Courtney Love
Courtney Love | |
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Born | Courtney Michelle Harrison July 9, 1964 San Francisco, California, U.S. |
Other names | Courtney Rodriguez[1] Courtney Menely[1] Courtney Love Cobain |
Occupations |
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Years active | 1981–present |
Notable work | |
Spouses |
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Children | Frances Bean Cobain |
Parent |
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Relatives |
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Awards | Sugar Babydoll |
Courtney Michelle Love (
Love had an itinerant childhood, but was primarily raised in Portland, Oregon, where she played in a series of short-lived bands and was active in the local punk scene. After briefly being in a juvenile hall, she spent a year living in Dublin and Liverpool before returning to the United States and pursuing an acting career. She appeared in supporting roles in the Alex Cox films Sid and Nancy (1986) and Straight to Hell (1987) before forming the band Hole in Los Angeles with guitarist Eric Erlandson. The group received critical acclaim from underground rock press for their 1991 debut album Pretty on the Inside, produced by Kim Gordon, while their second release, Live Through This (1994), was met with critical accolades and multi-platinum sales. In 1995, Love returned to acting, earning a Golden Globe Award nomination for her performance as Althea Leasure in Miloš Forman's The People vs. Larry Flynt (1996), which established her as a mainstream actress. The following year, Hole's third album, Celebrity Skin (1998), was nominated for three Grammy Awards.
Love continued to work as an actress into the early 2000s, appearing in big-budget pictures such as Man on the Moon (1999) and Trapped (2002), before releasing her first solo album, America's Sweetheart, in 2004. The subsequent several years were marred with publicity surrounding Love's legal troubles and drug relapse, which resulted in a mandatory lockdown rehabilitation sentence in 2005 while she was writing a second solo album. That project became Nobody's Daughter, released in 2010 as a Hole album but without the former Hole lineup. Between 2014 and 2015, Love released two solo singles and returned to acting in the network series Sons of Anarchy and Empire. In 2020, she confirmed she was writing new music. Love has also been active as a writer; she co-created and co-wrote three volumes of a manga, Princess Ai, between 2004 and 2006, and wrote a memoir, Dirty Blonde (2006).
Life and career
1964–1982: Childhood and education
Courtney Michelle Harrison was born July 9, 1964, at Saint Francis Memorial Hospital in San Francisco,[2] the first child of psychotherapist Linda Carroll (née Risi; born 1944) and Hank Harrison (1941–2022),[3] a publisher and road manager for the Grateful Dead.[4][5] Her parents met at a party held for Dizzy Gillespie in 1963, and the two married in Reno, Nevada after Carroll discovered she was pregnant.[6][7] Carroll, who was adopted at birth,[8] is the biological daughter of novelist Paula Fox.[9][10][11] Love's matrilineal great-grandmother was Elsie Fox (née de Sola),[12] a Cuban writer who co-wrote the film The Last Train from Madrid with Love's great-grandfather, Paul Hervey Fox, cousin of writer Faith Baldwin and actor Douglas Fairbanks.[13][14] Phil Lesh, the founding bassist of the Grateful Dead, is Love's godfather.[15][16] According to Love, she was named after Courtney Farrell, the protagonist of Pamela Moore's 1956 novel Chocolates for Breakfast.[17] Love is of Cuban, English, German, Irish, Ashkenazi Jewish, and Welsh descent.[18] Through her mother's subsequent marriages, Love has two younger half-sisters, three younger half-brothers (one of whom died in infancy), and one adopted brother.[19][20]
Love spent her early years in
In 1972, Love's mother divorced Rodríguez, remarried to sportswriter David Menely, and moved the family to Nelson, New Zealand.[31] Love was enrolled at Nelson College for Girls,[32] but soon expelled for misbehavior.[33] In 1973, Carroll sent Love back to Portland, Oregon,[34] to be raised by her former stepfather and other family friends.[35][36] At age 14, Love was arrested for shoplifting from a Portland department store[37] and remanded at Hillcrest Correctional Facility, a juvenile hall in Salem, Oregon.[26][38] While at Hillcrest, she became acquainted with records by Patti Smith, the Runaways, and the Pretenders, who later inspired her to start a band.[39] She was intermittently placed in foster care throughout late 1979 until becoming legally emancipated in 1980,[22][40] after which she remained staunchly estranged from her mother.[41] Shortly after her emancipation, Love spent two months in Japan working as a topless dancer, but was deported after her passport was confiscated.[42] She returned to Portland and began working at the strip club Mary's Club,[43][27] adopting the surname Love to conceal her identity; she later adopted Love as her surname.[20] She worked odd jobs, including as a DJ at a gay disco.[44] Love said she lacked social skills,[45] and learned them while frequenting gay clubs and spending time with drag queens.[46] During this period, she enrolled at Portland State University, studying English and philosophy.[47][48] She later commented that, had she not found a passion for music, she would have sought a career working with children.[49]
Before Liverpool, my life doesn't count. Ian McCulloch and Julian Cope taught me a great deal. I owe them a lot. Liverpool had been a great school to become a rock star.
–Love on her time in Liverpool[11]
In 1981, Love was granted a small trust fund that had been left by her maternal grandparents, which she used to travel to Dublin, Ireland, where her biological father was living.[50] She audited courses at Trinity College, studying theology for two semesters.[51][52] She later received honorary patronage from Trinity's University Philosophical Society in 2010.[53] While in Dublin, Love met musician Julian Cope of the Teardrop Explodes at one of the band's concerts.[11] Cope took a liking to Love and offered to let her stay at his Liverpool home in his absence.[11] She traveled to London, where she was met by her friend and future bandmate, Robin Barbur, from Portland.[54] Recalling Cope's offer, Love and Barbur moved into Cope's home with him and several other artists,[11][55] including Pete de Freitas of Echo & the Bunnymen.[56] De Freitas was initially hesitant to allow the girls to stay, but acquiesced as they were "alarmingly young and obviously had nowhere else to go".[57] Love recalled: "They kind of took me in. I was sort of a mascot; I would get them coffee or tea during rehearsals."[58] Cope writes of Love frequently in his 1994 autobiography, Head-On, in which he refers to her as "the adolescent".[59]
In July 1982, Love returned to the United States.[11] In late 1982, she attended a Faith No More concert in San Francisco and convinced the members to let her join as a singer.[60][61] The group recorded material with Love as a vocalist, but fired her; according to keyboardist Roddy Bottum, who remained Love's friend in the years after, the band wanted a "male energy".[62] Love returned to working abroad as an erotic dancer, briefly in Taiwan, and then at a taxi dance hall in Hong Kong.[63][64] By Love's account, she first used heroin while working at the Hong Kong dance hall, having mistaken it for cocaine.[65] While still inebriated from the drug, Love was pursued by a wealthy male client who requested that she return with him to the Philippines, and gave her money to purchase new clothes.[65] She used the money to purchase an airfare back to the United States.[65]
1983–1987: Early music projects and film
At age 19, through her then-boyfriend's mother, film costume designer Bernadene Mann, Love took a job at
She lived in my house for a little while. And then we did a concert at the Orpheum. It was in 1988. It was called O-88 with Butthole Surfers, Cows & Bastards, Run Westy Run, and Babes in Toyland. And I guess Maureen [Herman] took Courtney to the airport after she stole all the money. She stayed and stayed, and then the next day she wanted me to take her to the airport. And so I drove her to the airport. She had just had some weird fight with the guy at the desk, and then she left. She said, "I'm going to go to L.A. and I'm going to get my face done and I'm going to be famous." And then she did.[74]
Deciding to shift her focus to acting, Love enrolled at the
Displeased by the "
1988–1991: Beginnings of Hole
She was the most
gung-hoperson I've ever met ... She gave 180%. I've worked with some people that you've had to coax the performance out of them. With Courtney, there was no attitude.
–Don Fleming, who co-produced Hole's debut album with Kim Gordon, on Love[97]
At the end of 1988, Love taught herself to play guitar and relocated to Los Angeles,
In Hole's formative stages, Love continued to work at strip clubs in Hollywood (including
With no wave, noise rock, and grindcore bands being major influences on Love,[100] Hole's first studio album, Pretty on the Inside, captured an abrasive sound and contained disturbing, graphic lyrics,[112][113] described by Q as "confrontational [and] genuinely uninhibited".[114] The record was released in September 1991 on Caroline Records, produced by Kim Gordon of Sonic Youth with assistant production from Gumball's Don Fleming; Love and Gordon had met when Hole opened for Sonic Youth during their promotional tour for Goo at the Whisky a Go Go in November 1990.[115] In early 1991, Love sent Gordon a personal letter asking her to produce the record for the band, to which she agreed.[113][116]
Pretty on the Inside received generally positive critical reception from indie and punk rock critics
During the tour, Love briefly dated Smashing Pumpkins frontman Billy Corgan[126] and then the Nirvana frontman Kurt Cobain.[127] The journalist Michael Azerrad states that Love and Cobain met in 1989 at the Satyricon nightclub in Portland, Oregon. However, the Cobain biographer Charles Cross gives the date as February 12, 1990; Cross said that Cobain playfully wrestled Love to the floor after she said that he looked like Dave Pirner of Soul Asylum.[128] According to Love, she met Cobain at a Dharma Bums show in Portland,[129][130] while Love's bandmate Eric Erlandson said that he and Love were introduced to Cobain in a parking lot after a concert at the Hollywood Palladium on May 17, 1991.[107] In late 1991, Love and Cobain became re-acquainted through Jennifer Finch, one of Love's friends and former bandmates.[131][132] Love and Cobain were a couple by 1992.[133][134]
1992–1995: Marriage to Kurt Cobain, Live Through This and breakthrough
Just marrying [him] created a mythology around me that I didn't expect for myself, because I had a very controlled, five-year plan about how I was going to be successful in the rock industry. Marrying Kurt, it all kind of went sideways in a way that I could not control and I became seen in a certain light–a vilified light that made Yoko Ono look like Pollyanna–and I couldn't stop it.
–Love on her public image after marrying Kurt Cobain[135]
Shortly after completing the tour for Pretty on the Inside, Love married Cobain on
Love's first major media exposure came in a September 1992 profile with Cobain for
On September 8, 1993, Love and Cobain made their only public performance together at the Rock Against Rape benefit in Hollywood, performing two
In April 1994, Cobain killed himself in the Seattle home he shared with Love, who was in rehab in Los Angeles at the time.[153] In the following months, Love was rarely seen in public, staying at her home with friends and family.[154] Cobain's remains were cremated and his ashes divided into portions by Love, who kept some in a teddy bear and some in an urn.[154] In June, she traveled to the Namgyal Buddhist Monastery in Ithaca, New York and had Cobain's ashes ceremonially blessed by Buddhist monks. Another portion was mixed into clay and made into memorial sculptures.[154]
Live Through This was released one week after Cobain's death on
Live Through This was
In January 1995, Love was arrested in Melbourne for disrupting a
1996–2002: Acting success and Celebrity Skin
I went for that part so hard because I felt a need for atonement for some cultural damage that had arisen out of me and things that I had done. By doing that role, I felt that, personally and creatively, I could exemplify why this was the most un-glorious, unglamorous, fucked-up thing. And then, bang!, I was done with all that. I could fuck off and do something else.
–Love on her role in The People vs. Larry Flynt (1996)[171]
After Hole's world tour concluded in 1996, Love made a return to acting, first in small roles in the
In late 1997, Hole released the compilations
Before the release of Celebrity Skin, Love and
Hole toured with
In 1999, Love was awarded an
In the interim, Hole had become dormant.
In 1997, Love and former Nirvana members Krist Novoselic and Dave Grohl formed a limited liability company, Nirvana LLC, to manage Nirvana's business dealings.[213] In June 2001, Love filed a lawsuit to dissolve it, blocking the release of unreleased Nirvana material and delaying the release of the Nirvana compilation With the Lights Out. Grohl and Novoselic sued Love, calling her "irrational, mercurial, self-centered, unmanageable, inconsistent and unpredictable".[214] She responded with a letter stating that "Kurt Cobain was Nirvana" and that she and his family were the "rightful heirs" to the Nirvana legacy.[215]
2003–2008: Solo work and legal troubles
In February 2003, Love was arrested at Heathrow Airport for disrupting a flight and was banned from Virgin Airlines.[216] In October, she was arrested in Los Angeles after breaking several windows of her producer and then-boyfriend James Barber's home and was charged with being under the influence of a controlled substance;[217] the ordeal resulted in her temporarily losing custody of her daughter.[218]
After the breakup of Hole, Love began composing material with songwriter Linda Perry, and in July 2003 signed a contract with Virgin Records.[219] She began recording her debut solo album, America's Sweetheart, in France shortly after.[220] Virgin Records released America's Sweetheart in February 2004; it received mixed reviews.[221] Charles Aaron of Spin called it a "jaw-dropping act of artistic will and a fiery, proper follow-up to 1994's Live Through This" and awarded it eight out of ten,[222] while Amy Phillips of The Village Voice wrote: "[Love is] willing to act out the dream of every teenage brat who ever wanted to have a glamorous, high-profile hissyfit, and she turns those egocentric nervous breakdowns into art. Sure, the art becomes less compelling when you've been pulling the same stunts for a decade. But, honestly, is there anybody out there who fucks up better?"[223] The album sold fewer than 100,000 copies.[92] Love later expressed regret over the record,[224] blaming her drug problems at the time.[225] Shortly after it was released, she told Kurt Loder on TRL: "I cannot exist as a solo artist. It's a joke."[226]
On March 17, 2004, Love appeared on the Late Show with David Letterman to promote America's Sweetheart.[227] Her appearance drew media coverage when she lifted her shirt multiple times,[228] flashed Letterman, and stood on his desk.[227] The New York Times wrote: "The episode was not altogether surprising for Ms. Love, 39, whose most public moments have veered from extreme pathos—like the time she read the suicide note of her famous husband, Kurt Cobain, on MTV—to angry feminism to catfights to incoherent ranting."[229] Hours later, in the early morning of March 18, Love was arrested in Manhattan for allegedly striking a fan with a microphone stand during a small concert in the East Village.[229] She was released within hours and performed a scheduled concert the following evening at the Bowery Ballroom.[229] Four days later, she called in multiple times to The Howard Stern Show, claiming in broadcast conversations with Stern that the incident had not occurred, and that actress Natasha Lyonne, who was at the concert, was told by the alleged victim that he had been paid $10,000 to file a false claim leading to Love's arrest.[230][231]
On July 9, 2004, her 40th birthday, Love was arrested for failing to make a court appearance for the March 2004 charges, and taken to Bellevue Hospital, allegedly incoherent, where she was placed on a 72-hour watch.[232] According to police, she was believed to be a potential danger to herself, but deemed mentally sound and released to a rehab facility two days later.[233][234] Amidst public criticism and press coverage, comedian Margaret Cho published an opinion piece, "Courtney Deserves Better from Feminists", arguing that negative associations of Love with her drug and personal problems (including from feminists) overshadowed her music and wellbeing.[235] Love pleaded guilty in October 2004 to disorderly conduct over the incident in East Village.[236]
Love's appearance as a roaster on the Comedy Central Roast of Pamela Anderson in August 2005, in which she appeared intoxicated and disheveled, attracted further media attention.[237] One review said that Love "acted as if she belonged in an institution".[237] Six days after the broadcast, Love was sentenced to a 28-day lockdown rehab program for being under the influence of a controlled substance, violating her probation.[238] To avoid jail time, she accepted an additional 180-day rehab sentence in September 2005.[239] In November 2005, after completing the program, Love was discharged from the rehab center under the provision that she complete further outpatient rehab.[240] In subsequent interviews, Love said she had been addicted to substances including prescription drugs, cocaine, and crack cocaine.[241][242] She said she had been sober since completing rehabilitation in 2007, and cited her Soka Gakkai Buddhist practice (which she began in 1988)[243][244] as integral to her sobriety.[245][246]
In the midst of her legal troubles, Love had endeavors in writing and publishing. She co-wrote a semi-autobiographical
2009–2012: Hole revival and visual art
In March 2009, fashion designer Dawn Simorangkir brought a
The first single from Nobody's Daughter was "Skinny Little Bitch", released to promote the album in March 2010.[260] The album received mixed reviews.[261] Robert Sheffield of Rolling Stone gave the album three out of five, saying Love "worked hard on these songs, instead of just babbling a bunch of druggy bullshit and assuming people would buy it, the way she did on her 2004 flop, America's Sweetheart".[262] Sal Cinquemani of Slant Magazine also gave the album three out of five: "It's Marianne Faithfull's substance-ravaged voice that comes to mind most often while listening to songs like 'Honey' and 'For Once in Your Life'. The latter track is, in fact, one of Love's most raw and vulnerable vocal performances to date ... the song offers a rare glimpse into the mind of a woman who, for the last 15 years, has been as famous for being a rock star as she's been for being a victim."[263] Love and the band toured internationally from 2010 into late 2012 promoting the record, with their pre-release shows in London and at South by Southwest receiving critical acclaim.[224] In 2011, Love participated in Hit So Hard, a documentary chronicling bandmate Schemel's time in Hole.[264]
In May 2012, Love debuted an art collection at Fred Torres Collaborations in New York titled "And She's Not Even Pretty",[265] which contained over 40 drawings and paintings by Love composed in ink, colored pencil, pastels, and watercolors.[266][267] Later in the year, she collaborated with Michael Stipe on the track "Rio Grande" for Johnny Depp's sea shanty album Son of Rogues Gallery,[268] and in 2013, co-wrote and contributed vocals on "Rat A Tat" from Fall Out Boy's album Save Rock and Roll, also appearing in the song's music video.[269]
2013–2015: Return to acting; libel lawsuits
After dropping the Hole name and performing as a solo artist
Love was subject of a second landmark
On April 22, 2014, Love debuted the song "
Love was cast in several television series in supporting parts throughout 2014, including the
In January 2015, Love starred in a New York City stage production, Kansas City Choir Boy, a "pop opera" conceived by and co-starring Todd Almond.[290] Charles Isherwood of The New York Times praised her performance, noting a "soft-edged and bewitching" stage presence, and wrote: "Her voice, never the most supple or rangy of instruments, retains the singular sound that made her an electrifying front woman for the band Hole: a single sustained noted can seem to simultaneously contain a plea, a wound and a threat."[291] The show toured later in the year, with performances in Boston and Los Angeles.[292] In April 2015, the journalist Anthony Bozza sued Love, alleging a contractual violation regarding his co-writing of her memoir.[293] Love performed as the opening act for Lana Del Rey on her Endless Summer Tour for eight West Coast shows in May and June 2015.[294] During her tenure, Love debuted the single "Miss Narcissist", released on Wavves' independent label Ghost Ramp.[295] She was also cast in a supporting role in James Franco's film The Long Home, based on the novel by William Gay, her first film role in over ten years;[296] as of 2022, it remains unreleased.[297]
2016–present: Fashion and forthcoming music
In January 2016, Love released a clothing line in collaboration with Sophia Amoruso, "Love, Courtney", featuring 18 pieces reflecting her personal style.[298] In November 2016, she began filming the pilot for A Midsummer's Nightmare, a Shakespeare anthology series adapted for Lifetime.[299] She starred as Kitty Menéndez in Menendez: Blood Brothers, a biopic television film based on the lives of Lyle and Erik Menéndez, which premiered on Lifetime in June 2017.[300]
In 2017, Love accompanied the museum director
In October 2017, shortly after the
In the same year, Love was cast in Justin Kelly's biopic JT LeRoy, portraying a film producer opposite Laura Dern.[306] In March 2018, she appeared in the music video for Marilyn Manson's "Tattooed in Reverse",[307] and in April she appeared as a guest judge on RuPaul's Drag Race.[308] In December, Love was awarded a restraining order against Sam Lutfi, who had acted as her manager for the previous six years, alleging verbal abuse and harassment.[309] Her daughter, Frances, and sister, Jaimee, were also awarded restraining orders against Lutfi.[309] In January 2019, a Los Angeles County judge extended the three-year order to five years, citing Lutfi's tendency to "prey upon people".[310]
On August 18, 2019, Love performed a solo set at the Yola Día festival in Los Angeles, which also featured performances by Cat Power and Lykke Li.[311] On September 9, Love garnered press attention when she publicly criticized Joss Sackler, an heiress to the Sackler family OxyContin fortune, after she allegedly offered Love $100,000 to attend her fashion show during New York Fashion Week.[312] In the same statement, Love indicated that she had relapsed into opioid addiction in 2018, stating that she had recently celebrated a year of sobriety.[312] In October 2019, Love relocated from Los Angeles to London.[313]
On November 21, 2019, Love recorded the song "Mother", written and produced by Lawrence Rothman, as part of the soundtrack for the horror film The Turning (2020).[314] In January 2020, she received the Icon Award at the NME Awards; NME described her as "one of the most influential singers in alternative culture of the last 30 years".[315] The following month, she confirmed she was writing a new record which she described as "really sad ... [I'm] writing in minor chords, and that appeals to my sadness."[316] In March 2021, Love said she had been hospitalized with acute anemia in August 2020, which had nearly killed her and reduced her weight to 97 pounds (44 kg); she made a full recovery.[317]
In August 2022, Love revealed the completion of her memoir, The Girl with the Most Cake, after a nearly ten-year period of writing.[318]
It was announced on May 15, 2023, that Love had been cast in Assassination, a biographical film about the assassination of John F. Kennedy, directed by David Mamet and co-starring Viggo Mortensen, Shia LaBeouf, Al Pacino, and John Travolta.[319]
Artistry
Influences
Love has been candid about her diverse musical influences, the earliest being Patti Smith, the Runaways, and the Pretenders, artists she discovered while in juvenile hall as a young teenager.[39] As a child, her first exposure to music was records that her parents received each month through Columbia Record Club.[320] The first record Love owned was Leonard Cohen's Songs of Leonard Cohen (1967), which she obtained from her mother: "He was so lyric-conscious and morbid, and I was a pretty morbid kid", she recalled.[320] As a teenager, she named Flipper, Kate Bush, Soft Cell, Joni Mitchell, Laura Nyro,[321] Lou Reed, and Dead Kennedys among her favorite artists.[55] While in Dublin at age fifteen, Love attended a Virgin Prunes concert, an event she credited as being a pivotal influence: "I had never seen so much sex, snarl, poetry, evil, restraint, grace, filth, raw power and the very essence of rock and roll", she recalled. "[I had seen] U2 [who] gave me lashes of love and inspiration, and a few nights later the Virgin Prunes fucked–me–up."[322] Decades later, in 2009, Love introduced the band's frontman Gavin Friday at a Carnegie Hall event, and performed a song with him.[322]
Though often associated with punk music, Love has noted that her most significant musical influences have been post-punk and new wave artists.[323] Commenting in 2021, Love said:
There's this idea of "Courtney is punk and stuck in 1995!" but that's not the case. I was more [influenced by] new wave or post-punk. My number one greatest song of all time is "Love Will Tear Us Apart" by Joy Division, and I will take no fucking prisoners in that battle. But the band that affected me more than even Leonard Cohen and Bob Dylan was Echo and the Bunnymen.[323]
Over the years, Love has also named several other new wave and post-punk bands as influences, including the Smiths,[324] Siouxsie and the Banshees,[325] Television,[325] and Bauhaus.[324]
Love's diverse genre interests were illustrated in a 1991 interview with Flipside, in which she stated: "There's a part of me that wants to have a
Literature and poetry have often been a major influence on her songwriting; Love said she had "always wanted to be a poet, but there was no money in it."
Musical style and lyrics
Musically, Love's work with Hole and her solo efforts have been characterized as alternative rock;[336] Hole's early material, however, was described by critics as being stylistically closer to grindcore and aggressive punk rock.[337] Spin's October 1991 review of Hole's first album noted Love's layering of harsh and abrasive riffs buried more sophisticated musical arrangements.[338] In 1998, she stated that Hole had "always been a pop band. We always had a subtext of pop. I always talked about it, if you go back ... what'll sound like some weird Sonic Youth tuning back then to you was sounding like the Raspberries to me, in my demented pop framework."[188]
Love's lyrical content is composed from a female's point of view,[339] and her lyrics have been described as "literate and mordant"[340] and noted by scholars for "articulating a third-wave feminist consciousness."[341] Simon Reynolds, in reviewing Hole's debut album, noted: "Ms. Love's songs explore the full spectrum of female emotions, from vulnerability to rage. The songs are fueled by adolescent traumas, feelings of disgust about the body, passionate friendships with women and the desire to escape domesticity. Her lyrical style could be described as emotional nudism."[339] Journalist and critic Kim France, in critiquing Love's lyrics, referred to her as a "dark genius" and likened her work to that of Anne Sexton.[342]
Love has remarked that lyrics have always been the most important component of songwriting for her: "The important thing for me ... is it has to look good on the page. I mean, you can love Led Zeppelin and not love their lyrics ... but I made a big effort in my career to have what's on the page mean something."[343] Common themes present in Love's lyrics during her early career included body image, rape, suicide, conformity, pregnancy, prostitution, and death.[344][345] In a 1991 interview with Everett True, she said: "I try to place [beautiful imagery] next to fucked up imagery, because that's how I view things ... I sometimes feel that no one's taken the time to write about certain things in rock, that there's a certain female point of view that's never been given space."[346]
Critics have noted that Love's later musical work is more lyrically introspective.[347] Celebrity Skin and America's Sweetheart are lyrically centered on celebrity life, Hollywood, and drug addiction, while continuing Love's interest in vanity and body image. Nobody's Daughter was lyrically reflective of Love's past relationships and her struggle for sobriety, with the majority of its lyrics written while she was in rehab in 2006.[348]
Performance
Love has a
She has played a variety of
Love has referred to herself as "a shit guitar player", further commenting in a 2014 interview: "I can still write a song, but [the guitar playing] sounds like shit ... I used to be a good rhythm player but I am no longer dependable."[360] Throughout her career, she has also garnered a reputation for unpredictable live shows.[163] In the 1990s, her performances with Hole were characterized by confrontational behavior, with Love stage diving, smashing guitars[124] or throwing them into the audience,[361] wandering into the crowd at the end of sets,[361] and engaging in sometimes incoherent rants.[164] Critics and journalists have noted Love for her comical, often stream-of-consciousness-like stage banter.[362][363] Music journalist Robert Hilburn wrote in 1993 that, "rather than simply scripted patter, Love's comments between songs [have] the natural feel of someone who is sharing her immediate feelings."[364] In a review of a live performance published in 2010, it was noted that Love's onstage "one-liners [were] worthy of the Comedy Store."[363]
Philanthropy
In 1993, Love and husband Kurt Cobain performed an acoustic set together at the Rock Against Rape benefit in Los Angeles, which raised awareness and provided resources for victims of sexual abuse.
Love has been a long-standing supporter of
She has also contributed to
Legacy
Love has had an impact on female-fronted alternative acts and performers.[375] She has been cited as influential on young female instrumentalists in particular,[376] having once infamously proclaimed: "I want every girl in the world to pick up a guitar and start screaming ...[377] I strap on that motherfucking guitar and you cannot fuck with me. That's my feeling."[378] In The Electric Guitar: A History of an American Icon, it is noted:
[Love] truly lived up to Paul Westerberg's (The Replacements) assessment of pretty girls "playing makeup/wearing guitar" ... She frequently stood on stage, microphone in hand and foot on monitor, and simply let her Fender guitar dangle around her neck. She truly embodied the empowerment that came with playing the electric guitar ... Love depended heavily upon her male lead guitar foil Eric Erlandson, but the rest of her band remained exclusively female throughout several lineup changes.[374]
When you're dying and your life is flashing before your eyes ... you're gonna be thinking about the great things you did, the horrible things that you did, the emotional impact that someone had on you and that you had on somebody else. Those are the things that are relevant. To have some sort of emotional impact that transcends time, that's great.
–Love on having a cultural impact, 1997[379]
With over 3 million records sold in the United States alone,[b] Hole became one of the most successful rock bands of all time fronted by a woman.[376][381] VH1 ranked Love no. 69 in their list of The 100 Greatest Women in Music History in 2012.[382] In 2015, the Phoenix New Times declared Love the number one greatest female rock star of all time, writing: "To build a perfect rock star, there are several crucial ingredients: musical talent, physical attractiveness, tumultuous relationships, substance abuse, and public meltdowns, just to name a few. These days, Love seems to have rebounded from her epic tailspin and has leveled out in a slightly more normal manner, but there's no doubt that her life to date is the type of story people wouldn't believe in a novel or a movie."[383]
Among the alternative musicians who have cited Love as an influence are Scout Niblett;[384] Brody Dalle of The Distillers;[385] Dee Dee Penny of Dum Dum Girls;[386] Florence Welch;[387] Victoria Legrand of Beach House;[388] Annie Hardy of Giant Drag;[389] and Nine Black Alps.[390] Contemporary female pop artists Lana Del Rey,[391] Avril Lavigne,[392] Tove Lo,[393] and Sky Ferreira[394] have also cited Love as an influence. Love has frequently been recognized as the most high-profile contributor of feminist music during the 1990s,[395] and for "subverting [the] mainstream expectations of how a woman should look, act, and sound."[396] According to music journalist Maria Raha, "Hole was the highest-profile female-fronted band of the '90s to openly and directly sing about feminism."[397] Patti Smith, a major influence of Love's, also praised her, saying: "I hate genderizing things ... [but] when I heard Hole, I was amazed to hear a girl sing like that. Janis Joplin was her own thing; she was into Big Mama Thornton and Bessie Smith. But what Courtney Love does, I'd never heard a girl do that."[398]
She has also been a
Discography
Solo discography
- America's Sweetheart (2004)
with Hole
- Pretty on the Inside (1991)
- Live Through This (1994)
- Celebrity Skin (1998)
- Nobody's Daughter (2010)
Filmography
- Sid and Nancy (1986)
- Straight to Hell (1987)
- The People vs. Larry Flynt (1996)
- 200 Cigarettes (1999)
- Man on the Moon (1999)
- Julie Johnson (2001)
- Trapped (2002)
Bibliography
- ISBN 978-1-59182-669-9.
- Levy, Stu; Love, Courtney (2005). Princess Ai: Lumination. Vol. 2. Tokyopop [Japan: Shinshokan]. ISBN 978-1-59182-670-5.
- Levy, Stu; Love, Courtney (2006). Princess Ai: Evolution. Vol. 3. Tokyopop [Japan: Shinshokan]. ISBN 978-1-59182-671-2.
- Love, Courtney (2006). ISBN 978-0-86547-959-3.
Footnotes
- ^ There are several different versions in circulation of how Sugar Babydoll (and later, Pagan Babies) formed. The version told in the E! True Hollywood Story as told by Kat Bjelland fails to mention the alternate names of the group, though Love's 1998 biography by Poppy Z. Brite notes the shift in name from Sugar Babylon to Sugar Babydoll.[68]
- ^ As of 2003, Pretty on the Inside had sold over 200,000 copies in the U.S.;[380] Live Through This, 1,600,000; Celebrity Skin, 1,400,000 (the latter two per 2010 approximations).[381]
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The Stooges were a really big deal to me.
{{cite interview}}
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- Reisfeld, Randi (1996). This Is the Sound: The Best of Alternative Rock. New York: Aladdin. ISBN 978-0-689-80670-4.
- Rocco, John M.; Rocco, Brian, eds. (1999). Dead Reckonings: The Life and Times of the Grateful Dead. New York: Schirmer. ISBN 978-0-8256-7174-6.
- Rogatis, Jim (2003). Milk It!: Collected Musings on the Alternative Music Explosion of the 90's. Cambridge, Massachusetts: Da Capo Press. ISBN 978-0-306-81271-2.
- Roshan, Maer (2012). Courtney Comes Clean: The High Life and Dark Depths of Music's Most Controversial Icon. A Quick Fix Book. New York: ISBN 978-1-4027-9791-0.
- Schippers, Mimi A. (2002). Rockin' out of the Box: Gender Maneuvering in Alternative Hard Rock. Rutgers University Press. ISBN 978-0-8135-3075-8.
- Surmani, Karen Farnum (1997). Rock Singing Techniques. Basix. Van Nuys, California: Alfred Music. ISBN 978-0-88284-763-4.
- Yadao, Jason S. (2009). The Rough Guide to Manga. Rough Guides. New York; London: Penguin. ISBN 978-1-85828-561-0.
- Yapp, Will (dir.) (September 26, 2006). The Return of Courtney Love (Documentary). Los Angeles: Channel 4.
- Yarm, Mark (2011). Everybody Loves Our Town: An Oral History of Grunge. New York: Three Rivers Press. ISBN 978-0-307-46444-6.
External links
- Courtney Love discography at Discogs
- Courtney Love at AllMovie
- Courtney Love at IMDb
- Courtney Love at Curlie
- Works by or about Courtney Love (library search via WorldCat)