Facing the crisis of the “closing of the frontier” in the American West in 1890, historians such as Frederick Jackson Turner, imbued with the conviction of Manifest Destiny, suggested that the nation look to Alaska as the “new” frontier. Widely regarded as the “Last Frontier” since the Klondike Gold Rush of the late-nineteenth century, serialized dime novels, paintings, and popular sheet music fashioned in the Tin Pan Alley style during the early-twentieth century have perpetuated the frontier myth of Alaska. In this paper, I explore how popular sheet music about Alaska published in the early-twentieth century has gendered, exoticized, and marginalized Indigenous populations in Alaska as part of the frontier myth of Alaska. Using two case studies, “My Gal’s an Esquimau” (1904) and “Oogie Oogie Wa Wa” (1922), I argue that composers employ seemingly “innocent” songwriting strategies that depict Alaskan Natives as primitive, hypersexualized objects. Through close examination of the music, lyrics, and visual content of illustrated covers, I highlight the layered and often troubling musical imaginaries of Alaskan Natives by the nation during the early-twentieth century.Drawing from theories of decolonial practices of listening, particularly engaging with Dylan Robinson’s concept of “hungry listening” (2020), I situate these two songs, along with early-twentieth century popular sheet music about Alaska, within broader discussions of American imperialism, Indigeneity, and listening positionalities. Ultimately, this paper invites reflection on how studying sonic histories of the American frontier can reveal underlying tensions about “American-ness” and notions of citizenship.