"Bad Romance" is a song by American singer-songwriterLady Gaga from her thirdextended play (EP),The Fame Monster (2009)—thereissue of her debutstudio album,The Fame (2008). Following an unauthorized demoleak, Gaga premiered the final version of the song duringAlexander McQueen's 2010Paris Fashion Week show in October 2009. Written and co-produced by Gaga alongside Moroccan-Swedish record producerRedOne, "Bad Romance" was released as thelead single fromThe Fame Monster on October 19, 2009. Musically, it is anelectropop anddance-pop track with aspokenbridge and ahook featuring nonsense syllables. Inspired by Germanhouse andtechno music, the song was developed as anexperimental pop record. Lyrically, Gaga drew from theparanoia she experienced while ontour and wrote about her attraction to unhealthy romantic relationships.
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."[2] Gaga performed a snippet of "Bad Romance" onSaturday Night Live on October 3, 2009, along with "Poker Face" and "LoveGame".[3][4] The song's final version premiered during the finale ofAlexander McQueen's 2010Paris Fashion Week show titledPlato's Atlantis,[5] which was his last work before his death a few months later.[6] On October 19, "Bad Romance" was released as the lead single from theextended play (EP)The Fame Monster (2009), thereissue of Gaga's debut studio album,The Fame (2008).[7][8]
"Bad Romance" was one of the songs Gaga wrote in 2009 while touring. These songs were about the various abstract "monsters"—metaphors for herparanoias—she faced during the tour.[9][10] Gaga explained that she generally felt lonely in her relationships and was attracted to unhealthy romances, which became the song's themes.[11] Gaga wrote the lyrics inNorway on her tour bus. She elaborated on the writing process in an interview withGrazia:
I was in Russia, then Germany, and spent a lot of time in Eastern Europe. There is this amazingGermanhouse-techno music, so I wanted to make apop experimental record. I kind of wanted to leave the '80s a little bit, so the chorus is a '90smelody, 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.[12]
"Bad Romance" is anelectropop anddance-pop song with house,new wave, and techno influences.[12][13][14] Sociologist Mathieu Deflem recognized rock influences in the song,[15] whileBBC critic Paul Lester noted therave-inspired synthesizer sounds.[16] Musicnotes published this song incommon time with a tempo of 119beats per minute in thekey ofA minor. Gaga's vocal range spans from the low note of E3 to the high note of C5. The song follows in thechord progression Am–C–F–Am-C–G in the verses and F–G–Am–C–F–G–E–Am in thechorus.[17]
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".[15] 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".[18] The song then incorporates keyboard sounds.[2] They are followed by the firstverse and thepre-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."[2]
In the lyrics, Gaga mentions three films by directorAlfred Hitchcock (pictured).
Critics noted the influence of other songs and artists on "Bad Romance". Sal Cinquemani ofSlant Magazine noticed influences from 1980s music.[14]Simon Price fromThe Independent and Daniel Brockman ofThe Phoenix compared the song to works of the groupsBoney M. andDepeche Mode, respectively.[19][20] In the verse, "I want yourpsycho, yourvertigo shtick, Want you in myRear Window, Baby, you're sick", Gaga is listingAlfred 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."[21] Price stated that the line "I want your ugly, I want your disease" established the grim tone ofThe Fame Monster.[19]
The lyrics address a bad relationship;[1][22] theBoston Public Health Commission included "Bad Romance" in its "Top 10 List of Songs with Unhealthy Relationship Ingredients".[23] For Brockman, the song is a declaration of "liberation from a significant other".[20] Explaining its title, author Robin James in the bookResilience & Melancholy: Pop Music, Feminism, Neoliberalism wrote that it does not romanticize "bad" things but is only "pointing out the badness of conventionally-scripted pop song 'romance' itself".[24]
Katrin Horn, apostdoctoral fellow inAmerican studies, found that "Bad Romance" works on two levels. As 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'sheterosexual 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.[25]
"Bad Romance" received widespread critical acclaim.[26][27] It was named the best song onThe Fame Monster by Maureen Lee Lanker ofEntertainment Weekly.[28] It was included in lists of best songs of 2009 byPitchfork (which called it "epic in construction"), MTV News, andRolling Stone.[29][30][31] Calling it one of the "most memorable pop singles" of the late 2000s,NME credits the song with establishing Gaga as an icon.[32] In his review of the album, Scott Plagenhoef ofPitchfork found it "arguably the best pop single" of 2009.[33]
"Bad Romance" was praised for its chorus, beat, and hook. Kaufman lauded the drastic transition into a bombastic beat during the chorus,[2] which was calledcatchy byRolling Stone's Jody Rosen,[34] one of Gaga's best byMusicOMH's Michael Hubbard,[35] and "so wonderfully big it dwarfs the industry of a million angry dudes with guitars" byNME's Emily Mackay.[36]Christopher John Farley fromThe Wall Street Journal praised the "Jabberwockian" catchiness of the hook.[37] Other reviewers commented on the song'ssex appeal,[38] praised it for making Gaga's name a "Teutonic chant",[39] and called it a "turbocharged Euro-soul"[40] and a club-friendly tune that possessed a "sordid underbelly".[41]
"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 it lacked their instant catch.[2][22][38][42][43] Critics compared Gaga to other artists.Kitty Empire ofThe Guardian wrote "Bad Romance" made "this driven, uncharismatic Italian-American being [Gaga] the newMadonna",[44] andSpin'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".[45] Jon Blistein fromL Magazine believed it is an amalgamation of aCher song, "faux-European accented verse", and "blandspoken-word bridge".[46]
In the US, "Bad Romance" debuted at number nine on theBillboard Hot 100 on November 14, 2009, with 143,000digital downloads.[47] After two weeks, the song reached number two, holding the spot for seven non-consecutive weeks. It was barred from the top position byJay-Z's "Empire State of Mind" (featuringAlicia Keys) and laterKesha'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 theHot Digital Songs chart.[48] As of February 2019, "Bad Romance" has sold 5.9 million copies in the US, according toNielsen Soundscan,[49] making Gaga the second artist afterKaty Perry to have three singles—along with "Just Dance" and "Poker Face"—each selling five million digital copies.[50] After theRecording Industry Association of America (RIAA) started including video streams in their tabulation of single certifications, "Bad Romance" was certified 11× platinum for 11million in sales and streaming.[51] According toNielsen Broadcast Data Systems, it briefly set the record for most weekly plays in the 17-year history of thePop Songs chart, registering 10,859plays from 130radio stations monitored for the chart.[52] Following Gaga'sSuper Bowl LI halftime show performance in 2017, "Bad Romance" re-entered the Hot 100 at number 50 and the Digital Song Sales chart at number 9.[53] On theCanadian Hot 100, "Bad Romance" debuted at number 58[54] and reached number one the following week.[55] Replaced by "Tik Tok" for two weeks, "Bad Romance" returned to the top spot on the chart.[56]Music Canada certified "Bad Romance" Diamond, denoting sales of 800,000copies.[57]
On theEuropean Hot 100 Singles chart, "Bad Romance" spent two weeks at number one.[58] It topped the charts in Austria, Denmark, Finland, Germany, Greece,Ireland, Sweden, and Norway.[59][60][61][62] In the UK, "Bad Romance" debuted at number 14 on theUK Singles Chart.[63] In December 2009, the song reached the top spot with 72,919copies sold,[64] making Gaga the first female artist to have three number-one singles in one year.[a] It attained multi-platinum certification by theBritish Phonographic Industry (BPI).[66] According to the British companyPhonographic Performance Limited, the song was the UK's most played in 2010.[67] As of February2025, "Bad Romance" has sold 2.2million copies with 145million streams, making it Gaga's third best selling single in the UK.[68][69]
In an interview withRolling Stone, Gaga confirmedFrancis Lawrence as the director of the music video and said that she was impressed with the final version.[75] She explained, "I knew [Lawrence's] ability as a director is so much higher than what I could [do]."[76] Her creative team, Haus of Gaga, managed the art direction,[75] 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.[76]
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 spaces. 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.[77]
The video's main idea is that Gaga gets kidnapped by supermodels who drug her and sell her to theRussian mafia for a million rubles. It takes place in a fluorescent whitebathhouse.[76][79] The video begins as Gaga, wearing razor-blade glasses, sits on a white throne in a brightly lit white room whileJohann Sebastian Bach's fugue BWV 869 (fromThe Well-Tempered Clavier Book 2) is playing in the background. As she plays "Bad Romance" on aniPod 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 ofvodka. As the second verse begins, Gaga, wearing a diamond-covered outfit and crown, seductively dances for menbidding for her. She performs alap dance for one of them (played by Slovenian modelJurij Bradač),[80] 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 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 herpyrotechnic bra activates.
The video received general acclaim for its fashion, choreography, futuristic set-pieces, and costumes.[b] Gaga, described by Christopher John Farley ofThe 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,[37] was particularly praised by Jennifer Cady ofE! for revitalizing performance art and putting thoughts and care into her products;[84] Todd Martens of theLos Angeles Times expressed similar sentiments, believing the video to be "worthy of a feature-length film".[86] 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.[87][88][89]
Media outlets noted the music video was reminiscent of the filmBlade Runner (1982), Anubis Airlines from the television seriesTrue Blood (2008–2014), the works of filmmakerStanley Kubrick, andMichael Jackson's Thriller.[82][89][90] The comparison to the lattermost was made due to the scene with the coffin pods,[88] "twitchy [...] dance moves",[86] and zombie-like arm movements.[87][88] Farley thought the video'sshock art resembled Jackson's work during the 1980s.[37] For Evan Sawdey ofPopMatters it remained unclear whether Gaga deliberately paid homage toThriller or used this as another excuse to wear "the mostweirdass [sic] outfits ever designed by mankind".[78]
Gaga said that the human trafficking in the video is a metaphor for the music industry's treatment of women as a "commodity".[91] In the bookLady Gaga: Behind the Fame, Emily Herbert drew comparisons between the underlying theme of the video and the theme ofThe 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."[92]
Jocelyn Vena fromMTV News and Troy Peterson ofSlate believed that the video was symbolic. As it begins with Gaga around people representing her characters fromThe Fame videos, she is immediately kidnapped, drugged and changed into "the super-sexy, somewhat spookyFame 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.[89] Peterson found religious symbolism in the video. He believed, for example, that the scenes with Gaga in the bathtub representedbaptism and the women with martini were performingcommunion.[93]
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."[76] Author Robin James found Gaga's style in the video to be heavily inspired bygoth fashion and aesthetics, including theVictorian-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 bandBauhaus, and her nude scene highlights her thin body's "grotesqueness" andvertebrae, which look like the ridges on a reptile's back.[94] 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 femalemantis whocannibalizes her male partner aftercopulation.[95][96] Mass media theoristPaul Hegarty saw Gaga's use of the heels as a combination ofdominance and submission: their height restricts her movement, indicating submissiveness, but her ability to walk in them signifies asubversive dominance.[97] In this way, the video "looks at complicity with controls as a way of surmounting them".[98]
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.[99] Author Annette Lynch found the bra a symbol for empowerment, writing that Gaga uses her sexuality to defeat the villain.[100] During this scene, Gaga is seen calmly smoking a cigarette, which to Gilad Padva in theJournal 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"[c] 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.[101] In the bookThe Performance Identities of Lady Gaga: Critical Essays, Jennifer M. Santos believed by overpowering her captor, Gaga redefined gender roles and subverted male fantasies of "fetishisticscopophilia" and "sadistic voyeurism" as evident in the scene where Gaga is forced to strip almost naked and dance for her buyers.[102]
In 2011, "Bad Romance" won theGrammy Award for Best Female Pop Vocal Performance.[103] In 2015,Billboard called the song "the Biggest Hot 100 Hit to Peak at No. 2", describing it as a "modern classic".[104] A 2017 journal published byPsychology of Aesthetics, Creativity, and the Arts studying structural patterns in the melodies of earworm songs compiled lists of catchiest tracks from 3,000participants, in which "Bad Romance" ranked number one.[105] In 2018 and 2021,Rolling Stone named "Bad Romance" one of the 100 Greatest Songs of the 21st-century and500 Greatest Songs of All Time, respectively.[106][107]Billboard listed it as one of the 100 BestKaraoke Songs of All Time in 2022 and 500 Best Pop Songs of All Time in 2023.[108][109]
"If there's one song that defines Lady Gaga, it's this one. A highly successful blend of pop and synth maximalism, 'Bad Romance' was atour de force by all accounts: brilliant lyrics; a shimmery, fashion-forward music video; record-breaking sales; and Lady Gaga's singular voice at its most guttural and raw."
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."[69] Media outletsRolling Stone,Billboard,The Guardian,The Independent,Vulture,Uproxx andGlamour ranked "Bad Romance" as Gaga's best song.[d] ForVulture, it defined the late 2000s and "completed her transformation into a truly fearless, all-encompassing artist".[113]Rolling Stone believed the song epitomized the "essence of Gagaism"[e] andBillboard opined it captured "her grandiose aesthetic, daring songwriting, lyrical flourishes and dramatic vocal flair".[110] According toUproxx, 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".[114] Author Constantine Chatzipapatheodoridis cited "Bad Romance" as one of the signature songs onThe Fame Monster, in which Gaga immersed in "her stylized profile of the 'mad artist'", who challenged traditional gender norms and sexuality.[116]
Writing about the impact of Gaga's 2011 song "Born This Way" in the 2010s, Stephen Daw ofBillboard called the "Bad Romance" music video a "culture-breaking moment".[122] In 2011, it was voted the best video of the 2000s by readers ofBillboard, narrowly beatingBritney Spears's "Toxic".[123] 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", wroteBillboard 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."[124] In 2021,Rolling Stone Australia listed it as one of the100 greatest music videos of all time.[83]
Gaga first performed "Bad Romance" onSaturday Night Live in October 2009. She wore an outfit called "The Orb".[4] She performed it on the television showGossip Girl in the episode "The Last Days of Disco Stick",[125] where she wore a 35-foot (11 m) long dress.[126] 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.[126] Occurring at a private party arranged by the characterBlair Waldorf,[127] the episode features Gaga as she emerges from two giant doors and climbs up a ladder, which symbolizes bad luck.[126][128]
Gaga performing the song during the revampedMonster Ball Tour in a mirrored dress and headpiece (2010)
Gaga performed "Bad Romance" at the2009 American Music Awards. She was dressed in a flesh-colored bodysuit wrapped with white piping and embedded with flashing lights, imitatingrib cage and aspine. During her performance, she broke open a glass door with the microphone stand.[129] Gaga sang the song on television shows, includingThe Jay Leno Show in November 2009,[130]The Ellen DeGeneres Show in November 2009,[131]The X Factor in December 2009,[132]The Oprah Winfrey Show in January 2010,[133] andToday in July 2010.[134] In May 2011, she performed it atRadio 1's Big Weekend inCarlisle, Cumbria andGood Morning America.[135][136] 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 ofABC News commented on Gaga's "trademark outrageous fashion".[136]
"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.[137] In therevamped 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 ofThe 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".[138] Gaga emerged from an egg for the performance of "Bad Romance" at theBorn This Way Ball (2012–2013).[139] Miguel Dumaual ofABS-CBNnews.com felt Gaga's performance "suffers from a little too much auto-dancing, -singing, and all-around hip gyrating".[140] Gaga also performed the track on her 2014ArtRave: The Artpop Ball tour in arave-inspired outfit.[141] The same year, she sang acountry version of "Bad Romance" atSouth by Southwest, and strapped on a rose-coveredkeytar while performing the song at her residency show,Lady Gaga Live at Roseland Ballroom.[142][143]
Gaga singing "Bad Romance" as the opening number of 2022'sThe Chromatica Ball, a choice Nick Lavine ofNME considered "daring".[144]
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,[152] and on Jazz & Piano, she did a stripped-down version.[153] "Bad Romance" was the opening number forThe Chromatica Ball, Gaga's 2022 stadium tour, where she performed it from inside a leather sarcophagus-type garment.[154][155] Nick Levine fromNME 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".[144] "Bad Romance" next appeared on Gaga's 2025promotional concerts forMayhem, including a headlining set atCoachella 2025, andthe Mayhem Ball (2025-2026). After leaving the stage at the end of "Vanish into You", she was brought back in on a table by her dancers dressed asplague doctors. Resurrected in an elaborate feathered costume, she performed "Bad Romance" as the final number of the concerts.[156][157]
* Sales figures based on certification alone. ^ Shipments figures based on certification alone. ‡ Sales+streaming figures based on certification alone.
^The author cites Kathleen Rowe'sUnruly Woman: Gender and Genres of Laughter to define an "unruly woman" as someone who refuses to adhere to her "proper place", assertively expresses her desire and is hated for her independent nature.[101]
^Hoard, Christian; Weingarten, Christopher R.; Dolan, Jon; Leight, Elias; Spanos, Brittany; Exposito, Suzy; Grow, Kory; Grant, Sarah; Vozick-Levinson, Simon; Greene, Andy; Hermes, Will (June 28, 2018)."The 100 Greatest Songs of the Century – So Far".Rolling Stone.Archived from the original on January 9, 2023. RetrievedJanuary 9, 2023.
^"Media Forest – Weekly Charts".Media Forest.Note: Romanian and international positions are rendered together by the number of plays before resulting an overall chart. Retrieved July 2, 2018.
^"Media Forest – Weekly Charts".Media Forest.Note: Select 'Songs – TV'. Romanian and international positions are rendered together by the number of plays before resulting an overall chart. Retrieved July 3, 2018.
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Horn, Katrin (2017). "Taking Pop Seriously: Lady Gaga as Camp".Women, Camp, and Popular Culture: Serious Excess.Palgrave Macmillan. pp. 193–252.ISBN978-3-319-64845-3.
Iddon, Martin; Marshall, Melanie L., eds. (2014).Lady Gaga and Popular Music: Performing Gender, Fashion, and Culture. Routledge Studies in Popular Music.Routledge.ISBN978-1-134-07987-2.
Gray, Sally; Rutnam, Anusha (2014). "Her Own Real Thing: Lady Gaga and the House of Fashion".Lady Gaga and Popular Music : Performing Gender, Fashion, and Culture.Routledge. pp. 43–66.ISBN978-1-134-07987-2.
Hegarty, Paul (2014). "Lady Gaga and the Drop: Eroticism High and Low".Lady Gaga and Popular Music: Performing Gender, Fashion, and Culture. Routledge Studies in Popular Music.Routledge. pp. 82–93.ISBN978-1-134-07987-2.
James, Robin (2015). "(Little) Monsters & Melancholics".Resilience & Melancholy: Pop Music, Feminism, Neoliberalism.John Hunt Publishing. pp. 133–173.ISBN978-1-782-79461-5.
Lynch, Annette (2012). "The Birth of Pop Culture Porn Chic".Porn Chic: Exploring the Contours of Raunch Eroticism.A & C Black. pp. 37–54.ISBN978-1-472-52013-5.
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