Tracey Emin and Princess Di cross paths on the spectral plane of paparazzi and God-given right; perhaps their images pass through one another like ghosts in a tabloid-infused dream. They occur on an axis of late capitalist subjectivity which could consti - tute the Second British Invasion: the 90s were the era of not only the YBA, but Thom Yorke, Vivienne Westwood, Bridget Jones’s Diary, and, of course, the monarchy. These cultural phenomena were undeni - ably framed by the drama of confessional media: stateside, Real World held a sovereign timeslot on MTV; meanwhile, Hole’s seminal album, Live Through This, had already been ranked the #1 record of 1994. One didn’t need to look far to see the cultural logic of lived authenticity on full display.
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