Bad Romance

"Bad Romance" is a song by American singer Lady Gaga from her third extended play (EP), The Fame Monster (2009)—the reissue of her debut studio album, The Fame (2008). Gaga wrote and produced the song with RedOne. Following an illegal demo leak, Gaga premiered the song's final version during the finale of Alexander McQueen's 2010 Paris Fashion Week show in October 2009 and released it as the lead single from The Fame Monster later that month. Musically, it is an electropop and dance-pop song with a spoken bridge. Inspired by German house and techno, the song was developed as an experimental pop record. Lyrically, Gaga drew from the paranoia she experienced while on tour and wrote about her attraction to unhealthy romantic relationships.

"Bad Romance" was acclaimed by music critics for its chorus, beat and hook. Retrospective reviewers called it Gaga's best song. It topped the charts in more than 20 countries and sold 12 million copies worldwide, becoming one of the best-selling singles of all time. In the US, the song peaked at number two on the Billboard Hot 100 chart and was certified eleven times Platinum by the Recording Industry Association of America, having sold 5.9 million digital downloads as of 2019. "Bad Romance" won a Grammy Award for Best Female Pop Vocal Performance, and was included in annual "best-of" lists of the media outlets Rolling Stone and Pitchfork; the former named it one of the 100 Greatest Songs of the 21st Century and 500 Greatest Songs of All Time. In a 2017 journal, which studied structural patterns in melodies of earworm songs, the American Psychological Association called "Bad Romance" the catchiest in the world.

The music video for "Bad Romance", directed by Francis Lawrence, features Gaga inside a surreal white bathhouse where she is kidnapped and drugged by supermodels who sell her to the Russian mafia for sexual slavery. The video ends as Gaga immolates the man who bought her. It garnered acclaim from critics for its fashion, choreography, costumes and symbolism. Briefly becoming the most-viewed YouTube video in 2010, it received a record ten nominations at the MTV Video Music Awards, winning seven, including Video of the Year. It received the Grammy Award for Best Music Video and was named the best music video of the 21st century by Billboard. Gaga has performed "Bad Romance" at television shows, award ceremonies, her concert tours and residency shows, and the Super Bowl LI halftime show.

## Background and release

Lady Gaga and RedOne wrote, produced and arranged "Bad Romance"; they were also responsible for background vocals. RedOne solely handled instrumentation, programming and recording. He worked with Johny Severin on vocal editing, and Dave Russell and Eelco Bakker on audio engineering. The song was mixed by Spike Stent and mastered by Gene Grimaldi. "Bad Romance" was recorded at the Record Plant in Los Angeles and FC Walvisch in Amsterdam.

Before its official release, a demo version was published illegally on the internet on October 2, 2009, prompting Gaga to comment via Twitter that it "is makin[g] my ears bleed. Wait till you hear the real version." Gaga performed a snippet of "Bad Romance" on Saturday Night Live on October 3, 2009, along with "Poker Face" and "LoveGame". The song's final version premiered during the finale of Alexander McQueen's 2010 Paris Fashion Week show titled Plato's Atlantis, which was his last work before his death a few months later. On October 19, "Bad Romance" was released as the lead single from the extended play (EP) The Fame Monster (2009), the reissue of Gaga's debut studio album, The Fame (2008).

"Bad Romance" was one of the songs Gaga wrote in 2009 while touring. These songs were about the various abstract "monsters"—metaphors for her paranoias—she faced during the tour. Gaga explained that she generally felt lonely in her relationships and was attracted to unhealthy romances, which became the song's themes. Gaga wrote the lyrics in Norway on her tour bus. She elaborated on the writing process in an interview with Grazia:

> I was in Russia, then Germany, and spent a lot of time in Eastern Europe. There is this amazing German house-techno music, so I wanted to make a pop experimental record. I kind of wanted to leave the '80s a little bit, so the chorus is a '90s melody, which is what the inspiration was. There was certainly some whisky involved in the writing of the record. It's about being in love with your best friend.

## Music and lyrics

"Bad Romance" is an electropop and dance-pop song with house, new wave and techno influences. Sociologist Mathieu Deflem recognized rock influences in the song. BBC critic Paul Lester noted rave-inspired synthesizer sounds in the song. According to the sheet music on Musicnotes.com, the song is set in common time with a metronome of 119 beats per minute. It is composed in the key of A minor; Gaga's vocal range spans from the low-note of E3 to the high-note of C5. The song follows in the chord progression of Am–C–F–Am-C–G in the verses and F–G–Am–C–F–G–E–Am in the chorus.

Describing Gaga's voice in "Bad Romance", Deflem wrote that it is "at times raw and raspy, not soft and smooth, and incorporates the contrast of gentle and harsh vocal styles, alternating singing softly with screaming loudly". The song opens as Gaga sings a portion of the chorus, then transitions into the "Rah-rah—ah-ah-ah, Roma-roma-ma, Gaga-ooh-la-la" hook, which she says is an abbreviation of the word "romance". The song then incorporates keyboard sounds. They are followed by the first verse and the pre-chorus as Gaga voices the lines, "You know that I want you / And you know that I need you". The "full-throated" chorus follows, where she sings, "You and me could write a bad romance ... / Caught in a bad romance."

Critics noted the influence of others songs and artists on "Bad Romance". Sal Cinquemani of Slant Magazine noticed influences from 1980s music. Simon Price from The Independent and Daniel Brockman of The Phoenix compared the song to works of the groups Boney M. and Depeche Mode, respectively. In the verse, "I want your psycho, your vertigo shtick, Want you in my Rear Window, Baby, you're sick", Gaga is listing Alfred Hitchcock films. She said, "What I'm really trying to say is I want the deepest, darkest, sickest parts of you that you are afraid to share with anyone because I love you that much." Price stated that the line "I want your ugly, I want your disease" established the grim tone of The Fame Monster.

The lyrics address a bad relationship; the Boston Public Health Commission included "Bad Romance" in its "Top 10 List of Songs with Unhealthy Relationship Ingredients". For Brockman, the song is a declaration of "liberation from a significant other". Explaining its title, author Robin James in the book Resilience & Melancholy: Pop Music, Feminism, Neoliberalism wrote it does not romanticize "bad" things but is only "pointing out the badness of conventionally-scripted pop song 'romance' itself".

Katrin Horn, a postdoctoral fellow in American studies, found that "Bad Romance" works on two levels. As the gay and lesbian youth account for a large proportion of Gaga's fans, the line "I don't wanna be friends"—which explores the issue of falling in love with one's heterosexual best friend—resonates with them. On the other hand, the song thematizes Gaga's "bad romance" with fame and fortune. Horn interpreted the part "all your lovers' revenge" as Gaga referencing her fans' previous idols, and in the line "I want your love", she is seeking applause from her fans when performing live.

## Critical reception

"Bad Romance" received widespread critical acclaim. It was named the best song on The Fame Monster by Maureen Lee Lanker of Entertainment Weekly. It was included in lists of best songs of 2009 by Pitchfork—which called it "epic in construction"—MTV News and Rolling Stone. Calling it one of the "most memorable pop singles" of the late 2000s, NME credits the song with establishing Gaga as an icon. In his review of the album, Scott Plagenhoef of Pitchfork found it "arguably the best pop single" of 2009.

"Bad Romance" was praised for its chorus, beat and hook. Kaufman lauded the drastic transition into a bombastic beat during the chorus, which was called catchy by Rolling Stone's Jody Rosen, one of Gaga's best by MusicOMH's Michael Hubbard and "so wonderfully big it dwarfs the industry of a million angry dudes with guitars" by NME's Emily Mackay. Christopher John Farley from The Wall Street Journal praised the "Jabberwockian" catchiness of the hook. Other reviewers commented on the song's sex appeal, praised it for making Gaga's name a "Teutonic chant", and called it a "turbocharged Euro-soul" and a club-friendly tune that possessed a "sordid underbelly".

"Bad Romance" was compared to Gaga's previous singles (including "Just Dance" and "Poker Face") by reviewers, with the criticism that it was not on par with them and lacked their instant catch. Critics compared Gaga to other artists. Kitty Empire of The Guardian wrote "Bad Romance" made "this driven, uncharismatic Italian-American being [Gaga] the new Madonna", and Spin's Josh Modell thought that with its "earworm nonsense lyric ('[r]a-ra-a-a-a, ra-ma, uh-uh-ah!')", the song "plays like the best Madonna song in ages". Jon Blistein from L Magazine believed it is an amalgamation of a Cher song, "faux-European accented verse" and "bland spoken-word bridge".

## Chart performance

In the US, "Bad Romance" debuted at number nine on the Billboard Hot 100 on November 14, 2009, with 143,000 digital downloads. After two weeks, the song reached number two, holding the spot for seven non-consecutive weeks. It was barred from the top position by Jay-Z's "Empire State of Mind" (featuring Alicia Keys) and later Kesha's "Tik Tok" (both 2009). The movement to number two was first prompted by a 49% digital gain, which led to the song's top spot on the Hot Digital Songs chart. As of February 2019, "Bad Romance" has sold 5.9 million copies in the US, according to Nielsen Soundscan, making Gaga the second artist after Katy Perry to have three singles—along with "Just Dance" and "Poker Face"—each sell five million digital copies. After the Recording Industry Association of America (RIAA) started including video streams in their tabulation of the single certifications, "Bad Romance" was certified 11× platinum for 11 million in sales and streaming. According to Nielsen Broadcast Data Systems, it briefly set the record for most weekly plays in the 17-year history of the Pop Songs chart, registering 10,859 plays from 130 radio stations monitored for the chart. Following Gaga's Super Bowl LI halftime show performance in 2017, "Bad Romance" re-entered the Hot 100 at number 50 and Digital Song Sales at number 9. On the Canadian Hot 100, "Bad Romance" debuted at number 58, and reached number one the following week. Replaced by "Tik Tok" for two weeks, "Bad Romance" returned to the top spot on the chart. Music Canada certified "Bad Romance" septuple platinum, denoting download sales of 280,000 copies.

On the European Hot 100 Singles chart, "Bad Romance" spent two weeks at number one. It topped the charts in Austria, Denmark, Finland, Germany, Ireland, Sweden and Norway. In the UK, "Bad Romance" debuted at number 14 on the UK Singles Chart. In December 2009, the song reached the top spot with 72,919 copies sold, making Gaga the first female artist to have three number-one singles in one year. It attained multi-platinum certification by the British Phonographic Industry (BPI). According to the British company Phonographic Performance Limited, the song was the UK's most played in 2010. As of July 2022, "Bad Romance" has sold 1.7 million copies with 84 million streams, making it Gaga's third best selling single in the UK.

"Bad Romance" debuted at number 16 on the ARIA Singles Chart in Australia and at number 33 on the RIANZ Singles Chart in New Zealand, before peaking at number two in both countries. The song was certified quadruple platinum by the Australian Recording Industry Association for shipment of 280,000 copies. The song sold 9.7 million copies worldwide in 2010—making it the second best-selling of the year—and 12 million as of 2018, becoming one of the best-selling singles of all time.

## Music video

### Development

In an interview with Rolling Stone, Gaga confirmed Francis Lawrence as the director of the music video and said that she was impressed with the final version. She explained, "I knew [Lawrence's] ability as a director is so much higher than what I could [do]." Her creative team Haus of Gaga managed the art direction, and the final video premiered on November 10, 2009. Gaga described her experience of working with Lawrence:

> I wanted somebody with a tremendous understanding of how to make a pop video, because my biggest challenge working with directors is that I am the director and I write the treatments and I get the fashion and I decide what it's about and it's very hard to find directors that will relinquish any sort of input from the artist ... But Francis and I worked together ... It was collaborative. He's a really pop video director and a filmmaker ... I knew he could execute the video in a way that I could give him all my weirdest, most psychotic ideas ... But it would come across to and be relevant to the public.

Gaga and Lawrence developed the music video's concept. It was initially planned to be shot in New York City, with more elaborate sets and outdoor space. Owing to the low budget and a lack of product placement, this idea was scrapped. Because of Gaga's schedule, it was shot in Los Angeles over a two-day period. Lawrence was impressed with Gaga's work ethic and creativity during the video shoot; he praised her teamwork, punctuality and spontaneity.

### Synopsis

The video's main idea is that Gaga gets kidnapped by supermodels who drug her and sell her to the Russian mafia for a million rubles. It takes place in a fluorescent white bathhouse. The video begins as Gaga, wearing razor-blade glasses, sits on a white throne in a brightly-lit white room while Johann Sebastian Bach's "Fugue No. 24" is playing in the background. As she plays "Bad Romance" on an iPod speaker, a dimly-lit bathhouse is shown, which has a sign reading "Bath Haus of GaGa" on its walls. As the song's first hook begins, Gaga and other women in latex suits crawl out of white, coffin-like pods, and begin dancing. A pastiche of ensuing scenes alternates between Gaga singing to herself in front of a mirror and lying in a bathtub.

During the chorus, two women pull Gaga out of the bathtub, rip her top clothing off and force her to drink a glass of vodka. As the second verse begins, Gaga, wearing a diamond-covered outfit and crown, seductively dances for men bidding for her. She performs a lap dance for one of them (played by Slovenian model Jurij Bradač), who becomes her highest bidder. When the chorus plays for the third time, Gaga is shown wearing a faux-polar bear hide jacket and walking toward the man, who is sitting on a bed and unbuttoning his shirt. Looking indifferent, she removes her jacket and sunglasses. The bed spontaneously combusts while he is still sitting on it, and Gaga sings sinisterly in front of the flames. The video ends as she lies beside a smoldering skeleton on top of the destroyed bed covered in ashes. With soot smeared across her body, she calmly smokes a cigarette as her pyrotechnic bra activates.

### Reception

The video received general acclaim for its fashion, choreography, futuristic set-piece and costumes. Gaga, described by Christopher John Farley of The Wall Street Journal as "one of the few pop stars of the present time who really understood spectacle, fashion, shock, choreography" like Madonna and Michael Jackson in the 1980s, was particularly praised by Jennifer Cady of E! for revitalizing performance art and putting thoughts and care into her products; Todd Martens of the Los Angeles Times expressed similar sentiments, believing the video to be "worthy of a feature-length film". Critics positively commented on her looks, as they found her minimal use of make-up and the appearance of a "stripped down" and "real" Gaga refreshing.

Media outlets noted the music video was reminiscent of the film Blade Runner (1982), Anubis Airlines from the television series True Blood (2008–2014), the works of filmmaker Stanley Kubrick and Michael Jackson's Thriller. The comparison to the lattermost was made because of the scene with the coffin pods, "twitchy [...] dance moves", and zombie-like arm movements. Farley thought the video's shock art resembled Jackson's work during the 1980s. For Evan Sawdey of PopMatters, it remained unclear whether Gaga deliberately paid homage to Thriller or used this as another excuse to wear "the mostweirdass [sic] outfits ever designed by mankind".

### Thematic analysis

Gaga said that the human trafficking in the video is a metaphor for the music industry's treatment of women as a "commodity". In the book Lady Gaga: Behind the Fame, Emily Herbert drew comparisons between the underlying theme of the video and the theme of The Fame Monster—Gaga's relationship with fame. Herbert wrote, "Was this the price that Gaga had to pay for the fame she so desired? Did she feel as if she'd had to prostitute herself in some way? The themes were all based around sex, decadence, and corruption; alcohol and even cigarettes, twenty-first century society's biggest no-no, were present, and so by implication ... drugs."

Jocelyn Vena from MTV News and Troy Peterson of Slate believed that the video was symbolic. As it begins with Gaga around people representing her characters from The Fame videos, she is immediately kidnapped, drugged and changed into "the super-sexy, somewhat spooky Fame Monster version". Vena interpreted this as Gaga reinventing her image and being someone who likes to "push the boundaries and explor[e] all manner of sexual proclivities". She felt that the video was a testament to Gaga's brilliance as an artist who uses her videos to visualize the start of her career's next phase. Peterson found religious symbolism in the video. He believed, for example, that the scenes with Gaga in the bathtub represented baptism and the women with martini were performing communion.

The video's style, fashion and items were subject to analysis. The pair of razor-blade sunglasses that Gaga wore portrayed tough female spirit; she explained, "It's meant to be, 'This is my shield, this is my weapon, this is my inner sense of fame, this is my monster." Author Robin James found Gaga's style in the video to be heavily inspired by goth fashion and aesthetics, including the Victorian-esque furniture and razor-blade eyeglasses. By visualizing "goth monstrosity", Gaga showcases sexual norms and identities to display the struggle she overcomes. For example, the words "Bath Haus of GaGa" in the video allude to English goth band Bauhaus, and her nude scene highlights her thin body's "grotesqueness" and vertebrae, which look like the ridges on a reptile's back. James associated the "disgusting, distorted, monstrous bodies and movements" with the sexism Gaga faces. She described the video as Gaga's "conquest of the male gaze, the traffic in women and rape culture", which she felt was highlighted in Gaga's "insect" suit with Alexander McQueen's 12-inch (300 mm) armadillo heels resembling lobster-claws—a reference to a female mantis who cannibalizes her male partner after copulation. Mass media theorist Paul Hegarty saw Gaga's use of the heels as a combination of dominance and submission: their height restricts her movement, indicating submissiveness, but her ability to walk in them signifies a subversive dominance. In this way, the video "looks at complicity with controls as a way of surmounting them".

Critics analyzed the ending scene, in which Gaga defeats the villain. Gaga kills her captor using a sparkling, pyrotechnic bra after having had sex with him. According to Mathieu Deflem, the bra represents Gaga's thoughts on society perceiving female breasts as a "weapon" when they are simply part of a woman's body. Author Annette Lynch found the bra a symbol for empowerment, writing that Gaga uses her sexuality to defeat the villain. During this scene, Gaga is seen calmly smoking a cigarette, which to Gilad Padva in the Journal of LGBT Youth indicated that she liked the sexual encounter with her captor, who dies after being exploited by a "voracious" Gaga—an "unruly woman" prioritizing her own satisfaction over attempting to please her male partner. Padva found that this comically reversed "hegemonic [hetro]sexuality", where the submissive and exploited is now dominating and exploiting. In the book The Performance Identities of Lady Gaga: Critical Essays, Jennifer M. Santos believed by overpowering her captor, Gaga redefined gender roles and subverted male fantasies of "fetishistic scopophilia" and "sadistic voyeurism" as evident in the scene where Gaga is forced to strip almost naked and dance for her buyers.

## Accolades and impact

In 2011, "Bad Romance" won the Grammy Award for Best Female Pop Vocal Performance. In 2015, Billboard called the song "the Biggest Hot 100 Hit to Peak at No. 2", describing it as a "modern classic". A 2017 journal published by Psychology of Aesthetics, Creativity, and the Arts studying structural patterns in the melodies of earworm songs compiled lists of catchiest tracks from 3,000 participants, in which "Bad Romance" ranked number one. In 2018 and 2021, Rolling Stone named "Bad Romance" one of the 100 Greatest Songs of the 21st-century and 500 Greatest Songs of All Time, respectively. The following year, Billboard listed it as one of the "100 Best Karaoke Songs of All Time".

A writer for the Official Charts Company wrote that the song "indisputably turned Gaga from a pop girl of the moment into an undeniable superstar [...] A strange and malformed pop song, 'Bad Romance' was the ultimate vessel for Gaga's unlimited and unbridled ambition." Media outlets Rolling Stone, Billboard, The Guardian, The Independent, Vulture, Uproxx and Glamour ranked "Bad Romance" as Gaga's best song. For Vulture, it defined the late 2000s and "completed her transformation into a truly fearless, all-encompassing artist". Rolling Stone believed the song epitomized the "essence of Gagaism" and Billboard opined it captured "her grandiose aesthetic, daring songwriting, lyrical flourishes and dramatic vocal flair". According to Uproxx, the song had elements that influenced Gaga's later work—"pure pop melodies, nods to her love for '80s and '90s dance, pop culture references [...] a radio-friendly chorus that sticks on the charts like honey, and a hefty dose of 'WTF' weirdness that keeps the singer in her own lane". Author Constantine Chatzipapatheodoridis cited "Bad Romance" as one of the signature songs on The Fame Monster, in which Gaga immersed in "her stylized profile of the 'mad artist'", who challenged traditional gender norms and sexuality.

In May 2010, "Bad Romance" became the first video to reach 200 million views on YouTube, briefly becoming the most-viewed video there. In January 2019, the video reached 1 billion views. It received 10 nominations at the 2010 MTV Video Music Awards, including Best Art Direction, Best Special Effects and Best Cinematography, winning Video of the Year, Best Female Video, Best Pop Video, Best Dance Video, Best Direction, Best Editing and Best Choreography. It tied with Peter Gabriel's "Sledgehammer" for the record of most nominations for a single video in the history of the MTV Video Music Award. "Bad Romance" received the Grammy Award for Best Short Form Music Video. Time magazine included "Bad Romance" on its list of best music videos since the 1980s. Its author Claire Suddath said that even if Gaga's subsequent videos were more elaborate, "Bad Romance" was Gaga at her best.

Writing about the impact of Gaga's 2011 song "Born This Way" in the 2010s, Stephen Daw of Billboard called the "Bad Romance" music video a "culture-breaking moment". In 2011, it was voted the best video of the 2000s by readers of Billboard, narrowly beating Britney Spears's "Toxic". The magazine ranked it first in its list of 100 greatest music videos of the 21st century and credited it with establishing Gaga's fan base, known as Little Monsters. "It offered a glimpse into an entire cinematic world that thrilled and disturbed in equal measure, expanding the possibilities of what a music video could achieve — and challenging other stars to step their game up at the same time", wrote Billboard in its listing. "With 'Bad Romance,' she took the old standard for great music videos and set it aflame, then got to work building a new one." In 2021, Rolling Stone Australia listed it as one of the 100 greatest music videos of all time.

## Live performances

Gaga first performed "Bad Romance" on Saturday Night Live in October 2009. She wore an outfit called "The Orb". She performed it on the television show Gossip Girl in the episode "The Last Days of Disco Stick", where she wore a 35-foot (11 m) long dress. In an interview with MTV, Gaga explained that she did not want the performance to be out of tune with the show's storyline, so she worked with the scriptwriters to incorporate it into the plot. Occurring at a private party arranged by the character Blair Waldorf, the episode features Gaga as she emerges from two giant doors and climbs up a ladder, which symbolizes bad luck.

Gaga performed "Bad Romance" at the 2009 American Music Awards. She was dressed in a flesh-colored bodysuit wrapped with white piping and embedded with flashing lights, imitating rib cage and a spine. During her performance, she broke open a glass door with the microphone stand. Gaga sang the song on television shows, including The Jay Leno Show in November 2009, The Ellen DeGeneres Show in November 2009, The X Factor in December 2009, The Oprah Winfrey Show in January 2010, and Today in July 2010. In May 2011, she performed it at Radio 1's Big Weekend in Carlisle, Cumbria and Good Morning America. For the latter, she entered the stage flying on a harness as steam billowed from center-stage. As the song started, she changed to red fishnet stockings with black felt pieces, a red leotard and black lace boots. Katie Kindelan of ABC News commented on Gaga's "trademark outrageous fashion".

"Bad Romance" was the last song in the set list of Gaga's worldwide concert series, The Monster Ball Tour (2009–2011). On the early version of the show, she wore a 1980s-inspired white power suit with high shoulders and high-waisted pants. In the revamped 2010–2011 shows of the tour, she appeared on stage inside a gyroscope while wearing a mirrored dress and headpiece. Remarking on Gaga's "tremendous ambition and passion for her fans", Diana Benati of The Riverfront Times wrote, "Few people on this little blue marble have the ability or the opportunity to affect so many people on a daily basis. She stole [...] hearts". Gaga emerged from an egg for the performance of "Bad Romance" at the Born This Way Ball (2012–2013). Miguel Dumaual of ABS-CBNnews.com felt Gaga's performance "suffers from a little too much auto-dancing, -singing, and all-around hip gyrating". Gaga also performed the track on her 2014 ArtRave: The Artpop Ball tour in a rave-inspired outfit. The same year, she sang a country version of "Bad Romance" at South by Southwest, and strapped on a rose-covered keytar while performing the song at her residency show, Lady Gaga Live at Roseland Ballroom.

In July 2016, Gaga performed it in a piano medley along with "You and I" and the Beatles' "Come Together" at a concert at the BB&T Pavilion in Camden, New Jersey, which was part of the 2016 Democratic National Convention. In November 2016, she appeared in the Carpool Karaoke segment of The Late Late Show with James Corden, and sang the track in the car with its host. Gaga closed her set at the Super Bowl LI halftime show with "Bad Romance", wearing a silver, sequined Versace outfit with a shoulder pad-inspired jacket and hot pants. The song was performed alongside "Poker Face" as an encore during both weekends that Gaga headlined Coachella in 2017. On the Joanne World Tour (2017–2018), Gaga performed "Bad Romance" wearing a white origami-like jacket and a crystal embellished bodysuit with a matching white feathery masquerade mask and Giuseppe Zanotti booties. She did a piano rendition of the song at the 2017 Toronto International Film Festival, before the world premiere of her documentary, Gaga: Five Foot Two.

Gaga sang "Bad Romance" during her residency show, Lady Gaga Enigma + Jazz & Piano (2018–2022), which was divided into two shows. On Enigma, she performed it in a champagne-hued gold outfit, and on Jazz & Piano, she did a stripped-down version. "Bad Romance" was the opening number for The Chromatica Ball, Gaga's 2022 stadium tour, where she performed it from inside a leather sarcophagus-type garment, preceded by Bach's "Fugue No. 24" as the intro, similarly to the song's music video. Nick Levine from NME opined that opening the concert with "Bad Romance", and her previous hit songs—"Poker Face" and "Just Dance"—showed that Gaga had "gumption" and the choice was "clever and daring".

## Cover versions

On March 29, 2010, Thirty Seconds to Mars covered the song in BBC Radio 1's Live Lounge, which reached number 11 on the UK Rock Chart. Singer Lissie posted a cover of the song on YouTube, which received praise from filmmaker David Lynch. The cast of the musical television series Glee performed it on an episode as a group number for which the actors donned Gaga outfits. The song reached number 54 on the Billboard Hot 100 in June 2010. At the 46th Annual Songwriters Hall of Fame Awards, Linda Perry sang the song in a slowed down rendition, before Tony Bennett presented the Contemporary Icon Award to Gaga. "Bad Romance" was briefly played on violin by Geoffrey Rush, portraying Albert Einstein in a promo for the National Geographic Channel historical anthology series Genius. The ad aired during Super Bowl LI immediately after Gaga's halftime performance.

## Track listing and formats

Digital download

1. "Bad Romance" – 4:54

Digital EP

1. "Bad Romance" – 4:54
2. "Bad Romance" (Hercules & Love Affair Remix) – 5:11
3. "Bad Romance" (Chew Fu Remix) – 7:14
4. "Bad Romance" (Starsmith Remix) – 4:55
5. "Bad Romance" (Music Video) – 5:14

European CD single

1. "Bad Romance" (Radio Edit) – 4:24
2. "Bad Romance" (Main) – 4:54

German digital download – remix version

1. "Bad Romance" (Radio Edit) – 4:21
2. "Bad Romance" (Chew Fu Remix) – 7:13
3. "Bad Romance" (Starsmith Remix) – 4:55
4. "Bad Romance" (Grum Remix) – 4:50
5. "Bad Romance" (Bimbo Jones Radio Remix) – 3:58
6. "Bad Romance" (Hercules & Love Affair Remix) – 5:11
7. "Bad Romance" (Hercules & Love Affair Dub Remix) – 5:11
8. "Bad Romance" (Music Video) – 5:14

US digital EP – The Remixes

1. "Bad Romance" (Chew Fu H1N1 Fix) – 7:14
2. "Bad Romance" (Kaskade Remix) – 4:20
3. "Bad Romance" (Bimbo Jones Radio Remix) – 3:58
4. "Bad Romance" (Skrillex Remix) – 4:23

US CD single – The Remixes

1. "Bad Romance" (Chew Fu H1N1 Fix) – 7:14
2. "Bad Romance" (Kaskade Remix) – 4:20
3. "Bad Romance" (Bimbo Jones Remix) – 3:58
4. "Bad Romance" (Skrillex Remix) – 4:23
5. "Bad Romance" (Grum Remix) – 4:51
6. "Bad Romance" (Richard Vission Remix) – 5:23
7. "Bad Romance" (Hercules & Love Affair Remix) – 5:12

US digital EP – The Remixes Pt. 2

1. "Bad Romance" (Grum Remix) – 4:50
2. "Bad Romance" (Richard Vission Remix) – 5:22
3. "Bad Romance" (Hercules & Love Affair Remix) – 5:12
4. "Bad Romance" (Hercules & Love Affair Dub Remix) – 5:12
5. "Bad Romance" (DJ Dan Remix) – 3:44

## Personnel

Credits adapted from the liner notes of The Fame Monster.

Recording locations

- Recorded at Record Plant Studios (Los Angeles) and FC Walvisch (Amsterdam)
- Mastered at Oasis Mastering (Burbank, California)

Credits

- Lady Gaga – lead vocals, co-producer, vocal arrangement, background vocals
- Nadir "RedOne" Khayat – producer, vocal editing, vocal arrangement, background vocals, audio engineering, instrumentation, programming, recording
- Johny Severin – vocal editing
- Dave Russell – audio engineering
- Eelco Bakker – audio engineering
- Mark "Spike" Stent – audio mixing
- Gene Grimaldi – audio mastering

## Charts

### Weekly charts

### Year-end charts

### Decade-end charts

## Certifications and sales

## Release history

## See also

- List of best-selling singles
- List of best-selling singles in the United States
- List of number-one hits of 2009 (Austria)
- List of Hot 100 number-one singles of 2009 (Canada)
- List of number-one hits in Denmark
- List of number-one singles (Sweden)
- List of number-one singles of 2009 and 2010 (Finland)
- List of number-one hits of 2009 (Italy)
- List of number-one singles of 2009 and 2010 (Ireland)
- List of number-one singles of 2009 and 2010 (UK)
- List of European number-one hits of 2010
- List of number-one hits of 2010 (France)
- List of number-one hits of 2010 (Germany)
- List of number-one singles of 2010 (Hungary)
- List of Romanian Top 100 number ones of the 2010s
- List of number-one dance singles of 2009 (U.S.)
- List of number-one dance singles of 2010 (U.S.)
- List of number-one dance airplay hits of 2010 (U.S.)
- List of Mainstream Top 40 number-one hits of 2010 (U.S.)
- List of number-one singles of 2010 (Spain)
- List of most-viewed YouTube videos

## Literary sources

[2009 singles](Category:2009_singles "wikilink") [2009 songs](Category:2009_songs "wikilink") [Lady Gaga songs](Category:Lady_Gaga_songs "wikilink") [Canadian Hot 100 number-one singles](Category:Canadian_Hot_100_number-one_singles "wikilink") [European Hot 100 Singles number-one singles](Category:European_Hot_100_Singles_number-one_singles "wikilink") [Franglais songs](Category:Franglais_songs "wikilink") [Grammy Award for Best Female Pop Vocal Performance](Category:Grammy_Award_for_Best_Female_Pop_Vocal_Performance "wikilink") [Grammy Award for Best Short Form Music Video](Category:Grammy_Award_for_Best_Short_Form_Music_Video "wikilink") [Cherrytree Records singles](Category:Cherrytree_Records_singles "wikilink") [Interscope Records singles](Category:Interscope_Records_singles "wikilink") [Irish Singles Chart number-one singles](Category:Irish_Singles_Chart_number-one_singles "wikilink") [Monitor Latino Top Inglés number-one singles](Category:Monitor_Latino_Top_Inglés_number-one_singles "wikilink") [Music videos directed by Francis Lawrence](Category:Music_videos_directed_by_Francis_Lawrence "wikilink") [MTV Video of the Year Award](Category:MTV_Video_of_the_Year_Award "wikilink") [MTV Video Music Award for Best Female Video](Category:MTV_Video_Music_Award_for_Best_Female_Video "wikilink") [MTV Video Music Award for Best Direction](Category:MTV_Video_Music_Award_for_Best_Direction "wikilink") [Number-one singles in Austria](Category:Number-one_singles_in_Austria "wikilink") [Number-one singles in Denmark](Category:Number-one_singles_in_Denmark "wikilink") [Number-one singles in Finland](Category:Number-one_singles_in_Finland "wikilink") [SNEP Top Singles number-one singles](Category:SNEP_Top_Singles_number-one_singles "wikilink") [Number-one singles in Germany](Category:Number-one_singles_in_Germany "wikilink") [Number-one singles in Greece](Category:Number-one_singles_in_Greece "wikilink") [Number-one singles in Hungary](Category:Number-one_singles_in_Hungary "wikilink") [Number-one singles in Iceland](Category:Number-one_singles_in_Iceland "wikilink") [Number-one singles in Israel](Category:Number-one_singles_in_Israel "wikilink") [Number-one singles in Italy](Category:Number-one_singles_in_Italy "wikilink") [Number-one singles in Norway](Category:Number-one_singles_in_Norway "wikilink") [Number-one singles in Romania](Category:Number-one_singles_in_Romania "wikilink") [Number-one singles in Russia](Category:Number-one_singles_in_Russia "wikilink") [Number-one singles in Scotland](Category:Number-one_singles_in_Scotland "wikilink") [Number-one singles in Spain](Category:Number-one_singles_in_Spain "wikilink") [Number-one singles in Sweden](Category:Number-one_singles_in_Sweden "wikilink") [Song recordings produced by Lady Gaga](Category:Song_recordings_produced_by_Lady_Gaga "wikilink") [Song recordings produced by RedOne](Category:Song_recordings_produced_by_RedOne "wikilink") [Songs written by Lady Gaga](Category:Songs_written_by_Lady_Gaga "wikilink") [Songs written by RedOne](Category:Songs_written_by_RedOne "wikilink") [UK Singles Chart number-one singles](Category:UK_Singles_Chart_number-one_singles "wikilink")

2009 single by Lady Gaga


Diver communications

Diver communications are the methods used by divers to communicate with each other or with surface members of the dive team. In professional diving, diver communication is usually between a single working diver and the diving supervisor at the surface control point. This is considered important both for managing the diving work, and as a safety measure for monitoring the condition of the diver. The traditional method of communication was by line signals, but this has been superseded by voice communication, and line signals are now used in emergencies when voice communications have failed. Surface supplied divers often carry a closed circuit video camera on the helmet which allows the surface team to see what the diver is doing and to be involved in inspection tasks. This can also be used to transmit hand signals to the surface if voice communications fails. Underwater slates may be used to write text messages which can be shown to other divers, and there are some dive computers which allow a limited number of pre-programmed text messages to be sent through-water to other divers or surface personnel with compatible equipment.

Communication between divers and between surface personnel and divers is imperfect at best, and non-existent at worst, as a consequence of the physical characteristics of water. This prevents divers from performing at their full potential. Voice communication is the most generally useful format underwater, as visual forms are more affected by visibility, and written communication and signing are relatively slow and restricted by diving equipment.

Recreational divers do not usually have access to voice communication equipment, and it does not generally work with a standard scuba demand valve mouthpiece, so they use other signals. Hand signals are generally used when visibility allows, and there are a range of commonly used signals, with some variations. These signals are often also used by professional divers to communicate with other divers. There is also a range of other special purpose non-verbal signals, mostly used for safety and emergency communications.

## Function

For safety and efficiency, divers may need to communicate with others diving with them, or with their surface support team. The interface between air and water is an effective barrier to direct sound transmission, and the natural water surface is also a barrier to visual communication across the interface due to internal reflection, particularly when not perfectly smooth. The equipment used by divers and the pressurised environment are also hindrances to sound-based communication, and the encumbrance of diving equipment, relatively low light levels, and low visibility of many diving environments also hinders visual communication.

Communication is most critical in an emergency, where high stress levels make effective communication more difficult, and the circumstances of the emergency may make the communication physically more difficult. Voice communication is natural and effective where it is practicable, and most people rely on it for fast and accurate communication in most circumstances.

The general requirements for an effective system for diver communication are that all the people who will use it have access to the system, that it functions effectively in the specific environment, that the people who wish to use it are familiar enough with it to communicate quickly, accurately and unambiguously with each other, and that the system has sufficient range to work when needed. A simple, logical and widely standardised system of signals is more effective at meeting these requirements. Several such systems have been developed using different equipment and suited for different circumstances. These include sound-based systems, visual systems and tactile systems.

## History

The original communication between diver and surface attendant was by pulls on the diver's lifeline. Later, a speaking tube system, patented by Louis Denayrouze in 1874, was tried; this used a second hose with a diaphragm sealing each end to transmit sound, but it was not very successful. A small number were made by Siebe-Gorman, but the telephone system was introduced soon after this and since it worked better and was safer, the speaking tube was soon obsolete, and most helmets which had them were returned to the factory and converted. In the early 20th century electrical telephone systems were developed which improved the quality of voice communication. These used wires incorporated into the lifeline or air line, and used either headsets worn inside the helmet or speakers mounted inside the helmet. The microphone could be mounted in the front of the helmet or a contact throat-microphone could be used. At first it was only possible for the diver to talk to the surface telephonist, but later double telephone systems were introduced which allowed two-divers to speak directly to each other, while being monitored by the attendant. Diver telephones were manufactured by Siebe-Gorman, Heinke, Rene Piel, Morse, Eriksson, and Draeger among others. This system was well-established by the mid-20th century, has been improved several times as new technology became available, and is still in common use for surface-supplied divers using lightweight demand helmets and full-face masks. The introduction of closed circuit video to monitor the interior of diving bells, and to provide the supervisory team with direct feedback on the diver's work activities has expanded the capacity to provide useful advice to the working diver, and to keep track of the stand-by diver or 's activity in an emergency, making coordinated activity easier and more effective.

More recently, through-water systems have been developed which do not use wires to transmit the signal. They were first developed for the U.S. Navy in the late 1960s. An early system for recreational scuba, the Wet Phone, was launched by Sound Wave Systems in 1977, but failed. By the mid-1980s miniaturized electronics made it possible to use single-sideband modulation, which greatly improved intelligibility in good conditions. By 1988 several systems using single side-band were found satisfactory by the US Navy for intelligibility and range, and mostly satisfactory for ergonomics, reliability and maintainability. Through-water systems allow communications over limited distances between divers and with the surface, usually using a push to talk system, which minimises power consumption by transmitting only on demand. They are not yet in general use by recreational divers due to cost and the need for a full-face mask.

## Scope

Surface supplied diving uses the widest range of equipment and methods. As of 2021, hard wired (cable) voice communications are still the primary method, supported in major commercial applications by one-way closed circuit video but line pull signals are also used as an emergency backup, and through-water voice systems may be used as emergency backup for closed diving bells. Local communication between divers includes hand signals and text written on slates.

Scuba diving can be done with cable voice communications, but the restriction on mobility makes this an unusual choice as it negates the primary reason for using scuba. Through-water voice communications do not have the same restriction on diver mobility, which is often the reason for choosing scuba for professional diving, but are more complex, more expensive, and less reliable than the hard-wired systems. There are some recreational applications for through-water voice communications for scuba, but this method is usually used for professional applications such as military and scientific diving, and almost all recreational diving relies on hand signals, light signals and writing slates for diver-to-diver communications, with the very few communications between diver and surface restricted to pre-arranged emergency signals. Breath-hold divers use a subset of the recreational diving hand signals where applicable, and have some additional hand-signals specific to freediving.

The presence of divers in the water during a diving operation exposes the divers to risks from passing waterborne traffic, and there are internationally standardised shape, light and flag signals to indicate that the diving support vessel is restricted in its ability to maneuver and that there are divers in the water.

## Voice communications

### Equipment

Both hard-wired (cable) and through-water electronic voice communications systems may be used with surface supplied diving. Wired systems are more popular as there is a physical connection to the diver for gas supply in any case, and adding a cable does not make the system any different to handle. Wired communications systems are still more reliable and simpler to maintain than through-water systems, and do not require the diver to carry a power source. The communications equipment is relatively straightforward and may be of the two-wire or four-wire type. Two wire systems use the same wires for surface to diver and diver to surface messages, whereas four wire systems allow the diver's messages and the surface operator's messages to use separate wire pairs, allowing simultaneous speech in both directions. A standard arrangement with wired diver communications is to have the diver's side normally on, so that the surface team can hear anything from the diver at all times except when the surface is sending a message on a two-wire system. This is considered an important safety feature, as the surface team can monitor the diver's breathing sounds, which can give early warning of problems developing, and confirms that the diver is alive.

Through-water communications systems are more suitable for scuba as the diver is not encumbered by a communications cable, but they can be fitted to surface supplied equipment if desired. Most through-water systems have a push to talk system, so that high power is only used to transmit the signal when the diver has something to say. For commercial diving applications this is a disadvantage, in that the supervisor cannot monitor the condition of the divers by hearing them breathe.

Through-water communication systems are of two basic types. Acoustic systems provide one-way communications from the surface to divers. An audio signal emitted by a submerged transducer travels through the water to the divers, who can hear the sound directly, without signal receiving equipment. Amplitude modulated (AM) and single sideband (SSB) systems provide two-way communications between divers and between the surface and divers. Both the AM and SSB systems require electronic transmitting and receiving equipment worn by the divers, and an immersed transducer connected to the surface unit. SSB systems perform better around obstacles, and AM systems give a stronger and often clearer signal for the same power, but are restricted to line-of-sight use.

The diver's speech is picked up by the microphone and converted into a high frequency sound signal transmitted to the water by the omnidirectional transducer. The signal can bounce off the bottom and surface and other obstructions, which can extend the range around obstructions, but will also degrade the signal due to interference effects caused by varying path lengths of different routes. When a receiving transducer picks up the signal, the ultrasonic signal is converted to an amplitude modulated electrical signal, amplified and converted to sound by the earphone. The through-water communications sets carried by the divers are battery powered.

The push-to-talk (PTT) method is the most widely available system for through-water communications, but some equipment allows continuous transmission, or voice activated mode (VOX).

Push to talk is simple, efficient, and the preferred mode of many divers. It transmits only when the button is pressed, and saves power by not transmitting when the diver has nothing to say, but requires the diver to use a hand to transmit. Users take turns to speak and listen. This is normal communications protocol, and encourages clear communication, but does not allow audio monitoring of the diver between communications.

Voice activated means that the unit is intended to transmit when the diver's voice activates the microphone. If there is sufficient sound level generated at the microphone, the unit will transmit. This would run the battery down more rapidly when the background noise level is sufficient to activate transmission, but it allows hands-free communications.

Continuous transmission is a mode where one diver transmits continuously. This is hands free, but all audible noise will be heard by others on the same channel and within range. Open circuit breathing apparatus generally produces considerable exhalation bubble noise.

Through-water systems are also used for back-up to the wired communications via the umbilical generally used in closed diving bells. These systems are used in case of failure of the wired system, and do not rely on the integrity of the bell umbilical, so will work if the umbilical is severed and the bell lost. They operate between a battery powered transducer on the bell and a surface unit using a similar acoustic signal to those used for wireless diver communications. Single side-band suppressed carrier systems may be used, and a 27 kHz frequency with 4.2 kHz bandwidth is typical. Divers breathing helium may need a decoder system (also called unscrambling), which reduces the frequency of the sound to make it more intelligible.

### Voice communication protocol

Underwater voice communication protocol is like radio communication protocol. The parties take turns to speak, use clear, short sentences, and indicate when they have finished, and whether a response is expected. Like radio, this is done to ensure that the message has a fair chance of being understood, and the speaker is not interrupted. When more than one recipient is possible, the caller will also identify the desired recipient by a call up message, and will also usually identify themselves. The surface caller should also give the diver a chance to temporarily suspend or slow down breathing, or stop using noisy equipment, as breathing noise generated by gas flow through the inlet and bubble noise from the exhaust is often so loud that the message can not be heard over it.

### Hyperbaric speech distortion

The process of talking underwater is influenced by the internal geometry of the life support equipment and constraints on the communications systems as well as the physical and physiological influences of the environment on the processes of speaking and vocal sound production. The use of breathing gases under pressure or containing helium causes problems in intelligibility of diver speech due to distortion caused by the different speed of sound in the gas and the different density of the gas compared to air at surface pressure. These parameters induce changes in the vocal tract formants, which affect the timbre, and a slight change of pitch. Several studies indicate that the loss in intelligibility is mainly due to the change in the formants.

The difference in density of the breathing gas causes a non-linear shift of low-pitch vocal resonance, due to resonance shifts in the vocal cavities, giving a nasal effect, and a linear shift of vocal resonances which is a function of the velocity of sound in the gas, known as the Donald Duck effect. Another effect of higher density is the relative increase in intensity of voiced sounds relative to unvoiced sounds. The contrast between closed and open voiced sounds and the contrast between voiced consonants and adjacent vowels decrease with increased pressure. Change of the speed of sound is relatively large in relation to depth increase at shallower depths, but this effect reduces as the pressure increases, and at greater depths a change in depth makes a smaller difference.

Helium speech unscramblers are a partial technical solution. They improve intelligibility of transmitted speech to surface personnel.

## Video communications

Closed circuit video is often fitted to the helmets of surface supplied commercial divers to provide information to the surface team of the progress of work done by the diver. This may allow the surface personnel to direct the diver more effectively to facilitate the completion of the task. Voice communication is always provided when diver video is used. The communications cables for these systems are part of the diver's umbilical. Video may also be used to monitor the occupants of a closed diving bell.

## Hand signals

Hand signals are a form of sign system used by divers to communicate when underwater. Hand signals are useful whenever divers can see each other, and some can also be used in poor visibility if in close proximity, when the recipient can feel the shape of the signaller's hand and thereby identify the signal being given. At night the signal can be illuminated by the diver's light. Hand signals are the primary method of underwater communication for recreational scuba divers, and are also in general use by professional divers, usually as a secondary method.

Divers who are familiar with a sign language such as American sign language and equivalents may find it useful underwater, but there are limitations due to the difficulty of performing some of the gestures intelligibly underwater with gloved hands and often while trying to hold something.

### RSTC hand signals

Member agencies of the Recreational Scuba Training Council (RSTC) in the United States have recognised a standardised set of hand signals intended for universal use, which are taught to diving students early in their entry level diving courses.

These hand signals provide the following information:

- I am out of breath! Hands indicate rising and falling chest.
- Go that way: Fist with one hand, thumb extended and pointing in the direction indicated.
- Go under, over or around: With palm down, hand motion used to indicate intended route to go under, over or around an obstacle.

### Other commonly used hand signals and variations

Diving signals sometimes differ between groups of divers. There are regional variations and variations that relate to the type of diving. One of the items with the largest range of variations is how divers indicate the remaining gas pressure in their cylinders. Some variations include:

- The throat cut signal: "general danger" or "emergency".
- Tapping the mouthpiece: "share air".
- Pointing at the ear: "listen!"
- Hand cupped behind ear: "listen!"
- Pointing at someone changes the reference of the next signal from "I" to the diver pointed at.
- Flat hand swept over top of head, palm down: "I have a ceiling". This can indicate the diver has gone into or that there is a solid obstruction overhead. When ascending it means "stop here". (this is my decompression ceiling, or we are ascending too fast, or just generally stop ascending at this depth).
- Moving hand across torso in wave motion: "Current"

Divers sometimes invent local signals for local situations, often to point out local wildlife. For example:

- I see a hammerhead shark: Both fists against sides of head
- I see a lobster: Fist with index and middle finger pointed out horizontally and alternately waggling up and down
- I see an octopus: Back of hand or wrist covering mouth, all fingers pointing outward from mouth and wiggling
- I see a shark: Hand flat, fingers vertical, thumb against forehead or chest
- I see a turtle: Hands flat one on top of each other, palms down, waving thumbs up and down together

Instructor signals:

- You (all) watch me. (usually before demonstrating a skill): Point at diver(s) with forefinger, point at own eyes with forefinger and middle finger, point at own chest with forefinger.
- You try that now, or do it again: Gesture with open hand palm up towards student after a demonstration of a skill.

## Dive light signals

The focused beam of a dive light can be used for basic signalling as well.

- OK signal: Drawing a circle on the ground in front of buddy.
- Attention please! Waving the torch up/down.
- emergency! Rapid, repeated, back and forth horizontal motion

Normally a diver does not shine a torch / flashlight in another diver's eyes but directs the beam to his or her own hand signal.

## Touch signals

There are a few tactile signals in use by penetration divers for controlling a blind passage through an area of extremely low visibility, or where the restrictions do not allow the divers to see each other well enough to use hand signals. The Rimbach system of touch contact signalling:

- Push forward = go,
- Pull back = back up,
- Squeeze = stop.

## Line signals

Also known as rope signals, these are generally used in conditions of low visibility where a diver is connected to another person, either another diver or a line tender on the surface, by a rope, airline hose or diver's umbilical. These date back to the time of the use of standard diving dress. Some of these signals, or pre-arranged variants, can be used with a surface marker buoy. The diver pulls down on the buoy line to make the buoy bob in an equivalent pattern to the rope signal. Effective line signals need a free line without much slack – before attempting a line signal, the slack must be taken up, and the line pulled firmly. Most signals are acknowledged by returning the same signal, which shows that it was received accurately. Persistent failure to acknowledge may indicate a serious problem and should be resolved as a matter of urgency. There are several systems in use, and it is necessary to have agreement between diver and tender before the dive.

### British Sub-Aqua Club

BS-AC have a very small set of rope signals. Most of them have the same meaning as the equivalent commercial or Royal Navy signal.

Tender to diver

- One pull – Are you OK?
- Two pulls – Stay put.
- Three pulls – Go down.
- Four pulls – Come up at normal rate.
- Five or more pulls – Emergency, come up to the surface!

Diver to tender

- One pull – I am OK.
- Two pulls – I am stationary.
- Three pulls – I am going down.
- Four pulls – I am coming up.
- Five or more pulls – Emergency, bring me to the surface! (no reply required)

### Public Safety Divers

Public safety divers and some recreational divers use the following line signals while conducting circular and arc searches underwater.

Tender to diver

- One pull – Are you OK?
- Two pulls – Stop, take out slack, reverse direction.
- Three pulls – Come to the surface.
- Four pulls – Stop, stand by, don't move. (there could be danger ahead or a boat entering the search area)

Diver to tender

- One pull on the line – OK.
- Two pulls – Pay out more line.
- Three pulls – Object found.
- Four or more pulls – Assistance needed.

### Commercial diving

Rope signals used in the UK and South Africa include the following:

Signals are combinations of pulls and bells, A pull is a relatively long steady tension on the line. Bells are always given in pairs, or pairs followed by the remaining odd bell. They are short tugs, and a pair is separated by a short interval, with a longer interval to the next pair or the single bell. The technique and nomenclature derive from the customary sounding of the ships bell every half-hour during the watches, which is also performed in pairs, with the odd bell last. One bell is not used as a diving signal as it is difficult to distinguish it from a jerk caused by temporarily snagging the line.

Attendant to diver:

General signals:

- 1 pull – Calling for attention, are you OK?
- 2 pulls – I am sending down a rope's end. (or other pre-arranged item)
- 3 pulls – You have come up too far, go back down until we stop you.
- 4 pulls – Come up.
- 4 pulls and 2 bells – Come to the surface immediately. (often for surface decompression)
- 4 pulls and 5 bells – Come up your safety float line.

Direction signals:

- 1 pull – Search where you are.
- 2 bells – Go out along the or distance line, or straight out away from tender.
- 3 bells – Facing shot or tender, go right.
- 4 bells – Facing shot or tender, go left.
- 5 bells – Come back towards shot or , or back along the jackstay.

Diver to attendant:

General signals:

- 1 pull – To call attention, or have completed the last instruction.
- 2 pulls – Send down a rope's end. (or other pre-arranged item)
- 3 pulls – I am going down.
- 4 pulls – I wish to come up.
- 4 pulls and 2 bells – Help me up.
- 5 or more pulls – Emergency, pull me up immediately!
- succession of 2 bells – I am fouled and need standby diver to assist.
- succession of 3 bells – I am fouled but can get clear without assistance.
- 4 pulls and 4 bells – I am trying to communicate on voice comms.

Working signals:

- 1 pull – Hold on or stop.
- 2 bells – Pull up.
- 3 bells – Lower.
- 4 bells – Take up slack on the lifeline or lifeline is too tight.
- 5 bells – I have found, started or completed the work.

### Royal Navy

All signals start with a pull to attract attention, and this must be acknowledged before the actual signal is made. Royal Navy (RN) signals include short, paired "bells" and longer "pulls". The RN signals are almost identical to the rope signals used by commercial divers in the UK and South Africa.

### US Navy

The US Navy also has a standard set of line signals. These include general signals from diver to tender, search signals and emergency signals. The signal to change from general to search signals or vice versa is seven pulls, and the meaning of the signals may vary depending on whether it is given by the diver or the tender. Most signals are acknowledged by returning the same signal, confirming that the signal was received correctly.

## Slates

Written messages on plastic slates can be used to convey complex messages with a low risk of misunderstanding. Slates are available in various sizes and are usually hard white plastic with a matte finish, suitable for writing on with a pencil. They can be stored in various ways, but in a pocket or bungeed to the wrist are popular methods. Clipped to the diver by a lanyard is another method, but there is a greater risk of entanglement. Slates may be used to record information to be used on the dive, such as decompression schedules, to discuss matters of importance for which hand signals are not sufficient, and to record data collected during the dive. Waterproof paper wet-notes are a compact equivalent, and pre-printed waterproof data-sheets and clip-board are routinely used by scientific divers for recording observations.

## Cave line markers

Cave arrows, Line arrows or Dorff markers (after Lewis Holtzendorff) are plastic arrowhead markers which are hooked onto a cave line by wrapping the line around the arrow through the slots. They are used to indicate the direction to the exit, and can be identified by feel. The message is simple, but of critical importance, as if a diver does not know which way to go at a line junction there is a risk of serious trouble. Line arrows are also used at a junction on the permanent line, and at a tie-off, so when the diver gets back to the tie-off, he or she can identify which way to turn.

Non-directional and hybrid personal line markers are used to indicate the identity of a diver who has passed along the line and has not yet returned to that point. They are attached to the line in the same way as cave arrows, and are deployed on the way into the cave, usually at critical points such as forks or jumps, and are used to indicate to other divers that someone is further in along the line. They are marked to identify the diver, and are recovered by the diver on the way out. Cookies (round markers), rectangular referencing exit markers and clothes pegs are used for this purpose. The round and rectangular markers are attached to the line in the same way as arrows, and may be personalised in any way that the owners can easily recognise. Colour is often used, but as there are a limited number of standard colours available, and they are often poorly distinguishable in the dark, modifications to shape may be used which can be recognised by touch.

Arrows should always be placed on the outbound side of an intersection as this is unambiguous. Sometimes there is more than one exit from an intersection. Both should be marked with arrows, but the preferred exit can be marked with two arrows in series. The arrows always point in the direction along the line towards an exit.

## Light and gas signals for surface supplied dives

There are emergency signals usually associated with wet and closed bell diving by which the surface and bellman can exchange a limited amount of information which may be critical to the safety of the divers. They are for use when the voice communications system fails, and provide enough information that the bell can be recovered with minimal risk to the divers. These signals are not generally applicable to a diver who is supplied directly by umbilical from the surface, but if the umbilical is snagged and rope signals cannot be transmitted, these signals may be provided by hat light flashes and helmet flush (blowing gas from the helmet in a continuous stream by opening the or pressing the purge button).

- Two light flashes at the bell means that the surface is not receiving voice communications from the bell. The bellman responds by blowing down bell gas twice, creating two large distinct eruptions of bubbles that will be seen at the surface, then recalls the diver and prepares for surfacing.
- When the bell is ready to surface and the voice communications are not functioning, the bellman will blow down bell gas four times.
- If there is a problem during the ascent, a long continuous blow-down is the signal to stop.

## Miscellaneous emergency signals

Tap codes, made by knocking on the hull, are used to communicate with divers trapped in a sealed bell or the occupants of a submersible or submarine during a rescue.

A scuba diver who deploys a Delayed Surface Marker Buoy (DSMB) at the end of a dive may use a pre-arranged colour code to indicate to the surface support crew if there is a problem for which assistance is required. In some circles a yellow DSMB is considered an emergency signal, and red means OK. In most circles a second DSMB deployed on the same line will indicate a problem. A DSMB can also be used to carry up a slate with a message, but this is unlikely to be noticed unless a special arrangement has been made.

Other minor emergency signals include the use of mirrors, inflatable signal tubes, floating streamers, compressed air sirens, whistles and other noisemakers to alert the surface support personnel of a problem.

VHF radios and personal emergency locator beacons are available which can transmit a distress signal to nearby vessels and are pressure resistant to recreational diving depths, so they can be carried by a diver and activated at the surface if out of sight of the boat.

## Diver down signals

### Flags

A diver down flag, or scuba flag, is a flag used on the water to indicate that there is a diver below. Two styles of flag are in use. Internationally, the code flag "alpha", which has a white hoist and blue swallowtail fly, is used to signal that the vessel has a diver down and other vessels should keep well clear at slow speed. In North America a red flag with a white diagonal stripe from the upper left corner to the lower right corner is customarily used. The purpose of these flags is to notify other boats to steer clear for the safety of the divers and to avert the possibility of a collision with the dive boat which may be unable to maneuver out of the way.

### Light and shape signals

A vessel supporting a diving operation may be unable to take avoiding action to prevent a collision, as it may be physically connected to divers in the water by lifelines or umbilicals, or may be maneuvering in the close proximity to divers, and is required to indicate this constraint by international maritime law, using the prescribed light and shape signals, and other vessels are obliged to keep clear, both for the safety of the divers, and to prevent collision with the diving support vessel. These signals and the rules for responding to them are specified in Rule 27 of the International Regulations for Preventing Collisions at Sea, also known as COLREGS, and "Rules of the Road", as quoted below.

A vessel restricted in her ability to manoeuvre, except a vessel engaged in mine-clearance operations, shall exhibit:

1. three all-round lights in a vertical line where they can best be seen. The highest and lowest of these lights shall be red and the middle light shall be white;
2. three day shapes in a vertical line where they can best be seen. The highest and lowest of these shapes shall be balls and the middle one a diamond;
3. when making way through the water, a masthead light or lights, sidelights and a sternlight, in addition to the lights prescribed in sub-paragraph 1;
4. when at anchor, in addition to the lights or shapes prescribed in sub-paragraphs 1 and 2, the light, lights or shape prescribed in Rule 30.

A vessel engaged in dredging or underwater operations, when restricted in her ability to manoeuvre, shall exhibit the lights and shapes prescribed in sub-paragraphs (1, 2 and 3 above) of this Rule and shall in addition, when an obstruction exists, exhibit:

1. two all-round red lights or two balls in a vertical line to indicate the side on which the obstruction exists;
2. two all-round green lights or two diamonds in a vertical line to indicate the side on which another vessel may pass;
3. when at anchor, the lights or shapes prescribed in this paragraph instead of the lights or shape prescribed in Rule 30.

Whenever the size of a vessel engaged in diving operations makes it impracticable to exhibit all lights and shapes prescribed in paragraph (above) of this Rule, the following shall be exhibited:

1. three all-round lights in a vertical line where they can best be seen. The highest and lowest of these lights shall be red and the middle light shall be white;
2. a rigid replica of the International Code flag "A" not less than 1 metre (3.3 ft) in height. Measures shall be taken to ensure its all-round visibility.

### Surface marker buoys

Permanently buoyant or inflatable surface marker buoys may be used to identify and/or mark the presence of a diver below. These may be moored, as a shotline, and indicate the general area with divers, or tethered to one of the divers by a line, indicating the location of the group to people at the surface. This type of buoy is usually brightly coloured for visibility, and may be fitted with one of the diving flag signals. A surface marker buoy (SMB) tethered to a diver is usually towed on a thin line attached to a reel, spool or other device which allows the diver to control the line length to suit the depth, so that excessive slack line can be avoided.

A deployable, or delayed surface marker buoy (DSMB) is an inflatable marker which the diver inflates while underwater and sends up at the end of a line to indicate position, and usually either that he or she is ascending, or that there is a problem. The use of a DSMB is common when divers expect to do decompression stops away from a fixed reference, or will be surfacing in an area with boat traffic, or need to indicate their position to the dive boat or surface team. Divers can carry two differently coloured DSMBs so that they can signal to their surface support for help while decompressing underwater. By one system, a red buoy indicates normal decompression and a yellow buoy indicates a problem, such as shortage of gas, that the surface support should investigate and resolve. In other circles, two buoys of any colour on one line means the same.

A group of moored surface marker buoys may be used to demarcate an area in which diving is taking place. This is more likely to be used by commercial, scientific or public service divers to cordon off a work or search area, or an accident or crime scene.

## Ultrasonic wearables

The Buddy-Watcher is a wrist mounted buddy alert device which sends an ultrasonic signal when a key is pressed, for at least 20 metres (66 ft) through the water to the matching unit on the dive buddy, which will produce a silent vibratory and visual signal alerting the diver that their buddy wants attention. There is no direct indication to the sender whether the signal has been received and no indication of distance or direction to the buddy. The device is waterproof to 40 metres (130 ft), and therefore is suited for recreational scuba diving use, but not technical diving.

The UDI-28 and UDI-14 wrist mounted decompression computers have a communications feature between wrist units and a surface unit which includes distress signals, a limited set of text messages and a homing signal

## Underwater messaging using smartphones and smartwatches

In 2022, University of Washington, developed a software app, AquaApp, for mobile devices that repurposes the microphones and speakers on existing smartphones and watches to enable underwater acoustic communication between divers. The software running on commodity Android smartphones placed in water-proof cases, supports sending one of 240 pre-set messages including SoS beacons and has a range of up to 100 metres.

Methods used by underwater divers to communicate


Shay Given

Séamus John James Given (born 20 April 1976) is an Irish former professional footballer who played as a goalkeeper. With 134 caps, he is the second-highest capped Republic of Ireland player.

Given started his career at Celtic, however he never made a first-team appearance and he was released by Celtic and signed by Blackburn Rovers on a free transfer in 1994. Given was part of both the Sunderland team who won the Football League First Division title in 1995–96 and the Swindon Town team who won the Football League Second Division title that same season, while on loan from Blackburn. He was signed by Newcastle United in 1997 for a fee of £1.5 million, and it was there that he began competing to be a first-choice Premier League goalkeeper. Given was part of the teams who were runners-up in the 1998 and 1999 FA Cup campaigns, and was named in the Premier League Team of the Season for 2001–02 and 2005–06. He played in the UEFA Champions League and UEFA Cup with Newcastle, and was involved in the club's title challenge in 2001–02. Although he submitted a transfer request during the 2000–01 campaign after losing his position in the starting line-up, it was denied, and Given went on to regain his place.

On 1 February 2009, Given transferred to Manchester City for £6 million on a four-and-a-half-year contract. While Given was at Manchester City, the club qualified for the UEFA Champions League for the first time in its history after finishing third in the Premier League, as well as winning the FA Cup, though he did not appear in the league in the campaign that City reached the Champions League, nor did he play in the FA Cup. On 18 July 2011, he joined Aston Villa for a fee believed to be around £3.5 million, signing a five-year contract. Given joined Stoke City in July 2015, remaining with the club for two seasons.

Having surpassed the total of 100 caps required for membership, he is part of the FIFA Century Club. Given gained his first international cap in 1996 and played in goal during every match for his country during the 2002 FIFA World Cup campaign, helping them reach the knockout stage. He was later on the pitch in Paris when the Republic of Ireland were knocked out of the play-offs for a spot in the 2010 FIFA World Cup by France before helping his team qualify for UEFA Euro 2012. Given played at UEFA Euro 2012 and was selected in Martin O'Neill's 23-man squad for UEFA Euro 2016 but didn't appear in any of Ireland's four matches at the tournament. Given is the second-highest capped Republic of Ireland player (after Robbie Keane). He announced his international retirement in July 2016, having amassed 134 caps for his country and kept 52 clean sheets.

## Club career

### Early career

Born in Lifford, County Donegal, Given's footballing career began at local amateur side Lifford Celtic where he shot to notoriety for conceding seven goals on his debut. He was propelled into the limelight when he played in an FAI Junior Cup semi-final for Lifford Celtic. At 14, his performances for the club attracted attention from Scottish club Celtic, and he was invited to train with their youth side during a pre-season tour of Ireland in 1991. Given signed for the club a year later. Despite being named to the substitutes bench for the Old Firm derby against Rangers on 1 January 1994, Given never made a first-team appearance.

His performances for Celtic's youth team did bring him to the attention of Blackburn Rovers manager Kenny Dalglish, and he signed for the English side on a free transfer in the summer of 1994.

### Blackburn Rovers

The season after Given's arrival saw Blackburn win the Premier League title and Given was unable to oust first-choice goalkeeper and England international Tim Flowers from the team. He made two loan moves to Swindon Town. Given acted as understudy during his first spell at the Wiltshire club but helped them start their Championship winning Division Two campaign during the 1995–96 season. He played in five games for Swindon before returning to Blackburn at the end of 1995. Given was sent on loan again in January 1996, this time to Division One side Sunderland. Given kept 12 clean sheets during his 17 games for the club, and formed part of the team who won promotion to the Premier League as champions. His performances on loan impressed Kenny Dalglish, who had recently been appointed manager of Newcastle United, and prompted him to sign Given again. Given signed for the North-East club in the summer of 1997 for a fee of £1.5 million. Given had earlier made his Premier League debut for Blackburn in a game against Wimbledon on 14 December 1996.

### Newcastle United

#### 1997–2001

Given was one of the first signings of then-newly appointed manager Dalglish. Given made his debut in Newcastle's 2–1 home victory over Sheffield Wednesday on 9 August 1997 and immediately established himself in the first team, beating fellow goalkeepers Pavel Srníček, Shaka Hislop and Steve Harper to the position. Newcastle advanced to the final of the FA Cup, and Given played the whole match as the team were defeated 2–0 by league champions Arsenal. The club also progressed to the final the following year, but Given was replaced by Steve Harper as Newcastle lost 2–0 in the final, this time to Manchester United.

In November 1997, Given conceded a strange goal against Coventry City when, after collecting a cross, he rolled the ball out in preparation to make a long clearance. However, he had forgotten that Coventry striker Dion Dublin was still behind him, and Dublin quickly took advantage of the situation by rolling the ball into the empty net. The coincidence of the goalscorer's name quickly led to the popular word game among football fans that Given "is the only Irishman who doesn't know where Dublin is" and the goal itself is still regularly featured on lists compiled of bizarre goals.

Given submitted a written transfer request in December 2000, after failing to regain his place in the first team from Steve Harper after a thigh injury had ruled him out of a match against Leeds United. Manager Sir Bobby Robson stated at the time: "A lot of clubs have a very good goalkeeper and one who stands by. I think we have two keepers — and Harper is proving that — who can play in the Premiership". The club rejected Given's request, which was then withdrawn by the goalkeeper, who later stated that his "intention was simply to express [his] frustration at being left out of the team," and that he "never had any intention of actually leaving the club." An injury to Harper led to Given being recalled to the first team, and he kept his place for the rest of the season.

#### 2001–2004

In the 2001–02 season, Given played in every Premier League match as Newcastle's previously unexpected title challenge ended in a fourth-place finish in the league. A highlight of the season was Given saving a Fabrizio Ravanelli penalty in a 1–0 win over Derby County on 24 November 2001. Given was selected in the PFA Team of the Year and Newcastle's league position meant that they would enter the qualifying stages of the UEFA Champions League the following season.

During the summer he competed in the 2002 FIFA World Cup, but could not prevent the Republic of Ireland being eliminated by Spain after a penalty shoot-out.

Given again found himself competing with Steve Harper during the following season. After a 5–0 qualifying round win, Newcastle progressed to the group stages of the Champions League. He played in the first three group matches, all of which Newcastle lost. Given found himself out of the team for the next two games, as Harper replaced him in goal. Given returned for the final group match against Feyenoord in the Netherlands, and Newcastle's 3–2 win meant that they qualified for the second round. Internazionale scored four times past Given as Newcastle lost 4–1 in their opening match in the second group stage. Newcastle conceded a further three times away to Barcelona, beat Bayer Leverkusen at home and in Germany (with Given saving an Oliver Neuville penalty in the home tie), and drew with Inter at San Siro, however a 2–0 loss at home against Barcelona meant that the club finished third in their group and failed to qualify for the knockout stages. Given played every game in the second round. Given played all 38 league games for the club, as well as his 12 European appearances, as the team finished in third place in the Premier League, meaning the club would enter the Champions League qualifying round in 2003–04.

Having finished third in the league in May 2003, Given and Newcastle lost 4–3 on penalties to Partizan Belgrade early in the 2003–04 season, meaning that Newcastle failed to reach the group stages of the Champions League. The club instead qualified for the UEFA Cup, where they reached the semi-finals. A fifth-place finish in the league meant that the club qualified for the following season's UEFA Cup competition. Given played in every one of the club's league matches for a third successive season, as well as all 13 European games.

#### 2004–2006

After a poor start to the 2004–05 season, Graeme Souness replaced Sir Bobby Robson as Newcastle manager. Given overtook Alan Shearer as having played in the most European matches for the club on 16 September 2004 in a game against Bnei Sakhnin, and Given's 12 European and 3 FA Cup appearances helped Newcastle reach the UEFA Cup quarter-final and the FA Cup semi-final. Given missed two Premier League games as the club finished in 14th place.

Although the club entered the Intertoto Cup in 2005–06, a defeat by Spanish club Deportivo de La Coruña meant that they did not qualify for further European competition that season. Given played in all of the club's league matches as they finished in seventh position and he signed a new five-year contract with the club in the summer. His performances for Newcastle led to Given being named in the Premier League's Team of the Season. Given played in all of the club's FA Cup games as they reached the quarter-finals, and captained the team for three games during Alan Shearer's absence.

On 17 September 2006, Given suffered a one-centimeter tear in his bowel after a tackle by West Ham United striker Marlon Harewood. Doctors likened the injury to one more likely to happen in a car crash. Then-manager Glenn Roeder signed ex-Newcastle veteran Srníček as cover for Harper, and youth goalkeeper Tim Krul played a full match in Newcastle's 1–0 UEFA Cup win at Palermo on 2 November. Given returned on 18 November for Newcastle's 1–1 Premier League draw at Arsenal.

#### 2007–2009

Given made his 400th appearance for the club on 1 January 2007 in a 2–2 draw against Manchester United. He ended the 2006–07 season with 22 league appearances as the club finished in 13th place, and reached the last 16 of the UEFA Cup.

Given's 2007–08 season was prematurely ended by injury in February when he had an occurrence of an old groin injury in the 5–1 home defeat by Manchester United.

The opening months of Newcastle's 2008–09 season were blighted by ownership and managerial turmoil, as well as numerous injury problems. This manifested itself on the pitch as the club struggled to direct itself clear of the relegation zone. However a highlight was Given saving a Kevin Nolan penalty in a 1–0 win over Bolton Wanderers. On 2 January 2009, following the 5–1 defeat at home against Liverpool, the player's lawyer released a statement saying that his client was "considering his future" at Newcastle, and requested permission to talk to representatives of Manchester City on 28 January after the club made a bid of £5 million which was subsequently rejected. Newcastle manager Joe Kinnear had already stated that the club was "not interested at all in selling him", and described the amount on offer for Given as "insulting". However, on 30 January, it was reported that Newcastle had given permission for Given to enter talks with his suitors. After a transfer fee initially reported to be around £8 million was agreed between the clubs, Given signed for Manchester City on 1 February, with the transfer window set to close the following day. Although the fee for Given was expected to be around £8 million, in February 2009 Newcastle United managing director Derek Llambias revealed at a supporters panel meeting that Given had been sold for an initial £5.9 million. Given was 34 games away from breaking Newcastle United's appearance record held by Jimmy Lawrence.

### Manchester City

On 1 February 2009, Given signed for Manchester City on a four-and-a-half-year contract for £6 million. He was formally paraded as a Manchester City player on 5 February 2009, and was assigned squad number 37. In the subsequent press conference, he criticised Newcastle's management for not trying hard enough to keep him at the club. He also said that "By coming here I thought I could be at a club that is challenging for honours. I didn't want to finish my career regretting not taking up this offer." Given kept a clean sheet in a man of the match performance in his debut, a 1–0 win against Middlesbrough on 7 February.

With Joe Hart leaving the club on loan, Given was given the squad number 1 for the 2009–10 season. He made his 400th league appearance on 5 October 2009 against Aston Villa. On 1 November 2009, he saved a James McFadden penalty to help his side draw 0–0 at Birmingham City. On 5 December 2009, he made an outstanding penalty save from Frank Lampard to deny Chelsea an equalising goal. City went on to win 2–1. The same month, Daily Telegraph football correspondent Henry Winter named Given as Premier League Goalkeeper of the Noughties. While team captain Kolo Touré was on international duty, Given was given the captain's armband by manager Roberto Mancini, who described the Donegal-born player as "one of the five best goalkeepers in the world". He dislocated his shoulder during a match against Arsenal on 24 April, ruling him out for the rest of the season.

On 14 August 2010, Given was dropped from the Manchester City starting XI for their opening league game against Tottenham and replaced by Hart, who became City's permanent first choice goalkeeper. Given's only domestic appearance during the 2010–11 season came in a defeat to West Brom in the League Cup; he also played in two Europa League matches.

### Aston Villa

On 18 July 2011, Given joined Aston Villa for a fee believed to be around £3.5 million. He signed a five-year deal, meaning that he would be 40 when his contract expired. Given made his Villa debut in a pre-season friendly victory over Walsall on 21 July. He was substituted at half time for Andy Marshall, when the score was 2–0 to Villa. On 13 August 2011, Given played his first Premier League match for Aston Villa against Fulham in a 0–0 draw. In September 2011, Given was reunited with Terry Gennoe at Aston Villa. After four years out of the game, Gennoe was named as the new first team goalkeeping coach, replacing Rafa González. He had previously coached Given at Blackburn Rovers and Newcastle United. On 3 December, Given suffered a torn hamstring, which sidelined him until January.

After a disappointing start to the 2012–13 season, Given lost his first team place to Brad Guzan after two league games. However, on 5 January 2013, he appeared in a 2–1 home win against Ipswich Town in an FA Cup third round match. Three days later, Given also played for Villa in a 3–1 away defeat against Bradford City in the first leg of the League Cup semi-final match. Despite winning the second leg 2–1, Villa were eliminated from the competition.

On 15 April 2014, Given was appointed temporary assistant to Paul Lambert after the club suspended Ian Culverhouse and Gary Karsa, pending an internal investigation for an undisclosed reason. Given played in all of Aston Villa's 2014–15 FA Cup fixtures that led to an appearance in the 2015 FA Cup Final at the age of 39, which Villa lost 4–0 to Arsenal. The Cup run began with a 1–0 victory over Blackpool, and continued with 2–1 victories over both AFC Bournemouth and Leicester City, and a 2–0 win over derby rivals West Bromwich Albion. In the semi-final, Villa came from a goal down to defeat Liverpool 2–1, putting the club in their first FA Cup final since 2000.

#### Loan to Middlesbrough

Given joined Middlesbrough on a one-month loan deal on 28 November 2013 as cover for the injured Jason Steele. Given's initial one-month loan deal was extended to the end of February 2014 and ultimately, he made his last appearance for Middlesbrough on 22 February, in a 0–0 draw against Leeds United. Whilst at Middlesbrough, Given kept ten clean sheets in 16 league games.

### Stoke City

Given signed a two-year contract with Stoke City on 10 July 2015. Given joined as back-up to first choice 'keeper Jack Butland. He made his debut on 25 August 2015 in a 1–1 draw with Luton Town in the League Cup, Stoke winning on penalties. He missed most of Stoke's 2015–16 campaign after needing to undergo knee surgery in October 2015. Given returned towards the end of the campaign and due to injury to Butland, he shared goalkeeping duties with Jakob Haugaard.

Given began the 2016–17 season as first-choice 'keeper due to Butland being sidelined. On 27 August 2016, he conceded an own goal in a 1–0 away defeat to Everton. Given had palmed a Leighton Baines penalty onto the post but the ball rebounded against his head and went over the line. After conceding four goals against Tottenham Hotspur and Crystal Palace in September, Given lost his place in the side to Lee Grant. He was released by Stoke at the end of the 2016–17 season.

In April 2018, a day after his 42nd birthday, Given announced his retirement from professional football whilst receiving an award for Donegal Person of the Year in Dublin.

## International career

Given represented the Republic of Ireland at youth level before earning five caps for the Republic of Ireland national under-21 team. Although he did not become a regular first team player for Blackburn Rovers, Given's performances while on loan at Swindon and Sunderland led to him being called up to the Republic of Ireland squad in 1996. He made his debut for the national team on 27 March 1996, in a game against Russia. Although Ireland failed to qualify for the 1998 FIFA World Cup or UEFA Euro 2000, Given established himself as first-choice goalkeeper. He played in all of his nation's games at the 2002 FIFA World Cup. With draws against Cameroon and Germany and a 3–0 win against Saudi Arabia, the team reached the second round of the competition. Meeting Spain in the knockout round, Ireland forced penalties with the score at 1–1 at the end of extra time. Three missed penalties for Ireland ended their participation in the tournament, and Spain progressed to the next round.

Given was part of the team for most of the 2006 FIFA World Cup qualifying campaign; however a draw with Switzerland meant Ireland failed to qualify for the finals of the competition in Germany. He equalled Packie Bonner's record of 80 caps against Slovakia on 28 March 2007. Given obtained his 100th cap against Montenegro at Croke Park, Dublin on 14 October 2009 in a 2010 FIFA World Cup qualifying game. Ireland reached a qualifying play-off against France, but were controversially eliminated by a goal scored after Thierry Henry handled the ball.

Given was part of the team that secured qualification for UEFA Euro 2012 with a play-off victory against Estonia. Given played in the Euro 2012 championship as Ireland were eliminated in the group stage.

### Retirement, comeback and second retirement

On 13 August 2012, Given announced on Twitter his decision to retire from international football, describing it as an unforgettable experience to play for his country. Given retired holding the record for the most capped Irishman, though Robbie Keane was closing in on the record.

Due to Given's lack of playing time with his club Aston Villa, there was speculation that he would make himself available for selection as part of Ireland's 2014 FIFA World Cup qualification campaign. On 14 January 2013, it was announced that Given was once again available for international selection.

On 30 August 2014, still not having played a league game with Aston Villa, three games into the 2014–15 Premier League season, he was selected by Martin O'Neill in his 27-man squad for a friendly against Oman and Ireland's first Euro 2016 qualifier in Georgia. It came after a two-year international absence, after retiring following the disappointing Euro 2012, where Ireland failed to progress from the group stages. He was one of four goalkeepers in the squad. On 2 September 2014, Given made his first start for Ireland since the Euros in a 2–0 win against Oman. However, he did not start against Georgia in O'Neill's first competitive game with David Forde getting the nod. Ireland won 2–1 in Tbilisi thanks to an Aiden McGeady brace. On 18 November 2014, Given started the 4–1 win against the United States in Dublin.

On 29 March 2015, Given regained his place in the starting line-up for the crucial Euro 2016 qualifier against Poland. The game finished 1–1 with Shane Long scoring a last minute equaliser. On 8 October 2015, Given suffered a knee injury and had to be stretchered off after 44 minutes against the 2014 FIFA World Cup winners Germany in what turned out to be a memorable night for Ireland as they prevailed with a 1–0 win.

On 31 May 2016, Given became Ireland's longest-serving player after appearing in the 2–1 home defeat to Belarus. He eclipsed Johnny Giles' record of 19 years and 202 days and became the first Irishman to play for his country for 20 years or more. He was selected in the 23-man Ireland squad for Euro 2016 but did not feature in any match at the tournament.

On 28 July 2016, Given announced his retirement from international football for the second and final time. He gave all his international playing fees to charity.

## Style of play

Regarded as one of the best goalkeepers in the Premier League in his prime, Given was considered to be an agile, athletic, resolute and courageous goalkeeper, with excellent reflexes, anticipation, shot stopping abilities, and a good command of his area, in spite of not being particularly tall, although at times he had been accused in the media of not being particularly effective at dealing with crosses.

## Coaching career

In June 2018, Given was appointed goalkeeping coach at Derby County under new manager Frank Lampard. He retained his position when Phillip Cocu was appointed manager in July 2019. In November 2020, Given was part of an interim coaching quartet alongside Wayne Rooney, Liam Rosenior and Justin Walker after Cocu was sacked earlier that month. After two matches as an interim quartet, Rooney would go on to take sole charge. On 15 January 2021, Rooney was appointed as the club's permanent manager and Given moved to the position of first-team coach. Given left his role at Derby at the end of the season because the club's financial problems meant they could not afford to renew it.

## Personal life

Given married Jane Cunningham in Hexham, England, in a Catholic ceremony in 2001. They have two children. The couple divorced on 17 June 2014. Given has been in a relationship with Manchester-based PR executive Becky Gibson since 2013, and the couple have two daughters. In 2006, Given was awarded the Freedom of County Donegal in a ceremony in his home town, Lifford.

Given has helped to organise several fundraising events in aid of Macmillan Cancer Support. His mother died of cancer when he was four, so he has continually tried to raise money as it is an issue close to him. On 27 November 2011, Given was brought to tears during a minute's applause for former teammate and personal friend Gary Speed, following Speed's suicide earlier that day, before Aston Villa met Swansea City at the Liberty Stadium.

## Career statistics

### Club

### International

## Honours

Sunderland

- Football League First Division: 1995–96

Newcastle United

- UEFA Intertoto Cup: 2006
- FA Cup: runner-up 1997–98

Manchester City

- FA Cup: 2010–11

Aston Villa

- FA Cup runner-up: 2014–15

Republic of Ireland

- Nations Cup: 2011

Individual

- North-East FWA Player of the Year: 2002, 2006
- FAI Senior International Player of the Year: 2005, 2006
- Newcastle United Player of the Year: 2005–06
- PFA Team of the Year: 2001–02 Premier League, 2005–06 Premier League

## See also

- List of men's footballers with 100 or more international caps

Irish association football player (born 1976)

Association football goalkeeping coaches

Association footballers from County Donegal

Expatriate men's footballers in Scotland

Republic of Ireland expatriate men's association footballers

Republic of Ireland men's association footballers

Republic of Ireland men's international footballers

Republic of Ireland men's under-21 international footballers

Republic of Ireland men's youth international footballers