

The Gallo Center has adopted the use of digital programs meant to be viewed on cell phones or other computer devices. This change has important public health, environmental and economic benefits: reducing close contacts between patrons and ushers, cutting our use of paper, and eliminating substantial printing costs. View the program only before shows begin or during intermissions. Please be considerate of other patrons and artists on stage by not viewing it during performances. Patrons who do not observe this courtesy and create distractions may be asked to leave. Thank you.
The Gallo Center for the Arts is a non-profit performing arts center with a deep commitment to enriching the people and communities of California’s vast San Joaquin Valley. From the scintillating performances of its wonderful resident companies, to the great variety of world-class entertainment presented by the Center each season, to robust arts education programs for the region’s youth, this is where the magic happens.
From the beginning, the Center’s mission has been clearly defined: to provide an inspirational civic gathering place where regional, national, and international cultural activities illuminate, educate, and entertain. Since revenue from ticket sales and facility rentals only covers a portion of the costs associated with fulfilling this mission, the Center is dependent on the generous annual financial support from donors and program sponsors within our community.
LEARN MORE AT GALLOARTS.ORG/SUPPORTUS.
In Person: 1000 I Street, downtown Modesto
Online: 24/7/365 at GalloArts.org
By Phone: (209) 338-2100
Monday – Friday: 10 am – 6 pm, Saturday: Noon – 6 pm
Closed Sundays
Ticket Office opens two hours prior to all events
Sign up at GalloArts.org and receive e-news about events, added performances, and special offers!
The mission of the Gallo Center for the Arts is to enrich the quality of life in the San Joaquin Valley by providing an inspirational civic gathering place where regional, national and international cultural activities illuminate, educate and entertain. The Gallo Center for the Arts celebrates the diversity of the San Joaquin Valley by offering an array of affordable cultural opportunities designed to appeal, and be accessible, to all.
Photo: Gallo Center for the Arts, Circa 2007The Center opened in September, 2007 and consists of the 440-seat Foster Family Theater, the 1,248-seat Mary Stuart Rogers Theater, the Marie Damrell Gallo Grand Lobby and a plaza serving both theaters, and the Modesto Rotary Music Garden.
As a regional non-profit performing arts center, the Gallo Center for the Arts presents internationally recognized touring artists in all disciplines, and also is home to four resident companies: Central West Ballet, Modesto Performing Arts, Modesto Symphony Orchestra and Opera Modesto.
The Gallo Center for the Arts is a unique public/private partnership. Construction was funded jointly by the County of Stanislaus, which owns the facility, and contributions from more than 4,000 individuals and businesses given to a non-profit 501(c)(3) organization which today operates the Center.
• Ample and secure parking for Center events is located in the garage at 12th Street between H and I Streets. Parking passes are $5 cash and may be purchased when ordering tickets or at the entrance to the garage prior to performances. See GalloArts.org for a map and directions to the garage.
• Emergency exits are indicated by green exit signs located above each exit. For your safety, please check for the location of the exit nearest to your seat.
• The Gallo Center for the Arts is accessible to disabled patrons. Wheelchair seating is available in both theaters. Portable wireless listening devices are available at the “ Coat Check room at no charge. Please inform the Ticket Office of any special needs when ordering tickets.
• Food and beverages are not allowed in the theaters. (with the exception of bottled water and beverages served in theater cups.)
• Smoking is prohibited inside the building and within 20 feet of all entrances.
• Latecomers will be seated at the discretion of the Gallo Center for the Arts’ house managers.
• The use of recording equipment and the taking of photographs in Gallo Center for the Arts theaters is strictly forbidden. The Gallo Center for the Arts reserves the right to confiscate any such equipment and/or require offending customers to exit the premises.
• As a courtesy to artists and to your fellow patrons, please turn off or silence any mobile device on your person. No texting, please!
• Restrooms are located on all three levels of the Center.
• Lost items will be held in the Coat Check room on the main level until the end of the performance. Thereafter, please contact Ticket Office at (209) 338-2100.
• All patrons MUST have a ticket to enter a performance regardless of age.
• Out of courtesy to other patrons, the Gallo Center for the Arts requests that no infants or toddlers attend any performance.
Groups qualify for discounts up to 15% on ticket prices to the many exciting performances offered by the Gallo Center for the Arts and its resident companies.
Secure your group reservation today for just 10% down of your total price!
EMPLOYEE PARTIES/REWARDS
CHURCH OUTINGS
CLUBS AND ORGANIZATIONS
BUS TOURS
CORPORATE ENTERTAINMENT
SENIOR CENTER OUTINGS
HOLIDAY, ANNIVERSARY & BIRTHDAY PARTIES
…AND MORE!
ONE CALL DOES IT ALL!
Our group sales manager, Jesica Sanchez, is at your service. Call her at (209) 338-5064, or send an email to jsanchez@galloarts.org.
Saturday, April 22, 2023
SPONSORED BY
With a wide smile and engaging Southern drawl, Aaron Tippin proclaims he’s the “luckiest hillbilly that has ever lived,” and there’s no arguing it. After all he’s been struck by lightning twice and lived to tell, piloted planes with engine failure and even somewhat more miraculously, he’s survived more than three decades in the music business and is still going strong.
Along the way, he’s earned six gold albums and one platinum. He’s released more than 30 singles, including such hits as “You’ve Got to Stand for Something,” “My Blue Angel,” “I Wouldn’t Have it Any Other Way,” “Kiss This,” “Workin’ Man’s Ph. D,” “There Ain’t Nothing Wrong with the Radio” and “Where the Stars and Stripes and the Eagle Fly,” which was not only a country hit, but top 20 on Billboard’s all genre Hot 100 chart. Of course, luck often plays a role in achieving success in the entertainment industry, but the real driving forces behind Tippin’s achievements are a dedicated work ethic and undeniable talent.
“This took me by surprise actually,” Tippin says of his music career. “It was the furthest thing from my mind. I wanted to be an airplane pilot.”
He achieved that dream early on by becoming a commercial pilot and then began expanding his horizons by pursuing his other love—music. Born in Pensacola, FL and raised on a farm in Travelers Rest, SC, Tippin had a passion for aviation and became a pilot with single and multi-engine ratings. “But when the energy crunch hit and the airlines started furloughing senior captains I said, ‘This ain’t going to happen,’” he recalls. “I didn’t want to be a corporate pilot for the rest of my life, so I did what I liked next best and that was pickin’ and grinnin.’”
He took a job with an excavation company driving a bulldozer and dump truck by day and playing in clubs at night with his band. The enthusiastic hometown reception buoyed his musical aspirations, and he made the move to Nashville.
His first success in Music City came as a songwriter. The late Charlie Monk, known as the “Mayor of Music Row,” took Tippin under his wing. “He was my first champion in Nashville,” Tippin says. “I was working for him when he got the job at Acuff-Rose Publishing and he calls me and says, ‘Hey, do you want to come over here and write?’ I was lucky to get that chance.”
Tippin found himself writing songs for the legendary publishing company that had been home to Hank William Sr. His songs were recorded by gospel greats the Kingsmen, David Ball, Mark Collie and the legendary Charley Pride, but soon people began asking about the unique voice singing his demos and Tippin was offered a deal with RCA Records. His first single, “You’ve Got to Stand for Something,” became his first top ten hit in 1991.
Over the years, he’s built a successful career as an artist who sings what he believes. Tippin’s music has resonated with fans for decades because his love for God, country and family has always been front and center. He sings songs that celebrate the life of the common, hard-working man because that’s who Tippin is at his core.
He and his wife Thea raised their family on their Tennessee farm while continuing to nurture his thriving music career and launching other successful ventures. He’s continued as a pilot and for several years ran an aviation school. A shrewd entrepreneur, Aaron also parlayed his love for wine into a partnership with Stonehaus Winery and is hands on in developing his own wines. His 2021 launch of Aaron Tippin’s Blue Angel Blueberry Wine has been a tremendous success and they
are hard at work on a new Riesling.
Though he’s accomplished so much, Tippin refuses to rest on his considerable laurels. He continues to maintain a busy touring schedule and is working on a new book. “I call myself the luckiest hillbilly that has ever lived and I think it’s true,” he smiles. “I’ve even had my music in space. I performed in Saudi Arabia on the Bob Hope Christmas Show in 1990. There was a young Marine Captain in the audience and when the Gulf War was over, he moved on to NASA and he became a shuttle pilot and mission commander. So, one day I started getting calls from friends telling me that my song, ‘Big Boy Toys,’ had woke up the space shuttle.”
A month or so later, Tippin received a photo of an astronaut in space and in front of him, floating in midair, is an Aaron Tippin album. Commander Rick Sturckow wrote Aaron a letter explaining he had seen him perform when he was serving during Operation Desert Storm. “I was really impressed with you and your music. I was a fan. I chose your album to go with me in space,” Sturckow wrote.
Then he surprised Tippin by sending the album to him. “Rick listened to it up there and then he brought it back to earth and it’s hanging in my living room now,” he says with emotion in his voice. “I’ve had so many great things happen. I played the 4th of July at the Mall facing our nation’s Capitol. I’ve had some pretty cool things happen in my life and it’s all because of what happened with the songs. I still can’t believe all that came true. I’ve been hit by lightning twice. I’ve had two engine failures in airplanes and lived through them. I’m the luckiest hillbilly that’s ever lived.”
Tippin could easily retire and relax on his farm, but that ain’t his style. With the resurgence in the popularity of ‘90s country music, Tippin has never been in more
demand. So, what keeps him out there performing after all his years in the business? “It’s the people I’ve met around the country that I’ve made friends,” he says. “I look so forward to going back out there and seeing them again and hanging out. I adore that. It’s fun for me and as long as it is fun, I’ll keep doing it. That’s what keeps me going is the fact that they still come after 33 years now. I’m so happy they keep coming.”
Collin Raye has always been a great storyteller and he’s built a multi-platinum career bringing interesting characters to life. Who can forget the struggling alcoholic in “Little Rock” or the devoted couple celebrated in “Love, Me?” On his new album Scars, Raye is once again wrapping his distinctive voice around a compelling collection of tunes, but this time in addition to writing nearly every song on the 14-track set, Raye has also embarked on a new musical direction and has enlisted Miranda Lambert, Vince Gill and the Black Keys Dan Auerbach to join the journey.
“I’d thought about doing an Americana record for years because, to me, Americana means no rules,” Raye says. “Americana is kind of country, kind of bluegrass, kind of folk, kind of R&B. It’s anything you want it to be. I thought how fun would that be to make a record knowing that cut number one can sound totally different than cut number two and cut number three, number four, etc. And that’s exactly what I set out to do.”
Working with producer David “Fergie” Ferguson (Johnny Cash, John Prine, Sturgill Simpson), Scars is Raye’s first album of all new music in over a decade. It’s a bold musical manifesto that sees the veteran hitmaker delivering an eclectic set filled with memorable stories and engaging melodic textures. “Fergie and I talked about
it and I said, ‘I want it to be just really different. I want there to be songs on there that sound like Collin Raye and what you might expect, but I want there to be stuff that no one would expect as well,’” Raye says. “The more we talked about it, he said, ‘I really don’t want to cut anything that you didn’t write.’ And I was like, ‘Wow! Really?’”
As a result, Raye wrote or co-wrote 12 of the 14 tracks on Scars. There are only two outside cuts and they came from the pen of his brother Scotty Wray (the original spelling of the family surname). “Most of the stuff I wrote was new, written just for this record, and for that reason, I’m extremely proud of it because it’s very personal to me,” says the 10-time Male Vocalist of the Year nominee (ACM and CMA). “Instead of just being the singer of someone else’s words, I’m the singer of my own words. I’ve always liked writing, but I was never prolific. I was never one of those guys who wrote two or three times a week. If you look at my Sony albums, I would always have one or two cuts on there, but I never wrote half or more of an album so this was a definite turn for me. I had to really work for this, roll my sleeves up and prove to myself that I’m a good writer. I’m really happy with it. This was such a fun record to make and I’ve never felt so creative on any album.”
That is saying a lot considering Raye has already amassed an impressive body of work. Since signing with Epic Records in 1990, Raye has placed more than 30 singles on the chart, including such No. 1 hits as “Love, Me, “In This Life,” “My Kind of Girl” and “I Can Still Feel You.” His debut album, All I Can Be, was the first of four consecutive albums released by Raye to achieve platinum certification in the United States signifying sales of one million copies each. “Little Red Rodeo,” “That’s My Story,” “I Think About You,” “One Boy, One Girl” and “Not That Different” are among the hits that have kept him busy on the road until this year’s pandemic sidelined the country
touring business.
With Scars, Raye takes the next step on his musical journey, accompanied by Auerbach, who lends his signature guitar licks throughout the project. One of the most poignant songs on the album, “Dancing Alone in the Street,” was inspired by a homeless man Raye saw many years ago. “That may be the one I’m the most proud of and that’s a new song,” he shares. “I’ve always wanted to write a song like ‘Dreaming My Dreams With You,’ the song Waylon did. I just think that’s the best country song I’ve ever heard and I actually cut that on my third album. I love that song and I thought, ‘Man, if I could just write a song like that, a waltz with a melody like that.’ So I found this melody in my head and said, ‘That’s beautiful. I think I’ve got a good melody, what am I going to write about?’”
The lyric came to him as he thought back to the days when he and his brother had moved from Texas to Oregon. “I was living in Portland. I was probably about 22-years-old. My brother and I moved up there because an old friend of my mom’s booked us for a month and we were just hungry to play anywhere. We played there a month and then another club offered us a gig and we wound living in Portland for five years,” Raye recalls. “One night I was coming home from the club, probably about 2:30 in the morning, and traffic was stopped. Everybody was just sitting there and I can see that there’s this older man clearly really drunk and he’s just in the middle of the street dancing. No one honked. Everybody just let him do his thing and waited until he moved on. A few minutes later he drifted back over to the sidewalk and traffic resumed, but as I was sitting there watching him I thought, ‘I wonder what his story is?’
“That image just stuck in my head,” Raye continues. “It was a very long time ago and I never forgot that. So I had that melody I decided to write about that guy. I made up his story as something I felt like was a reasonable
possibility— that he’d lost the love of his life, the drinking got a hold of him and took over and now he’s just waiting to die. It’s a very sad song, but I’ve always loved when writers tell stories like that, if they got the idea from something that really happened or something that they’ve witnessed. The ironic thing is that would have been 1982ish and I didn’t write the song until 2019. The memory lasted and provided the inspiration.”
The album’s title track was written by Raye’s brother Scotty and Tony Ramey and features a guest appearance by Lambert. “He’s been with her since she was 17-yearsold. He was her original band. It was just him,” Raye says of his brother, who retired from touring last year due to heart problems. Lambert was familiar with “Scars” because she had performed the song live over the years and when Scotty asked if she’d be interested in recording it with Collin, she said “Absolutely.”
“That was a real blessing and it’s not just because she’s Miranda Lambert and she’s such a superstar, but she’s a really great singer, and she loves the song,” Raye says. “She already knew the song so well that I bet we spent far more time in the studio laughing and cutting up than she spent in the vocal booth. I bet she wasn’t in there 10 minutes and she was done. It just turned out perfect. She’s just a great artist and I just felt like that kind of really anointed the album having her on it.”
Though Wray and Ramey wrote the song years ago, Raye says the times we’re living in make the lyric even more poignant. “I think because of the times we’re in I think that song is going to have some impact. A lot of things have happened to me in my life. Nobody gets out of here scar free. You’re going to have stuff that’s going to go bad. Losing Haley was number one,” he says of his eldest granddaughter dying at nine-years-old from a rare neurological condition. “Over the years, the stress you live
through, the ups and downs, the worry and tragedy takes a toll on you and you are scarred. This was a really good time in my life to be the singer of this song. I’m a good purveyor of this song because I’ve lived through a lot of things. Here I am and I’m proud of it. Most people can relate to that.”
One of the most autobiographical songs on the album is “Rock ’n’ Roll Bone,” which Raye penned solo. “That’s about mine and Scotty’s musical journey,” he says. “We started out as little kids in DeQueen, Arkansas listening to nothing but Buck Owens, early Merle Haggard, Johnny Cash, Jim Reeves and Johnny Horton when we were five or six-years-old. Scotty could play guitar and by the time he was six, he could play lead guitar. He was a prodigy. Country music was the first music I loved, but then I went to see a Foghat concert when I was 13-years-old and it changed my whole life. I saw the Eagles, Fleetwood Mac, Deep Purple, Bob Seger, anybody that came through we saved up whatever money we could scrounge up. It put that passion in me, and if you look at my career, I’ve always been considered a very animated live performer. I put on a show like I did was because I’d seen the greats doing it. I’ve got a rock and roll bone that served me really, really well. I’m kind of known as a ballad guy because I’ve had so many hit ballads, but no one has ever complained, ‘Oh, I went to see Collin Raye, but the show was real sleepy.’ That’s never been the case because I grew up watching the greats. I love ‘Rock ’n’ Roll Bone. It’s very autobiographical and it’s a tribute to my brother too.”
There are a couple other family members who share writing credits on the album. Raye’s daughter Britanny joined her dad, Michael Curtis and Troy Powers to co-write the cinematic “Never Going Back There Again” and Raye’s son, Jacob, co-wrote the Beatlesque “Chasing Renee.”
“When Jacob was probably 15 or 16-years-old, he had this
dear friend named Renee. He liked her in that way and she didn’t like him in that way,” Raye recalls. “She wasn’t going to have any part of it, but he was so persistent. So he wrote a poem and he called it ‘Chasing Renee.’ I read it and I just cracked up. I thought, ‘Buddy I think we could write a song out of this.’ I hope people will understand that we’re not promoting stalking. It’s a tongue-in-cheek song. It’s just so kooky. I wanted it on this record because it’s a moment you don’t expect. And Jacob is so proud that this song made the album. He played it for Renee and she cracked up.”
Another of Raye’s favorite songs on the album is the western swing-flavored “Rodeo Girl,” featuring Vince Gill. “The very first single I ever released was ‘All I Can Be Is A Sweet Memory.’ It went to No. 22 on the chart and the video went to No. 1 on CMT. That’s what got us off and running and Vince sang on that song,” he says. “He’s an Eagle now. He tours with the Eagles and still if you ask him for a favor like that, he’s glad to do it. He’s a good dude. It was a full circle moment. Here we are again 30 years later and he’s singing with me again.”
The album concludes with “Mama Sure Could Sing,” which Raye wrote and sings with his brother Scotty. “Mama really was a great singer. She was a professional singer and worked with Buck Owens a little bit and played Vegas. She was a gorgeous lady and I’m not just saying that because she was my mom. Pictures back it up. She had movie star looks and she was a really great country singer,” Raye says proudly. “Scotty had the idea for ‘Mama Sure Could Sing’ and we approached it like a Ralph Stanley bluegrassy kind of treatment. Scotty does that so well. I just felt like it was such a sweet, somber testament to her and it should be the last thing on the record. I love that the fact that the last thing you hear is me and Scotty singing together a cappella.”
Raye is grateful to the staff at BFD/Audium Nashville for encouraging him to make the kind of album he’s always wanted to make. “I didn’t think I’d ever get an assignment like this where a record label basically said, ‘Do whatever you want and we’ll promote it and put it out,’” he says. “I never thought I’d get to do a record this personal. I feel it’s the best record I ever made.”
Ask one of his countless fans – or even one of his peers, and they will tell you that Sammy Kershaw definitely qualifies as a Country Music original. In a day and age where individuality isn’t something that is sought out as much as before, when you hear a Sammy Kershaw song about heartbreak, love, or good times – you know who it is. You don’t have to be told. And, in a career that has seen some amazing highs over the past thirty-five years, the best – as they say – is yet to come.
Growing up in Kaplan, Louisiana, Kershaw was enthralled with the masters at an early age – names like Conway Twitty, Mel Street, and George Jones. In fact, as a teenager, Kershaw had developed such a reputation for his vocals – even then – that he was often called upon to open for those acts, and others like them. Jones was so impressed with Sammy that he frequently used him on his shows whenever he was playing in the region.
Of all the artists that Kershaw has worked with over the years, it very well might be Jones that left the most impact. From the moment that he released his debut single for Mercury Records, “Cadillac Style,” critics and fans all made the comparison. Rather than run from them, Kershaw embraced them. After all, that stone Country sound was what Sammy Kershaw was all about – and that’s what he was going to give his fans! “Cadillac Style” made it all the way to No. 3 on the Billboard charts, and
from there (to quote Jones), the race was on! Follow-ups such as “Don’t Go Near The Water” and “I Can’t Reach Her Anymore” established him as one of the finest traditional artists of his time, while records like “Yard Sale” showed that haunting Jones influence was very much a part of everything he is about.
In 1993, Sammy Kershaw topped the singles chart for the first time with “She Don’t Know She’s Beautiful,” which has become one of the most-played records at Country Radio over the past two decades. Albums such as Don’t Go Near The Water and Haunted Heart were both certified as million-sellers by the RIAA, and only continued to add to his stature. The hits kept coming on the airwaves, as well. He added to his resume such classics as “I Can’t Reach Her Anymore,” “Meant To Be,” his cover of The Amazing Rhythm Aces’ “Third Rate Romance,” and 1998’s “Love Of My Life,” which cemented his reputation as a balladeer.
Kershaw can be found out on the road – both on his own as well as part of the successful Roots & Boots tour with Collin Raye and Aaron Tippin. The three continue to bring their signature sounds to the fans year-after-year all over North America. But, Sammy Kershaw is not resting on his laurels – though he very well could. His 2014 George Jones tribute disc Do You Know Me was his highestcharting project in fifteen years, and has only whetted the appetites of his fans for more recordings. Afterwards, he completed a brand new album for Cleopatra Records that industry insiders are saying is one of the best releases he has ever done. He has also developed quite a strong social fan base via Facebook and Twitter, having done so in an organic fashion – very much one on one, the way he’s always preferred to do it! And, if that’s not enough, Kershaw is putting the finishing touches on his longawaited autobiography – which promises to be as juicy as a bowl of the gumbo he loves to prepare in his Louisiana
home!
So, make no mistake about it. The past has been a great, long-winding road of highs and lows for Sammy Kershaw, but to quote one of his past singles, the goal isn’t to rest on those accomplishments, but to be “Better Than I Used To Be.”
E. & J. Gallo Winery
ARTS EDUCATION
As of February 15, 2023
$25,000+
California Arts Council
Education Foundation of Stanislaus County
US Bank Foundation Anonymous (1)
$10,000+
Kaiser Permanente
Modesto Subaru Porges Family Foundation Fund
The Make Dreams Real Foundation
$5,000+
Silva Injury Law, Inc.
$2,500+
Beard Land & Investment Co.
$1,000+ Enterprise Holdings Foundation
Shelly Hurst-Mueller
Cathy Jennison
Modesto Rotary Club Foundation
Modesto Sunrise Rotary
$500+
Rod & Freda Motto Anonymous (1)
$300+ Cortney Hurst
$150+ City Ministry Network
David Falzone
Jerry & Diane Hougland
Trent & Ivey Mayol
Dr. Robert & Katie McGrew
Philanthropic Education Organization
Gerald & Rebecca Rector
Mike & Carol Solario
FOUNDATION GIVING
Bob and Marie Gallo Foundation
California Arts Council
Costa Family Foundation
National Endowment for the Arts
Stanislaus Community Foundation
The Ernest Gallo Foundation
The Julio R. Gallo Foundation
Porges Family Foundation Fund
US Bank Foundation
TRIBUTES
As of February 15, 2023
IN HONOR OF:
Physicians of Family Health Care
Medical Group of Modesto
Jim & Peggy Shiovitz
Stephen Rush, in recognition for a great “We Are Monsters” performance!
Armando & Amber Flores
IN MEMORY OF:
Richard Beal
Matthew & Kathleen Gallo
Linda Raffo
Waqar H. Bhatti, PhD
Martha Carter-Bhatti, Ph.D.
Ryan Hunter Dickerson
Dave & Kathy Halsey
Josephine Dunbar-Snow
Elvera Rollins
Dennis Hoskins
Miriam Bermann
Ron & Lynn Dickerson
Michael Foley & Marie Marsigli-Foley
Carol Hannen
Art Hill & Marjorie Cook
Susan Larson
David P. Linhares
Henry & Mary Navarrete
Jerry Passanisi
Victoria Patlan
Marsha Waggoner Anonymous (1)
Leroy “Ted” Nagel
Ninette Latronica
Brittany Rodriguez
Nancy Gonzalez
Donald DeForest “Bud” Sanford
Robert A. Saunders
Phyllis Walden
Marion & Viola Zoodsma
Jim & Julia Stone
Wendell and Penny White
Memorial Fund
Ken White & Robin Johnson
Eleanor Zeff
John & Suzanne Casazza
Gallo Center for the a r t s
BOARD OF DIRECTORS
Alex Mari, M.D. Chair of the Board
Marie D. Gallo President Emerita (In Memoriam)
Evan Porges
Immediate Past Chair
June Rogers
Vice President
Christina Gomez
Treasurer & Chair Elect
Ginger Johnson Secretary
Joe Swain Member at Large
Angelica Anguiano
Victor Barraza
Elliot Begoun
Lorraine Cardoza
Clifford Cooper
Ismael Covarrubias
Daniel Del Real
Paul Michael Eger
Robert Fantazia
Robert Fores
Britta Foster
Julian Gallo
Ryan Roth Gallo
Annie Benisch
Jill Bower
Mel Bradley
Clarke Filippi, D.D.S.
Sarah Grover
Chad Hilligus
Michael Krausnick
Nicole Larson*
Michelle Lewis
Katy Menges
Juan Sánchez Muñoz, Ph.D.
Duncan Reno
Tina Rocha
Stephanie Gallo Tyler
BOARD OF TRUSTEES
Diane Gilbert
Emma Grover
Xelah Herrera
Sabrina High
Doug Highiet
Linda Hischier
Ronald Hoffmann
Jose Ibarra
John Jacinto
Jaime Jimenez
Kimberly Clauss Jorritsma
Brian Kline
Danielle Lau
Virginia Madueno
Roberto Martinez
Trent Mayol
Yolanda Meraz
Chris Murphy
Norik Naraghi
Sharilyn Nelson
Richard Ogle, Ph.D.
Rose Marie Reavill
Jeffrey Reed
Catherine Rhee
Susan Rich
Christine Roberts
Janet Rogers
Michael Roland
John Schneider
Brant Scott
KT Staack
Kate Trompetter
Philip Trompetter, Ph.D.
Ann M. Veneman
Doug Vilas
Irene Angelo†
Lilly Banisadre
Carl Boyett†
Joan Cardoza
Sheila Carroll
Suzanne Casazza
Paul Draper
Ron Emerzian
Ann Endsley
Kenni Friedman
Louis Friedman
Dianne Gagos
Barry Highiet†
Randy Jalli
Chris Johnson
Grace Lieberman†
Roy Levin, M.D.
Alexandra Loew
Bill Mattos
Tony Mistlin†
Kate Nyegaard
Ruthann Olsen
Jeanne Perry
John C. Pfeffer, M.D.
Norm Porges
Chris Reed
James Reed
Sue Ellen Ritchey
Delsie Schrimp
Fred A. Silva
Ray Simon
Delmar R. Tonge, M.D.†
Tom Van Groningen, Ph.D.
Carol Whiteside†
Jeremiah Williams
Alice Yip
†In Memoriam