Editing Courtney Love (section)

===Musical style and lyrics===
Musically, Love's work with Hole and her solo efforts have been characterized as [[alternative rock]];{{sfn|Ladd-Taylor|Umanski|1998|p=319}} Hole's early material, however, was described by critics as being stylistically closer to grindcore and aggressive [[punk rock]].{{sfn|Lankford|2009|p=77–8}} ''Spin''{{'}}s October 1991 review of Hole's first album noted Love's layering of harsh and abrasive riffs buried more sophisticated musical arrangements.<ref name="oct91">{{cite news|work=[[Spin (magazine)|Spin]]|date=October 1991|title=Hole Lotta Love|page=32|first=Daisy|last=Von Furth|issn=0886-3032|url=https://books.google.com/books?id=yGjqAHJs488C|via=Google Books|volume=7|issue=7}}</ref> 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&nbsp;... 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."<ref name="int" />

Love's lyrics are composed from a female's point of view,<ref name=reynolds>{{Cite news|newspaper=[[The New York Times]]|url=https://www.nytimes.com/1992/02/09/arts/pop-music-belting-out-that-most-unfeminine-emotion.html|title=Belting Out That Most Unfeminine Emotion|date=February 9, 1992|archive-url=https://web.archive.org/web/20180506110018/https://www.nytimes.com/1992/02/09/arts/pop-music-belting-out-that-most-unfeminine-emotion.html|archive-date=May 6, 2018|author=Reynolds, Simon|author-link=Simon Reynolds|url-status=bot: unknown|access-date=May 6, 2018}}</ref> and her lyrics have been described as "literate and mordant"<ref>{{cite web|url=http://www.prnewswire.co.uk/news-releases/grey-presents-courtney-love-at-cannes-in-8th-annual-music-legends-seminar-263089401.html|agency=PR Newswire|title=Grey Presents Courtney Love at Cannes in 8th Annual Music Legends Seminar|date=June 13, 2014|archive-url=https://web.archive.org/web/20160624041927/http://www.prnewswire.co.uk/news-releases/grey-presents-courtney-love-at-cannes-in-8th-annual-music-legends-seminar-263089401.html|archive-date=June 24, 2016}}</ref> and noted by scholars for "articulating a [[third-wave feminism|third-wave feminist]] consciousness."<ref name="morris">{{Cite journal|url=http://citation.allacademic.com/meta/p_mla_apa_research_citation/3/2/9/6/4/p329640_index.html|journal=National Communication Association|first=Matthew|last=Morris|date=November 11, 2009|title=Writing (Courtney) Love into the History of Rhetoric: Articulation of a Feminist Consciousness in Live Through This|access-date=September 15, 2012|archive-url=https://web.archive.org/web/20121120193238/http://citation.allacademic.com/meta/p_mla_apa_research_citation/3/2/9/6/4/p329640_index.html|archive-date=November 20, 2012|url-status=dead}} {{small|(Link to abstract only)}}</ref> [[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."<ref name=reynolds/> 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.<ref>{{cite journal|journal=[[Bookforum]]|title=Kim France on ''Bitch: In Praise of Difficult Women'' by Elizabeth Wurtzel|pages=7–8|volume=5–7|year=1998|issn=1098-3376|author=France, Kim|author-link=Kim France}}</ref>

Love has remarked that lyrics have always been the most important component of songwriting for her: "The important thing for me&nbsp;... is it has to look good on the page. I mean, you can love [[Led Zeppelin]] and not love their lyrics&nbsp;... but I made a big effort in my career to have what's on the page mean something."<ref>{{cite web|work=[[The New York Times]]|url=https://www.nytimes.com/2019/02/13/fashion/courtney-love-batsheva-fashion-week.html|archive-url=https://web.archive.org/web/20190214012126/https://www.nytimes.com/2019/02/13/fashion/courtney-love-batsheva-fashion-week.html|archive-date=February 14, 2019|url-status=bot: unknown|date=February 13, 2019|author=Schneier, Matthew|title=Angry Dolls Meet Their Mother|access-date=February 13, 2019}}</ref> Common themes present in Love's lyrics during her early career included body image, rape, suicide, conformity, pregnancy, prostitution, and death.<ref name="levin">{{cite web|url=http://www.thestranger.com/seattle/the-hole-story/Content?oid=16345 |work=[[The Stranger (newspaper)|The Stranger]] |title=The Hole Story |author=Levin, Hanna |date=November 20, 2003 |archive-url=https://web.archive.org/web/20141216085525/http://www.thestranger.com/seattle/the-hole-story/Content?oid=16345 |archive-date=December 16, 2014 |url-status=dead }}</ref>{{Sfn|Burns|Lafrance|2002|pages=98–103}} 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&nbsp;... 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."<ref name="sidelines">{{cite news|work=[[Melody Maker]]|date=June 15, 1991|first=Everett|last=True|author-link=Everett True|title=Hole|series=Sidelines|page=8|issn=0025-9012}} {{small|([https://archive.today/20180614220000/https://archivedmusicpress.files.wordpress.com/2008/07/hole-in-sidelines-15th-june-1991.jpg Archived scan])}}.</ref>

Critics have noted that Love's later musical work is more lyrically introspective.<ref>{{cite magazine|magazine=[[Rolling Stone]]|url=https://www.rollingstone.com/music/news/courtney-love-to-resurrect-hole-for-nobodys-daughter-20090617|archive-url=https://web.archive.org/web/20140117071409/https://www.rollingstone.com/music/news/courtney-love-to-resurrect-hole-for-nobodys-daughter-20090617|archive-date=January 17, 2014|title=Courtney Love To Resurrect Hole For "Nobody's Daughter"|date=June 17, 2009|author=Kreps, Daniel}}</ref> ''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.<ref>{{cite web|url=https://www.avclub.com/hole-nobody-s-daughter-1798164834|work=[[The A.V. Club]]|title=Hole: Nobody's Daughter|first=Jason|last=Heller|date=April 27, 2010|archive-date=November 5, 2013|archive-url=https://web.archive.org/web/20131105144301/http://www.avclub.com/articles/hole-nobodys-daughter,40501/|url-status=bot: unknown|access-date=April 16, 2020}}</ref>