Girls Like Us: Carole King, Joni Mitchell, Carly Simon--And the Journey of a Generation

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Product Description

A groundbreaking and irresistible biography of three of America's most important musical artists -- Carole King, Joni Mitchell, and Carly Simon -- charts their lives as women at a magical moment in time.

Carole King, Joni Mitchell, and Carly Simon remain among the most enduring and important women in popular music. Each woman is distinct. Carole King is the product of outer-borough, middle-class New York City; Joni Mitchell is a granddaughter of Canadian farmers; and Carly Simon is a child of the Manhattan intellectual upper crust. They collectively represent, in their lives and their songs, a great swath of American girls who came of age in the late 1960s. Their stories trace the arc of the now mythic sixties generation -- female version -- but in a bracingly specific and deeply recalled way, far from cliche. The history of the women of that generation has never been written -- until now, through their resonant lives and emblematic songs.

Filled with the voices of many dozens of these women's intimates, who are speaking in these pages for the first time, this alternating biography reads like a novel -- except it's all true, and the heroines are famous and beloved. Sheila Weller captures the character of each woman and gives a balanced portrayal enriched by a wealth of new information.

Girls Like Us is an epic treatment of midcentury women who dared to break tradition and become what none had been before them -- confessors in song, rock superstars, and adventurers of heart and soul.

Customer Reviews: Read 114 more reviews...

5 out of 5 stars

Brain candy for boomer women (and the men who want to understand them) April 8, 2008
148 out of 151 found this review helpful

525 pages about Carole King, Joni Mitchell and Carly Simon --- and this is my candidate for "beach book of 2008" for smart boomer women?

I'm not kidding. It's that good. And that addictive.

Just read the opening section about 14-year-old Carole Klein, sitting with her friend Camille Cacciatore as they leaf through the Brooklyn phone book in search of a name. Kick...Kiel...Klip. How about King? Yeah, King. And then it was off to Camille's house, where the choice was spaghetti-and-meatballs or peppers-and-onions.

Anyone can use clips and rumor to write about the famous. Sheila Weller puts you in the room. Her methods are exhaustive journalism --- she's written six books, she's won prizes, she's the real deal --- and empathy. So the path from nowhere to immortality for King, Mitchell and Simon is an epic tale, and Weller's scope is vast --- to track "the journey of a generation." Only on the surface is this a book about music, and who makes it, and how, and why. The bigger subject, the better subject, is how women found their way in their professional and personal lives, 1960-now. So, for Weller, these stories are about "a course of self-discovery, change, and unhappy confrontation with the limits of change."

Limits?

Consider this: In 1960, H.W. Janson's "History of Art" --- the standard textbook --- cited 2,300 artists.

How many were female?

Not one.

That's the culture these women were entering. Women as decorative armpieces. As silent helpers. Sexual objects. And uncomplaining victims.

Each of these women fought that culture. Not because she wanted to --- simply out of biography and necessity. Joan Anderson gets polio as a kid, and her creativity is pushed inward. Carly Simon may be the daughter of one of the founders of Simon & Schuster, but in her case "privileged" refers mostly to her father, who banished his kids from his sight when he came home from work. Carol King writes hits with a kid in her lap.

There's delicious dish in these pages. Sailing to New York on the U.S.S. United States, Sean Connery propositioning both Carly and her sister Lucy. [Lucy accepted his offer --- alone.] Carole meeting the Beatles. [They were thrilled.] Joni being spanked by her husband and, later, getting smacked around by Jackson Browne. Carly getting it on in cabs, under a bridge in Central Park, and, minutes after meeting James Taylor, in a bathroom.

Everyone of import in the history of rock appears in these pages. Men come and go, most of them hideously inappropriate. And then there's the --- shall we say --- cross-pollination. Give James Taylor the sword of gold; he befriended King and did a lot more with Mitchell and Simon. Messy stuff, all of it, and revealing about the way relationships play out in the superstar set. My favorite moment: decades after "You're So Vain", Warren Beatty came up --- and on --- to Carly at the Carlyle Hotel. "What are you doing in town?" he asked. "Seeing my oncologist," said Carly, who was then afflicted with cancer. Guess Warren's reaction.

They're grandmothers now. Hard to believe. I still want to see them as they were --- young and shiny, the future rich in possibility. This book charts the price they paid, the pain and the foolishness. It's a splendid chance for women of a certain age --- and the men who love them --- to look back and grid their own lives over these years.

Which makes for a terrific beach book.

4 out of 5 stars

No Secrets April 24, 2008
53 out of 54 found this review helpful

Everything in GIRLS LIKE US will be amazingly familiar to those of us born in the bay boom, and yet Sheila Weller, a talented if erratic prose stylist, brings us to emotional places that will be new to all but those most intimate with the trio of songwriters whose lives, she declares, form a "journey of a generation." I don't know if I'd go that far, but I'm not a woman, and Weller's argument is that King, Simon, and Mitchell pushes back the barriers for women specifically, "one song at a time."

The cryptic one remains Carole King, whom Weller just can't illuminate in any meaningful way. Her life was amazing--up to a point, then it stopped being of any interest at all, which is a shame. We hear again and again how she wrote all those Brill Building masterpieces before she was 21, and broke down under the strain of a troubled marriage to a high-stakes husband and lyricist, Gerry Goffin, coming out the other end with an LP. Tapestry, that everyone loved. Then what happened? Bad men galore, attracted to her wealth. She once estimated that every time she divorced a man, it cost her a million dollars. Weller gives us all the facts ad nauseam but we always wonder, why did King do this to herself?

Carly Simon, on the other hand, who cooperated with Weller extensively or so it seems, comes off as nearly normal. Of the upper, upper middle class, Simon was to the manor born and the icy, plangent chords of her first song, "That's the Way I Always Heard It Should Be," gave notice that the old New Yorker fiction writers of the 40s and 50s hadn't died, they had just rolled over and told Carly Simon the news. Though obviously spoiled and cosseted by her own wealth, Simon doesn't seem spoiled; her reactions throughout, even meeting and marrying the drug-zombie James Taylor, are always understandable and sympathetic.

Joni Mitchell isn't sympathetic per se, but she has the integrated personality of the genius totally in love with herself and obsessed with her own reflection, so she's great in a special way. Weller pokes amused fun at Mitchell's vanity and enormous self-esteem, but we get the picture that, in her opinion at any rate, Mitchell actually is pretty f--ing amazing. Does our society have it in for women who want to be artists? Mitchell's encounter with the aged, reclusive Georgia O'Keeffe seems like a emblem of a certain baton-passing, as is Carly Simon's relationship with former First Lady Jackie Kennedy. Weller is OK about male-female relationships, but in this book at any rate she's more interested in the ways women deal with each other.

It's nearly a biography of five people, not just three, as there is so much about James Taylor you will never need to read another word about him if you have this book on your shelf; and for some reason there's tons of material about Judy Collins. I wonder if Weller proposed a book with King, Mitchell, Simon, and Collins, and some editorial board nixed the addition of Collins--but there was so much good material about Collins, Weller kept it in anyhow. She is the Vanity Fair writer supreme, whose motto is that no sentence is complete without some action and punch, and the best way to get that is to string along many words with hyphens to invent new forms of adjectival excitement. You won't be able to read for more than a few minutes without being hit on the head by Weller's mad stylings--here's a typical hyphenfilled sentence about the Eagles: "Their at-home-in-Death-Valley image and bleating-lost-boy-in-expensive-boots sound had become era-definingly successful." (Ten hyphens in a mere 20 words! Sheila Weller is era-definingly successful at inventing a new form of writing--like the classic circus act when a small VW would pull up to center ring and then clown after clown would prance out. Then more clowns--then still more. She's pretty amazing and GIRLS LIKE US is a book that, for all its flaws, convinces us roundly in its larger arguments and dazzles with its wide-ranging portraits of artistic life in the 50s, 60s and 70s.

5 out of 5 stars

Excellent read April 9, 2008
48 out of 52 found this review helpful

I have read only the Carole King and Carly Simon sections of the book at this point, a singer per night. With the section on Carly Simon, the book seems more a compendium of information that I have read or heard in other books or in interviews with Simon herself. She has been pretty open about her life. With Carole King's section, the reader will finally get a chance to see more than the gaurded persona that King to this day presents. She can be eloquent about the environment, relate the same stories about working in the Brill Building cubicles, or her fear of a bomb (herself) at her first Troubador act, but that is about all she has told in countless interviews over the last fifteen years with the release of City Streets. I was astounded at how troubled a life she has lead. Gerry Goffin, Rick Evers, and Rick Sorenson all took her down a different path of pain and depression, themes in her music she recently refused to acknowledge in a PBS interview (My music is about perservance..."You can do anything"). Only Charley Larkey comes off as being somewhat decent. I also do not agree with the writer's idea that Larkey was not a good musician. His bass playing was excellent and elemental in King's early records. Goffin comes off as a troubled, philandering, abusive, neglectful husband until Carole left him. He then became angry that she would have the nerve to do so. Luckily, without his lyrics, Carole wrote songs such as "Home Again," "So far away," and "You've Got a Friend;" and with Toni Stern, "It's too late." The section that is most disturbing is King's relationship with drug addict Rick Evers, a physically abusive sycophant, for whom Carole wrote "Golden Man." Weiler should have known that Carole started singing this in concerts in 1976 with the Thoroughbred tour but attibutes the song to Carole's fourth husband Rick Sorenson. Also in this book, are pages of Carole's ease with creating music, dealing with other musicians, and writing some of the most loved songs of the last fifty years, reflecting much more the pain and sorrow of her life than many of us could imagine. As my mother, a trained opera singer, said about Carole's music, "Even the happiest of her music has a thread of sadness." There's no wonder. If you're a Carole King fan, as I obviously am, the book is a great read.

4 out of 5 stars

Why Carole, Joni and Carly Still Matter April 10, 2008
28 out of 28 found this review helpful

My immediate thought when I read this comprehensive three-fold biography was Allison Anders' evocative but episodic 1996 Grace of My Heart, a fictionalized biopic of Carole King's career in the 1960's. Similar to the approach taken with the movie, author Sheila Weller covers more than the music of the times but also the constraining era in which they all came of age. When King, Joni Mitchell and Carly Simon were growing up (they were born within four years of each other), women were either placed in traditional homemaker roles or relegated to a cultural abyss if they dared to pursue artistic professions. In an often dishy but nonetheless enlightening book, Weller does an admirable job surveying the times when these three singer-songwriters first emerged and crossed paths on their way to popular mainstream success.

Their backgrounds could not be more different. King was a middle-class Brooklyn native who grew up listening to classical music and Broadway show tunes, while Mitchell was a dyed-in-the-wool bohemian poet who moved from the Canadian prairies to Greenwich Village and later Laurel Canyon. Born in privilege to a family ensconced in publishing (Simon & Schuster), Simon was a rich girl who went the folk singer route with her older sister Lucy. Even though each persevered against the going mindset and managed professional success on a measured level (and in King's case, quite a portfolio of Brill Building hits co-written with first husband Gerry Goffin), each ultimately created a work that provided a turning point in their careers. King had 1971's mega-selling Tapestry, Mitchell had 1971's intensely personal Blue, and Simon had 1972's No Secrets featuring her signature song about a former lover, "You're So Vain". The author documents all this with relish and delves into the inspirations for their music.

The dishier parts of the book deal with the women's checkered love lives. King married four times, while Mitchell and Simon each went through a succession of liaisons that obviously shaped many of their compositions. Aside from the tawdry impact of Warren Beatty's legendary womanizing, James Taylor appears to be the common intersection as he befriended King (and turned her epochal song, "You've Got a Friend" into a Grammy Award-winning hit), had an extended affair with Mitchell and eventually married Simon for eleven turbulent, drug-filled years. However, all three have weathered the storm of their personal lives and the ever-changing tastes of the public to become grandmothers and songsmiths for another generation. Weller writes in true baby boomer fashion with an alternating sense of reverence and ribaldry about three icons deserving of such a tribute.

4 out of 5 stars

A pick..... with a dose of measured pan April 12, 2008
18 out of 19 found this review helpful

" Girls Like Us" seems to be striking a chord with those who lived through the turbulent, yet enlightening, times of the late 60s/early 70s. The stories of these three women seem ripe for regaling the generation who laughed, cried, and, most importantly, identified with the art produced by the subjects Shelia Weller explores. In my case, some of it happens to intrigue a Gen Xer who grew up listening to these women through my own discovery..... no college dorm room sing-alongs brought me to the alter of Joni Mitchell ( my favorite of the three), nor the undeniable talent of Carole King and Carly Simon. I sought them on my own, as an indivdual, not part of a movement.

Having said this, the status of being removed from the zeitgeist of the Boomers gives me an advantage and, perhaps, a disadvantage. I feel I can look at these artists with a more objective view than those who moved through life with them. On the flip, there is a definite disconnect between my understanding of the times, as I was not there, and the visceral knowledge brought to the book by the target audience.

Weller does a fantastic job of providing a historical backdrop for each story she tells. Motives, blow by blow accounts, tidbits that have escaped the pop culture pantheon, even though two out of three of these women ( Mitchell and Simon) have been turned inside out by the media, one of them courting it ( Simon) while the other one has avoided it at all costs ( Mitchell). New details are revealed, especially with the story of Carole King, a figure who has always generously shared her talent, yet remained detached from the media machine that is usually necessary for promoting one's work. Weiler obviously did her homework, uncovering elements of the stories we have not yet heard, although there is a fair amount of rehashing tales long ago plumbed by different outlets.

The real question, though , is not whether Weller did a good job in compiling a historical, documentary style book explaining these three women, their art and their personas. The answer to this question is, for the most part, yes. However, the bigger question is when will the public ever be able to separate their interest in the art from a fascination with the artist, seemingly needing to know the intimate details of their lives? It is interesting, I admit, to know who inspired what songs, what circumstances sparked the creation of a certain piece. Still, two of the three women explored here ( Mitchell and King) may take issue with some of the information that is now available for public consumption. I fear we cease to respect our artists when we have such voracious appetites for knowing every aspect of their personal lives. I am guilty of partaking, it's just a thought for us to consider as we devour the joys and tragedies of the talents we claim to honor.

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