Top 110 Mitchell Quotes

I don’t generally like things that are too pedestrian. But at the same time, and if I’m in the right mood, hey – I ain’t gonna lie – I listen to Joni Mitchell. I listen to ‘Blue,’ I listen to Miles Davis.

I make the majority of my money from Patron, but my passion is with Paul Mitchell: I spend 85 per cent of my time on it.

I started out as Keith Mitchell. I had done probably about ten years of television work under that name. Then my grandfather passed away in 1984. I wanted to honor him and his name.

I had such a crush on Sasha Mitchell from ‘Step By Step.’

I don’t know any guitar player, any of the real greats, who don’t rate Joni Mitchell up there with the best of them.

I’m an old-school, embarrassing Joni Mitchell fan. Her music made a hook in my soul and hasn’t let go for all these years. I even sing her songs as lullabies to my kids.

I’ve had mentors who were kind of the troubadour singer-songwriters, like Merle Haggard, Loretta Lynn, Joni Mitchell, Bob Dylan and Neil Young, and that’s just what I’ve always liked – people who would talk real honestly about their lives and their circumstance.

I love James Taylor and Carole King, Joni Mitchell – this is, like, early ’70s stuff. I love the stuff from the ’40s. I love that tight harmony that the studio singers in the ’50s would sing. I love Patsy Cline. Yeah, I’m all over the place.

A young female essayist saying they’re influenced by Joan Didion is like a young female singer-songwriter saying they’re influenced by Joni Mitchell.

My family calls me Mitchell. But I have friends and teammates who call me Mitch, as well. I don’t have a preference.

There is genuine healing in a beautifully crafted musical theatre song, like Stephen Sondheim’s ‘Losing My Mind,’ or a pop music gem like Joni Mitchell’s ‘Help Me.’

I came along with that crowd of singer-songwriters who were able to make their own statements in such a personal way that it changed the industry: Laura Nyro, Joni Mitchell, Bob Dylan, Sly and the Family Stone.

People have these incredible expectations. So instead of being inspired by, say, Joni Mitchell’s music, I look at it and say to myself, ‘I’m going to quit – why would I think of writing or performing after listening to that?’

I love Rob Zombie – I’d love to work with Rob Zombie or John Cameron Mitchell.

The writers that I aspire to, like Joni Mitchell and Randy Newman, they’ll tell you that the work gets harder, not easier. And they set that bar for us where we’re always striving to do something better than the last time, whether it’s the next song or just the next line.

I think Alison Krauss is one of the most amazing singers ever. As a songwriter – this is gonna sound cheesy – I love Randy Newman. And my mom passed on a love of Bob Dylan and Joni Mitchell. At one point I was so into the Indigo Girls, just like I was so into the Dixie Chicks, those female harmonies.

One of the greatest experiences I ever had was listening to a conversation with Joni Mitchell and Wayne Shorter. Just to hear them talking, my mouth was open. They understand each other perfectly, and they make these leaps and jumps because they don’t have to explain anything.

I don’t think words always lead to meaning, but the things you can create with them are still pretty amazing. I’ve been really into Joni Mitchell, for example, but I’ve also been into some studio stuff, like Bjork.

I was asked to be in Elton John’s band, Joni Mitchell’s band, and Miles Davis’ band. I couldn’t do it.

When you listen to early Leonard Cohen records or Joni Mitchell records, you feel like a window is being opened into someone’s life.

Joni Mitchell’s someone who has tried to make sense of her own world, sometimes painfully, through song.

Peace in the Middle East has been on the Obama administration’s mind from the beginning. Two days after his inauguration, the president traveled to the State Department to announce the appointment of George Mitchell as his Middle East peace negotiator.

One of the biggest obstacles I’ve overcome in my life was thinking I didn’t deserve to be successful. Artistically I’m not as much of a heavyweight as someone like Paul Simon or Joni Mitchell, because I’m not a creator of original music, and I worried about that for years.

It was at the graduate school at Columbia University that I first met Wesley C. Mitchell, with whom I was associated for many years at the National Bureau of Economic Research and to whom I owe a great intellectual debt.

The polarity of Mitch Mitchell and Moe Tucker offers a pretty good understanding of what a drummer’s role is.

One of the best features of my career is that I have gotten to meet and work with some of the most stellar people in the business. From Tim Russert and Jim Lehrer to Bryant Gumbel, Andrea Mitchell and Judy Woodruff, I have learned from the leading lights.

I picked all the tunes before I went to Memphis, and the band was all set. Willie Mitchell is an arranger like I am, and he let me do what I had to do.

I would make tea for Joni Mitchell or clean her car, anything to be in the studio and watch her work.

For someone like me, who has grown up with Joni Mitchell and Bob Dylan and Leonard Cohen, it’s hard not to invest a lot of myself in what I do.

I love Shay Mitchell. She is so beautiful, talented, and sweet.

Joni Mitchell seems destined to remain in a state of permanent dissatisfaction – always knowing what she would like to do, always more depressed when it’s done.

I think George Mitchell is a consummate professional. He is the ideal selection to handle the job of special envoy if you choose to have a special envoy.

Although, I am proud of all my Symphonies as they all have something special to say, my particular favourite is the Fifth. As the great Mahler expert Donald Mitchell said that if Mahler had written another Symphony, it would have been my Fifth!

I’ve always played acoustically – it’s how I learned. I grew up listening to Leonard Cohen, Joni Mitchell, Neil Young, Dylan and what have you.

I grew up in the ’70s, and I hear in my own stuff a lot of what I grew up listening to, which is to say I hear a lot of Billy Joel, Paul McCartney, Carole King, Joni Mitchell and Stevie Wonder.

Why would I want to sound like Joni Mitchell? I’ve got Joni Mitchell records, and they’re great, and I couldn’t possibly be that good.

When I discovered Bob Dylan and Leonard Cohen, I could explore the records that inspired me on a different level and that led me to Joni Mitchell, who is maybe my favorite of all time, and Warren Zevon. Those artists that wrote the lyrics that you try for.

As Ohio Solicitor General and in pro bono private practice, I defended Ohio’s hate crimes law. This included a brief in the Wisconsin v. Mitchell case where the U.S. Supreme Court upheld Wisconsin’s hate crime law that included sexual orientation. Ohio’s should include it as well, and we support it.

So my father grew up in an orphanage in Boston. He was then adopted by an elderly childless couple from Maine, who gave him the name of Mitchell. He moved to Maine, and there he met my mother and was married.

So I think that in the beginning of your career you’re just looking to work. Luckily for me, my first movie was ‘Rabbit Hole’ and I got to work with incredible people, a Pulitzer prize winning writer, John Cameron Mitchell, and all the actors involved. So it’s tough, man, because you want to have credibility.

I was really lost for a while in my teens. I was angry. But when I found music – Bob Dylan, Neil Young, Joni Mitchell – it was a new discovery. It was a door to this other world where I wanted to be.

I’m an old-school, embarrassing Joni Mitchell fan. Her music made a hook in my soul and hasn’t let go for all these years. I even sing her songs as lullabies to my kids.

I was pretty strict in high school about who I would listen to. Musicians like Neil Young, Cat Stevens, Bob Dylan, Joni Mitchell… who were, in my opinion, great writers. The music mattered, but it held hands with the lyrics, and the personality was, overall, unsullied.

The writers that I aspire to, like Joni Mitchell and Randy Newman, they’ll tell you that the work gets harder, not easier. And they set that bar for us where we’re always striving to do something better than the last time, whether it’s the next song or just the next line.

On first listening, Joni Mitchell’s ‘Court And Spark,’ the first truly great pop album of 1974, sounds surprisingly light; by the third or fourth listening, it reveals its underlying tensions.

The fact is that a car used by Gerry Adams and myself during the course of the Mitchell review was bugged by elements within British military intelligence.

For one year, I was Keith Mitchell Coogan on my headshots. The next year, I was just Keith Coogan. And I have gone by that ever since, maybe 1984 or 1985. That is my mother’s maiden name, and it was out of reverence for my grandfather.

When I engaged the team at Mitchell Wall, it was clear from the beginning that this was a very special architectural firm.

I picked all the tunes before I went to Memphis, and the band was all set. Willie Mitchell is an arranger like I am, and he let me do what I had to do.

People have these incredible expectations. So instead of being inspired by, say, Joni Mitchell’s music, I look at it and say to myself, ‘I’m going to quit – why would I think of writing or performing after listening to that?’