input: It was generally felt in the court that the Emperor should marry and produce heirs as soon as possible. Various potential brides were considered: Princess Elisabeth of Modena, Princess Anna of Prussia and Princess Sidonia of Saxony. Although in public life Franz Joseph was the unquestioned director of affairs, in his private life his formidable mother still wielded crucial influence. Sophie wanted to strengthen the relationship between the Houses of Habsburg and Wittelsbach--descending from the latter house herself--and hoped to match Franz Joseph with her sister Ludovika's eldest daughter, Helene ("Nene"), who was four years the Emperor's junior. However, Franz Joseph fell deeply in love with Nene's younger sister Elisabeth ("Sisi"), a beautiful girl of fifteen, and insisted on marrying her instead. Sophie acquiesced, despite her misgivings about Sisi's appropriateness as an imperial consort, and the young couple were married on 24 April 1854 in St. Augustine's Church, Vienna.  Their marriage would prove to be an unhappy one; though Franz Joseph was passionately in love with his wife, the feeling was not mutual and Sisi never truly acclimatised to life at court, frequently having disagreements with the imperial family. Their first daughter Sophie died as an infant, and their only son Rudolf died by suicide in 1889 in the infamous Mayerling Incident.  In 1885 Franz Joseph met Katharina Schratt, a leading actress of the Vienna stage, and she became his friend and confidante. This relationship lasted the rest of his life, and was--to a certain degree--tolerated by Sisi. Franz Joseph built Villa Schratt in Bad Ischl for her, and also provided her with a small palace in Vienna. Though their relationship lasted for thirty-four years, it remained platonic.  The Empress was an inveterate traveller, horsewoman, and fashion maven who was rarely seen in Vienna. Sisi was obsessed about preserving her beauty, carrying out many bizarre routines and strenuous exercise, and as a result suffered from ill health. She was stabbed to death by an Italian anarchist in 1898 while on a visit to Geneva. A few days after the funeral, Robert of Parma wrote in a letter to his friend Tirso de Olazabal that "It was pitiful to look at the Emperor, he showed a great deal of energy in his immense pain, but at times one could see all the immensity of his grief." Franz Joseph never fully recovered from the loss. According to the future empress Zita of Bourbon-Parma he told his relatives: "You'll never know how important she was to me" or, according to some sources, "You will never know how much I loved this woman."

Answer this question "Was he supposed to marry Nene?"
output: Helene ("Nene"), who was four years the Emperor's junior. However, Franz Joseph fell deeply in love with Nene's younger sister Elisabeth

Question: Love was born Courtney Michelle Harrison on July 9, 1964 at Saint Francis Memorial Hospital in San Francisco, California, the first child of psychotherapist Linda Carroll (nee Risi) and Hank Harrison, a publisher and road manager for the Grateful Dead. Love's godfather is the founding Grateful Dead bassist Phil Lesh. Her mother, who was adopted at birth and raised by a prominent Italian-Catholic family in San Francisco, was later revealed to be the biological daughter of novelist Paula Fox; Love's maternal great-grandmother was screenwriter Elsie Fox. According to Love, she was named after Courtney Farrell, the protagonist of Pamela Moore's 1956 novel Chocolates for Breakfast.

Musically, Love's work with Hole and her solo efforts have been characterized as alternative rock; Hole's early material, however, was described by critics as being stylistically closer to grindcore and aggressive punk rock. Spin's October 1991 review of Hole's first album noted Love's layering of harsh and abrasive riffs buried more sophisticated musical arrangements. 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."  Love's lyrical content is composed from a female's point of view, and her lyrics have been described as "literate and mordant" and noted by scholars for "articulating a third-wave feminist consciousness." According to a 2014 interview, lyrics have remained the most important component of songwriting for Love: "I want it to look just as good on the page as it would if it was in a poetry book". A great deal of her songwriting has been diaristic in nature. Common themes present in Love's songs during her early career included body image, rape, suicide, conformity, elitism, pregnancy, prostitution, and death. 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."  Critics have noted that Love's later musical work is more lyrically introspective. 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.

Using a quote from the above article, answer the following question: What do others say about her style?
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Answer:
Critics have noted that Love's later musical work is more lyrically introspective.