The summer of 2002 is etched in my memory as one of those rare moments in life that felt almost unreal in its perfection. It’s been 23 years, and I still look back on that weekend in August as one of the greatest of my life. I was a volunteer at the Twin Peaks Festival – a celebration of all things mysterious and beautiful, just like the show itself. What started as a small volunteer project – designing a flyer and helping with the Festival’s website – slowly turned into something unexpectedly magical.
2002 TWIN PEAKS FESTIVAL IN SNOQUALMIE VALLEY, WASHINGTON
The 2002 Twin Peaks Festival was held from Aug. 16-18 in Snoqualmie Valley, Washington. As the event neared, the anticipation grew. Then, something truly unexpected happened – Julee Cruise was confirmed not only to attend the festival but to perform. I’ll never forget the moment Susan Eisenstadt, the incredible woman who pulled the entire event together, casually dropped that bombshell during one of our planning calls. My heart raced. This was Julee Cruise. The ethereal voice of Twin Peaks. My teenage celebrity crush. And I was going to meet her.
What’s wild is that in 2002, there was no Instagram, no IMDB Pro, no easy way to reach out to people like Julee. Everything happened the old-fashioned way – through real-world connections, persistence, and a little bit of fate. The initial spark came through a man named Chris Mathews, and from there, the stars aligned in ways I still can’t quite explain.
“Like many, I first became aware of Julee through “Mysteries of Love” from Blue Velvet. In November 1989, I bought “Floating Into The Night” on cassette for my birthday. Later that night, while listening to it, I made love for the first time with my daughter’s mother, likely impregnating her.
On August 21, 2001, I had the pleasure of witnessing the Divine Ms.Cruise at Seattle’s Graceland, working with backing tapes and DJ Khan. I asked “Wrapped in Plastic” if I could do a review and interview of that show as a reporter for their magazine. Julee was splendid, though holding her ‘BadaLynchmenti’ tunes for the end of her set. Post show, I was admitted to her dressing room. Among other things we discussed joining next year’s Twin Peaks Festival. I may have told her we would love to have her there, but never pushed her in that direction. We exchanged emails which in turn I shared with Susan.”
– Chris Mathews
“Julee and I were both America Online (AOL). I think she remained on AOL throughout her life. So that same night, I logged on via dial-up and sent her a message about [Twin Peaks Festival] asking if she might want to attend. Getting her to sing felt like a long shot, so I don’t think I even mentioned that. But I did stress how it was a small group of ‘Twin Peaks’ fans who convened annually in North Bend and Snoqualmie.
[I] told her it was a congenial group of people from around the country and some from overseas, many who were repeat attendees since the 1990s. Told her she would be flown out, booked into the Salish Lodge, have free time during the weekend and that it was NOT like a convention, but more like a family reunion.
To my surprise, she responded almost instantly! She asked, ‘I assume this is a no pay gig?’ And I told her yes, that’s true, but she’d be well cared for and to look at it like a brief and peaceful weekend getaway.
She said, ‘Okay, I’ll do it. But two requests: Business class tickets for me and my husband and a bona fide sound engineer.’
So she was going to SING too! John Neff had eagerly agreed to fulfill the role of sound engineer which more than satisfied Julee. Julee and I bonded over dog-love as the days went by leading up to the fest.”
– Susan Eisenstadt
I could hardly believe it when I found out Julee Cruise would be attending the Twin Peaks Festival. Not only attending – but performing. I was going to meet her. Hear her sing live. The voice behind “Falling,” the music that had wrapped itself around my teenage heart during some of the hardest moments of my life.
As planning for the festival ramped up, Susan Eisenstadt, the brilliant mastermind behind the entire event, shared a list of volunteer roles. One caught my eye: celebrity driver. The job was to chauffeur guests of honor to and from festival events. And there it was—Julee Cruise. Unassigned.
I seized the moment.
On our next call, I nervously confessed to Susan that Julee had been my first real celebrity crush back in high school, and I’d do anything to be her assigned driver that weekend. Susan burst out laughing and without hesitation said, “She’s yours.”
I was floating.
THURSDAY, AUGUST 15, 2002 – ROARING RIVERS AND AN UNEXPECTED BUNKMATE
I arrived in North Bend the day before the festival officially kicked off and checked into one of its best-kept secrets: the Roaring River Bed & Breakfast. It was a cozy, family-run place perched above the rushing Middlefork River, with a tea room that overlooked the water.
I stayed in a cozy cabin called Herb’s Place – a charming little spot with a fishing theme and a peacefulness that instantly put me at ease. It was my first experience at a bed and breakfast, and I was so taken with it that I filmed a video message for my future wife, telling her we had to come back together someday.
Years later, we did—returning for our honeymoon. The Roaring River B&B is something straight out of a dream – quiet, green, and misty. Clean place reasonably priced.
That morning, Susan asked if I’d be willing to share my cabin with someone else. “Richard Beymer,” she said casually. Richard Beymer – Ben Horne himself – was looking for something a little more rustic than the fancy Salish Lodge. I didn’t even hesitate: “Absolutely.”
Later that day, John Neff and I made a run to Seattle’s Guitar Center to pick up loaner equipment for the show. John had a long-standing relationship with them and managed to score some incredible gear in exchange for a bit of event sponsorship. That night, I fell asleep to the roar of the river and the faint scent of Richard’s pipe, imagining what it would be like to finally meet Julee Cruise the next day.
FRIDAY, AUGUST 16, 2002 – SOUNDCHECK AND A CONFESSION
I woke early to a breakfast basket from Hershel, Roaring River’s co-owner. Richard was still sleeping so I tiptoed outside and sat on the deck to enjoy the sound of the river and the amazing breakfast making sure to leave some for Richard. I headed out to the Salish Lodge to pick up Julee and her husband Ed for her soundcheck.
I was nervous.
She greeted me in a vintage Boy Scouts of America shirt, warm smile, and effortless cool. I grabbed their gear and we headed into the woods—literally—to the venue: a big rustic barn on 14120 424th Ave SE in North Bend that was often used for weddings and private events. It was the kind of place that felt like it held stories in the beams.
John Neff greeted us, and we got to work. Julee handed over a CD of her backing tracks and walked us through the setlist, describing which songs had extra backing vocals—she playfully called them “the girls”—and which ones didn’t. The ones that didn’t, Julee indicated the type of reverb that was needed to produce the soundscape she wanted to create for the live performance.
They worked on fine tuning the reverb settings for each song. Julee brought out a sleek, futuristic pair of wireless earbuds, stylish and almost sci-fi by 2002 standards. They let her monitor both her own vocals and the music as the sound filled the barn.
She even taught us her private hand signals to adjust the mix in her ears – a secret code she and John would use during the performance. It felt like we were being let into a very private world. Learning about her secret code that she shared with her sound engineers is something that I (and now you) will pick up while viewing her archived live performances.
It was just the three of us. No crowd. Just Julee, her voice, and me in the background, quietly gushing.
I had brought my camcorder but didn’t dare ask to record. She noticed it anyway. “You wanna record the show tonight?” she smiled. My face lit up. She did one last check on the reverb that I managed to get on video before we ended the sound check session.
On the drive back, Julee turned to me and asked if everything had sounded okay. I nodded and said, “It was so beautiful.” I saw her smile as I peered back through the rearview mirror.
I finally worked up the courage to tell her that her music had helped pull me through some dark times in my teens, especially when I was struggling with depression. She paused, surprised. “Oh, Bri-an,” she said warmly, stretching out my name. “Why didn’t you say you were a fan? I thought you were just our driver.” We all laughed—and I blushed like a teenager again.
That drive back to the Salish became one of the most treasured memories of my life. She even told me about a track she recorded with Angelo Badalamenti and David Lynch called “Shadow Man” that had never been released. To this day, it remains a mystery of whether it will ever get released. God, I hope so. What I wouldn’t do to hear that track.
FRIDAY, AUGUST 16, 2002 – A RECORDED NIGHT IN THE WOODS
By 6:00 p.m., the barn was buzzing. Christmas lights twinkled across the rafters. Upstairs, fans wandered through a lovingly recreated Red Room and One Eyed Jacks casino setup. Around 150 people had gathered, and the energy was electric. Dinner was served, and the cast began to arrive.
When Julee entered there was a collective gasp. Fans gathered around her, excited, emotional, and similar to myself, shared how much her music meant to them. She glowed.
After meeting a number of fans, she joined the Q&A and then slipped away to prepare for the show. John Neff opened the set with covers and original songs from “Blue Bob.”
It was an extra special treat to hear John. For his set, I had the honor of being his sound engineer and was delighted to see that Jared had captured me in my one and only time as a live sound engineer decked out in my “Agent Cooper” shirt and tie.
Then Richard Green – The Magician in Mulholland Drive and director of “I Know Catherine The Log Lady” documentary – stepped on stage to introduce her.
And Julee… she appeared like a vision in a black lace dress. The room erupted.
From my spot behind my tripod-mounted camera, just a few feet away, I watched her transport us all. Her voice filled the barn and the forest outside. It wasn’t just a performance – it was a spell.
I stood there, completely spellbound, as her voice drifted through the night air – haunting, delicate, and otherworldly. It felt like I had stepped out of time, like some part of me had ascended into a dream I never wanted to end. But I knew the moment was fleeting. Having seen the setlist in advance, each song’s end brought a quiet ache, a growing sense of urgency – as if I was watching something sacred slip away, one note at a time.
The first record I ever bought with my own money was the ‘Twin Peaks’ soundtrack. I would lay on my bedroom floor in Geelong, Australia with these huge ‘70s woodgrain speakers pointed directly towards my ears and would disappear from the family abuse. It’s probably why I related so heavily to Laura Palmer.
I never dreamed I would ever get to see Julee Cruise perform those beautiful songs live. It was a truly magical and angelic performance inside that barn in North Bend. ‘We live inside a dream’ would be an appropriate description of the experience, being transported into the world of ‘Twin Peaks.’ I don’t know if I believe in heaven, but I like to imagine Julee would be the Roadhouse singer there.
– Adam Harding
Seeing Julee Cruise perform live at the 2002 Twin Peaks Fest wasn’t just witnessing a concert, it was like the show itself had torn open and spilled into reality. Her voice floated through the (actual Twin Peaks) air with the same ghostly beauty it held on screen, but now it was ours, unmediated. In that moment, the fourth wall didn’t just fall; it dissolved. It felt like being let into a dream you’d only ever watched from the outside. She made the uncanny feel tender, human.
– Travis Black
Hearing Julee Cruise sing at the 2002 Twin Peaks Festival is one of my most cherished and vivid ‘Twin Peaks’ experiences (it ranks up there with attending the world premiere of ‘The Return’ in Los Angeles in 2017, and a private dinner Craig Miller and I had with Mark Frost in 1995). Hearing Cruise sing ‘Falling’ was transcendent; it was as if, for a few rapturous moments, I had been transported to the world of Twin Peaks.
From ‘Wrapped in Plastic’ #61: Julee [Cruise]’s performance was easily the highlight of the entire festival. On a stage that closely resembled the Roadhouse in Twin Peaks, Julee mesmerized the crowd with a set of well-known songs including, ‘The Nightingale,’ ‘Rockin’ Back Inside My Heart,’ ‘Into the Night,’ ‘Mysteries of Love,’ ‘The World Spins’ and, as an encore, ‘Falling.’
Julee Cruise’s performance was a powerful event. For a brief few moments, you felt as if you had really entered the world of Twin Peaks. Here was the Roadhouse; there was the ‘girl singer.’ The music could never be more authentic. (Later that week, Julee contacted festival organizer Susan Eisenstadt to express her excitement about the event. She did not believe she would ever have a better or more appreciative audience than those at the festival. and she found the weekend a ‘magical experience.’ Judging from many comments from festival attendees, the feeling was mutual.)
– John Thorne
The night Julee performed at the barn was pure magic—one of the most moving musical experiences of my life.
Before the show, the barn buzzed with excitement, full of chatter and nerdy indie-film energy. I immediately felt at home. But the second Julee stepped onto that small, makeshift stage, everything changed.
From the very first note, silence fell over the crowd. The air became still, thick with reverence. Julee had this way of appearing delicate – like a fragile bird – one moment, then transforming into something fierce, otherworldly, and magnetic the next. Her presence held the entire room in a spell. I was riveted – and admittedly a little nervous to meet her afterward.
But those nerves disappeared as soon as we spoke. Julee had a big, hearty laugh and a wicked sense of humor. She put people at ease instantly and had this rare gift of making you feel truly seen.
– Carrie Besko
I was at the Julee Cruise 2002 concert. I still have the ticket. I recall that Julee assumed ‘Falling’ would get the biggest audience reaction, but I believe ‘The World Spins’ won that contest. I know I certainly was waiting for that one.
– Pete Vilmur
Stepping into the Twin Peaks Festival for the first time in 2002 felt like pure magic! Julee Cruise performed at the Barn for the celebrity dinner & signing night and it was so incredible. John Neff sound engineered for Julee’s performance that night and they made it a truly memorable experience. Twinkling lights danced across the rustic beauty of the barn as Julee’s ethereal voice filled the night. Every person there was captured by her voice. It was bewitching! Hearing ‘The World Spins’ live – a moment so special, it remains unmatched in most of the performances I’ve seen since and etched in my memory always.
– Charlene Sharlem Weiss
Only if you were actually there in the dimly lit Barn off a dirt road somewhere in the North Bend back roads, will you still recall the true magic of that voice, the mystery, the complete collective awe experienced by the few OGs of the ‘Twin Peaks’ fandom.
It was not a ‘concert’ – it was a gift of love. It was transcendent and once in a lifetime. It was part and parcel of that year’s Twin Peaks Festival.
– Susan Eisenstadt
Her setlist that night:
- Into the Night
- The Nightingale
- Rockin’ Back Inside my Heart
- Summer Kisses, Winter Tears
- Up in Flames
- The World Spins
- Mysteries of Love
- Falling
One song was notably missing from the setlist – “Questions in a World of Blue.” And there was a very specific reason for that.
SATURDAY, AUGUST 17, 2002 – MAGIC AT THE NORTH BEND THEATRE
The next night, the festival moved to the historic North Bend Theatre for what had become a beloved tradition – Lynch Movie Night. The evening was already packed with gems, including John Neff’s brilliantly comical “Thank You Judge” video.
But the true highlight came just before the lights dimmed for the screening of Twin Peaks: Fire Walk With Me.
The atmosphere was electric. Then, as if summoned from the Red Room itself, Richard Green stepped onto the stage – not as himself, but fully embodied in the role of The Magician from Mulholland Drive. With a flourish of theatrical energy, he raised his arms and intoned:
“No Hay Banda. We have no band… and yet we hear our band.”
A magic cane appeared in his hand as if out of nowhere. The crowd cheered. Then what followed was a hypnotic, spoken-word homage—part slam poetry, part invocation—building anticipation for what was to come.
Of collaborators. instigators, innovators and participators
all come together to share some time to make a meal.
Who killed Laura Palmer is one sumptuous course in a feast of film formed by David Lynch.
A chef of dreams. Who serves us sights and sounds. We savor again and again and again.
We humble performers serve you.
And we share with David the pleasure of your appreciation.
And now for your delight
A rarity and treat tonight
There are no ifs, buts, ands or maybes.
Soon to to be seen on Broadway in ‘Radiant Babies’
Playing Andy Warhol in a story of an artist tearing
Will be delighting us with her CD on Tuesday’s world wide airing
Tonight, right here
‘The Art of Being a Girl’ for you to hear.
And now it is my honor my polite pleasure to say
I bring you Julee Cruise
– Richard Green
Richard then pulled back the edge of the red velvet curtain. Out stepped Julee Cruise.
She emerged like a vision—dressed in a sleeveless, tan suede Western shirt and matching skirt, cowboy hat … her presence … commanding and mysterious. Her gaze was intense, cutting through the air and locking onto the audience like she was searching for a soul to hold. There was a gravity to her. A stillness. As she stepped onto the balustrade, the packed theater fell completely silent. You could hear the creak of the floorboards beneath her feet.
She closed her eyes.
And then—she began crooning.
An a cappella rendition of “Questions in a World of Blue” flowed from her lips, raw and haunting. Without a single note of accompaniment, her voice echoed through the old historic theater like a whisper from another world. It was fragile and powerful all at once – filled with longing, heartbreak, and a strange kind of grace. When she finished, there was a beat of stillness before the applause erupted. But in that pause, I saw tears in the eyes of more than a few people.
Moments later, the lights dimmed, and Fire Walk With Me began. What a way to open the screening – dreamlike, unexpected, unforgettable.But how did this even come to be?
The answer lies with Greg Olson.
In the early years of the festival, Greg worked closely with David Lynch, often curating never-before-seen content to screen for fans. At the time, he was deep into research for his book “Beautiful Dark,” conducting interviews with those closest to Lynch’s creative circle – including Julee Cruise.
And during one of those conversations, the idea was born.
We were chatting about the Twin Peaks festival coming up and I said, God, you know, what I would really love is if you would sing ‘Questions in a World of Blue’ a cappella. And she just said ‘Yes.’ She said, ‘I’ll be there with my husband.’
– Greg Olson
After the screening, I found myself outside the North Bend Theatre, talking with Greg Olson about what we’d just witnessed. There was a sense that something profound had happened – something more than just a performance. I had a feeling Greg’s request for Julee to sing “Questions in a World of Blue” that night wasn’t random. It felt intentional. Poetic, even.
You see, Julee had performed that very song at the 1992 Cannes premiere of Fire Walk With Me. And now, exactly ten years later, she sang it again—right before the same film, in a theater filled with fans who adored her. The symmetry of it all was beautiful, almost cinematic in its own right.
That moment, that night—it was the final, perfect note to a weekend that already felt like a dream come true.
I remember whenever I did show something special from David, I would always call him the next day and tell him how it went down. So even if I didn’t have anything to share at that year’s festival, I certainly wanted to tell him that I had suggested and Julee followed through singing ‘Questions in a World of Blue’ a cappella.
And David said, ‘Oh my, that must have been wonderful.’ And I said, ‘Yeah, it was just beautiful.’ He just was … his voice was soft and he was just in awe of, you know, his sonic or his aural memory was probably replaying what that sounded like… Julee singing like that.
– Greg Olson
I was fortunate enough to capture some footage of that magical night on my old video camera. Unfortunately, it’s riddled with stabilization problems as I was zoomed in and without a tripod. The footage is mostly unwatchable. Still, it holds something special. Thankfully, a fellow fan and amazingly talented artist, Ben Oliver, is helping me stabilize and restore it. With a little luck, I hope to share it publicly at next year’s Real Twin Peaks Day – so others can glimpse the magic of that evening too.
When news of Julee Cruise’s passing reached me, it felt like a piece of that dreamlike world we all loved had quietly slipped away. Her voice was more than music – it was a haunting thread that stitched together emotion, memory, and mystery in a way that defied explanation. To those of us lucky enough to have shared even a moment with her, Julee wasn’t just an artist – she was a presence. Fragile and fierce, luminous and grounded. She made you feel seen. Heard. And when she sang, it was like she reached into the spaces inside us that we didn’t know needed healing.
That weekend with her at the Twin Peaks Festival felt like something out of a dream – pure, unexpected, and unforgettable. But her impact didn’t stop there. It stayed with us – in our memories, in her music, and in the quiet places where her voice still echoes.
Julee Cruise was a fiercely strong woman within a fragile body of more spiritual weight than physical. She was and is loved by all who experienced her ethereal essence.
– Susan Eisenstadt
Julee was a tough cookie. If she didn’t like somebody, you knew it. I was lucky that she liked me. Julee kissed me on the cheek and I swear I didn’t wash that cheek for a week. She told me I reminded her of a younger version of her husband. I stayed in touch with Julee over the years and later asked if she would sing on a song I wrote about one of my dogs who had crossed the rainbow bridge, knowing how much Julee loved her dogs. She said yes, but sadly we were never able to get together to work on it.
– Adam Harding
I have trouble separating the best moments of ‘Twin Peaks’ from the music that plays in the scenes. Hearing Julee sing ‘The World Spins’ in Episode 14 is everything. Cutting from Julee’s vocals to the violence in the Palmer living room is why that scene lands so hard. The way Julee emotes, ‘Love, come back this way. Come back and stay … forever’ encapsulates how Donna is feeling at that exact moment and that translates to how the viewers are feeling. I don’t think any other singer could have hit those notes and acted out the scene with such precision.
Julee is the voice that I have written every book to. You can lose yourself in her voice and it always inspires me to write. She meant a lot to me personally. We became internet friends towards the end of her time. We shared about Sondheim and she loved that I could talk about old Broadway with her. We never once talked about ‘Twin Peaks.’ I miss those crazy messages she would send me. She was a good spirit.
– Scott Ryan
Julee really was a phenomenal human being and I absolutely adored her. We started talking years and years ago (2013?) when she sent me an instant message on Facebook. We talked often, sometimes on the phone, but mostly through instant messages. I miss her. There will never be anyone else like her. We had long talks about David Lynch and ‘The Return.’ I knew she wasn’t supposed to be telling me anything at all, and I was honored that she trusted me. I know she was in a lot of pain, both physically and emotionally, and I am grateful she has peace now.
– Anita Rehn
Julee Cruise was part of the first concert I ever saw but I didn’t know it at the time. I was in the grandstand with my parents for the B-52s at the Illinois State Fair on August 21, 1992 (5 days before the release of ‘Twin Peaks: Fire Walk With Me’). I didn’t know who she was or even what ‘Twin Peaks’ was until a few years later.
The lady who cut my hair was one of the few people I could talk about ‘Twin Peaks’ with at the time and she blew my mind by casually mentioning she’d styled Julee’s hair when she was in town singing backup with the B-52s. This is as close as I ever got to meeting her. It isn’t much of an anecdote but to me there’s something kind of magic about someone who’s music and voice were such a vital part of my life and work having been part of my first concert. It felt cosmically deliberate.
– Daniel Knox
when i was leaving for New York City after high school, my mother gave me a few traveler’s checks for emergencies. in what felt like the first Village Voice i picked up i saw that Julee Cruise would be playing in Manhattan. i went directly to Tower Records on 4th Street & bought an emergency ticket. that show was so moving and penetrating and disarming. i would spend a lifetime being unable to articulate the experience. it altered my soul. then so many years later, at the North Bend Theater, i watched [Brian’s footage] of a performance shot in the darkness in the woods in Twin Peaks & i was transported & transformed once again. i found tears on my cheeks & bliss filled my heart. unforgettable & transcendent.
– George Griffith
And in what feels like poetry itself, Julee Cruise – whose voice helped hold me in that darkness – eventually became a friend. One of the people who helped save my life. We hit it off, and to my surprise and deep gratitude, we kept in touch over the years – long, meandering phone calls that meant more than I can say.
Those conversations became lifelines, especially when I found myself over a decade into a dangerous benzodiazepine addiction, overwhelmed and terrified as a new mother. I had been bounced from specialist to specialist, but it was the love and presence of a few close friends that truly helped me begin to heal. Julee was near the top of that list.
Her father had been a dentist, and through him – and her own struggles – she’d learned a lot about benzodiazepines. She took the time to explain to me how they worked, how they tangled with trauma, and what was happening in my body and mind. No one else had ever done that for me. She didn’t just listen – she understood. And she trusted me with her own stories, too – her pain, her resilience, her behind-the-scenes experiences on ‘Twin Peaks.’ It was an exchange of truths. A bond forged in mutual vulnerability.
Losing Julee hit me hard. But when I look at my life now – and the way I’ve learned to sit with pain instead of numbing it – I smile and think of her. Of the fierce, spooky, beautiful magic she brought into my life. Of the voice that first held me in the dark and then, later, walked with me out of it.
– Carrie Besko
Meeting Julee Cruise and witnessing her perform that weekend was nothing short of transformative. As Chris Mathews once noted, her performances in the years prior leaned heavily on new material, with ‘Falling’ saved as a quiet nod to the past. At the time, there had been tension between Julee, David Lynch, and Angelo Badalamenti following the release of “The Voice of Love“—a rift she later spoke about candidly in Olson’s ‘Beautiful Dark.’ But by the time she arrived in North Bend in August 2002, something had shifted.
This was a Julee who had made peace with her past – and more importantly, with the people and music that helped define her legacy. What we witnessed that weekend wasn’t just a concert. It was a homecoming. A celebration. A reconciliation wrapped in music, nostalgia, and the purest form of artistic courage. She stood before us, not just performing, but reclaiming the very songs that had etched her name into our hearts.
As Charlene shared with me over a personal message “2002 was the Magic Sauce”. It was, it really was. Even now, all these years later, that weekend lingers in my mind like a beautiful dream I never wanted to wake up from. Julee would return to North Bend 14 years later to play her final show but that is another story for another time. We lost Julee far too soon, but the imprint she left—on our hearts, through her voice, and in those sacred moments of connection—remains.
I’m grateful I had the presence of mind to capture some of it on video. Though the footage needs some love, I’m continuing to work on restoring it, with the hope of sharing it with you all when the time is right.
To everyone who contributed to this story—and most of all, to Julee Cruise, my teenage crush and the angelic voice that guided so many of us through the fog: thank you. You are missed. You are loved. And your song still plays deep in our hearts.
Thank you Carrie Besko, Travis Black, Melissa Booth, Pieter Dom, Josh Eisenstadt, George Griffith, Amanda Hicks, Adam Harding, Daniel Knox, Steve Lovejoy, Jared Lyon, Chris Mathews, Steven Miller, John Neff, Greg Olson, Anita Rehn, Scott Ryan, Courtenay Stallings, John Thorne, Pete Vilmur, and Charlene Sharlem Weiss.
Special thanks to Susan Eisenstadt—none of this magic would have been possible without you.
Author
Discover more from TWIN PEAKS BLOG
Subscribe to get the latest posts sent to your email.
