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Dr. Dimitris Paganos Koukakis has carved a remarkable journey in music performance, education, and interdisciplinary artistry. A graduate of the Ionian University in Corfu, Greece, where he earned his Bachelor of Music in Piano Performance, Dimitris continued his studies at the University of Alaska Fairbanks under the guidance of Dr. Eduard Zilberkant, completing a Master of Music in Performance. His academic path culminated in a Doctor of Musical Arts (DMA) in Contemporary Music Performance at UC San Diego, where he worked closely with his advisor, Aleck Karis.

During his time at UAF, Dimitris held a teaching assistantship, primarily serving as a piano accompanist for Dr. Jaunelle Celaire’s vocal studio. At UC San Diego, he expanded his teaching role, serving as a teaching assistant and later as an associate instructor, where he managed his own undergraduate piano studio. His teaching and mentoring experiences laid a strong foundation for his current role as a piano instructor at a music school in Athens, Greece.

Dimitris’s artistic focus lies in contemporary music, improvisation, and the integration of music with other art forms. At UC San Diego, his research centered on piano and electronics, improvisation, and the unique collaboration between music and dance. One of his most significant projects was the creation of Ithaca, a performance for solo piano and solo dancer, co-created and performed with his wife, Maria Tsingistra, in San Diego. This exploration of co-creation and interdisciplinary performance remains a cornerstone of his artistic endeavors, influencing the design of his concerts and collaborations to this day.

Throughout his career, Dimitris has performed extensively in Greece and the United States, collaborating with numerous composers and premiering new works, particularly during his time in San Diego. In Greece, he continues to contribute to the contemporary music scene, collaborating with the Greek Radio Symphony Orchestra for performances of contemporary repertoire.

After seven fulfilling years in the United States, Dimitris and his wife decided to return to Greece, where they have now settled. Beyond his professional pursuits, he enjoys spending time with their dog and indulging in his passion for homebrewing, which has become his favorite hobby.

Murphy McCaleb is an associate professor of music at where he is the course leader for BA (Hons) Music and MA Music and supervises doctoral students. He primarily plays bass trombone and piano, composes music, and produces large-scale musical performances in addition to conducting research on musical ensembles and music pedagogy.

Originally from Fairbanks, Murphy took part in many local musical activities before becoming a UAF student. While studying at Monroe Catholic High School he regularly attended the Summer Fine Arts Camp, played in the Fairbanks Youth Orchestra and pit orchestras for Fairbanks Light Opera Theatre, and joined in ensembles at other local high schools. Upon attending UAF he played in the Fairbanks Symphony Orchestra (including as soloist following the concerto competition), was equipment manager for the university’s Pep Band, and taught at the Summer Music Academy. He also performed with the Borealis Brass in Italy and Los Angeles. He graduated in 2006 with a Bachelor’s degree in Music Performance.

Murphy went on to postgraduate degrees in Trombone Performance and Chamber Music at the . During these degrees he performed with the Tantara graduate brass quintet in Jaraguá du Sul, Brazil and the jazz band at the Monterey Next Generation Jazz Festival. He took part in the University Symphony Orchestra’s recording and world premiere of Evan Chambers’ , including a performance in Carnegie Hall. As a soloist, he won the winds and brass division of the university’s concerto competition playing Daniel Schnyder’s SubZERO for bass trombone. Following his graduation from the University of Michigan, Murphy co-founded the ceilidh band Killarney Broadcast which went on to record a CD and tour Alaska in 2008.

Building on his extensive experience as an ensemble performer, Murphy undertook doctoral studies at the in the United Kingdom. As part of that work he integrated himself into the musical environment of the conservatoire — particularly working with composers on new works. In addition to premiering a number of new works he recorded with the contemporary music group Decibel on their album . During his doctorate he presented his research across the United Kingdom, Portugal, and Italy. He completed his doctorate in two and a half years and published his thesis, , with Routledge.

Following his academic studies, Murphy taught for two years at — which, in the UK, is where 16–18 year old students specialise before going on to university. This work both established himself as a music teacher and increased his understanding and fluency in popular musics. Though his teaching at the college he established strong collaborations with progressive rock musicians including drummer Andy Edwards, bassist Steve Lawson, and guitarist Phi Yaan-Zek, recording on the albums , , and .

Murphy started teaching at in 2014and has led the music department since 2021. Over the last decade, he has taught nearly everything on the course including solo and ensemble performance, composition, music theory, historical musicology, music technology, experimental and new music, reflective practice, and entrepreneurship. In that time he has become a Senior Fellow of the Higher Education Academy and served as Learning and Teaching Lead for the School of the Arts, championing making universities more democratic learning environments and empowering students. His background in musical direction includes Lumen, an installation at the Illuminating York festival in 2016, and a four-star reviewed run of Gavin Bryars’ Jesus’ Blood Never Failed Me Yet at the Edinburgh Fringe in 2019. His research on musical ensembles has been published in several books including and . In addition to his work at the university Murphy has performed a wide range of music including classical, jazz, rock, folk, pop, electronic and experimental and has performed in two Glastonbury Festivals as part of the .

Ricky Lind, Jr. is a 2007 graduate with a Bachelor of Music in Education. Ricky has enjoyed a career in music education that allowed him to combine his passion for music and the arts with instruction and engagement with young people as a fine arts teacher. During his tenure in education, he taught elementary music, middle/high school choir, and middle/high school band. In the six years he taught in his hometown Dillingham (rural Alaska), he and his colleagues endured four different principals; still having learned from each of them, he decided to obtain a School Principal Certification from the University of Alaska Anchorage (2015). Immediately thereafter, he taught at many different types of public schools in Anchorage. In May 2024, he segued his passion for education into an Anchorage-based non-profit organization whose mission is to "work together with the Native Community to achieve wellness through health and related services," and vision is "a Native Community who enjoys physical, mental, emotional, and spiritual wellness." Ricky now supervises interns aged 14-19 who are interested in health and administrative careers.

Dr Cayenna Ponchione-Bailey is Director of Performance at St Catherine’s College at the University of Oxford where she teaches undergraduate Instrumental Conducting and is Director of Research for the Oxford Conducting Institute. Alongside an active freelance conducting career where she is known for promoting the works of marginalised female and Global Majority composers, Cayenna serves as the Oxford Philharmonic Orchestra’s Conducting Fellow and coordinator of their Side-by-Side programme, giving students elite orchestral experience with the ensemble’s world-class professional musicians. In addition to her conducting and teaching activities, Cayenna is an active scholar focused on the social- psychological and socio-political aspects of orchestral music-making—from the intricacies of co-performer communication in modern and historically informed contexts, to the politics of participation and orchestras' geo-political significance.

Her journey from her hometown of Fairbanks, Alaska…
Since graduating from UAF with a degree in percussion performance in 2001, Cayenna went on to obtain master’s degrees in orchestral conducting and percussion performance at Ithaca College in Up-State New York where she studied with marimba legend, Gordon Stout. Immediately after graduation she won the audition to become Music Director of the Binghamton Community Orchestra, the largest civic orchestra in the region. A year later she also took on the fledgeling Ithaca Community Orchestra, which—alongside a group of dedicated volunteers—she built from up from 14 players to a full chamber orchestra and saw its establishment as an official 501(c)3 with a strong governance structure. In a wonderful coincidence and bringing things full circle, the orchestra was subsequently led by Cayenna’s first conducting teacher and inspiration Dr Madeline Schatz after Schatz moved to Ithaca for retirement. Cayenna returns to Ithaca once a year to conduct the GrassRoots Festival Orchestra, a semi-professional ensemble she founded in 2004 which is the only ‘classical’ group to perform at the eponymous popular festival of music and dance. The orchestra has commissioned and performed numerous new works addressing environmental and social justice issues.

Whilst conducting the Binghamton and Ithaca orchestras, Cayenna spent four years working at the Cornell Music Library (while also catering and building her extra-insulated house—a passion which has never left this Alaskan). After years of frustration checking out books to other people that she would rather be reading, she left Ithaca to pursue a third master’s degree in musicology at the University of Oxford in 2011. This was followed by a doctorate in music also at Oxford in which she studied the social psychology of orchestral performance, developing a theory of influence and action to understand the power dynamics within complex orchestral systems. She collaborated with computer scientists at Cornell University to develop a new online research tool to collect data from orchestral musicians about their experiences in real-world rehearsing and performing situations using an innovative form of ‘video-stimulated’ recall. Her research methods and findings are published in a number of book chapters and peer reviewed articles. Whilst a doctoral student, Cayenna was selected for several prestigious conducting masterclasses, receiving tuition from Marin Alsop, Valery Gergiev and Marios Papadopoulos.

After finishing the doctorate, Cayenna was selected to lead the empirical research component of a UK research-council funded multidisciplinary £1M ($1.2M) research project, Transforming 19 th -Century Historically Informed Practice. In collaboration with eminent music psychologist, Professor Eric Clarke, she developed new approaches to tracking musicians’ synchrony in large ensembles, deploying a large number of contact microphones to collect detailed timing data from each musician. Triangulating this data with player and audience perspectives shed new light on 21 st century experiences of experimental approaches to 19 th -century style. You can read more about this research in

During this first post-doctoral research position, Cayenna was appointed as the Associate Conductor of the Orchestra of St John’s, a professional orchestra based between London and Oxford. In addition to leading impactful engagement work with young asylum seekers in the and Many Worlds in One Place, she led the orchestra in developing a close relationship with the Afghanistan National Institute of Music in Kabul. After travelling to the country in 2018, Cayenna facilitated a 10-day residency for the Afghan Women’s Orchestra (Ensemble Zohra) in the UK and oversaw a distance learning programme with OSJ players and Afghan students, including teaching online conducting lessons herself to over a dozen conducting students in Afghanistan nearly every week until the Taliban took over the country in August 2021.

Concerned that she did not know enough about the orchestral practices in Afghanistan to adequately guide this next generation of Afghan musical leaders, Cayenna applied for and was awarded a prestigious three-year Leverhulme Early Career Research Fellowship to return to Afghanistan to pursue research. With music now banned in the country and musicians who were able having fled, over the past three years, Cayenna has worked with Afghan musicians and scholars living in exile to undertake collaborative original research and promote through commissioning and performing new works. She is currently working on a collaboratively written book about the historical and contemporary practices of Afghanistan’s unique orchestral traditions.

This past year has been quite busy and has included conducting the Oxford University Orchestra on a 10-day tour of Northern Italy including performances at Teatro A. Ponchielli in Cremona and the Auditorium Paganini in Parma, performing works by Brahms, Tchaikovsky and the Italian premiere of Ruth Gipps’ Second Symphony; recording all of the surviving keyboard concerti of 18 th -century female composer, Marianna Martines, with pianist Idith Korman and the Oxford Philharmonic Orchestra for the Signum label; conducting concerts in France and Sicily including the Mendelssohn Violin Concerto with Berlin Philharmonic violinist, Hande Küden; and producing a powerful with famed Hazara vocal artist, Elaha Soroor. Premiered in Tirana, Albania at the historic All Afghan Women Summit on 11 September, the song was featured in the Financial Times, Channel 4 News and The Guardian.

Cayenna currently lives in Oxford, England with her partner, Graeme Bailey, retired professor of Computer Science and Mathematics at Cornell University.

Cicely “Vanessa” Cox, Soprano, a 2008 and 2009 graduate with a Bachelor of Arts in Music and a Bachelor of Music Education, respectively. Vanessa has enjoyed a career in music education that allowed her to combine her passion for music and the arts with instruction and engagement with young people as a fine arts teacher. During her tenure in education, she taught choir, drama, musical theater, and strings. She segued her passion for education into the regular education classroom as a World Cultures, History, and Reading & E.S.L. (English as a Second Language) teacher.

Forever a lover of music and vocal performance, when time permitted during her military transitions accompanying her husband of twenty-nine years in the U.S. Army and their five children, Vanessa has performed with various musical organizations. Soloist and choir member with the Aiken Choral Society, Aiken, S.C.; Aldonza/Dulcinea in Man of La Mancha with the Aiken Community Playhouse (rebranded Aiken Community Theatre in 2020) in Aiken, S.C.; Central Florida Community Arts Choir, Orlando, Fl., and Orlando Opera.

Her classroom experiences and encounters with students facing legal issues were profoundly impactful. Though some of her students were in legal troubles because of their own choices; others were embroiled in heart wrenching problems because of their parents or other relatives’ choices. These facts along with a childhood aspiration of being a lawyer led her to go back to school to pursue this goal.

She received her Juris Doctorate from the Florida Agricultural & Mechanical University (FAMU), in May of 2024, passed the July 2024 Florida Bar Examination, and has accepted a position with The Legal Aid Society of the Orange County Bar Association as a Staff Attorney for the Guardian ad Litem Program. There she will be an advocate in the courtroom for minors and young people victimized by abuse, abandonment, or neglect.

Inspired by her grandmother’s mantra to “be a help and not a hindrance” Vanessa aspires always to fulfill that mantra. She can be heard still singing in her local church congregation and hopes to one day return to the stage performing with area vocal organizations very soon.

Heather Waters is an Associate Professor of Music Education and Chair of the Music Department at Adelphi University. Heather completed her PhD (music education) at Temple University as a University Fellow, her Master of Music degree (piano performance) at Ithaca College, and two Bachelor of Music degrees (music education, piano performance) at the University of Alaska Fairbanks. In addition to National Board Certification in Music, she completed Orff-Schulwerk Levels I-III (Colorado State University), Music Learning Theory Elementary General certification (University of South Carolina), Kodály Levels I-III (New York University), as well as Dalcroze training from the Lucy Moses School in New York.

At Adelphi University, she primarily teaches courses on music education methodology. While completing her doctorate at Temple University, she was Lead Teacher of the nationally-renowned Early Childhood Music Foundations program. Heather taught on the faculty of the Kodály Summer Institute at New York University for four years. She has also guest taught for Boston University and SUNY Buffalo State, and was a curriculum author and Master Teacher Trainer for the Music Essentials Curriculum and Music Essentials Teacher Training for Tianjin Juilliard. She was the Managing Director of the Early Childhood Music & Movement Association, and is beginning a term as the President-Elect of the Early Childhood Special Research Interest Group of the National Association for Music Education.

She presents nationally and internationally, including at the International Society for Music Education Conference, the European Music Education Researchers of Young Children Conference, the International Symposium on the Sociology of Music Education, the Ireland International Conference on Education, the Hawaii International Conference on Arts & Humanities, the Hawaii International Conference on Education, the Musichildren International Conference, the Desert Skies Symposium on Music Education Research, the Early Childhood Music & Movement Association International Conference, the National Association for Music Education National Conference, the Organization of American Kodály Educators National Conference, and others. Her work has been published in journals including the International Journal of Music and Early Childhood, the International Journal of Innovations in Online Education, the Journal of Music Teacher Education, Visions of Research in Music Education, Music Educators Journal, Perspectives (Journal of the Early Childhood Music & Movement Association), and in the Routledge book Music Education: Navigating the Future.

In addition to all these stuffy sounding academic things, she currently lives in Queens, New York City, where she can enjoy all the NYC music and food but still be able to garden and not have to hunt quite so much for parking. She is running the NYC marathon for the second time this fall, and loves coming back to visit her hometown of Juneau to go hiking, fishing and whale watch.

Heather can be contacted at hwaters@adelphi.edu

Ariana Horner Sutherland, a lyric soprano hailing from Nome, Alaska, has embarked on an extraordinary musical odyssey. Her journey, deeply rooted in her educational and performance experiences, began at the University of Alaska Fairbanks.

Ariana's musical education began with a Bachelor of Music Education from UAF, where she discovered her profound passion for music and honed her vocal skills. This foundational period laid the groundwork for her educational journey. She continued her educational journey with a Master’s of Music (MM) in Vocal Performance from Sam Houston State University, and is currently pursuing her Doctorate of Musical Arts (DMA) at the University of California Santa Barbara.

Ariana's musical journey continues to evolve, promising more significant contributions to the world of opera. Her unwavering dedication leaves us eagerly anticipating what this soprano from Alaska will conquer next.

Electric and acoustic violinist Rose Crelli started playing violin at the age of six. Conservatory and classically trained, she holds four music degrees and has performed internationally in seven different countries including Italy, Austria, Costa Rica, South Korea, Germany, France, Mexico, and Canada. Rose performed solo halftime shows for the NBA Golden State Warriors games at the Chase Center Stadium against the Sacramento Kings and the Chicago Bulls, as well as sold out shows with award winning artists Andrea Bocelli, Michael Buble, the Trans Siberian Orchestra and Oakland’s own Tony! Toni! Tone! Clients that Rose performs for include Rolls-Royce, Golden State Warriors, Salesforce, Oakland A’s, Workday, BetterUp, Meta, Deloitte, Palo Alto Networks, Genentech, Menlo Ventures and Scenic Luxury Cruises. Rose has been featured on CBS News, ABC7 News, KRON 4 News, San Francisco Examiner and KCBS Radio. Born in China, Rose was adopted at eight months old to her family in Alaska. She is a proud Alaskan, Asian American, and dual citizen of the US and Canada. Rose received a double degree in Violin Performance and Music Education at the University of Alaska Fairbanks, a Masters in Violin Performance from the University of Louisville on full scholarship through the Graduate Teaching Assistantship, a Professional Studies Certificate from the San Francisco Conservatory of Music.

Christopher Hull is a percussionist and ethnomusicologist whose work focuses on tensions between tradition and innovation in contemporary music. As a passionate performer of solo, chamber, and orchestral percussion, he seeks to ground his work in his classical training while simultaneously transcending the conventions of the conservatory. With classical percussion degrees from Wilfrid Laurier University and University of Alaska Fairbanks, a performing arts certificate from the Arts Institute of Indonesia Denpasar, and his current doctoral studies in ethnomusicology at the University of Toronto, Christopher’s genre-defying work exhibits a world of experience.

As an orchestral percussionist, he frequently works with the National Academy Orchestra of Canada, the Hamilton and Thunder Bay Symphony Orchestras, and Sinfonia Ancaster. He has appeared as a chamber musician and soloist in festivals such as Open Ears, International Gamelan Festival Munich, Young Artists Niagara, and Sacred Rhythm Jakarta, the Royal Shakespeare Company (UK), and can be heard playing drums, vibraphone, and synthesizer on commercial recordings by Call Me Moon and Treephones. He is Associate Artistic Director of Toronto-based Evergreen Club Contemporary Gamelan (now celebrating its 40th anniversary season), commissioning and premiering new works for Sundanese degung, and director of the University of Toronto’s Balinese gamelan ensemble, Dharma Santi, as well as the newly formed Clover quartet.

Christopher’s doctoral research explores various aspects of musical manifestations of culture. At the Society for Ethnomusicology Annual Meeting in Ottawa in 2023, he presented a paper entitled Tacit Knowledge, Affect, and Desa Kala Patra in Balinese Gender Wayang, which investigates the affective properties of gendér wayang to show how the oral practice of gendér relies on embodied, emplaced, tacit knowledge. Such knowledge reflects the Balinese concept “desá, kala, patra” — often translated as “place, time, situation” — which references the manifold, plural form knowledge takes when it is viewed within context. By aligning theories of tacit knowledge, affect, and desá, kala, patra, the paper queries the extent to which they are congruent. In doing so, he lays the groundwork to ponder the impact of video sharing as gendér pedagogy and how it serves as a new transmission medium for tacit and affective aspects of practice. That same year, he was also Keynote Speaker at Indonsian-language International Conference on Local Wisdom at Universitas Hindu I Gusti Bagus Sugriwa in Denpasar, Bali, Indonesia.

 

Dr. Emerson Eads, composer, conductor, and singer is Director of Choral Activities at Minot State University. He began piano lessons with his father when he was six years old. He holds music degrees from the University of Alaska Fairbanks and from the University of Notre Dame. While in Fairbanks, he studied composition with John Luther Adams, voice from Dr. Jaunelle Celaire, and conducting from Dr. Eduard Zilberkant. At the University of Notre Dame, he studied choral conducting with Dr. Carmen-Helena Téllez, where he worked with some of the greatest choral conductors of our time including Ann Howard Jones, Stephen Cleobury, and Joseph Flummerfelt.

Opera Fairbanks, at the request of their Metropolitan Opera Artistic Director, Gregory Buchalter, was the first organization to commission him with an ode to Alaska’s 50th celebration of statehood, Homeland, for full orchestra, chorus, and soloists, featuring the great Alaskan mezzo-soprano, Vivica Genaux.

While in Fairbanks, at the request of Dr. Zilberkant, he inaugurated the Fairbanks Symphony Chorus, a volunteer 80-member mixed choir. preparing Beethoven’s 9th Symphony, Beethoven’s Choral Fantasy, Verdi’s Requiem, Orff’s Carmina Burana, and numerous Design Alaska’s Christmas Concerts. It was with the Fairbanks Symphony that his early compositions were given their premieres.

He was recently commissioned by the University of Alaska Fairbanks and Dr. Jaunelle Celaire to write an accompanied choral work, Give Me Room, on a text by Meta Herrick Carlson, dedicated to philanthropist and UAF alumnus, Steve Holmberg.

Dr. Eads has performed in England, France, Italy, Norway, Bulgaria, Austria, Canada, Chile, and Mexico. His music has also been performed internationally, with recent highlights including the Vocal Arts Ensemble of Ann Arbor, who commissioned him for an accompanied choral work, At The Dawn and his Dona Nobis Pacem which was premiered in Vancouver by the Vancouver Cantata Singers. His Mass for the Oppressed, written to rally support for the Fairbanks Four, has been performed in six states, and has recently been awarded as a Finalist & Honorable Mention for The American Prize Ernst Bacon Memorial Award and is recorded featuring the great British tenor, Barry Banks. The Gleaners, song cycle on a text by Patrick Milian for soprano and mezzo-soprano with piano trio, was awarded Third Place for the American Prize in Composition– Vocal Chamber Music (professional division).

He lives in Minot, ND with his wife, cellist, and conductor, Abbie Eads, and his two cats, Lake & Palmer. He misses Alaska friends and family, especially his two nieces, Adelle & Reaghann. Alaska gave him his first opportunities as a musician and it will always feel like home

Born in White Plains, New York, pianist Mallory Bernstein has built a diverse and robust career through collaborative work, solo performances and nonprofit management. She studied with Dr. Charis Dimaras at Ithaca College and discovered her passion for collaborative piano.  She then journeyed to Fairbanks, Alaska to study with Dr. Eduard Zilberkant for her Master’s degree and with an assistantship to provide accompaniment for the studio of Dr. Jaunelle Celaire.  Mallory continued her studies with a full ride to the Lamont School of Music at the University of Denver for a Performance Certificate and Artist Diploma.  She found many performing and teaching opportunities in Denver and in addition to solo performances in Germany, Italy and Portugal, she has performed with the Sonoma Philharmonic, Aurora Symphony, Opera Colorado, The Playground Ensemble and Opera on Tap.  She has been featured on concert series including Devil Moon, Englewood Arts and Five Points Chamber series.  She is a founding member and performs regularly with Art Song Colorado.  In recent years, Mallory has performed with Mexican tenor, Humberto Borboa in Colorado, Arizona and California in recitals featuring Schumann's iconic song cycle, Dichterliebe.

As Mallory began to find accompanying opportunities in outreach settings, she noticed the impact of brief musical experiences on the students.  This prompted her to explore the need for high-quality music education programming in Denver and she subsequently founded Education Through Music-Colorado.  While there is still much work to be done, she is very proud that Education Through Music-Colorado now provides music programming for 2,500 students in the Denver metro area that didn't previously have access. Mallory resides in Denver with her husband, three young daughters and two dogs.

Hailing from interior Alaska, Jon Heintz received his Bachelor’s in Music Education from the University of Alaska Fairbanks in 2014.  Jon studied double bass with Dr. Karl Knapp, Dr. Vince Cee, and Bob Olsen of the Fairbanks Symphony Orchestra. Running parallel with his formative studies was a constant presence in the local music scene. Jon performed with numerous folk, rock, and jazz groups in the city, and participated in music festivals across Alaska.

Jon proudly serves as the orchestra director at Rainier Middle School and Auburn Mountainview High School (IG: @amhs_orchestra) in Auburn, Washington. Jon also keeps busy with a private double bass studio. His students have consistently performed at State Solo and Ensemble and WMEA All-State and NAfME All-Northwest. Former students of his studio are currently performing at the University of North Texas, Eastern Washington University, and the University of Washington.

From Jon: “The UAF Department of Music and the city of Fairbanks gave me the opportunity to experiment, fail, practice, collaborate, and ultimately grow in the best ways imaginable. The chance to perform with passionate musicians throughout the community and to learn from incredible educators shaped (as a wise music ed professor once said) my hobby into a passion, and my passion into a calling.”

Jon’s bass playing can be found recorded on:

Emily Anderson: Salt and Water**

Jazz Underground: Notes from the Underground

Kittiwake: Hibernal**

Granddad: Quitter**

Velvet Jupiter: Velvet Jupiter, EP2

Termination Dust: Growing Down**

**Alaskan artists