“Daisy Jones & The Six” by Taylor Jenkins Reid: dip in the rock of the 1970s

«Daisy Jones & The Six» de Taylor Jenkins Reid: plongeon dans le rock des années 1970

Bestseller from the New York Times and being adapted to a web series produced by actress and producer Reese Witherspoon, Daisy Jones & The Six, novel typing written in the form of a documentary, tells the story of the rise of a mégagroupe rock fictional 1970s and its singer. With talent, Taylor Jenkins Reid takes readers behind the scenes of the world of rock, with force, “sex, drugs and rock’n’roll”.

A teenager in Los Angeles in the late 1960s, Daisy Jones sneaks in the night clubs, coat with rock stars and dream of singing on the scenes in the most well-known of the time. At 20 years old, she is a beauty and has a remarkable voice.

A rock group on the rise, The Six, with Billy Dunne to his head, has already made its mark on the music scene. A record producer has quickly nosed the potential to unite Billy and Daisy on the same scene. The result, Daisy & The Six, would become one of the bands most popular in the world.

But keep the cape? The group dynamic is shaken up when, on the eve of a major tour, Billy learns that his girlfriend, Camilla, is pregnant and things get complicated.

This is what Taylor Jenkins Reid tells the story in this faux-documentary realistic, a bit nostalgic, which is at the same time the portrait of an era.

Taylor Jenkins Reid did not know much of the repertoire of the 1970s before embarking on her novel, but she was intrigued by the rock bands that broke out overnight, or have experienced their share of drama, like Fleetwood Mac.

Daisy, Billy, Camilla and the other characters are straight out of his imagination. “I knew that Daisy was going to be a caricature – the sort of person born to become a rock star. I wanted Billy to be his opposite. The characters of Billy, Daisy and Camilla have really given the impetus to the novel – I wanted to show how they were going to manage very difficult situations.”

Taylor has used the format non-fiction for a fictional story. “I wanted to do like a news story on VH1, or a documentary on the rock. It was very interesting to write.”

The 1970s

To make the atmosphere of “sex, drugs and rock’n’roll of the years 1970, Taylor has had to do a lot of research, because this period of the history of music had never really caught his attention.

“I’m not in the vibe of the rock of the 1970s. I didn’t have a lot of knowledge base, so it was like a current rock of the 1970s “101”, for me. It was necessary that I start somewhere, so the first documentary that I watched was about the band The Eagles. The documentary spoke of the culture of the time, the dynamics of the group. Then, I looked at documentaries of other artists, such as Linda Round-stadt, Jackson Browne, Fleetwood Mac and Bruce Springsteen.”

She became a great fan. “My husband laughs a lot because I found myself listening to the music of Fleetwood Mac and Tom Petty in the car, and the songs of Stevie Nicks. Even my daughter started to love this music, she asks me all the time to sing Landslide and Our House Crosby, Stills & Nash!”

Adaptation

Reese Witherspoon will adapt the novel into a miniseries, and Taylor Jenkins Reid is part of the production. “She has read the book has loved it and has been working with an extraordinary team. I’m certain that this will be a super good series.”

  • Taylor Jenkins Reid has lived in California, in the suburbs of Los Angeles.
  • She has written six novels, and this one is the first to be translated into French.
  • She recently completed a novel, which will be published in the coming months in English, and started writing a new project.
  • “I’m confined during the pandemic, but I take the opportunity to write – it allows me to keep my balance.”

EXTRACT

Taylor Jenkins Reid
Guy Saint-Jean Éditeur
approximately 375 pages”>

Daisy Jones & The Six
Taylor Jenkins Reid
Guy Saint-Jean Éditeur
approximately 375 pages

Daisy : I wanted Eddie plays a melody to which I sing my new song, When You Fly Low. He started to play and I sang the beginning of the first verse, trying to find a rhythm with him, but it was not working. Finally, I said : “OK, leave it alone”. I made a little speech into the microphone and the audience laughed with me. People encouraged me. I felt. Then I began to sing a cappella. There was only me, my voice, singing this song that I had written.”

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