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Daisy Jones is a main character in the 2023 series, Daisy Jones & The Six. She is a singer who partners with The Six to form the music collaborative group Daisy Jones & The Six. Born Margaret she started using Daisy to have a new personality.
Appearance[]
Daisy Jones has auburn hair 5at falls to the middle of her back in waves. She has soft, feminine facial features with dark, cobalt blue eyes. She is said so be “crazy tall, crazy skinny.”
Character overview[]
"Born into privilege but ignored by her selfish parents, Daisy Jones is a spirited and enigmatic singer-songwriter who comes of age and rises to rock superstardom against the backdrop of the 1970s L.A. music scene."[1]
Plot summary[]
Daisy participates in a documentary about her former band, Daisy Jones & The Six. She takes a seat in a recording studio but isn't sure where to begin, so the interviewer prompts her to begin at the beginning. When she first fell in love with music.
In Los Angeles, 1961, a young Daisy sings loudly in her room with her headset on. A sophisticated party is happening in the house, and her parents become annoyed at the sound of singing. Her mother storms into her room and unplugs the radio, angrily asking if she ever shuts up. People gather around the doorway, so she lowers her tone to warn that no one wants to hear her voice. She leaves and jokes that Daisy was put on this earth to embarrass her. By 1968, Daisy is a teenager and visits Whisky A Go Go. She goes around back and bums a cigarette from an older boy, who is called back inside for showtime. He unknowingly leaves the door partly open, so she follows him inside. She sees the band performing onstage and stares.
This pattern continued into 1968, which Daisy muses was a great time to be alive for music lovers. She saw artists perform all over the city. She was 15 and the whole world seemed so beautiful and good. She goes to class during the day and dances in the club at night. She makes eye contact with the lead singer and they go back to his hotel room. She asks where everyone is, but he simply locks the door. After, Daisy goes down to the pool where people are partying. She sits in a chair and notices the same guy flirting with other girls. People say she was naïve but she wasn't naïve, she was a baby. She hated that feeling of being pathetic and weak, so helpless. She didn't wanna be that girl anymore. Daisy goes home to where a house party is happening. She lays in her bed and sobs for a moment, then writes her name in a journal.
Daisy repeats the interviewer's question of if she was out of control by 1970. She pauses then admits probably. But she was writing too, which felt even better than drugs. Like she found a piece of herself she didn't know was missing. She couldn't imagine a better feeling.
In 1970, Daisy stands in her room and takes a pill bottle out of her drawer. She walks to the Troubadour and hugs the doorman. She walks the streets of LA with a bottle of booze at night, snorts drugs during the day, and smokes with groupies. She takes a pill from a guy while smoking a cigarette. She also writes in her journal while laying on her bed. One day, her mother finds her book and Daisy catches her reading it. She confronts her for going through her things. Her mom simply collects the records that are hers. Daisy asks if they're any good. Her mom touches her face, calls her a pretty girl, and leaves. Daisy walks the street and finds a bar advertising an indoor piano.
One day, Daisy sings in the shower and her latest fling, Wyatt Stone, listens. He compliments her major pipes. He sits on the bed and reads her journal. He then strums his guitar and sings her song “Stumbled on Sublime”. He tells her they aren't half-bad and sings more, but she stops him as it doesn't go like that. He asks how it goes and she sings him a few lines. She refuses to sing it again as he'll have to write his own song. He kisses her and they make out on the bed.
Daisy recalls the worst part is that she let him take that song from her. That was how little she thought of herself at the time. Thank God she met Simone when she did.
In 1971, Daisy talks with Simone by the balcony, rambling on about a story. Simone asks for her name again. Daisy's a huge fan of hers but isn't sure what she's doing singing backup for Penny fucking Richardson. Moments later, Penny greets Simone who surprises Daisy and introduces herself. Penny wants to leave but Simone isn't ready yet. Penny claims she's done and they argue a few paces away. Simone comes back and insists to Daisy it's' not what she thinks. Daisy just thinks she's too cool for that chick. They go back to her house which is only temporary until the album comes out. Daisy's glad she won't be singing backup anymore. Once inside, Simone asks if Daisy sings and she says she doesn't. She just took piano as a kid. She puts on a record that she loves and sits on the couch. She loves that the singer chose to sing these songs in her own voice because they meant something to her - it's personal, as opposed to her writing for others. Simone thinks that's her. She's seen her all over the Strip. Most of the girls are there for drugs, sex, and stories to tell their friends. But not her, she's there for the music. Simone has seen her. The only question is why she's in the crowd and not on the stage where she wants to be.
One day, Daisy is pumping gas when a car pulls up playing a song. She recognizes the words as being from her song “Stumbled on Sublime”. She sits in disbelief and anger.
“Stumbled on Sublime” was number one for four straight weeks and that son of a bitch still claims he wrote the whole song. It was becoming a pattern.
Daisy has breakfast with Gary and tells him that she took a benny to wake up in the morning so if she just has coffee she'll be way too amped. Hence the champagne, which she calls an up and down. He thinks that's funny and will use it in a script one day. She asks what makes him think she won't use it in something one day. He assures her that he meant it as a compliment and there's no reason to be cross. She can be like his muse or something. She hears “Stumbled on Sublime” on the jukebox and storms out of the diner. He follows her outside looking for answers. She finds offense in being his muse and they argue in the parking lot. She's not interested in being anyone's muse. She's not the muse, she's somebody. He laughs at her so he pushes her and gets in her car.
Daisy admits that no matter how confident she pretended to be if enough people told her she was shit, she believed them. She just couldn't take it anymore. She had to find out if everyone else was right about her. Or if she was.
Daisy walks into the bar advertising the piano and asks to play. She takes a seat at the piano and takes out her journal to find a song to play. She cries while singing and when she's done, the few patrons inside clap for her. She picks up her bag and walks out of the bar with a smile. Once outside, she makes eye contact for a split second with Billy Dunne, who is driving into town with his band. Daisy walks down the street with a smile on her face.[2]
Simone comes home to her apartment to find the door ajar and the noises of someone inside. She equips herself with a vase and sneaks into the kitchen, where Daisy is making food. She scares both of them and Simone scolds her for breaking into her house. Daisy didn't break in, she used the key in the pot. She also brought wine, which is the least she can do. Simone asks what she's cooking that's so important she just had to break in. Daisy knows it smells great like she might want to smell it every night, in her apartment, cooked by her. She left home because she can't stay with them anymore. Simone needs a roommate to help pay rent. Daisy will get a job, but just not as a cook because the food is pretty bad.
One night, Daisy is at work when she storms past a band sitting at a booth. She ignores them and her manager Dave yells after her that she still has ten more minutes. She apologizes and tosses her apron on her way out.
Simone performs at the Troubadour during Hoot Night. Teddy Price is in the audience and stops to listen. She thanked the crowd, announcing that was track two of her record. She has a few copies for sale by the bar. Now, she'd like to introduce a friend of hers who will take them for a spin around the universe. She introduces Daisy Jones to the stage. Daisy walks on with her guitar, introduces herself, and then starts playing her song. Simone joins in her backup vocals and Teddy leans forward in his seat as he listens.
After the show is over, Simone talks to Teddy by the bar when Daisy walks up. Simone greets her, introduces them, and thinks the pair should talk. He hands her a business card for Ellemarre Records, asking if she's interested in working on some music together. She's not sure and wonders what she needs him for. He's taken off-guard and clarifies that he likes what he heard and with a little bit of his help, he could take her to the next step. She needs some shaping because she's new, a nobody, and it's all the way there. She doesn't think she wants to be shaped but it was nice to meet him. She puts the card on the counter and walks away. He smirks and takes a drink.
Daisy waits tables and sees Teddy sitting in her section, waiting for her. Simone said he might find her there. He wants to work with her. She's heard that from a lot of producers and it wasn't always music they were interested in. He tells her to ask around, but that's not him. Maybe he wasn't clear at the Troubadour. Her songs aren't songs. She asks if he wants to order something but he ignores her. She has some great beginnings to them, sure, but he's always in the same place at the end as he is at the start. She thinks maybe he doesn't know how to listen to them right, and maybe she doesn't want her song to fit in a box with a bow on it. He smirks that maybe she's right and puts money on the table for her time. He selects a song on the jukebox, “Son of a Preacher Man”, and tells her this is a song.
Daisy smiles that if Teddy saw something in someone, he just wouldn't let it go. It was the first time she ever wanted to live up to someone else's expectations of her.
One night, she's having sex when the guy asks if she wants to try a different position. She does and picks up her journal, writing her music in it while ignoring her date. As time passes, Daisy works on her songs from her seat in the living room. She smiles after writing down another line. That night, Simone counts down and then starts a tape recorder so Daisy can sing her new song Nobody Needs. She then delivers the tape to Teddy's front door in a box with a bow on it.[3]
Daisy and Teddy listen to her new ballad Nobody Needs in his home. When it's over, he offers her a drink. After a long moment of silence, he asks how she's been. She just wants to know if he liked it or not. He's glad she stopped pretending not to care, which is progress. He likes it very much. He asks what he can do for her but she doesn't know. She wants to make a record. She wants people to listen to it over and over again until it breaks. Then she wants to make another one. She has one great song, so all they need now is ten more. She just needs a week. This is now the worst song on her album and she nods briskly before leaving.
She tries to write in her room but can't quite get it right. She throws the journal across the room and flops on the bed, groaning. Simone asks what she's doing; she's writing. The phone rings so Daisy answers it, and it's Lee Parlin for Simone. Daisy initially thinks Simone isn't interested and says she's not here, but Simone rushes over to take the phone. Lee greets her and then gets to business. He's working with 32-20s and asks how fast she can be there.
Daisy and Simone go to a house party after she meets with Lee Parlin. She was just supposed to do the chorus but it went so well that he asked her to do the whole song. He said she had a one-of-a-kind sound, which Daisy agrees with. He wants to do big-big-big things together. Daisy knew it would happen and so did Teddy. She reminds Simone that Teddy said it would be only a matter of time. She notices Simone looking past her at a woman across the party and smiles coyly, encouraging her friend to go talk to the woman. Later that night, Daisy dances with the crowd and spots Simone talking it up with the woman, looking happy.
She dances until she sees Wyatt Stone with his new girlfriend. She stalks over and Wyatt compliments her, asking how long it's been. She introduces herself as Daisy Jones to his girlfriend. Back when he knew her, her name was Margaret. He also never had a number one record, which he could at least say thank you for. He asks for what and she starts to walk away when she shoves him into the pool. She belts out the first few lines of Stumbled on Sublime over the pool.
Now, Daisy nods that a normal person probably would have let that go. She merely shrugs at the camera with a smirk on her face.
One day, Simone comes home after recording her single and Daisy is writing on the floor. She asks Simone if she's okay and she says she is, going into her room.
Daisy and Teddy talk on his couch about the progress of her album. She has fifteen pieces of different songs, but nothing she thinks he'll like. He doesn't want her to bother bringing him anything she doesn't think is great. She wouldn't do that but worries it'll take a long time. The songs show up when they show up. He can wait. She hears Honeycomb playing. He thought it was something but it was not. She listens intently and he asks what she would do with it. She plays the song over and over again through her headphones, humming along as she writes lyrics in her journal.
Warren remembers Teddy thought a vocal vocalist might give them an edge. Karen knew it was someone he was working with. Eddie had never heard of her then, no one had. Graham smirks since Billy wasn't thrilled with the idea.
Billy argues with Teddy in the studio over adding a female vocalist to the mix. It's not a duet. Daisy arrives and Teddy introduces Daisy Jones to Billy Dunne. She smiles at him - she likes his song.
Billy chuckles and looks down. Daisy merely smiles and looks around the room then back to the camera.
Daisy gets set up in the booth, asking for a glass of milk and whiskey. Or one if they don't have the other. The band talks in the booth while Billy, on the other side of the glass, asks Teddy why he's smiling. He's just generally delighted. Billy enters the recording studio as Eddie, Warren, Karen, and Graham leave. He picks up his headset and Daisy mimics his movements. He offers to talk through the song first but he's fine unless he had something that he wanted to talk about, but he's fine. Tobias shows Daisy where her volume is and that Billy is on channel two. She tests the volume a few times. Graham wonders if she's never recorded before, and Warren smirks that she's about to. Eddie asks where her pants are, but Eddie doesn't care. Karen tells them to shut up. Teddy has Billy and Daisy test their levels. They do the first take of "Honeycomb".
Billy starts them off but Daisy notices the band staring at her. She taps on his shoulder, interrupting him. She asks if they need the audience, and he asks if she means the band. Eddie scoffs over her talking about them, and Warren agrees as it's their song. Karen thinks they should give her some space, offering to talk to Deb instead. The boys hurry out of the room to talk to her. Karen closes the door behind them and stays to watch. Teddy starts off with "Honeycomb", takes two. Billy sings the first few lines as Daisy watches him, then joins him in singing. Their voices meld together perfectly and Karen leans on the table with a fixed look on her face, before looking incredulously at Teddy, who just stares at the singers. It isn't long until Billy stops her as those aren't the lyrics. He calls for someone to bring him a pen so he can write down the lyrics, but she knows the words. She's singing them. She offers her journal as proof. He asks what the hell this is, and she's annoyed he didn't get the revised version. Teddy wants to give her a version a go and just see how it sings. Billy argues with him as her version's like a completely different song. Daisy interrupts to ask what he thinks his song is about. Taken aback, he repeats the question - what does he think the song that he wrote is about. It's about starting a new life, it's about redemptions from letting people down. She surmises it's about guilt, but he rebuffs that. She apologizes as she's not trying to pry or anything, she's just trying to get them on the same page and understand the story better so she can help, which is why she's there. She assumes it's about him letting somebody down. Now he's saying everything's fine, look at us now, everything's in the past. The problem with that is she doesn't believe it, it doesn't sound honest. It sounds simple. She doesn't know him very well but he doesn't seem simple. She asks why he called it Honeycomb when that's a Ricky Nelson song.
Karen asks Teddy if she's always like this, while the leads continue to bicker. Daisy insists she loves the song and that it's beautiful. But he wrote a speech when, at the very least, she thinks it can be a conversation. He takes off his headset and storms out of the session. Eddie, Deb, Warren, and Graham watch TV when Billy storms into the room. Karen and Teddy enter shortly after, and Billy demands answers from Teddy. Billy's either going to kill her, Teddy or himself, asking where he should start. Daisy walks over and Billy dismisses her as they need a minute. He asks Teddy to come and talk to him. Daisy asks Teddy if this is the part where the men figure out the solution, but he highly doubts it.
A bit later, Billy walks into the sound booth and Graham asks if he's okay and he is. Daisy picks up her headset and asks if they want to record something or fight more because she's fine either way. Teddy tells her to hold on as they'll be right in. Billy smokes a cigarette and Daisy talks into her mic to greet Tobias, testing out her mic. Billy asks what the fuck is a Tobias, and the sound technician looks up; he's Tobias. Billy trusts Teddy but he doesn't think he's right about this. Teddy thinks they'll just have to wait and find out. Daisy speaks German to Tobias and vocalizes until Billy arrives. Tobias looks at Teddy; she has a perverse sense of humor, which makes him chuckle. He then tells Billy there's a rattle in his mic so they're just going to put the two of them together. Tobias, only to Teddy, tells him there's no rattle, but he knows. Tobias smirks - he has a perverse sense of humor too.
Billy and Daisy stand by the mic. She wants to tell him something but he cuts her off. They'll try her version and then they'll get the original. There's no need to argue. She simply smiles. She was just going to say that she loves the sound of his voice. Teddy clears the room for Honeycomb take three. They start singing Honeycomb and lock eyes the entire time. Their movements are in sync as they sing through the verses. Teddy stares at them, mouth open, a cigarette in his hand.
Daisy comes home to Simone, who asks how it was. It was probably the best day of her life.[4]
Discography[]
Studio albums
Singles
- Nobody Needs
- Look at Us Now (Honeycomb) (with The Six)
- Type of Guy
Quotes[]
"I am not a muse. I am the somebody. End of the fucking story."
Trivia[]
Appearances[]
Daisy Jones appears in every episode of the series:
| Daisy Jones & The Six | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 |
|---|---|---|---|---|---|---|---|---|---|---|
| Episode appearances | ✔ | ✔ | ✔ | ✔ | ✔ | ✔ | ✔ | ✔ | ✔ | ✔ |
Gallery[]
[]
| Characters in Daisy Jones & The Six |
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References[]
- ↑ Deadline: Riley Keough To Headline Amazon Series ‘Daisy Jones & The Six’, Niki Caro To Direct by Nellie Andreeva. November 18, 2019.
- ↑ "Track 1: Come and Get It
- ↑ "Track 2: I'll Take You There"
- ↑ "Track 3: Someone Saved My Life Tonight"