All posts by John Sallee

Stella Standingbear and PJ Vegas Release New Single “The Buffalo Know”

Lakota singer-songwriter Stella Standingbear and Grammy-winning vocalist and activist PJ Vegas have joined forces on a stirring new single, “The Buffalo Know” — a genre-bending track that channels ancestral wisdom and present-day urgency.

Blending Stella’s poetic lyricism and powerful vocals with PJ’s gritty soul and hip-hop-infused delivery, “The Buffalo Know” is a tribute to survival, sovereignty, and the deep knowledge carried by the land and its original peoples. The single ” is available now on all major streaming platforms and marks the first collaboration between Standingbear and Vegas — two boundary-pushing Indigenous artists committed to storytelling, truth, and sonic liberation.

Air Jazz Talks ‘Uncle Tomahawk,’ Mental Warfare, and the Sound of Alaska

Juneau-based hip-hop artist Air Jazz—short for Arias Jazzer—released his bold new EP Uncle Tomahawk on May 2, delivering a raw and cinematic project that blends airy jazz elements with aggressive, warrior-style beats. Inspired by Alaska’s vast landscapes and deep-rooted struggles, the album introduces a controversial anti-hero who targets abusers, traffickers, and corrupt systems with unapologetic force. Featuring collaborations with Killah Priest and Juneau producer CandyFailure, Uncle Tomahawk pushes Air Jazz’s sound into darker, more confrontational territory—challenging listeners to reckon with pain, justice, and the complexities of healing.


It’s actually an abbreviated form of my first and middle name—Arias Jazzer. But it also captures the essence of my sound: airy, jazzy hip-hop. I lean into spacious, atmospheric textures that let each element breathe, while still rooted in rhythm and soul.


I’m from Juneau, Alaska. It’s a place of glaciers, mountains, fjords, and the Tongass rainforest—it’s a marvelous landscape. That wide open, sometimes hauntingly quiet environment had a big impact on me. It made me gravitate toward vast, expansive musical soundscapes. My sound is definitely grounded in that sense of space and solitude.


Yeah, I just dropped a new EP called Uncle Tomahawk on May 2. It’s a short album built around this character I created—Uncle Tomahawk. He’s kind of an anti-hero for the Native and BIPOC community. He goes after people responsible for the harm plaguing our country—abuse, trafficking, exploitation, all of it. He’s flawed, even infected by mental illness himself, but he’s dead set on bringing justice, even if that means becoming a villain in the eyes of some.


This is a new direction for me. My last work, Manga Maniac, had a moodier, comic book-style sound. With Uncle Tomahawk, the production’s heavier—more horror elements, more aggressive percussion and samples. It reflects Uncle Tomahawk’s emotions—rage, grief, intensity. It’s still jazzy in moments, but way more combative.


Definitely. I’ve got Killah Priest featured on the title track—his energy just brought the concept to another level. And one of the songs was co-produced by fellow Juneau artist CandyFailure, who’s doing amazing things out here.


I hope people understand that this project is a reflection of the pain and chaos in our communities—but also a call to action. I know my approach, and my words, won’t land with everyone. Some might even see me as the villain. But my goal is to expose hard truths, including my own mental struggles. Our people shouldn’t tolerate any kind of abuse or exploitation, and they don’t need to wait on someone like me to take a stand. They already have the power. Gunalchéesh.

WALLY STYLISH Debuts with “The Grind,” “Get Mine,” and “Top Shelf”

Formerly known as Sean1ne, Alaska-raised hip hop artist Sean Wallace reintroduces himself to the world under a bold new moniker: WALLY STYLISH. Born from a spontaneous conversation with his 9-year-old son—who combined “Wally” (a family nickname derived from Wallace) with “Stylish”—this fresh identity marks a creative rebirth, grounded in legacy, fatherhood, and resilience.

“I’ve always felt like something was missing,” WALLY STYLISH says. “And it turns out that ‘something’ was a name that fully captured my evolution.”

Now, under this vibrant new name, he’s dropped three deeply connected singles—each track mapping a chapter in his story of survival, ambition, and growth:

  • “The Grind” opens the trilogy with gritty honesty, digging into the early struggles of navigating life from the margins. It’s raw, reflective, and unflinching in its portrayal of hustle as necessity.
  • “Get Mine” is an anthem of perseverance. Over booming beats, WALLY STYLISH makes it clear—he’s locked in on his goals, unbothered by doubters, and fully committed to building something real.
  • “Top Shelf” closes out the set with triumph. It’s a celebration of the come-up, leveling up from survival to success, all while honoring the journey that shaped him.

Adding depth to the music is the personal touch woven throughout the release. The cover art features his son, whose name idea sparked the rebrand, and who continues to influence his father’s work with imagination and love. His daughter also lends her voice to the hook on “Top Shelf,” continuing a tradition of family collaboration that has been central to WALLY STYLISH’s music from the beginning.

“Being able to share this art with my children is beautiful to me,” he said exclusively to the RIVR. “They’re part of my process, and they keep me grounded in my ‘why.’”

WALLY STYLISH is here—with new music, a fresh vision, and a name that finally feels right. Stream The GrindGet Mine, and Top Shelf now on all platforms.

Walking for Justice: UAA Community Honors MMIP on Red Dress Day with Healing, Storytelling, and Solidarity

In recognition of Red Dress Day and the ongoing MMIP crisis, we spoke with organizers from the University of Alaska Anchorage’s Walk for MMIP to learn more about the event, its purpose, and the deeper meaning behind it. In the following Q&A, they share reflections on community healing, the importance of visibility, and how both Indigenous and non-Indigenous people can stand in solidarity in the fight for justice.


We came together as a community to attempt to heal and draw awareness to MMIP.  Michael Livingston, an avid MMIP activist, was our speaker. He shared a poignant story about his experience as a police officer and the history of Benny Benson, the true Alaskan flag creator.  Antonia Commack, an MMIP activist, brought her posters showing many Alaskan MMIPs.  The purpose of the walk was to be seen – show our community we are here and need the recognition and support of the entire community to create the systemic change needed to battle this crisis. Many families brought their posters of family members. We also hosted 2 dance groups, Ingrimiut Yurartet—People of the Mountains and Anchichx kwaan. The dancing helps us call our ancestors to be with us and helps those hurting from this crisis some healing.

Because MMIP is not just an Indigenous crisis, it’s a community crisis – the entire community needs to be involved for there to be no more stolen Indigenous People.  

Misclassifications and underreporting are ways that law enforcement and media systems make Indigenous People invisible.  If a murder is misclassified as a suicide, that family will never be able to seek justice. That family won’t be able to heal from that injustice. This leads to generational trauma that gets handed down to our children/future ancestors and their children.  These waves of pain keep rippling into tidal waves for all of our communities.

It’s vital that UAA honors and acknowledges the Alaska Native it resides on.  One way to do that at UAA is that faculty and staff use all of our abilities, whether educational, advocacy, or institutional, to elevate Indigenous-led efforts.

It means showing up for community events, spreading the word about injustices, and demanding lawmakers and our state and federal representatives fight for visibility and justice.  Also elevate our community members, like Michael Livingston and Antonia Commack who do this hard work day in and day out because this work is very personal. Stand by them whenever they can because they need our support when they need rest and healing.

They can help support this crisis by learning more information, hearing the stories, and then elevating those stories.

DJ Shub Honors Ancestral Roots on Electrifying New Album Heritage, Part One

Acclaimed Mohawk producer and DJ trailblazer DJ Shub has dropped his long-awaited new album, Heritage, Part One—a powerful celebration of Indigenous resilience, cultural fusion, and sonic innovation. Out now on all major platforms, the release kicks off a bold new chapter in DJ Shub’s evolution as both a solo artist and a cultural force in Turtle Island’s music scene.

The album features collaborations with a range of Indigenous artists, including Inuit throat singer Tanya Tagaq, Anishinaabe rapper Samian, and rising Cayuga vocalist Layla Black, among others. Each track pulses with dynamic energy and cultural storytelling, reinforcing DJ Shub’s commitment to uplifting Indigenous voices while pushing creative boundaries.

Heritage, Part One builds on the success of DJ Shub’s 2020 JUNO Award–winning album War Club, which earned him international recognition for pioneering the powwow step genre. With this new project, he deepens that legacy, inviting listeners to reflect, move, and engage with the heartbeat of the land.

Heritage, Part One is more than just a record—it’s a rallying cry, a dance floor, and a prayer all at once.

Caroline Wiseman on Championing Culture and Community Through NYO and Mukluks on the Ground

From cheering on friends in middle school to becoming a beloved emcee at the Native Youth Olympics, Caroline Wiseman’s journey reflects a deep and growing commitment to cultural connection and community empowerment. What began as a volunteer opportunity at the Traditional Games in 2022 quickly turned into a passion for uplifting Indigenous youth and honoring tradition. Through her roles with NYO and Mukluks on the Ground, Caroline is not only preserving Native games and lifeways but also inspiring the next generation to step into their power, embrace their heritage, and find their place within community.


I’ve been around the games on and off since middle school—many of my friends participated, and I loved supporting from the sidelines. But I truly got involved when I volunteered at the Traditional Games in Juneau in 2022. My best friend invited me to come, and I worked as a scorekeeper. I immediately fell in love with it. Watching the athletes beat their personal records, make new friends, and support one another—it’s such a powerful experience. I love being part of it as an official and being immersed in the NYO community. I was honored to be asked to emcee and happy I could help create an environment that celebrates our athletes and honors the spirit of the games.


As a former Junior NYO coach, one of the most amazing moments was seeing how much some of the athletes have grown. I was watching one young man compete, and I remembered when he was just starting out. Watching him work so hard and demonstrate true sportsmanship made me feel so proud. It’s incredible to witness that kind of dedication and growth firsthand.


Mukluks on the Ground (MOTG) feels like a holistic approach to cultural preservation. It’s given me opportunities to learn more about my culture and way of life. Since getting involved, I’ve learned how to process fish alongside youth and community members. We’ve worked to provide fish for our elders and neighbors, and that work has really accelerated my own cultural journey. I’m grateful to be part of such an inspiring team. MOTG also helped me better understand the cultural roots of the games we celebrate through NYO.


The biggest impact is community. Both NYO and MOTG help build strong connections between people. They create safe spaces where youth can explore their identities, learn without fear of failure, and find confidence in who they are. In any community, everyone has a role to play, and these programs help youth discover what that role might be. They’re truly pillars of empowerment.


Just do it. If you feel called to learn or be involved, don’t wait. Take the opportunity and absorb all you can. We each have a responsibility to learn from our elders and knowledge holders. Volunteer, get in those rooms, and be a sponge. You’ll grow so much just by showing up.


I hope our athletes know that their involvement in the games doesn’t have to stop after high school. NYO is intergenerational—it’s for everyone. And organizations like MOTG can open doors for you to learn more about who you are and where you come from. These experiences are more than events; they’re pathways to deeper connection.

NYO 2025

Tune in to the RIVR this week as we bring you the energy from the 2025 Native Youth Olympics! The RIVR will have special news coverage Thursday through Saturday that includes daily recaps and social media commentary. Join us for Alaska’s Native Voice and hear from athletes, coaches and more voices from the NYO games.

The 2025 Senior Native Youth Olympics kicked off today, April 24, at the Alaska Airlines Center in Anchorage with a powerful mix of competition and culture. Here’s a recap of Day 1:

The Toe Kick event made its long-awaited return after a decade-long hiatus. Athletes showed off their agility and precision with impressive results:

  • Girls’ Gold: Abigal Semaken, Salamatof, 62″ 1m/60
  • Boys’ Gold: Rafael Hernandez, Unalaska, 80″, 2m

Next came the Wrist Carry, a true test of strength, endurance, and mental resilience. In this event, athletes are carried across the floor suspended by just one wrist.

  • Girls’ Gold: Eulalia Roman from Mat-Su with 322 feet, 6.5 inches
  • Boys’ Gold: Decklan Nettleton, Unalaska, 444′ 7″

The day wrapped up with the Alaskan High Kick, where athletes kicked high for new heights.

  • The Girls’ Gold went to Caelyn Carter of Mat-Su, who soared to 74 inches
  • In the Boys’ Gold event, Matthew Chagluak of thrilled the crowd by connecting at 92 inches—just one inch shy of the all-time record. Officials raised the mark to 93 inches, but he came up just short.

The Native Youth Olympics continues Friday with four exciting events: the Scissor Broad Jump (which saw a record broken last year), along with the Eskimo Stick Pull, One-Hand Reach and Two-Foot High Kick.

The 2025 Senior Native Youth Olympics continued today, April 25, at the Alaska Airlines Center in Anchorage, bringing even more energy, resilience, and cultural pride. Here’s a recap of Day 2:

The competition began with the Scissor Broad Jump, where athletes leapt for distance with a powerful combination of balance, coordination, and strength:

  • Girls’ Gold: CC Carter, Mat-Su A, 28′ 9″
  • Boys’ Gold: Kolby Clark-Pruitt, Mt. Edgecumbe (MEHS), 37′ 7 1/4″

Next came the Inuit/Eskimo Stick Pull, a traditional test of grip strength and strategy. Athletes dug in with fierce focus and determination:

  • Girls’ Gold: Qmia Ta’ala, Alaska Military Youth Academy (AMYA)
  • Boys’ Gold: Donovan Stephan-Standifer, Mt. Edgecumbe (MEHS)

The day continued with two of the most thrilling events—the One-Hand Reach and the Two-Foot High Kick—where athletes showcased incredible vertical skill, balance, and explosive power.

In the One-Hand Reach:

  • Girls’ Gold: Chloe Wassillie, Lower Kuskokwim (LKSD), 60″ (1 miss)
  • Boys’ Gold: Anatoly Fomin, Unalaska, 70″ (2 misses) — New State NYO Record

The day wrapped up with the Two-Foot High Kick:

  • Girls’ Gold: Daisy Vanblarcom, Mat-Su A, 78″ (4 misses)
  • Boys’ Gold: Quentin O’Domin, Anchorage A, 98″ (1 miss)

The Senior Native Youth Olympics concludes Saturday with six more events, including the Seal Hop, Indian Stick Pull, and the highly anticipated Kneel Jump finals.

The final day of the 2025 Senior Native Youth Olympics wrapped up today, April 26, at the Alaska Airlines Center in Anchorage, with incredible displays of athleticism, heart, and tradition. Here’s a recap of Day 3:

The competition kicked off with the Kneel Jump, a true test of explosive power from a seated position:

  • Girls’ Gold: Summer Walls, Sand Point, 51 1/4″
  • Boys’ Gold: James Brink, Lower Kuskokwim (LKSD), 64 1/4″

Next came the Dene/Indian Stick Pull, a traditional game of strength, grip, and quick reflexes:

  • Girls’ Gold: Ricki Reilly, Eyak
  • Boys’ Gold: Jamie Mosquito, Port Graham (Paluwik Arllut)

The excitement continued with the One-Foot High Kick, where athletes aimed for new heights in balance and power:

  • Girls’ Gold: Daisy Vanblarcom, Mat-Su A, 87″ (0 misses)
  • Boys’ Gold: Quentin O’Domin, Anchorage A, 112″ (2 misses)

The day wrapped up with the endurance-driven Seal Hop, one of the most physically demanding events of NYO:

  • Girls’ Gold: Alora Wassily, Dillingham, 107′ 1 1/2″
  • Boys’ Gold: Anakin Wassillie, Lower Kuskokwim (LKSD), 123′ 1/2″

The 2025 Senior Native Youth Olympics have come to a close, leaving behind a legacy of determination, sportsmanship, and cultural pride that will inspire future generations.

A huge thank you to the coaches, volunteers, families, and Cook Inlet Tribal Council who made the 2025 Senior Native Youth Olympics possible. Your dedication continues to lift up future leaders and celebrate the strength of our cultures!

UAA’s Native Student Services Faces Dismantling: Students Warn Loss Will Sever Critical Lifeline for Indigenous Support

Indigenous students at the University of Alaska Anchorage are rallying to save Native Student Services (NSS), a long-standing hub for cultural, academic, and emotional support, amid mounting concerns that university leadership is quietly dismantling the program. Despite official claims of a mere reorganization, students allege NSS has been systemically defunded, stripped of staff, and undermined without consultation, a move they say threatens to unravel a vital community space that has been key to Indigenous student retention and success. The RIVR spoke with NSS representative Mars Kashevarof, who shared firsthand insight into the program’s erosion and what its loss could mean for future generations of Native students.

UAA has been chipping away at NSS since I started college. I have been actively involved at NSS since my first day in my first semester. I’ve watched the budget get reduced, staff positions get made and then dissolved, and changes be enforced without any input from students or staff. In the past, NSS staff has been told not to buy fresh fruit for students due to the cost. This entire semester, NSS has not been given access to their budget and, so partners and parents of students would donate food to help feed students at NSS. This type of barrier was only imposed on NSS; no other university office has this issue. This is not a DEI issue. The university has always been against what Native Student Services is, despite the resounding love students hold for the staff and services of NSS. The changes happening now result from years of the university’s work and leadership’s disapproval of NSS’s commitment to students. 

NSS does a lot of cultural programming that is made for and receptive to the wants of Native students. Unlike other programs at UAA, NSS does not focus on educating non-Native people and is grounded in Values. NSS is a community space, bringing in Elders, Corporations, and providing a place for students to find support. The staff at NSS always place priority on students’ mental and spiritual well-being, knowing that academics will follow. They don’t pressure students into uncomfortable positions, understanding that success and wellness look different for everyone. Native Student Services is one of the few spaces on campus where Native students can find people like them, a family. I have literally met cousins at NSS. For students who grew up in their village or really connected to their culture, NSS is a place for them to stay connected to language and culture. For students like me, who grew up disconnected, it’s a place to begin reconnecting and build relationships with other students and to the broader community. 

At UAA, there are 1100-1300 Native students in any given semester who all receive routine outreach from NSS. Every single Native student who applies to UAA receives direct outreach and support from NSS, although that has now been disrupted with the removal of the NSS staff. From when I started college to this most recent semester, I have watched Valerie and Nasgauk build the NET program for incoming students from a group of around four (my year) to upwards of forty students. The NET program acts as a support for new and incoming Native students by holding a week-long orientation before the start of the semester and having a class throughout the students’ first semester. This class is grounded in Indigenous Values and invites Elders, Native scholars, NET graduates (those who have completed the course), and community members to speak and interact with students. For actual data, in the Fall of 2024, the nearly 40 Native students who participated in the NET orientation week and NET class had an 89% persistence rate to the spring 2025 semester, while the overall average for Native students is 69%. Overall, the Fall to Fall retention rate for first-time freshmen Native students has been higher, with an average of 69% of NET students continuing onto their second year, as compared to the 41% of Native students overall. The NSS staff builds relationships beyond first-year advising, continuing the relationships with the students who attend NSS beyond graduation. If a Native student has an emergency that disrupts their semester, NSS is one of the few offices that takes the time to explore all options for students to find the best path forward, including helping students who need or want to leave instead of pressuring them to stay. If a student needs to leave, NSS ensures they know that NSS staff will always be there for them to contact. The reliability and consistency make a huge difference.

NSS is not just a space on campus; it’s a community of people, which is why we are less concerned about the name change and more concerned about how UAA is dismantling the community that staff and students have built. For me, NSS is one of the few places on campus where I truly feel at home. Although I am Alaska Native, I was raised in the lower 48 and moved away from everyone and everything I had grown up knowing to attend college in Alaska. Valerie and Nasgauk worked with me before I had even been accepted into college and supported me once I arrived. Being so far from everyone I grew up with, Native Student Services is a place I know I can go to share good news and have others celebrate with me, find support for difficult times, and just fully be myself. The community at NSS is the only reason I am graduating from UAA this May, and with all the changes, I’m doubting whether I want to return for graduate school. I know many other students who feel similarly and have backup plans to leave UAA if the university does go through with dissolving NSS and firing the current staff.

The University of Alaska Anchorage has not been clearly communicating about anything that is happening. UAA is pushing that this is just an “organization shift” and “renaming,” not that they are getting rid of NSS. There’s been no transparency from the beginning to the point where many news articles just think we (as students) are upset about a name change. UAA leadership also did not consult with NSS staff, who were mostly blindsided by being forcibly removed from the space, nor did they talk to any students who utilize or go to NSS. The university claims that it will continue the services NSS provides, but they don’t actually care. After removing both NSS advisors, one on the withdrawal deadline and the other during registration week, UAA’s plan has been to cycle through other advisors to have them answer registration questions. This is not a real solution as no one else on campus has the combined 15+ years of knowledge and experience in academic and cultural support that Nasgauk and Valerie have. As of April 8, UAA is having strangers staff the space to play at saving NSS and continuing its support of students, but the people being placed in NSS do not have the knowledge, skills, or relationships with students to fill the gap that is now missing. UAA is trying to placate students, more than likely hoping to finalize the dismantling of NSS over the summer when most students leave and cannot advocate for themselves in person. 

UAA wants to exclude the people most affected by their decisions in the decision making process.

Sign and share the petition (www.change.org/Save-NSS-UAA)! We need as many people as possible to show their support of NSS and its staff. People can also contact their Tribe, Corporations, and others who donate or give money to UAA and let them know what is happening. Emailing the people in charge at UAA, especially if you are a student or alum, is also helpful. A lot of the decisions are being made without talking to Native students (or staff). You can email the UA President Pat Pitney (ua.president@alaska.edu), Chancellor Shawn Parnell (uaa_chancellor@alaska.edu), Vice Chancellor Deanne Woodard [the direct supervisor who was over NSS] (lwoodard3@alaska.edu), the UA Board of Regents (ua-bor@alaska.edu), and your legislatures! 

Current students are coming up on finals season, so we will need extra help and support. Follow @save_nss on  Instagram to stay updated on what is going on.

Riit Reimagines Pop in “Ikiaqqik (Levitating)” for North of North

Nunavut’s own Riit breathes new life into a global pop hit with her latest release, “Ikiaqqik (Levitating),” recorded for the original Netflix series North of North. Known for weaving Inuit throat singing and electronic textures into ethereal soundscapes, Riit transforms the Dua Lipa classic into something wholly her own—rooted in tradition, but reaching for the stars.

The word “Ikiaqqik,” meaning “the act of traveling through space and time” in Inuktitut, perfectly captures the spirit of the track. Riit’s version of “Levitating” isn’t just a cover—it’s a cultural journey. Soft pulses of synth and hand drums blend with Riit’s layered vocals and katajjaq-style throat singing, turning the dance-floor anthem into a haunting, celestial hymn.

The track made its debut during a pivotal episode of North of North, a groundbreaking series spotlighting contemporary life in the Arctic through the lens of Indigenous communities. Riit’s contribution underscores a key moment in the show’s narrative, connecting youth identity and ancestral memory in a way that feels both timeless and urgent.

Riit continues to be a vital voice in the Indigenous music scene, and “Ikiaqqik (Levitating)” is another stunning example of how she blends pop culture with cultural preservation. Whether you’re discovering her for the first time or following her career from the beginning, this track is not to be missed.