Courtney Love is in a limousine taking her from Los Angeles toDesert Hot Springs on a detox mission. ”I’ve been on a bit of abender after 9/11,” she admits. ”I’ve got a lot of s — – in me. Iweigh 147 pounds.” Which is why she’s checking into the We Carecolonic spa for five days of fasting. Slumped low in the seat,the 37-year-old actress and lead singer of Hole is wearing baggyfaded jeans, a brown pilled sweater, and Birkenstock sandals, herpink toenails twinkling with rhinestones. On her head is a woolknit hat that looks like something she found on the street. Lastnight she sat for three hours while her auburn hair extensionswere unglued and cut out. ”See?” Love says, pulling the cap off.”I look like a Dr. Seuss character on chemo.” She does. Her hairis short and tufty and sticking out in all directions. It’s adisaster. Love smiles a sad, self-conscious smile and covers upagain. Lighting a cigarette, she asks, ”Why are we doing thisstory? I don’t have a record or a movie to promote. So I guessthis is a think piece.” She shakes her head. ”God, what was Ithinking?”

The singer/actress/provocateur doesn’t have an album to push ora film to plug or lemonade to sell, but she does have apotentially precedent-setting personal and political cause topromote. Love is suing Universal Music Group to break hercontract. A win could add ammunition to an ongoing fight tochange the way the music industry conducts business. As itstands now, major labels issue contracts based on the number ofalbums (usually five or seven) rather than the number of years,essentially owning an artist for most of his or her career.Love’s complaint? Under California’s labor laws, no one except arecording artist can be forced to sign a personal servicescontract that lasts longer than seven years. ”What that means,”Love says, ”is that every seven years every single artisan inCalifornia can redo their contracts except for us.” Recordexecutives placate their most succcessful stars by renegotiatingtheir contracts for more money.

Love was doing that dance with Interscope Records after shedelivered 1994’s platinum CD Live Through This and 1998’slesser-selling Celebrity Skin. She felt Skin suffered from a lackof marketing support ”and it p — -ed me off,” says the singer, whoinformed the label that she would not record another CD. InJanuary 2000 UMG filed a lawsuit seeking damages for fiveundelivered albums. Love countersued 13 months later, chargingamong other things that her contract with UMG label Interscopewas invalid because, technically, she had never signed with them.Hole cut a 1992 deal with Geffen Records, known for nurturingmercurial talents like Love’s late husband, Kurt Cobain ofNirvana. But through a series of buyouts and megamergers, Geffenwas absorbed into UMG, putting Hole under Interscope’s control.”They f — – career artists,” Love claims. ”Doug Morris [UMG’schairman and CEO] and Jimmy Iovine [Interscope’s head] havealways done business one way: Throw it out there and see whatsticks. Pop hits that come and go — that’s what they like. Thefirst billing on Interscope Records was Gerardo. ‘Rico Suave’!”

Love feels empowered in her quest to become a free agent by therecent discovery that she has Jewish ancestry, which includes acertain Hollywood legend. Love’s mother, therapist Linda Carroll,was adopted by a wealthy San Francisco family but later learnedher birth mother is 78-year-old literary sensation Paula Fox,daughter of ’30s screenwriter Paul Fox and wife Elsie. (Paul Foxwas a first cousin of Douglas Fairbanks Sr.) ”Looking at thestrength of Jewish actors, Jewish entertainers, and Jewishexecutives, and knowing that my bloodline is part of that, givesme a kind of strength,” she explains. ”Think about their positivecontributions in this culture: Unionizing? Jews. Leftyism? Jews.So to be part of that — the Norma Rae of it — gives me confidence.Sitting in a room with Doug Morris and the business-affairspeople at [UMG], they’re not looking at me thinking, Crazy goy.They’re thinking, Banzai Jew!”

It’s one week before Love’s limo trip to the spa. ”Sweetie!Darling!” blares from a big television in the master bedroom ofher L.A. home. The singer, draped across the arms of a cushyoversize chair, has her eyes on Absolutely Fabulous, with acigarette in one hand, a glass of white wine in the other, and acell phone shouldered to her ear. She is oblivious to the styliststringing pearls through her hair and the makeup artist armedwith red lipstick playing catch-as-catch-can with her mouth. Atoddler would sooner hold still. Jim Barber, Love’s boyfriend andmusic manager, pads stocking-footed into the room to see if she’sready. It’s just after 7 o’clock, and the duo are scheduled toattend the Vanilla Sky premiere, which starts at 7:30. ”You’rewearing that suit?” Love asks, eyeing his Richard Tylerpinstripes. Barber, 38, is slight and sandy-haired handsome, withdark circles under his eyes. Love twirls her finger: ”Give me abutt shot.” He turns and lifts his jacket. ”Okay, the ass looksgood,” she says approvingly. ”Now let me see the front.” He turnsagain, opens the jacket, rolls his eyes skyward. ”Honey,” Lovesays, waving her hand as if directing traffic, ”move your packageover to the other side.”

Love gets up in search of shoes. ”Dean!” she calls out to one ofher two assistants, Dean Mathison. ”Bring me my diamondearrings — the big honkers!” She moves into the large bathroom andenvelops herself in a concoction of Diorissimo, Fracas, andL’Heure Bleue, or, as she calls it, ”Le Whore Bleue.” A momentlater she’s sitting on the toilet urinating, her dress hiked up,her long milky legs spread, with Mathison on his knees betweenthem, putting the diamonds in her pierced ears. ”Dean’s seen itbefore,” Love says, laughing. ”When I was a street kid inPortland I used to sleep on his floor.” ”I had no problem sharingthe floor, the couch, the bed with Miss Love,” replies Mathison,a gentle, obviously patient man, who first met her in his gaynightclub, Metropolis. She had just returned to Portland, Ore.,after three years in juvenile detention centers, and she wasdependent on the kindness of strangers. He has been kind to herever since.

A limousine idles in front of Love’s $6 million Beverly Hillsmansion, formerly the residence of movie producer and Muppetsheiress Lisa Henson. Catercorner to Love’s home is the housewhere Billy Bob Thornton and Angelina Jolie live. Love was incontention to costar in Winona Ryder’s Girl, Interrupted. In theend, Jolie won the role — and the Oscar. ”Once she walked in thedoor, all bets were off,” says Love. ”It definitely had a littlegold man attached to the part…. [Winona] is a good friend now,and I think she sort of revised history that if I’d have done it,she’d have gotten her Oscar…because I would have shared.”Sashaying toward the limo, Love waves in the dark to her famousneighbors. The lights are out, and nobody’s home.

At the premiere, Love can’t sit still. More than once, she sneaksbehind the theater’s heavy velvet drapes for a nicotine fix,watching the Cameron Crowe film through a crack in the curtain,sending plumes of smoke over the audience. (She smokes a lot,sometimes using the end of one cigarette to light another.) Asthe end credits roll, the stars are taken to the premiere partyupstairs in a loading dock elevator and escorted through akitchen to avoid the press. It is a big-deal bash, with the usualHollywood suspects rubbernecking the Cruise-Cruz costars Tom andPenelope. Unguarded, director Crowe graciously greets thewell-wishers and wannabe actresses who sidle, squeeze, andslither up to him showing cast me! cleavage.

A close friend of Crowe’s, Love is seated at his table, alongsidethe director’s wife, Heart’s Nancy Wilson, and his mother, Alice.”My mom had an instant connection with Courtney: ‘I see that girlclearly, there’s real pain in that girl, real passion,”’ saysCrowe. ”My mom definitely acted on her instincts, and nowCourtney is the extra sister/daughter.” And like any sibling, shehas her issues. ”I love him so much. But he’s got to say hi tothe last f — -ing waiter. He’s like Cruise that way. He’s got tomake every single person feel important. I have so many friendslike that — Drew [Barrymore] — and they just exhaust me. I mean, I’ma rock star: I was here, I was gracious, I was nice, I ate thepotatoes — love you, babe, let’s go! Not to be selfish or nasty,but to have to stay and make sure everybody likes you is likerunning for office. Russell [Crowe] doesn’t have to do it. MickJagger doesn’t have to do it. And goddamn it, I don’t have to doit.”

Love used to see the volatile, gifted actor as a kind of kindredspirit. ”Russell is a really interesting and dark guy,” Lovesays. ”Even just holding his hand I get shivers. He goes throughhell. But I don’t know if he’s seen as many dead bodies as Ihave.” They were friends until the tabloids reported a liaisonthe night of the Golden Globe Awards last year. ”We didn’t f — -,”Love says. ”We hung out, wrote crazy lyrics and poetry, dranktequila. And we had a nice thing about wanting to be friends. Andthen that tabloid stuff happened.”

Crowe criticized Love in an ENTERTAINMENT WEEKLY interview fornot making it clear that he wasn’t the father of the baby shemiscarried last May. Says Love sadly: ”That really hurt myfeelings. Here I am having a miscarriage with Jim’s baby, andRussell’s worried about his image.” Even so, ”I want to befriends with him.” She laughs. ”And I demand an apology!” Crowe’sresponse to the tabloid rumors hurt Love in ways that onlyteenage girls can understand. ”It made me feel like uglyCourtney,” Love says. ”You know, Ben Affleck went on a talk showand said he made out with me at a party, and there’s nothingfurther from the truth. Did I issue a press release saying wedidn’t f — -? It’s embarrassing that Russell was embarrassed.” Shepauses. ”Am I a sexual pariah?”

When she doesn’t have red lipstick smeared all over her face andshe’s walking a straight line, Love is, in fact, a highlyseductive proposition. ”She’s a hot mama and so charismatic,”says Cameron Diaz, her Feeling Minnesota costar. ”I love herblatant honesty.” Diaz hesitates. ”Sometimes I worry about her,because I feel like, in some ways, it’s self-destructive.” (”Iknow, I know,” Love says. ”My shrink keeps telling me I should behonest, not candid.”) But it’s hard to be just honest when youknow being candid gets you so much extra mileage. ”Would Courtneybe the engaging person she is if her nature was checked?”director Baz Luhrmann asks, knowing the answer. He experiencedLove’s force of nature for better and for worse when he”genuinely considered” casting her in Moulin Rouge. (”She blew meaway with her comic abilities and dangerous intelligence,”Luhrmann recalls.) Months later, after Nicole Kidman got thepart, the director needed Love’s permission to do a cover versionof Nirvana’s iconic ”Smells Like Teen Spirit.” Says Luhrmann:”Without Courtney that sequence wouldn’t be in the film. She sether personal disappointment aside. And that’s a big expression ofher integrity and character.”

Even after that, Love couldn’t resist a little name-calling.While playing a concert in Luhrmann’s native Australia, shereferred to Kidman as an ”ice queen.” Like so many others she hastweaked, Luhrmann brushed it off with the common refrain ”That’sjust Courtney.” After the public dissing, Courtney beingCourtney, she sent him a package of notes and photographs thatshe thought he could use as inspiration for his film. Whetheryou’re in or out of her good graces, Love ”is not mean,” saysCarrie Fisher. ”A little self-absorbed, but what actor isn’t?She’s not intentionally a bitch. She’ll react. She can bedemanding. But that’s still not mean.” Fisher, who first met Loveat an Oscar rehearsal, adds: ”She is superambitious, which couldlead her anywhere — including into trouble.”

All of Fisher’s observations are illustrated in the other majorlawsuit Love is currently waging. In September 2001, she suedNirvana’s surviving members — Dave Grohl and Krist Novoselic — tobreak up the limited-liability corporation they’d formed with herin 1997, which made them equal partners in the lucrative Nirvanabusiness. Love wants complete control of the catalog and makesthe claim that ”her judgment was significantly impaired” at thetime she signed the contract.

In an open letter, Grohl and Novoselic accused Love of acting forher own financial gain. Since their first release, in 1989,Nirvana have generated an estimated $500 million in salesworldwide. Like Hole, Nirvana were on Geffen, which means theNirvana catalog is now with UMG — the very company Love is suing tobreak her personal recording contract. Critics feel that Love isusing the catalog as leverage for an even better record deal forherself, and that her stance of wanting to free artists from akind of indentured servitude through her suit against UMG is justconvenience.

Love denies this, but she does fess up to being capable ofmanipulation. ”Of course I’m manipulative! Who’s not?” shehollers, adding facetiously, ”Oh, I’m sorry, I’m being candid,not honest.”

”Kurt’s death was so difficult for so long and Courtney got badadvice,” says Barber, a former Geffen executive. ”She feels shehas a responsibility to her daughter and the rest of hissurviving heirs. In reality, Nirvana was closer to being TomPetty & the Heartbreakers or Bruce Springsteen & the E StreetBand. If Springsteen died tomorrow, should Max Weinberg have anequal say as to how his catalog is promoted and marketed?”

When Love learned Grohl and Novoselic were countersuing her, shesaid, ”F — – this! I own Nirvana. Bottom line, 75 percent of thef — -ing thing is mine, and you can’t do s — – with it without me.”Love proved her power when she blocked the sale of a Nirvanaboxed set last Christmas, which included a previously unreleasedsong. ”When Kurt died he left behind a collection of music thatis mind-blowing,” she says. ”These are really insane, beautifulsongs. The point is, I have the Holy Grail of rock & roll.” Lovesits back with a so there! smile.

It’s the day after the Sky premiere. Love is sitting in herprivate screening room, her knees pulled up under her slip dress,watching the 1948 classic The Red Shoes, one of her favoritefilms. ”It’s a metaphor for fame and addiction,” Love says. ”Sheputs on the red shoes and she can’t stop dancing. She dancesuntil she dies.”

The sound of a deep, phlegmy cough can be heard outside the door.”I hear the cough of my daughter,” Love says, calling out. ”Whatis that bronchial coughing? Come in, Francesca!” The door fliesopen and Frances Bean runs over to her mother and sits in herlap, wrapping her arms around her neck. The 9-year-old is clearlyher father’s daughter, with Cobain’s intense blue eyes anddimpled chin.

”Oh, when is the coughing going to stop? When?” Love says in acooing, concerned voice. ”What’s happening? Are we on theantibiotics? What’s going on? When was the last time you saw thedoctor?”

”Last week.”

”What did he say?” Love asks. ”Nothing in the chest X ray?”

”He said it was fine. He said there was nothing wrong with them.”

”Well,” Love says, rocking Frances back and forth. ”I only smokein here and in my bedroom, so that’s kind of good. I had someincense burning the other day. No more incense. Are you okay atschool? Are your teachers concerned? Do you have your Kleenex andstuff for when you cough stuff up? How many times has it happenedtoday?”


”You have to spit it up and not swallow your phlegm,” her mothersays. ”You’ve got to stop that. You know what’s nice?” Lovestands up and puts her hands on her hips. ”Handkerchiefs! Sexyold handkerchiefs. Like Winona [Ryder] and I got at the laceshow. I think I have some that are really pretty and have lace onthem. Frances, you’ve got to blow the nose.”

”Where’s Jim, Mommy?”

”He’s in New York.”


”He’s doing business.”

Frances has grown attached to Barber since he met Love more thanthree years ago while Hole were recording their last album. Atthe time, Barber was married. (He and ex-wife Lesley have twochildren.) He declines to comment on his divorce, but Lovedoesn’t. ”He was sleeping in the basement!” Love claims. ”Shepositioned herself as this Oprah-audience-member martyr.” Thedivorce was not without high drama. Love filed a stalking andharassment suit against the former Mrs. Barber in December 2000,claiming Lesley had driven to Love’s house and tried to run herover. (Lesley Barber’s lawyer says ”she denied any liability inthe case,” and that a confidential settlement is in the works.)”It was crazy!” Love says. ”I was like, ‘All right, look, if Ipoached your husband when you were having a good marriage, thatwould be one thing.’ But the fact is I gave her a six-monthwarning. I called her and said, ‘I really have the hots for yourhusband, and you’re treating him like shit.’ I’ve never poachedanybody’s f — -ing guy!” She reconsiders: ”Maybe a one-nighterhere and there.” Love takes a drag off her cigarette and exhaleswearily. ”How you go from a woman with a degree in librarysciences to me, I can’t explain.”

Next to the beds of the kids at the skipworth Juvenile DetentionCenter in Eugene, Ore., were clipboards stating the names andphone numbers of parents to contact in case of an emergency.Courtney Love’s read, ”Whereabouts of parents unknown.” She knewwhere they were, but she didn’t want anyone else to know. The13-year-old convicted shoplifter was afraid that if it werediscovered she had a healthy trust fund from her mother’sadoptive parents, she would have to leave.

Love’s mother got pregnant by Love’s father, Hank Harrison, aGrateful Dead follower with whom Courtney has no contact. Whileher birth certificate reads Love Michelle Harrison, Love says hermother always called her Courtney, after the heroine inChocolates for Breakfast, a 1956 pulp romance novel about ateenager whose mother is a has-been actress living at the ChateauMarmont in Los Angeles. Love pulls the book from a shelf andreads from the jacket in a melodramatic tone: ”’Courtney had aneed for love that drove her on a frantic and hectic pursuit ofan unattainable ideal!”’

Less than a year after Love was born, her parents divorced, andCarroll embraced the ’60s lifestyle, living in New Zealand withher daughter. ”She didn’t really want me around,” Love says. ”AndI didn’t want to be around her.” Eventually, Love found a morestructured life by stealing her way into Skipworth. According toa 1994 Us magazine story, a social worker filed a report withOregon Children’s Services in 1980 stating ”Courtney…repeatedlyasks for authorities to find her a ‘home.’ It is apparent thatCourtney has been in search of the family life she has beendeprived of for so many years.”

Once out on her own, Love led an itinerant existence stripping,acting, and punk-rocking her way from Portland to Dublin to HongKong to Minneapolis to San Francisco to Los Angeles. By the early’80s she was living in Malibu with her ”first real boyfriend,”Jeff Mann, and dabbling in drugs. After Mann broke up with her,Love moved in with his mother, Bernadene Morgan, a Hollywoodcostume designer (Mommie Dearest). ”I found her effortless tolove,” says Morgan, who encouraged Love’s interest in acting andbegan dropping her off at cattle calls. (It was then that shechanged her name to Courtney Love and soon was cast in Sid &Nancy.) ”It’s such massive imprinting when you’ve been cast offat a vulnerable time in your life. The more you think deeplyabout that injustice — which Courtney has the mind to do — the deeperthe cut. When you’re young and being damaged there’s nothing youcan do except be in it, live through it right now. Courtneybecame deeply disturbed by ‘How am I going to pull up thisplane?”’

That kind of survival is Love’s great inheritance. In Paula Fox’smemoir, Borrowed Finery, the singer’s grandmother details her owndifficult childhood, distant parents, and her ambivalence towardthem. Love met her famous relation at tea once, but, afterward,in a March 2001 New York Times Magazine article, Fox said shefound Courtney’s language ”dreadful.” ”That really p — -ed meoff,” Love says. ”Well, I don’t understand yours! She looked likeGwyneth Paltrow’s auntie…. She had no idea who I was or what Idid and didn’t want to know.”

Love is also essentially estranged from her mother. A few weekslater, hearing of an attempt to reach Carroll, Love leaves thefollowing answering machine message: ”Hey, it’s me,” she says,her voice both sad and anxious, ”let’s not scare my scary mother,because she’s scary, okay?… I have to deal with legal insanitytoday. UMG, they are following me around using some guy in ablack SUV, and it’s terrifying, and I feel like Jeffrey f — -ingWigand…. Listen to me being paranoid, dude. [Laughs] I’ve beentaking pictures of the car for court. I think they’re trying tobug me. You have to remember a lot of the music business ends upin Cherry Hill, New Jersey, where the Sopranos really come from,so there’s an aspect that’s frightening, about as frightening asmy mom….” (UMG says it has ”possibly had people running from herbut not following her.”)

Love taps on the limousine’s glass divider, which is marked witha big ”no smoking” sticker, and asks the driver for a match. Thelimo is strewn with a duffel bag, books, a carton of cigarettes,and her guitar. Along with writing songs and waging war on themusic front, Love is fighting to keep her movie career on track.Since her Golden Globe-nominated performance in The People vs.Larry Flynt, Love appeared in 1999’s Man on the Moon. She has arole in Sony’s upcoming thriller Trapped with Kevin Bacon, andhas also been cast in a movie as the real-life VictoriaWoodhull — the first woman to run for President. And she’s stilltrying to get a Janis Joplin project going: ”I’m no springchicken. So if I don’t play Janis now, I’ll be almost 10 yearsolder than the woman when she died.”

But so far the more important roles have eluded her. Love remainsundeterred. She nudged Cameron Crowe to contact director BradSilberling — whom he’d never met — to read her for a role in Goodbye,Hello. ”Courtney did some shrewd lobbying. I went to her houseand our first meeting lasted five hours. It’s a movie about lovethat emerges after a death,” says Silberling, who was datingactress Rebecca Schaeffer when she was murdered. ”Discussing [themovie] led to a more personal discussion. And before we knew itboth of us were cracked wide open and crying.” Silberling wentwith an unknown, but Love’s now a friend — something he didn’texpect. ”Courtney’s rep preceded her: a complete pile driver,human carnivore,” Silberling says. ”People have a need and put aneffort into making her responsible for Kurt’s death. They’reangry and they have to put it somewhere. It’s a lot to carry. AndFrances has her own pressure being the daughter of this culturalicon.”

Courtney says her daughter aspires to be an equine veterinarian(she named her horse Charisma). But she could well take after herparents. ”She’s got a five-octave voice,” Love says, proudly.”And she’s been in two school plays — Cinderella andRumpelstiltskin. She’s got range…. You know Kurt was enamored ofHollywood. He was going to do a part in The New Age with JudyDavis. He was entranced by the whole Hollywood thing. He courted[director] Gus Van Sant…. Nobody had any idea because they allhad this picture of St. Kurt the Unambitious. But it’s like, Oh,God, please! He’s more ambitious than Ashley Judd on latte!”

A road sign up ahead: In-N-Out Burger, one half mile. ”I’mstarving,” Love says, pushing a button to lower the glass betweenher and the driver. ”Excuse me, sir,” she says. ”I want to stopat the In-N-Out Burger.” Love figures it will be her last supperbefore five days of fasting and colonics. ”What difference doesit make?” she reasons. ”Tomorrow morning it’ll be in and out ofme.”

Turning into the fast-food joint’s parking lot, the driverinforms her that the limousine is too big for the drive-through.”Are you going inside?” he asks. ”No,” Love replies. ”You’regoing inside. We’ll take two cheeseburgers, two fries, and twolarge Cokes.”

Asked what their lives would be like if Cobain were alive, Lovereplies, ”I don’t think we’d still be together.” She stares outthe window into the empty parking lot. ”But I’d have found him agood wife. I’m good at that. I get along with my ex-boyfriends.Edward [Norton] loves/hates me. But I did dump him, so it’s gottabe tough. He still has mine and Kurt’s marriage bed. I should getthat back. Jeff Mann dumped me, and after that I said, ‘I’m nevergetting dumped again.’ Well, if you consider a suicide gettingdumped, which I guess it is, getting dumped on an epic level.”

Love split Cobain’s ashes with his mother, but he has yet to beput to rest. ”I can’t get Kurt buried anywhere,” Love says. ”Nograveyard in Seattle wants him. Although many in Hollywood do.They like that kind of tourism.”

After five hours on the road, not five minutes away from We Care,Love changes her mind and tells the driver to turn around. ”It’stoo late to go to the We Care spa tonight,” she says. Dialinginformation, she calls the Ritz in Rancho Mirage. ”It’s CourtneyLove,” she says. ”I’m in the neighborhood and I’d like to book aluxury suite for tonight. Do you have a masseuse available? No?Then open the yellow pages and get a certified masseuse to comein and let’s hope it’s not a crazy old hooker or something.”

The limo pulls up to the hotel. The door opens. And out steps ”aDr. Seuss character on chemo.” But she doesn’t care. She smilesback at the stares, lights a cigarette, and strolls through thelobby to the front desk, where the clerk, as instructed, isscanning the yellow pages.

As in all things Courtney Love, nothing winds up what, when, orwhere you expected it to — not least of which is her lineage.”Douglas Fairbanks is my great-uncle. And if you think that I’mgoing to f — -ing let the fact that I’m the great-niece of one ofthe first movie stars go down unnoticed, you are out of yourf — -ing tree, thank you very much!” declares Love. (Technicallyspeaking, he’s her first cousin thrice removed, but the two arenonetheless related.) ”Finally I got a little pedigree. Becauseif you’re a rock star, of course you walked out from the trailer.But I didn’t. I walked out from being institutionalized by thestate of Oregon, and a mother being extremely wealthy and notreally wanting me around. And I didn’t want to be around her.”(Carroll’s comment to EW: ”I’m sure that’s what she felt…andthat’s for her to tell and not me.”) Despite the disconnectbetween Love and her maternal relatives, they do connect her withthe heritage that she believes will level the legal playingfield: ”I want to put a Star of David on my head. Do you knowwhy? That makes them know that I can win. I’m one of them. I’m amember of the tribe.”

Should Love win her lawsuit, more than her bloodline will tie herto Hollywood history. More than 50 years ago, Olivia de Havillandsued Warner Bros. to free herself from a long-oppressive contractand won, upending the old studio system and inspiring a legalstatute — known as the de Havilland law — which, yes, limitsentertainment contracts to no more than seven years. Parallelsaside, it’s hard to imagine de Havilland ever calling anyone a”wanking, wig-wearing, coke-snorting piece of s — -.” But Courtneyis Courtney. ”I don’t want it to be known as the de Havilland lawanymore. I want it to be the Love law!”

(Additional reporting by Joshua Rich)

EW.COMFor a guide to her life and career, check out our All AboutCourtney Love page at (AOL Keyword: EW)

”[Russell Crowe and I] had a nice thing about wanting to befriends. And then that tabloid stuff happened. That really hurtmy feelings. Here I am having a miscarriage with Jim [Barber]’sbaby, and Russell’s worried about his image.”


”[Russell Crowe and I] had a nice thing about wanting to befriends. And then that tabloid stuff happened. That really hurtmy feelings. Here I am having a miscarriage with Jim [Barber]’sbaby, and Russell’s worried about his image.”

”You know Kurt was enamored of Hollywood…. He was entrancedby the whole Hollywood thing…. Nobody had any idea becausethey all had this picture of St. Kurt the Unambitious. But it’slike, Oh, God, please! He’s more ambitious than Ashley Judd onlatte!”