This conversation is with Mat Comtois, the reader for the new audiobook edition of Unscripted Moments.

More information available here: https://www.earthislandbooks.com/post/an-audiobook-for-any-lazy-or-busy-propagandhi-fans

Audiobook available from the following outlets worldwide:

Audible / Amazon

Audiobooks.com

Hoopla

The Audiobook Store

Downpour

Overdrive

Libro.FM

Audiobooks Now

StoryTel

BookMate

Nextory

Kobo

Everand (formerly Scribd)

Nook

3 Leaf Group

CloudLibrary

Follett Library Resources

Google LLC

Mackin

Anyplay

Odilo

Wheelers Book Club Limited

Apple

24Symbols

Chirp

Audioteka

UBook

YouScribe

BookBeat

Cliq Digital

Instaread

Divibib

Books-A-Million

Globook

Kids.Radio

Spotify

Speechify

Ulverscroft

Bookwalker

LibraryOne

Deezer

Napster

YouTube Music

Calm Radio

Bitter Melody Records is based in North Carolina and has released over 100 releases to date. They are releasing DUD "May Not Go (Unrealized Recordings from 1996)" as a limited vinyl release in collaboration with One Friday Music.

USA Ordering: https://bittermelodyrecords.bigcartel.com/

Canada Ordering: https://dudband1996.bandcamp.com/album/may-not-go-unrealized-recordings-from-1996

Lisa Gillan is a nature photographer and musician in Ontario, Canada.

Discussing track 11 on At Peace!

00:00-12:15: Introduction

12:15-16:00: Chiptune cover by Francois in Angers, France

16:00-26:30: Chit Chat

26:30-1:01:00: Scott Unger on the LA Wildfires

1:01:00-1:34:35: Danek on the LA Wildfires

1:34:35-END: Steve and Greg

As a graduate of Berklee College of Music, Ian Legge combines his formal training with his love of punk to create something entirely unique. Ian has performed and recorded with numerous artists, including tony award winner Charlie Rosen & The 8-Bit Big Band, Sum 41, Jenn Fiorentino, Red City Radio, Tim MacMillar (Protest The Hero), Lesibu Grand, And more.

Listen to Arrangements Volume 1 by The Punk Cellist:

https://linktr.ee/thepunkcellist

https://music.apple.com/us/album/arrangements-vol-i/1847127703

Youtube: https://www.youtube.com/@ThePunkCellist/videos

Laura Cameron is Director of Programs and Strategy at Climate Action Team Manitoba.

John Samson Fellows is a songwriter and local activist in Winnipeg, Manitoba.

Nextstop5050.ca

climateactionmb.ca

https://vivatvirtute.bandcamp.com/track/vivat-virtute-presents-50-50-funding

https://www.thebnc.ca/afterschoolleaders

Music video:

https://www.youtube.com/shorts/Lhlxkaam23M

https://vimeo.com/1200801886/1535de974a?share=copy&fl=sv&fe=ci

Guiding Lights is track one on At Peace.

Mat Comtois cover: 29:50-35:51

Read "History in an Unfamiliar Key: Propagandhi, Punk Rock, and the Uses of History"
https://drive.google.com/file/d/16ACwMfe737HZ2p6XTEsb4Z9mcGmf7tNm/view?usp=sharing

Joseph Bryan Biography from Montana State University:

1. Brief Biography: My initial historical interests were in seventeenth- and eighteenth-century heterodox thought— forms of "atheism," "deism," and "materialism"—and the spaces where philosophy, science ("natural philosophy"), and "sociology" overlapped. In my MA thesis, I analyzed Baron d'Holbach's rhetorical strategies and his reliance on natural philosophy to construct a materialistic interpretation of mankind's physical origins and social development.
   
   From there, I developed a larger interest in perceptions of the human body as the mediator of social experiences. My research builds from questions posed by theories of embodiment and examines the ways in which relationships between humans in society were perceived to be channeled or stymied by corporeal properties. My dissertation explored how eighteenth-century writers employed the language and theories of physiology and medicine to map new foundations for society, especially in the burgeoning field of political economy and the "debate over luxury." Contemporaries used a new "corporeal vocabulary," based largely on sensationalism and theories of the nervous system, to address the growth of commerce and consumption of material goods and point toward both the degenerative and optimistic aspects of both.
   
   Since 2020, I've shifted gears to merge my academic historical interests with a lifetime of devotion to punk rock music. My new project asks when individuals listen to punk rock, what historical messages do they hear? Alongside that central question, I ask how punk lyrics appear when filtered through an historical lens. In what ways do punk musicians use history to sustain economic, environmental, political, racial, religious, social, and sexual critiques? How is the past given shape and meaning by punk lyrics? How visible, so to speak, are the historical elements? Essentially, what purpose does the past serve in punk music? Historical examination is not only central to how we define punk, and how punks define(d) themselves, but punk treatment of the past should be integrated into how we evaluate public consumption of history. They impart meaning to the past and challenge contemporary understandings of the past, present, and future. While punks do not create new knowledge, their music acts as an alternative historical epistemology that tracks alongside professional historians. They treat both the content of the past and the craft of History. I'm hoping to have a completed book manuscript on this topic by the summer of 2026: "Echoes of a Dreadful Past": Making Meaning of the Past through Punk Rock.