environs, the force which above all keeps it beating is a man named Daniel L. Martino, Director of Cultural Affairs for the College. Professor Martino arrived on campus in 1965, having served as Supervisor of Music Education for the Ogden City Schools. Teaching initially in the evening school program, he soon became a full-time member of the Music Department providing instruction in musicology. By 1966 he had become Department Chairman, was appointed Director of the Val A. Browning Center for the Performing Arts (then known as the College Fine Arts Center), and Chairman of the Concerts and Lectures Program. In addition, he taught the Departments entire offering in music appreciation. Classes ran from eight to nine every morning in the Centers Allred Theatre and contained about three hundred students each. Such a procedure, Dan says, made it possible to bring our students some great artists, even the Utah Symphony while it was here for scheduled performances. Musicians from the faculty also performed in those classes, and experts from related disciplines were brought in to discuss music and aesthetics. Still others were enlisted to explain the relationship of music to such subjects as physics and psychology. A panel of local doctors was even organized to discuss the role of music in medicine. We took advantage of as many talented visitors as possible, Dan says, so that students could truly appreciate music and understand its wide-ranging effect in our lives. In 1967, Dan Martino initiated what was to provide one of Webers most significant and far-reaching enterprises in the arts, the Noon Convocation Series, an outgrowth of the earlier Film and Lecture (or Lyceum) series under former Department Chairman Dr. Clair W. Johnson. The Thursday noontime programs, Dan explains, were designed to feature speakers, films, debates, and artists including occasional performances by the Utah Symphony and Ballet West. Our purpose in scheduling such attractions at noon, he says, was to generate greater student and faculty involvement, but we also encouraged public attendance free of charge. Although only limited funds were available for the new program, Dan was given the green light by Dr. James R. Foulger, vice-president of Business Affairs, with one proviso: Go ahead, Jim said, if you can come up with the money on your own. Thus commenced a major fund-raising program under Dans direction which involved public relations work throughout the community, state, and nation, also determined lobbying in his role as a representative on the Utah Arts Council. Along the way, Dan had his first encounter with Ogdens Val A. Browning, prominent industrialist, inventor, and financial benefactor, when he requested 1,800 to help fund four outstanding Convocation speakers. The request was granted, but it was only a small beginning in comparison with the largess to come. Over the years the Browning contributions became increasingly generous, including among other things 10,000 for a famed Bossendorfer piano, first used during a performance of the Vienna Symphony; 60,000 for an Allen Digital Computer Grand Concert Organ, the same type used by some of the nations top orchestras and the Notre Dame Cathedral, and 84,000 for a sound system. In 1978, following consultation with Dean Hurst, former Vice-President of College Relations, Dan made a request of Val A. Browning that would have profound and unending consequences. The request was for a dazzling one million dollars, presented with mixed feelings. It was a mammoth order, one that to the uninformed might appear acquisitive. Nevertheless, it was designed for a highly altruistic purpose, the establishment of a trust fund that would enable the College to draw upon some of the worlds finest artists, lecturers, and other performers on and on into the endless future. Emboldened by that concept, Dan made his presentation, and Mr. Browning consented. When Weber State College officially named its Fine Arts Center the Val A. Browning Center for The Performing Arts in 1978, nothing could have been more fitting. Yet even that was not the end. As of 1984, Weber State began receiving 165,000 annually from the Browning coffers over the following fifteen years. Dan Martino views the Browning Center as a cultural catalyst also, a kind of grand magnet which has made the kinds of remarkable contributions listed possible. That Center, he states, is a truly outstanding facility, and its Austad Auditorium with the well-spaced continental seating and unobstructed, line of sight viewing is one of the finest in the nation. Without the Center and its excellent accouterments, Dan continues, and without the great trust fund, we could never have attracted such renowned groups as the Vienna Orchestra and many of our other outstanding performances. Without the immense, well-equipped stage and the hydraulic orchestra pit, he adds, it would have been difficult to accommodate such groups as the Utah Symphony and Mormon Tabernacle Choir impossible when they appeared simultaneously or Utahs highly regarded Ballet West. Dans frequent contacts and growing friendship with outstanding artists throughout the nation and world combine with the drawing power of the Center to provide Weber some of the finest cultural talents anywhere. Informed that he is in many ways the cultural pulse beat of Weber State College and Community, Dan promptly demurs, insisting that he has an aversion to the perpendicular pronoun I. Rather, he prefers to think in terms of We, promptly listing others for any accolades. Simultaneously, he conveys the air of a man who has found his calling and refuses to abandon it even though he qualified for retirement chronologically speaking some years ago. Asked when he plans to bow out, Dan Martino smiles with a trace of mischief. Never! he replies. For me, he adds, drawing from Dewey, work is play! A DRAMATIC EXPERIENCE T. LEONARD ROWLEY AND THE SACRED TRUST For many years and in many ways Professor M. Thatcher Allred represented THEATRE in capital letters for the Ogden area, blending drama at Weber with that of the community. His is the name I think of first when I consider theatre, says Dr. T. Leonard Rowley, former Chairman of the Theatre Arts Department. Without him, our theatre here would have died. Gradually, however, over some three decades, the plays directed by Mr. Theatre, as Thatcher was fondly known, were less frequent, simply because the pace had become too heavy. The task of bringing a