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Daisy Jones & The Six

Book by Taylor Jenkins Reid · 50 quotes · Love, Daisy Jones The Six, Todos Quieren A Daisy Jones

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Daisy Jones & The Six Quotes

“But loving somebody isn't perfection and good times and laughing and making love. Love is forgiveness and patience and faith and every once in a while, it's a gut punch. That's why it's a dangerous thing, when you go loving a wrong person. When you love somebody who doesn't deserve it. You have to be with somebody that deserves your faith and you have to be deserving of somebody else's. It's sacred.”

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“I thought, for certain, that Billy would be the one to give the acceptance speech. But Daisy went up to the mike instead. I thought, I hope she says something coherent. And then she did. “BILLY: She said, ‘Thank you to everybody who listened to this song and understood this song and sang it along with us. We made it for you. For all of you out there hung up on somebody or something.’ "CAMILA: ‘For everyone hung up on somebody or something.”

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“You have to have one person in your life that you know would never do anything to steer you wrong. They may disagree with you. They could even break your heart, from time to time. But you have to have one person, at least, who you know will always tell you the truth. You need one person who, when the shit hits the fan, grabs your stuff, throws it in the suitcase, and gets you away from the Italian prince.”

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“The chemistry between their voices—his vulnerability, her fragility—it grabs you and doesn’t let you go. With his voice deep and smooth, and her voice higher and raspier, they somehow still meld together effortlessly, like two voices that have been singing together for ages. They created a deeply heartfelt call and response—a story of this romantic and idealized future that may never come to pass.”

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“But at some point, you have to recognize that you have no control over anybody and you have to step back and be ready to catch them when they fall and that's all you can do. It feels like throwing yourself to sea. Or, maybe not that. Maybe it's more like throwing someone you love out to sea and then praying they float on their own, knowing they might well drown and you'll have to watch.”

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“Aurora was romantic and brooding and heartbreaking and volatile all at once. In the age of arena rock, Daisy Jones & The Six managed to create something that felt intimate even though it could still play to a stadium. They had the impenetrable drums and the searing solos—they had songs that felt relentless in the best way possible. But the album also felt up close and personal. Billy and Daisy felt like they were right next to you, singing just to each other. “And it was deeply layered. That was the biggest thing Aurora had going for it. It sounds like a good-time album when you first listen to it. It’s an album you can play at a party. It’s an album you get high to. It’s an album you can play as you’re speeding down the highway. “But then you listen to the lyrics and you realize this is an album you can cry to. And it’s an album you can get laid to. “For every moment of your life, in 1978, Aurora could play in the background. “And from the moment it was released, it was a juggernaut.”

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“I'd chased this life with all of my heart. I wanted so badly to express myself and be heard and bring solace to other people with my own words. But it became a hell I'd created, a cage I'd built and locked myself in. I came to hate that I'd put my heart and my pain into my music because it meant that I couldn't ever leave it behind. And I had to keep singing it to him, night after night after night, and I could no longer hide how I felt or what being next to him was doing to me. It made for a great show. But it was my life.”

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“So that night after Wyatt goes to bed, I can't sleep. And I see this piece of paper with this song he's writing and it's clearly about me. It says something about a redhead and mentioned the hoop earrings that I was wearing all the time. And then he had this chorous about me having a big heart but no love in it. I kept looking at the words, thinking, This isn't right. He didn't understand me at all. So I thought about it for a little while and got out a pen and paper. I wrote some things down. When he woke up, I said, "Your chorus should be more like 'Big eyes, big soul/big heart, no control/but all she got to give is tiny love.'" Wyatt grabbed a pen and paper and he said, "Say that again?" I said, "It was just an example. Write your own goddamn song." Simone: "Tiny Love"was the Breeze's biggest hit. And Wyatt pretended he wrote the whole thing.”

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“I gave her permission to sound bad. Think of how you sing when you're singing to the radio at full volume. When you can't hear yourself, you're not afraid to really belt it out because you won't have to cringe when your voice breaks or you veer off-key. Daisy needed that kind of freedom. That takes a crapload of confidence. And Daisy didn't actually have confidence. She was always good. Confidence is being okay being bad, not being okay being good.”

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“I made a joke, I said, "What are you up to? You want us to jump?" And Nicky said, "Could be fun." I... Let me put it this way: When you find yourself high on the roof of a hotel with a husband who doesn't outright say that the two of you shouldn't jump off, you start to realize you have a lot of problems. This wasn't my rock bottom. But it was the first time I looked around and thought, Oh, wow, I'm falling.”

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“You have these lines you won't cross. But then you cross them. And suddenly you possess the very dangerous information that you can break the rule and the world won't instantly come to an end. You've taken a big, black, bold line and you've made it a little bit grey. And now every time you cross is again, it just gets greyer and greyer until one day you look around and you think, There was a line here once, I think.”

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