Music

Courtesy Photo Primus

Rush Job

On its latest tour, quirk-rock band Primus is covering Rush’s entire A Farewell to Kings album

BY MIKE MCMAHAN

It’s an admirable goal in music to be true to yourself, and Primus has consistently done over a nearly four-decade run. The band’s sound is diffi cult to characterize but easy to recognize.

Formed in the San Francisco area in the mid-’80s, Primus coalesced around oddball bassist and frontman Les Claypool to deliver a heady mix of funk, metal and prog. As a result of its varied infl uences, the trio’s hard-to-pigeonhole sound has allowed it to straddle multiple scenes and genres.

That includes not just the alt-rock scene — Primus grabbed the headlining spot on Lollapalooza 1993 — but also prog and metal tours. The band has opened for anyone from Anthrax to Tool to Public Enemy. Claypool has also collaborated with members of the jamband scene, most notably Phish’s Trey Anastasio, with whom he formed the supergroup Oysterhead.

Each member of Primus brings his own set of musical infl uences to the party, and they don’t overlap much, save for one band: Rush. So, it makes sense that the group — which toured with the Canadian power trio in the early ’90s — is currently performing A Farewell to Kings in its entirety. The A Tribute to Kings tour includes not just Rush’s classic 1977 album in its entirety but also a full set of Primus originals. It stops at San Antonio’s Majestic Theatre on Saturday, April 16 with Ba les in the opening slot.

We caught up with Les Claypool on Zoom to talk about the tour, Primus’ history and his love of all things Rush.

Primus played San Antonio in 1991, opening for Rush on the Roll The Bones tour. Do you have any memories of the San Antonio gig or memories of the tour that you’d like to share?

Well, there are many memories of the Roll the Bones tour. I am one of those guys that’s affl icted with I-don’t-remember-anything-about-specifi c-venues-or-places. Whereas [Primus guitarist] Larry LaLonde could tell you what was on the deli tray and where we went to lunch that afternoon. He remembers every li le detail. I do not. Tours tend to be a big blur to me. That being said, here we were young whippersnappers that were meeting our high school heroes, and befriending them, and going out and playing with them. It was a pre y spectacular time of our lives. My fi rst concert ever was Rush Hemispheres, and I was 14. I drank three warm Lowenbraus and threw up in the parking lot of the Cow Palace. Bought a bootleg ticket for too much money even though the show wasn’t sold out, but I was too dumb to know. I remember years later I had that T-shirt from high school from that show. I wore it to one of the gigs. I’m wearing it down the hall and I’m showing Alex [Lifeson, Rush’s guitarist]. He looks at me and he goes, “it’s a bootleg!”

well To Kings to pull off live?

It’s hard to say, because it’s Rush — it’s all hard. One of the hardest ones is “Madrigal,” because it’s not very Rushlike. You have to kind of switch gears. It’s this pre y li le song. I have the big book they put out a couple of years ago with all the tours and setlists. There’s no “Madrigal” on any of the setlists. So, I asked [Rush bassist] Geddy [Lee], “Did you guys ever play that song?” and he goes “I don’t think we ever did.” So, I don’t think they ever played that song live. That being said, the toughest one — purely from an athletic standpoint, and logistics — is “Xanadu.” I have to wear that giant-ass double-neck. And I have to go between that and keyboards and guitar. It’s a juggler. The thing about all these songs is even though it was a lot of work prepping for it, more rehearsal than Primus has ever done ever, in the history of our band, it was a great bonding thing for us, because we haven’t done that since we were kids. It was “let’s write some songs, record ‘em, learn ‘em, let’s go on tour.” Whereas this, we had to get together a lot. And hang out a lot. And play a lot, not just jam and go get some steaks and wine. So, it was a great bonding thing. And we’re gonna do it again next week be-

cause we haven’t played it since last tour, so we go a get together and knock the tarnish off . So, I don’t know which is harder, but it’s actually been a great thing for us.

The non-Rush part of the setlist varies from night to night. What goes into choosing the Primus songs you’re gonna play? Or maybe you’ll throw in an Oysterhead song? A little of “Polka Dot Rose.”

I think that’s something I snuck in [as a tease]. The guys didn’t realize. They won’t go for me pu ing in no Oysterhead songs (laughs). It’s not their band. What the hell? They don’t want to do that. They’re gonna be like, “What? Are we gonna play some Laundry tunes?” But it’s been like that for years. However we’re feeling. It depends on the vibe of the day. What the weather’s like. What the crowd’s like. Is it an indoor gig? Is it an outdoor gig? How hungover we are. It’s sorta just every day. That dictates the vibe. I think it’s just a natural refl ection of being a human. If you’re going into a room full of people, what kind of conversation you’re gonna have depends on the mood of the day.

If you guys — in some bizarro alternate universe — were contractually obligated to do a second Rush tour and you had to choose an album post-Moving Pictures, what would you do?

Well, fi rst of all, we are living in an alternate reality. I don’t know if you’re watching the fucking news. Somebody has scripted this shit the past three years. It was wri en by Ray Bradbury or something. But I would pick Signals. It was kind of the last Rush record for me before I went off and discovered the rest of the world of music. Because I was such a devoted Rush fan that they absorbed my listening time quite a bit. But after that I got into Public Image Ltd. and old Peter Gabriel and Fred Frith and a lot of the old-school funk and soul. That was all from blossoming out of that era. Signals may have been the last Rush concert I paid for. I saw a lot of Roll The Bones shows.

During the ’90s, Primus cut across a wide swath of the culture. There was Lollapalooza, then fast forward a few years, and you’re doing jamband shows with Grateful Dead bassist Phil Lesh. You’re sitting in with Phish. Not to mention you’ve got the Anthrax and Public Enemy tour in there. What was it about your music that made it possible to jump back and forth?

We’re still jumping all over the place. It’s like anything else. It’s the nature of your infl uences. Whether it’s literature or fi lm or scuba diving. You refl ect what you see and what you experience. And if you’re just — I hate to use the word narrow-minded — but if you’re focused on one genre or one perspective, you’re gonna refl ect that. For us, we were always the oddball band in the ’80s, playing around the Bay Area. We were very fortunate. This guy, Michael Bailey, who for years has run the Fillmore, used to run a li le independent club called Berkeley Square, where we recorded our fi rst record. He used to believe in us and book us all the time. He didn’t know who to put us with. We’ve opened for the Swans and the Pop-O-Pies and nobody knew what to do with us. We were this odd band around Berkeley, and then Fishbone started showing up. And the Chili Peppers. And we started having bands that we could play with. And then Faith No More. We’ve always been this sort of cross-pollination of things. And then, as Primus was kind of falling apart in the end of the ’90s, that whole thing with Oysterhead came about. Next thing you know, this whole jam world opened up to me. I was like, “Holy shit! I like this, this is a comfortable shoe.” So, I started Frog Brigade and started doing all these things. And then, obviously, working with all these diff erent artists. ... I just like going where the fun is.

Facebook / Primus

You’ve got a new three-song EP coming out that includes a 13-minute song, “Conspiranoia.” Reportedly, your son said the lyrics were a little preachy and you did some revisions. What do you want listeners to get out of the song?

The whole notion was: “We want to get in the studio.” We just built this new studio. We’re having fun with it. I said, “We don’t want to do a whole album. We don’t have time. No one wants us to throw a whole new album on them at the show.” You know, when you go see a band, you want to maybe hear one or two new songs, but you don’t want to hear a fuckin’ album’s worth. You want to hear the old-timey ones plus we’re playing the Rush stuff . So, I said, “Let’s do one big-ass song.” So, I wrote “Conspiranoia” and we recorded it, and it’s 13 minutes long. There’s a single, but we need a B-side. It’s 13 minutes long, so we need two B-sides ’cause that’s a lot of plastic. So, we recorded “Conspiranoia,” and then we recorded “Follows The Fool.” And then I said, “Hey, Ler [LaLonde], you got anything?” And he’s like, “Yeah,” and he played this riff and we jammed it, and it was awesome. It might be the best of the three. And it’s called “Erring on the Side of Caution.” The name of the EP is Conspiranoid, and it’s refl ective of the times. But my son is doing the Primus documentary right now, Jason Momoa is producing, Jimmy Hayward is producing, and my son is directing it. He’s gone through 700-and-some-odd videotapes that we’ve collected over the years and digitized them. He’s down in LA interviewing all these diff erent people. He’s been a good sounding board for me of late. He’s just a good creative guy. So, I played him the song and he’s like, “You know, Dad, the one thing I’ve learned doing this documentary about you guys is that Primus has this world. You guys have created this world that people identify with, with all these diff erent characters. And I’m listening to the song and it kinda sounds like you’re just preaching a bit, and there’s none of these characters that you’re so well-known for.” I was like “OK,” and I went back and re-wrote the lyrics from the perspective of characters.

MMembers of Primus and Rush mug backstage during the 1991 tour the bands did together.

Kids are like that. They’re not going to be impressed by your accomplishments.

My kids are more than happy to tell the emperor he has no clothes on.

To read this interview in its entirety, visit sacurrent.com. $49-$300, 8 p.m., Saturday, April 16, Majestic Theatre, 224 E. Houston St., (210) 226-5700, majesticempire.com.

music

Reminder:

Although live events have returned, the COVID-19 pandemic is still with us. Check with venues to make sure scheduled events are still happening, and please follow all health and safety guidelines.

Growing Echo

Organizers of San Antonio’s intimate Echo Bridge concerts eager to make it a stop for bigger acts

BY MIKE MCMAHAN

Just shy of a hundred people hiked down a steep grade to reach the underside of San Antonio’s Roosevelt Ave. bridge on the last Sunday in March. They didn’t want to be late for an intimate performance by underground music legend Jad Fair.

Although near the end of the day, the sun was still high enough to beat down as a endees staked their spots and unfolded portable chairs. As Fair and his two-person backing band began playing along a concrete embankment on the other side of the river, some a endees sat or stood just to the side of the bridge to make the most of its shade.

But everyone there was in thrall to the music. Unlike a endees of a bar or club show, they really listened.

The location of the performance is an emerging Alamo City venue dubbed Echo Bridge. And it’s having a moment that organizers of its concert series hope to build it from a quirky space for catching low-key local shows into an unconventional tour stop for top-name acts. Fair’s recent appearance seems to be a key step in that direction.

The unusual se ing’s acoustics and vibe are key to its appeal, said Justin Parr, who curates the concerts with fellow visual artist Jeff Wheeler.

“It has a very special architecture,” Parr said. “Whether that was intentional or not, I don’t know. But we think it should be embraced as a venue by the city. The dream didn’t have to do with us being able to program it. We just thought ‘this should happen.’”

Down by the river

During concerts, performers stand across the river, and the bridge itself provides a natural echo eff ect. In the case of the Fair performance, his lo-fi tunes gained a slight shimmering of psychedelia, reminiscent of reverb in a studio. Graffi ti provides the backdrop, and while the music is loud enough to hear, it’s not concert loud.

After a grassroots start, the series has received the blessing of both the city and the San Antonio River Authority. Though the city would like things to wrap up by sunset, Parr said that some of its early performances included multimedia projections that, of course, require darkness. He’d like to schedule more after-sundown shows but stressed that Echo Bridge appreciates city support and wants to stay within its guidelines.

Fair sang without amplifi cation, played guitar sporadically, and was accompanied by Brian Birzer on an acoustic guitar, whose instrument ran through a lunchbox-sized amp. On percussion was Cheryl Tepper, who played in a style reminiscent of the Velvet Underground’s Moe Tucker. Fair, who’s collaborated with Tucker in the past, split the setlist between numbers from his prolifi c band Half Japanese and songs from his collaborations with the late Daniel Johnston, Austin’s celebrated outsider songwriter and artist. He even threw in a cover of Bob Dylan’s “You Angel You.”

And though Fair might be used to playing to larger crowds, he brought a solid turnout to Echo Bridge. Most of the 100 available tickets, priced at a $25 suggested donation, sold out in advance.

Parr, who owns and runs the San Antonio’s Flight Gallery, said he’s enjoyed the bridge’s ambiance for two decades.

“I’ve been going down there for 20 years. Me and my friends would ride our bikes from Southtown art events. It’d be the middle of the night and Taqueria Guadalajara would still be open right there above it. We’d eat tacos and then go under the bridge and yell and clap and make noise.”

Permitting help

Wheeler fi rst visited the Echo Bridge location for a midnight piano performance during one of Parr’s “Flight Camp” fundraisers. The exact date is lost to history, but lore places it around March 2017.

“It was like sound in HD,” Wheeler said. “It was so beautiful. I had the idea [for the Echo Bridge venue] and brought it to Justin. I said, ‘This needs to be something you do.’”

Fast forward a bit to the opening of Wheeler’s Space C7 gallery. He’d been enjoying the sunset at Echo Bridge several times a week.

“I brought it back up to Justin and we decided to make it happen,” he said.

The pair scheduled a March 2021 solo performance by Erik Sanden, frontman of quirky local rock outfi t Bu ercup. By the time of a July appearance from Piñata Protest spinoff Grupo Tan Tan, the city had go en wind of the guerilla performance and shut it down.

“We thought that could be the end for us,” Wheeler said.

But all wasn’t lost.

“By Monday or Tuesday, we got an email from one of the guys in the River Authority,” Wheeler explained. “He said he caught wind of what happened and said, ‘Don’t worry, hang tight, we’re working with you. We know this is a grassroots thing that everybody is loving, and we’re working on ge ing a permit.’ And by the end of that week, we had one.”

On August 13 of last year, Echo Bridge announced the permit was in place. Nicole Marshall, an offi cial with the San Antonio River Authority, confi rmed that the agency assisted the organizers with the permi ing process.

Courtesy Photo Justin Parr

All for the artists

Although Wheeler and Parr want to continue growing the Echo Bridge series, they insist that it should remain non-profi t, with money from ticket sales going directly to the performers.

“It’s a way to trick these people into coming to playing for us, to share this special place,” Wheeler said. “In order to get the bigger names, we knew we needed all that money to go to them.” That aspect, he added, initially surprises some of the artists. “They don’t believe it. They think it’s some kind of scam.”

Wheeler also sees other ways to up the ante for Echo Bridge.

“We’d like to line up sponsors,” he said. “We’d still sell the tickets, but the sponsors pay the band. Then the ticket money goes to a diff erent charity. Somebody we really believe in.”

Recent performer Fair has gigged a wide variety of places during his decades-long career, including an “odd” private party for Rod Stewart. (“I can’t imagine [Stewart or] anyone there had any idea who I was.”)

Even so, Echo Bridge was a diff erent experience, especially from the tour Fair did opening arena shows for Nirvana, which he characterized as both “surreal” and “unreal.”

“Being closer to the audience makes a diff erence. And everyone was so attentive,” he said of the outdoor performance. “I was appreciative of that.”

In the end it’s about the music, and the producers want to increase the profi le of the artists they a ract. Wheeler is quick to jump on the possibility of Eddie Vedder.

“Maybe if I mention it in this interview, we can manifest that,” he added.

Parr laughed and agreed. “For this entire period, we’ve been saying Pearl Jam or just Eddie Vedder is going to play at Echo Bridge. So, I’m just like, ‘Yeah, it’s gonna happen!’”

For more information, Wheeler and Parr suggest following the venue’s Instagram account — @echobridgeappreciationsociety — or subscribe to their email alerts via theechobridge@ aol.com.

Echo Bridge has four future shows scheduled. The series will host The Derailers on Sunday, April 24, Hayden Pedigo and Mason Lindal on Sunday, May 1, Cary Swinney on Sunday, May 22 and a solo performance from Texas rockabilly legend Rev. Horton Heat on Sunday, July 3.

music listings

Thursday, April 7

Mount Westmore

The term “supergroup” gets thrown around too lightly sometimes, but in this case it really applies. When the membership of California-centric Mount Westmore includes Snoop Dogg, Ice Cube, E-40 and Too Short, you know the crowd will be bobbing their heads to songs that induce chill vibes. Sounds like some of hip-hop’s best and brightest are rolling into town for what could be an epic night. $33-$90, 8 p.m., AT&T Center, 1 AT&T Center Parkway, (210) 444-5000, attcenter.com. — Brianna Espinoza can enjoy the classic music he produced with Cream — without having to put up with him! This tour celebrates the legacy of the ’60s blues-rock supergroup and includes original drummer Ginger Baker’s son, Kofi Baker, and Clapton’s nephew, Will Johns. The set will include a full performance of the Cream classic Disraeli Gears as well as other Cream tunes. In addition, the group will present songs from Blind Faith and Clapton’s solo career, along with personal reminiscences. $35-$45, 7:30 p.m., Tobin Center for the Performing Arts, 100 Auditorium Circle, (210) 223-8624, tobincenter.org. — MM

Friday, April 15

Friday, April 8

Fiesta Family Blues Festival

The San Antonio African American Community Archive and Museum is kicking o its Fiesta Family Blues Fest with a free performance by the quartet Agarita during the fi rst half of the day. The evening set, however, will require a ticket and includes soulful grooves by the Keeshea Pratt Band, Soul Man Sam, Raa Raa Zydeco and Eddie and the Allniters. Free (matinee) and $45-$750 (evening), 12-4 p.m. and 6-10 p.m., The Espee, 1174 E. Commerce St., (210) 775-1352, theespee.com. — BE

Triston Marez

There’s a school of “don’t fi x what ain’t broke” in country music, and Triston Marez clearly wants to be a fl ag-bearer for that approach. Marez, who released his debut EP That Was All Me in January, cites infl uences including Aaron Watson and Chris LeDoux. The singer has packed a lot of experiences into his 24 years as well. From performing a Buck Owens song at his school talent show to winning the Houston Livestock Show and Rodeo talent competition in 2014, he’s made the stage a big part of his formative years. $15, 7 p.m., Gruene Hall, 1281 Gruene Road, New Braunfels, (830) 606-1281, gruenehall.com. — MM

Richie Ramone, Jarrett

One of the four surviving members who did time in iconic punk band The Ramones, Richie Ramone may have only spent four years as the band’s drummer, but he was there for its solid mid’80s revival period. Hell, he even penned the one of its most memorable songs of that era: “Somebody Put Something in My Drink.” More recently, he’s received awards on the band’s behalf, fi led a federal lawsuit against Walmart and released two solo albums. What a busy guy. Support comes from Dallas pop-punk act Jarrett, San Antonio’s Pavel Demon and the Revenant and Given a Chance. $15-$17, 7:30 p.m., Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. — BE

Saturday, April 9

Aaron Lewis

Staind frontman Lewis is back in what feels like his fi ftieth area appearance since he adopted his right-wing “cuntry sanger” shtick. In case you missed it, Lewis dropped a new LP, Frayed Ends, earlier this year, and if you were waiting on him to weigh in on the Russian invasion of Ukraine, well, he did that too at a recent Portsmouth, Ohio concert. His rant included a suggestion that “we listen to what Vladmir Putin is saying,” mentions of that nasty lefty George Soros and references to the Deep State. For good measure, Lewis tossed in some thoughts on COVID-19 and vaccines. Spoiler alert: he’s not much of a vaccine guy. $35-$60, 7 p.m., John T. Floore’s Country Store, 14492 Old Bandera Road, (210) 695-8827, liveatfl oores.com. — Mike McMahan

Saturday, April 9

Skarhead

After a 10-year silence, Skarhead is back. The New York thugcore act released Generators of Violence this year, which continues its brass-knuckled mashup of metal, hardcore punk and hip-hop. Concrete Dream, The Clip, Tony Slippaz and King Relik open the show, providing a mixed bag of metal, hardcore punk and hip-hop — you know, kinda like the headliner. $16, 6 p.m., Vibes Underground, 1223 E. Houston St., (210) 255-3833, facebook.com/VIBESEventCenter. — Enrique Bonilla

Saturday, April 9

Lucki

At 23, Lucki has been carving out a name in the underground hip-hop game, and he keeps inching his way closer to the spotlight. Helping him along the way, the rapper has worked with some of the biggest names in the biz, including A$AP Rocky and Pharrell, and he’s also appeared in national publications including Pitchfork, Complex and Fader. Lucky’s 2 Neptune n Back Tour also features KANKAN and Sid Shyne as support. $25, 7 p.m., Paper Tiger, 2410 N. St. Mary’s St., (800) 513-7540, papertigersatx.com. — EB

Thursday, April 14

The Music of Cream

Good news for people upset that boomer icon Eric Clapton has been “cancelled” due to his controversial anti-vaxx stance: you

Cold, University Drive and Black Satellite

Despite its wide range of infl uences, including The Cure, Black Sabbath and Radiohead, early 2000s-era alterna-metal act Cold never quite lived up to its promise. Even so, it managed to garner some success playing depressed-sounding tunes the baggy-pants kids could mope to. Maybe some of those kids are now grown up and looking for an evening of nostalgia. Expect garage-rock duplication from University Drive and gothic-esque stylings from Black Satellite. $21, 8 p.m., Rockbox, 1223 E. Houston St., (210) 677-9453, therockboxsa.com. — BE

Saturday, April 16

Tommy Castro & The Painkillers, Marcia Ball

Fitting for a performer 30 years into an extensive live career, Tommy Castro’s most recent album, 2021’s Tommy Castro Presents A Bluesman Came To Town, tells the story of an aspiring musician who learns the value of what he leaves behind at home. Expect the performance to be driven by Castro’s searing guitar while his band pulls from rock, blues, R&B, soul and more. Opener Marcia Ball will bring her signature Americana mix of “rollicking Texas boogies, swampy New Orleans ballads and groove-laden Gulf Coast blues.” You know it. $30-$180, 7 p.m., Sam’s Burger Joint, 330 E. Grayson St., (210) 223-2830, samsburgerjoint.com. — MM

Drain Gang

“Hyperpop,” “TikTok” and “Gen Z” are terms that come to mind with Drain Gang. Composed of European producers associated with acts including Young Lean, it’s di cult to place this ensemble in a single genre. You’re best advised to come expecting a night of forward-thinking music that uses electronics to push the boundaries. $18, 7 p.m., Paper Tiger, (800) 513-7540, 2410 N. St. Mary’s St., papertigersatx.com. — EB

J Balvin

Monday, April 18

Courtesy Photo / J Balvin

Behemoth, Arch Enemy, Napalm Death, Unto Others

This package tour promises a broad range of high-quality extreme music. Behemoth delivers blackened death metal with theatrics galore, while Arch Enemy specializes in world-class melodic death metal. Meanwhile, Napalm Death are considered the godfathers of grindcore, and the newer but heavy-touring Unto Others are pioneering a fresh spin on goth-meets-extreme metal. $35, 6:30 p.m., Aztec Theatre, 104 N. St. Mary’s St., (210) 812-4355, facebook.com/theaztectheatre. — EB

Tuesday, April 19

Foreigner

Though this classic rock outfi t doesn’t have as high a profi le as some of its ’80s radio-rock contemporaries — Journey, for example — it had no shortage of mega-hits, including “I Want To Know What Love Is,” “Double Vision” and “Juke Box Hero.” A fun fact that may resonate with San Antonio music fans: former Dokken bassist Je Pilson has been a member of Foreigner since 2004. Another fun fact: the John Jay High School Choir will open the show with an a capella set, and the headliners will donate to the school’s music program. $59.75-$265, 7:30 p.m., Tobin Center for the Performing Arts, 100 Auditorium Circle, (210) 223-8624, tobincenter.org. — MM

Tuesday, April 19

The Amity A iction, Archetypes Collide, The Seafl oor Cinema

Metalcore outfi t the Amity A iction is making the trek from Down Under to perform its tightly produced music as part of this package tour. Along for the ride are Archetypes Collide, an electronic-heavy metalcore group, and eccentric post-hardcore act The Seafl oor Cinema. $30-$35, 7 p.m., Rockbox 1223 E. Houston St., (210) 677-9453, therockboxsa.com. — BE

Tuesday, April 19

J Balvin

Colombian singer and rapper J Balvin is among the defi ning Latin music artists of the decade. To date, he’s sold more than 55 million records worldwide, and he’s touring behind his latest release, Jose, the No. 1 Latin album of 2021. Count on the Prince of Reggaeton to deliver a spectacular production. $35, 8 p.m., AT&T Center, 1 AT&T Center Parkway, (210) 444-5000, attcenter. com. — EB

REQUEST FOR PROPOSALS NOTICE

Date: April 6, 2022 Request for competitive sealed proposal for bids for rental cargo vans (SUMMER FOOD PROGRAM)

The San Antonio Food Bank is soliciting bids to furnish the following rental vehicles:

Four (4) Non-CDL Cargo/Panel Vans. These vehicles will be utilized by the San Antonio Food Bank sta members for summer food distribution program and will be in service from 6/6/22 to 8/19/22. Please include all associated costs (i.e. mileage, physical damage, liability, etc.) Only Non-CDL vehicles listed above will be considered for this solicitation. Please note all bids and contracts are subject to review by TDA.

Bid Due Date and Time: Monday, May 2, 2022 by 10 AM Central Time Bid Opening Date and Time: Bids will be opened on Friday, May 6, 2022, at 11 AM Central Time, at the San Antonio Food Bank (address below). Bidding organization representative welcome to attend opening. Bid Delivery Procedures: Sealed bids must be hand delivered by time and date listed above to George Cox or Heather Guzman. If mailed, bids must be sent via United States Postal Service Certi ed

Mail To:

San Antonio Food Bank C/O: George Cox 5200 Enrique M. Barrera Pkwy San Antonio, TX 78227

Evaluation/Voting Members:

George Cox: Procurement Manager, San Antonio Food Bank Natalie Rendon: Procurement Coordinator, San Antonio Food Bank Heather Guzman: Children’s Program Manager, San Antonio Food Bank

Questions on this communication may be directed via e-mail to:

George Cox: Procurement Manager, San Antonio Food Bank gcox@safoodbank.org until Monday, May 2, 2022 by 10 AM Central Time

Business Development/Supplier Relationship Coordinator. Vilore Foods Service Co Inc., Develop &/or expand regional markets for specific food products manufactured in Mexico w/focus on supply chain & distribution logistics. Plan & develop new shipping methods for gaps in supply chain incl full truck load deliveries & transp strategies. Analyze e ectiveness of distribution system using ERP to examine robotic system at central distribution points & CRM software for analysis of collected data. Meet w/manufacturers & shippers to forecast & track sales & distribution trends for specific food products, incl e ect of adding new products. Reqs. 4 yrs exp in food distribution or logistics. To apply submit resume to: Sonia Mejia, 3838 Medical Dr, San Antonio, TX 78229

Software Developer III - Rackspace US, Inc. - San Antonio, TX. Designs and develops software for enterprise services. Req’d: Bach deg in tech rel fld + min 5yrs exp in LAMP stack software dev, engineering, sys admin or rel fld OR Master’s deg in tech rel fld + min 3yrs exp in LAMP stack software dev, engineering, sys admin or rel fld. Req’d: min 3yrs commercial exp as DevOps Engineer working w/a high-tra c site. Send resume to: careers@rackspace.com, Ref. 27708.

Manager, Software Development - Rackspace US, Inc. - San Antonio, TX. Manages one or more software development teams (Oracle BRM and Billing Care UI (BCUI)) on projects of moderate to large size and complexity. Req’d: Bach deg in tech- or business-rel fld + min 3yrs in any Oracle Billing & Revenue Management Product (Oracle BRM); Req’d: min 3yrs API integration exp; Req’d: min 3yrs exp in a Tech Mgr/Lead role including agile software dev, engineering, testing, or a rel tech fld. Send resume to: careers@rackspace.com, Ref. 12940.

Manager, Software Development - Rackspace US, Inc. - San Antonio, TX. Manages one or more software development teams on projects of moderate to large size and complexity. Req’d: Bach deg in Business, Software Engineering, CS or rel tech fld + min 3yrs exp as a Tech Mgr/Lead role in software dev, engineering, testing or rel tech fld. Req’d: min 3yrs API integration exp; Req’d: min 1yr project leadership exp. Send resume to: careers@rackspace.com, Ref. 13041.

Technical Product Manager III – Information Technology - Rackspace US, Inc. - San Antonio, TX. Works with Product Manager to build product roadmap, write user stories, elaborate requirements & assist in the development of acceptance tests. Req’d: Bach deg in Tech, Engineering, Business or rel fld + 5yrs agile software dev or rel tech project mgmt exp, including exp in 1 or more phases of prod dev life cycle OR Master’s deg in Tech, Engineering, Business or rel fld + 3yrs agile software dev or rel tech project mgmt exp, including exp in 1 or more phases of prod dev life cycle. Send resume to: careers@rackspace.com, Ref. 26251.

Job Opportunity - International Public Relations Director Company - Worldwide Languages For a more detailed description of the positions and how to apply follow the link online at: www.WorldwideLanguages.net or contact Javier Roman, Business Development Director, at roman@worldwidelanguages.net Job to be performed in San Antonio, Texas. Open until - 05/02/22 Technical Product Manager III – Information Technology - Rackspace US, Inc. - San Antonio, TX. Oversees application builds for all Rackspace internal & external customer facing portals & mobile apps. Req’d: Bach deg in Tech, Business or rel fld + min 5yrs agile software dev or relevant tech project mgmt exp including relevant exp in 1 or more phases of product dev life cycle OR Master’s deg in Tech, Business or rel fld + min 3yrs agile software dev or relevant tech project mgmt exp including relevant exp in 1 or more phases of product dev life cycle. Send resume to: careers@rackspace.com, Ref. 12843.

Professional Services Senior Delivery Architect - Rackspace US, Inc. San Antonio, TX. Orchestrates and leads pre- and post-sales IT optimization, consolidation, and transformation solutions for customers inclusive of discovery, analysis, solution design, and migration. Req’d: Bach deg in IT or rel tech fld. Req’d: min 1 top tier tech cert for AWS, Azure or Google CDP (AWS Solution Architect, AWS DevOps Engineer, Microsoft Azure Solutions Architect, GCP Cloud Architect or GCP Cloud DevOps Engineer). Req’d: min 7yrs design & implementation exp with distributed applications. Req’d: min 5yrs exp in networking, infrastructure or DB architectures. Send resume to: careers@rackspace.com, Ref. 13048.

Cloud Engineer II - Rackspace US, Inc. - San Antonio, TX. Support customers utilizing Google Cloud Platform and all associated services. Req’d: HS diploma or foreign equiv. Req’d: Bach deg or foreign equiv in CS or engineering-related fld OR min 2 yrs professional exp in CS or an engineering-rel fld. Req’d: min 2yrs technical cloud computing engineering & admin exp. Req’d: min 1yr commercial exp as either LAMP stack software developer and/or systems admin. Send resume to: careers@rackspace.com, Ref. 20004.

3M, Senior Packaging Engineer, San Antonio, TX: Provide packaging engineering design & technical support to ensure that sterile packaging designs, assemblies, processes & materials meet functional, performance & regulatory requirements for terminally sterilized healthcare products. Provide support to new product development teams in the development & validation of packaging designs to support new product launches. Must have a Master’s Degree in Packaging Engineering and 3 yrs of exp. as a Packaging Engineer designing & developing packaging compliant w/ FDA, ISO, AAMI or ASTM standards for products in the medical device industry using SolidWorks or similar 3D modeling tools. Alternatively, a candidate may possess a Bachelor’s Degree in Packaging Engineering and 5 yrs of exp. as a Packaging Engineer designing & developing packaging compliant w/ FDA, ISO, AAMI or ASTM standards for products in the medical device industry using SolidWorks or similar 3D modelling tools. Of exp. req. with either combination of education & exp, must have 3 yrs of exp: (i) developing system kits & individual packaging components using a variety of materials & equipment including automation for terminally sterilized products; & (ii) managing projects in a global team environment. Exp. may be gained concurrently. Apply at: www.3m. com/3M/en_US/careers-us/