, Jason. Building New Deal Liberalism: The Political Economy

of Public Works. 2006: 1-4, 31-51.