To the Australian Daily Telegraph, Gaga explained that the song was also about struggling to balance success and love. It's a love song for the cameras, but it's also a love song about fame or love – can you have both, or can you only have one? It's about the media whoring, if you will, watching ersatz make fools of themselves to their station. The song is about a few different things – it's about my struggles, do I want fame or do I want love? It's also about wooing the paparazzi to fall in love with me. ![]() Well I'm so glad there are a few different interpretations, that was the idea. When Ron Slomowicz from referred to different interpretations of the single, Gaga responded: Holmes alone: $30,000 (cue headline: 'Where's Tom?'). ![]() Tom Cruise and Katie Holmes together: 10 a penny. George Clooney alone: a few thousand bucks. Paps live in fear that stars will, as they say, 'pull a Sarah Jessica Parker': that is, stand outside a hospital with their new baby for a universal photo op, thereby devaluing the shots to about $75 a piece when those photos could sell for - in the case of Brad and Angelina's baby - a rumoured million dollars.Įarlier this year, an anonymous paparazzo gave New York magazine a run down of current price tags that would make Tazio Secchiaroli tango in his grave. Everyone knows that the style - a stolen look, even a hand in front of the face - adds authenticity, and often celebrities will get their publicists to ring snappers and let them know that they can be seen, say, exiting Starbucks in Malibu with a soy frappuccino at 10.45. These days, many of the 'paparazzi' shots we see are set-ups. Though French courts ruled that the photographers who chased Princess Diana's car were not to blame for her death, the paparazzi's stunts would rarely seem so lighthearted again. Nevertheless Aristotle Onassis told Galella: 'You're a baby compared to the paparazzi in Europe.' In 1997, that seemed horrifically true. He simply took the precaution, when chasing Brando, of wearing a football helmet. Did this staunch Galella's outings? Of course not. He was hospitalised after being beaten by Richard Burton's bodyguards he was spat on by Sean Penn Marlon Brando broke his jaw, and as a result Brando's hand became infected, a symbolic effect upon which we need not dwell. ![]() In his heyday, Galella seemed impossible to deter. As a result, Galella was prevented from coming within 100 yards of her home, or within 50 yards of her or her children. Galella's success came by scandals of his own making, and he is now best known for his photographs of Jackie Onassis, who fi led a lawsuit against him in 1972. Secchiaroli's true heir was Ron Galella, who transposed many of his methods to New York. Secchiaroli learned that a straight shot of a star would sell for 3,000 lire, but one of a furious celebrity could fetch L200,000. Soon, the art became so familiar that the battles had to be engineered. ![]() It was, Secchiaroli later remembered, 'only movement, action, a fast, instinctive thing'. The art of the paparazzo was part illustration, part circus act, as much a performance as the gathering of images. Photographers knew they would only get one chance, and that they had to come up close: they got their assistants to drive them around on Vespas so they could quickly swoop in for a shot. The cameras used were old Rolleifl exes, with flashes that took an age to recharge. In those days, style was born of necessity.
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