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Where so many of her contemporaries built on familiar folk or rock & roll models, Mitchell devised her own musical language, one that could encompass songs as intimate and plainspoken as River or as imaginative and epic as Paprika Plains. She began writing songs in the early Sixties, after growing tired of the territorial Toronto folk scene, in which performers would stake claims on traditional tunes and forbid others to play them

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Psychol Med 48(14):23462352