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Obsession Song

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"This is one of those love songs that crosses that narrow divide between 'romantic' and 'deeply disturbing.' You know, the difference between 'I always want to be with you' and 'I want to wear your skin like a sweater."

The Obsession Song is like a love song written by a Stalker with a Crush or a Yandere. Most examples simply involve obsessive love with heavy overtones of stalking and possessiveness, but some take it to such extreme lengths that it sounds like the singer is planning on raping you, killing you, and keeping your corpse under their bed.

The Obsession Song falls into two basic varieties, although many have elements of both:

Particularly pathetic Unrequited Love songs often fall into the passive category, while the aggressive variety sometimes overlaps with the Murder Ballad or Villain Love Song.

Many Obsession Songs are mistaken for love songs, especially when they have Lyrical Dissonance, and sometimes even end up being played at weddings. Conversely, some love songs with nothing but innocent intentions can unintentionally end up as Obsession Songs.

Needless to say, this trope can be a potent source of Paranoia Fuel.


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Passive Type

    Live-Action TV 

  • The Statler Brothers - "The Official Historian of Shirley Jean Berrell" from 1979. A young man simply lists everything he knows about the object of his presumed Unrequited Love, such as her relatives, what she got for Christmas (in 1952), her song, her number at work and so forth ... and states no intentions of actually pursuing her. In fact, he readily admits "The only thing I don't know about her / is where she is right now." (Which the reason may well be hinted at in the lyrics.)
  • Massive Attack - "Angel" from Mezzanine. The song was originally done by constant collaborator/quasi-band member Horace Andy as a Reggae love song, but the harsh, Alternative Rock riffing and pounding drums just illustrate how the instrumental backing can drastically change a song's context.
  • Mono - "Madhouse".
  • Weezer:
    • "No One Else" is a passive version of this — not that the singer has anyone in particular in mind, but pretty much wants a girl to be focused on him to the point that "When I'm away, she never leaves the house."
    • Also, their song "Haunt You Everyday" has elements of this.
  • "Obsession" by Army of Lovers.
  • A lot of Lana Del Rey's songs from Born to Die are this, usually depicting young girls following after older men and feeling bad whenever they reject her.
  • "Shiver" by Coldplay, with lyrics like "From the moment I wake to the moment I sleep / I'll be there by your side, just you try and stop me", which seems to almost be a threat.
  • "You're Beautiful" by James Blunt applies as well. "She smiled at me on the subway. She was with another man. But I won't lose no sleep on that, 'Cause I've got a plan. You're beautiful, you're beautiful, you're beautiful, it's true."
  • An unintentional-passive example is "Happy Together", by The Turtles. Mostly made so by the very last line, where it becomes apparent that the narrator has never spoken to the object of his desire.
  • Emilie Autumn's
    • "Be Silent Be Still".
    • "Liar", the verses of which are actually from letters written to her by an ex-boyfriend.
      I'm hurting you for your own good
      I'd die for you — you know I would
      I'd give up all my wealth
      To buy you back the soul you never sold
      I want to mix our blood
      And put it in the ground
      So you can never leave.
  • Make Me Wanna Die - The Pretty Reckless
    I'd Die for you, my love, my love
    I'd lie for you, my love my love
    I'd steal for you, my love, my love
    I'd die for you, my love, my love...
    • Strictly passive hence: Make Me Wanna Die.
    • Miss Nothing also applies.
  • Meg Myers's "Heart Heart Head"
    You're in my heart, in my heart, in my head
    You're in my—
    [ragged, tortured screaming]
  • Bruno Mars' "sad" singles are all about this. Both ''Grenade'' and ''Talkin' to the Moon'' depict a man who whines and obsessively laments over a dead relationship to the point where he turns into a stalker, driven crazy in hopes that his former significant other would notice such behavior and take him back. Both songs take the Passive element described at the top of the page.
  • Evanescence:
    • Taking Over Me, which falls into the Passive category.
    • Away From Me also applies to passivity.
    • Farther Away is strictly passive.
    • Lithium:
    Darling, I forgive you after all
    Anything is better than to be alone.
    • Anything For You is passive, where in the song lying to her about loving her is good enough.
    • Give Unto Me is extremely passive, yet the lyrics just scream Stalker with a Crush.
  • Radiohead:
    • "All I Need".
    • "Creep" from Pablo Honey. According to Thom Yorke, it's about a drunk guy following around a woman he's attracted to, lacking the self-confidence to actually approach her. However, many listeners think it's a straightforward unrequited-love song from the perspective of a guy with self-esteem issues... which is perfectly reasonable from the lyrics themselves, except that it provides no explanation for the line "she's running out the door", making it a bit of a Bread, Eggs, Milk, Squick. In fairness, that's the least intelligible part of the song, so a lot of people probably didn't even know that's what he was saying. Going by the "unrequited love song from the POV of a guy with self-esteem issues" interpretation, "she's running out the door" could mean that the guy attempted to admit his feelings but only succeeded in scaring her or that he simply made a move far too late to do anything.
    • "You", also off of "Pablo Honey", is another example.
  • Franz Ferdinand have "This Fire" from You Could Have It So Much Better.
  • Billy Joel tried his hand at this one more than once. "All For Leyna" is a pretty good example of a passive one.
  • Guster has one called "Barrel of a Gun", about the "masturbating to their poster on the wall" type of obsession.
  • About 50% of every Latin American bolero (as in the musical genre) song ever. If it was sung by Los Panchos, Julio Jaramillo, or La Lupe (among many, many others), chances are that they are singing one of those. Most of them are from the passive type, in the line of "I've shaped my whole life around you and now I don't have anything else, so why don't you love me back? Why? WHY?"
  • Muse: Undisclosed Desires.
  • Die Ärzte's "Bitte, Bitte".
    I have a gift for you. I love you, I give you me. Don't ask me, you know why. From now on I'm your property. You hurt me, what more do I want? I am the servant, you are the master. From now on I belong only to you. Please, please, let me be your slave.
  • Perfect-Vanessa Amorosi
    I pray with the sounding of you faith
    My colours bleed to one
    Nothing grows when your love is gone.
  • The Veronicas: Could've Been, Let Me Out.
  • Matchbox Twenty has this little song called: "Disease".
    "I can't live without you, tell me what I'm supposed to do about it"
    "You drove me to the fire and left me there to burn"
    "Every little thing you do is magic, oh, but all my life it was tragic / beautiful girl, I can't breathe."
  • Adorable has a song called "Obsessively Yours" which seems to be about obsessive love from a distance.
    I haven't got you, or dishonourable intentions
    All I hold is a photograph of my magnificent obsession.
  • Florence + the Machine's "Drumming Song".
  • Eric Clapton's "Layla". Bonus points for being about Clapton's real obsession with a real woman, Pattie Boyd, who later left George Harrison for him.
    Layla! You got me on my knees!
    Layla! I'm beggin', darlin', please,
    Layla! Darlin', won't you ease my worried mind?
  • Neil Sedaka's song "Betty Grable", about the actress, although it is very innocent and benign.
  • Bleu's song "Watching You Sleep."
  • Mutemath's "You Are Mine", which is arguably also a God Is Love Song.
    Everyone has their obsession
    Consuming thoughts, consuming time
    They hold high their prized possession
    That defines the meaning of their lives
    You are mine. You are mine...
  • Jon Gomm's song "Everything" as he says about it.
    "It's a twisted love song. It's about obsession. It's the song I had the most comments about from the album, which really surprised me, just because it's so prog — nearly ten minutes long, two time signatures, shreddy guitar solo, even cameo appearances from other songs..."
  • 10CC's I'm not in Love is the classic example of passive stalking; an obsessed but unlucky lover who can't stop thinking about the object of love but denies he's in love.
  • A Perfect Circle's "Magdalena" is most likely about an obsessed fan of a stripper who continually pisses his money away on tips in the vain hope that she will actually notice him.
  • Bastille's "Poet" is a downplayed one; while it mentions that obsession "eats me whole", the singer is content to merely write about their love and devotion rather than act on their feelings in any way.
  • The lyrics to Kraftwerk's "The Telephone Call" are:
    I give you my affection and I give you my time.
    Trying to get a connection on the telephone line.
    You're so close but far away. I call you up all night and day.
    • This is kind of creepy in and of itself but then the song is also interspersed with sounds of someone's incessant dialing and a pre-taped operator's voice stating:
    The number you have reached has been disconnected.
  • Nephew's "Movie Klip," which is about a man who stalks his ex-girlfriend, going so far as following her to Paris and (it's implied) filming her with her new boyfriend.
  • R.E.M.'s "Losing My Religion" is this, according to Michael Stipe.
  • "Laid" by James is about sexual obsession and someone's life spiraling out of control due to it. The last verse dives headlong into the Paranoia Fuel aspects of this trope, when the singer talks about someone cutting a hole through the wall to get around door locks, and how that person is found sleeping next to him when he was supposedly alone. The last line implies that the singer is becoming too attached to the obsession as well.
  • "Habit" by Stabilo:
    I want your clothing when you sweat
    I want the rain that makes you wet
    I want the drink that made you sick
    I want to choke on it
  • Zolita:
    • "Hurt Me Harder" is about an obsessive type of Destructive Romance (or maybe even an outright abusive relationship).
    • "Kill For You" outright begins with the lyrics "I belong to you". Its lyrics eventually turn from "I'd kill for you" to "I've killed for you, baby. Who else could say that?".
    • "Drug Me Now" compares her obsessive love to a drug addiction.
  • Lovers & Liars: "Head" is about how the protagonist can't get over an exe and how they're jealous of their new boyfriend.
  • ELYSION's "The Promise" is a passive example which consists of begging their lover not to ever leave them.

  • In Crysania's song "Playing with Fire", from the Russian musical The Last Trial, she expresses her desire to prove her faith by redeeming the soul of a dark mage, even if she dies in the attempt.
  • Éponine's song from Les Misérables, "On My Own", is all about how she clings to daydreams of Marius loving her but knows he never will. A more passive example than most — she doesn't do much in the way of stalking in the musical; her book counterpart fits the trope better, but obviously doesn't sing the song.

    Video Games 
But I'll find you before too long.
Can you feel me coming,
like a heart beating time,
keep on moving, hunting until you're mine.

    Western Animation 

Aggressive Type

    Film — Animated 
  • "Hellfire" from the Disney version of The Hunchback of Notre Dame about Frollo's obsession with Esmeralda qualifies. It's also his Villain Song with a nice Bilingual Bonus.
    Protect me, Maria! Don't let this siren cast her spell!
    Don't let her fire sear my flesh and bone!
    Destroy Esmeralda, and let her taste the fires of hell,
    Or else let her be mine and mine alone!
    Hellfire, dark fire
    Now gypsy, it's your turn!
    Choose me or your pyre
    Be mine or you will burn!

    Film — Live Action 
  • "GoldenEye" by Tina Turner, for the eponymous James Bond movie.
    • Another example from the James Bond franchise is Gladys Night's "License To Kill".
    Got a license to kill, and you know I'm going straight for your heart. (Got a license to kill...)
    Got a license to kill anyone who tries to tear us apart... (Got a license to kill....)
  • "I Wanna Marry My Stalker" by Goldfinger. Although sung from the person who's being stalked point of view, the stalker certainly is... Persistent.
    • Indeed, and it seems that her efforts are actually paying off if the title is any indication.

    Live-Action TV 
  • The song "Feeling Kinda Naughty" from the show Crazy Ex-Girlfriend. It's about Rachel's obsession with Valencia, the girlfriend of her ex-boyfriend:
    I wanna kill you and wear your skin like a dress,
    But then also have you see me in the dress,
    And be like "OMG you look so cute in my skin!"

  • Simon & Garfunkel's "Why Don't You Write Me", perhaps the whiniest and co-dependent of all, even threatening suicide at the end. Reality Subtext here as Simon was tired of waiting for Garfunkel to return (shortly before the break-up of the band.)
  • Zero 7 - "If I Can't Have You" - stalker lady sounds like she's going to kill her crush for not noticing her:
    Now I watch you bleed
    You had all I need
    How I love you so
    Now we'll never know
    If I can't have you
  • "I Put a Spell on You" by Screamin' Jay Hawkins is a classic example. Originally supposed to be a passive example, but then one of the recording crew brought in booze, turning it into one of the most famous aggressive examples ever.
  • The Police:
  • Nick Cave & The Bad Seeds - "From Her to Eternity", "Hard On for Love", and several others. Nick Cave really likes this trope, specifically the aggressive Murder Ballad variety.
    • Don't forget No Pussy Blues, complete with its own kind of Madness Mantra ("she just didn't want to")
  • Portishead - "All Mine" from Dummy
  • Muse have a fair amount of Obsession Songs in their oeuvre, most of them falling squarely in the Aggressive side. "Hysteria", "Bliss" and "Endlessly" are stand-out examples.
  • Lisa Germano's "...a psychopath" is a very aggressive Obsession Song sung from the perspective of the stalkee.
    • Which features an actual 911 call.
  • Pretty much any line from Animotion's "Obsession" could work as a page quote for this trope.
  • "Bill Watterson" by Lemon Demon is about a narrator who's fanatically devoted to Bill Watterson, the creator of Calvin and Hobbes and has an erotomania delusion, wherein a person believes that someone else is in love with them, usually a celebrity; in this case, it manifests in him thinking that Bill Watterson is communicating with him through the comics.
    And now I know where I must go
    To show you that I love you so
    So I brought books for you to sign
    And I brought shears to cut your phone line
  • Shellac's "Prayer to God" is a particularly nasty aggressive example.
  • PJ Harvey's "Legs" from Rid of Me is another very aggressive example. Nothing says "I love you" like sawing someone's legs off to keep them from leaving you.
    • She also did Rid of Me, which is...passive-aggressive?
  • Blondie- "One Way Or Another", "Accidents Never Happen", "Hangin' On the Telephone". Debbie Harry wrote the former because of a quite insane stalker. She stated that adding a bubble gum pop added some lightness and was therapeutic for her.
  • Opeth - "The Leper Affinity."
  • Ozzy Osbourne - "Shot In The Dark" is about an obsessed stalker who's creeping up on their target unseen.
  • Ludo - "Go-Getter Greg."
    • As well as "The Horror Of Our Love" for the 'wearing your skin like a sweater' variety.
  • "Play With Fire" from Out of Our Heads by The Rolling Stones is an aggressive Obsession Song.
  • Death Cab for Cutie's "I Will Possess Your Heart." It lasts 8 minutes (on the album).
  • Even The Beatles did one, and it's pretty aggressive, too. "Run For Your Life" - Rubber Soul, 1965. John Lennon came to hate this song.
    I'd rather see you dead, little girl,
    Than to be with another man.
    • Those two lines were, however, taken word for word from the Elvis Presley song "Baby Let's Play House" from The Sun Sessions.
    • Some other, less extreme, Beatle examples: "I'll Be Back", "No Reply", "You Like Me Too Much", "You Won't See Me", "I Want You (She's So Heavy)".
  • Eminem:
    • "Stan". The lyrics are Stan's increasingly deranged letters to Eminem. The last verse is Eminem's reply, but it's cut short when Eminem realizes that Stan killed himself, his girlfriend and their unborn child during the second-to-last verse.
    • There's also "Kim", which tells the story of Eminem going Ax-Crazy on his titular wife.
    • Eminem's sexiest song, "Love You More", contains lyrics such as "I know it's sad but it's making me happy," "From junior high, until we both die" and "it's an addiction and it can't be fixed."
  • "Goodnight & Go" by Imogen Heap (lead singer of Frou Frou). Some serious Lyrical Dissonance, too.
    Follow you home
    You've got your headphones on and you're dancing
    Got lucky, beautiful shot
    You're taking everything off
    Watch the curtains, wide open
    And you fall in the same routine
    Flicking through the TV
    Relaxed and reclining
    And you think you're alone ...
  • Evanescence:
    • Snow White Queen which falls into the Aggressive category when told from the POV of the stalker (the stalkee's POV makes up the rest of the song)
    • Then there's 'Surrender', which sounds really soft and pretends to be a type one, is most definitely a type two.
    You will surrender to me
    There's no escaping from me
    • And from the same song we get: Darling, there's no sense in running, you know I will find you.
    • Haunted, which seems to be a ghost doing this.
    • The Other Side and Even In Death is this to a dead person. Extremely aggressive musically.
  • As the name implies, Assemblage 23's "Let Me Be Your Armor"'s protagonist is very chivalrous, but it's lampshaded that his love is a bit more possessive than most. That or it's about an eerily overprotective parent. Either way, it's obsessive, controlling, and downright creepy.
    • Also by Assemblage 23, "The Last Mistake" falls squarely into this trope, with a more deranged, possibly murderous aspect.
    If I can't have you, then nobody can
    I hope you understand, I hope you understand
  • The Toadies' "Tyler": It starts out seeming like an ordinary romantic song about a man who's looking forward to being with his beloved again after a long time apart. Then in the last verse, the narrator breaks into her house, and it becomes readily apparent that something else is going on...
    ''I stumble in the hallway
    Outside her bedroom door
    I hear her call out to me
    I hear the fear in her voice
    She pulls the covers tighter
    I press against the door
    I will be with her tonight...''
  • Slipknot:
    • "The Virus Of Life." Definitely the aggressive, rapetastic Murder Ballad type.
    • From the same album, "Vermilion" and "Vermilion Pt. 2" are more passive Obsession Songs.
    • Going back a bit, Prosthetics.
    • "The Nameless" which is very aggressive type and screams "You're mine" a lot at the end.
    • "Gehenna".
  • Nellie McKay did one called "Baby Watch Your Back" in her cutest voice.
  • Barenaked Ladies, "Straw Hat and Old Dirty Hank" is sung from the position of a guy who's obsessed with Anne Murray, and is supposedly based on a true story.
    You say you love me, is that the truth?
    Although they've heard the songs, my friends need living proof
    I know your address, I ring the bell
    I bring you flowers and a .22 with shells
    • Some people think that their song "The Old Apartment" counts, and I guess it does, but Word of God has it that the guy in the song is still with the same girl, it's the apartment itself that he's obsessed with.
  • "Bloodbath & Beyond" by Ice Nine Kills, from the POV of Dracula craving the body and blood of his next victim.
    It's been six years since I've had my fix
    And now I'm fixed on you
  • t.A.T.u.'s "Fly on the Wall" which focuses on a woman stalking someone who is already in a relationship.
    When you think you're all alone, I'll be down the hall
    I could see it, if I was a fly on the wall.
    What you do in you're room, I could see it all
    You undress, I wish I was a fly on the wall.
  • Cobra Starship:
    • "It's Warmer In The Basement," in which the stalker has already kidnapped the object of their affections. In the words of the lead singer, "This is a song about when you love someone so much you have to tie them up in your basement."
    You can't escape now
    I've got you locked inside this room
    You know I tip good
    And soon, you will love me too
    Don't be upset now
    You know, I get angry too
    Don't make me hurt you
    It's true, no one hears you in this room...
    • Cobra Starship also has "You Belong To Me".
  • Voltaire has the incredibly catchy "Ex-Lover's Lover"
    I wait for the day when I'll finally defile
    The bodies of my ex-lover's lovers
    I'll pile high to the sky
    The bodies of my ex-lover's lovers.
    I saw you with him, you looked so happy.
    That will never change because I know myself
    too well. I don't have the courage
    to carry out my dreams
    And only there will I see them die.
  • "True Love" by ThouShaltNot is of the "If I Can't Have You…, no one will" variety.
  • Cher Lloyd's "Want U Back" is basically the Stalker with a Crush anthem.
  • Guster's "The Airport Song" is about someone who wants to kidnap someone else and turn them into a cultist/lover. Really creepy.
  • The Arrogant Worms have "Celine Dion," about a guy who's obsessed with her - "And I can see your house / From my van" and "Stalker Girl," which, despite being by a fairly obscure band, would make a good auxiliary page quote.
    She's my creepy stalker girl
    I'm the center of her whacked-out, crazy, and delusional world
    She follows me everywhere
    She's even got a bag with some bits of my hair
    Just go away, you creepy stalker girl
  • Britney Spears' "Radar." Especially these parts:
    Hey baby whether it's now or later (I've got you)
    You cant shake me (no)
    Cause I got you on my radar
    Whether you like it or not, it ain't gonna stop
    Cause I got you on my radar (I've got you)
    Cause I got you on my radar
  • "What'll You Do About Me," originally recorded by Steve Earle, later Covered Up by The Forester Sisters, Doug Supernaw, and Randy Travis.
    And what in the world are you gonna do
    When a man comes over to visit with you
    And I'm on the porch with a two-by-two
    Baby, what'll you do about me
  • A-Ha's "Take On Me" can certainly be read this way.
    Oh, the things that you say
    Is it life or just to play my worries away?
    You're all the things I've got to remember
    You're shying away, I'll be coming for you anyway!
  • Michael Kooman and Christopher Dimond's "To Excess."
    "If it's a crime to hold a girl's grandmother hostage
    Until she agrees to say yes
    Then I guess I am guilty.
    I confess I am guilty.
    Like sentenced to life guilty
    Of loving you to excess."
  • Sufjan Stevens' "All for Myself":
    I'll set it right between your eyes
    Your shoulder blades, your running knife
    I want it all, I want it all for myself.
  • Lou Reed's "Satellite of Love" from Transformer, also recorded with the Velvet Underground.
    I've been told that you've been bold
    With Harry, Mark, and John.
    Monday, Tuesday, Wednesday, Thursday
    With Harry, Mark, and John.
  • The Velvet Underground's "The Gift" from White Light/White Heat could also be considered an example, although it's debatable whether it falls into the passive or the aggressive category. And Berlin could pretty much be considered an entire obsession album. In case it wasn't obvious, Reed considers jealousy "a destructive, horrible emotion".
  • "Macaulay McCulkin" by The Fall of Troy. The narrarator gets progressively more Ax-Crazy as the song goes on.
  • Meg Myers' "Desire" is an extremely aggressive example. It contains the lines "Baby, I wanna fuck you" and "Boy, I wanna taste you, I wanna skin you with my tongue"
  • Marianas Trench's "Toy Soldiers." Ends with If I Can't Have You….
  • "Fingers and Toes" by Alex Winston is about a girl who plans on dismembering the girl she's in love with:
    Got you in the throes
    And now you can't go
    Keep you for my own
    Fingers and toes
    Envision you're a dream
    I'll tear you at the seams
    You can be my queen
    I'll cherish all your pieces
  • "Jayn's Smoke And Mirrors mixes this with a Murder Ballad.
    I'm not asking much
    just give me your heart
    and put no one else above me
    Go on, say you love me
    Take my hand in yours and say I'll always be the one
    Without you my life means nothing
    So just say you love me tonight
  • Sister Sin's Switchblade Serenade goes beyond If I Can't Have You…: the singer has apparently already stabbed the object of her affection and is singing about how much she loves him as she watches him bleed to death.
  • "Senpai Love Me", a Christmas parody of "Santa Baby" for Yandere Simulator, is all about Yandere-chan's obsession with Senpai, and all the horrendous things she wants to do to her rivals to win his love.
  • "Senpai, Notice Me" is another Yandere Simulator inspired game about Yandere-chan's obsession with Senpai, which turns to murder at the end of the first verse and gets worse from there.
  • Zolita's "Explosions" turns into this near the end. It's mainly a song about painful unrequited love (and possible Incompatible Orientation) towards her best friend, but then she begs for her friend to return her feelings. It ends with "You're mine" being repeated in a possessive manner.
  • The Blake Robinson Synthetic Orchestra song "An Unhealthy Obsession" is Exactly What It Says on the Tin.
  • Tally Hall has the song “Two Wuv” about being in love with and pursuing both of the Olsen Twins.
    Mary-Kate and Ashley, I hope you understand
    That I love you a lot and I wanna be your man
    And I think that it'd be totally cool
  • Peterpan's "Khayalan Tingkat Tinggi" (High-Level Imagination) describes the singer's fantasies with a person he's obsessed with.
  • Madds Buckley's "The Red Means I Love You" is inspired by Himiko Toga. It's as obsessive as that would imply.
    You leave me high and dry
    A rush comes to my mind
    At the drops of blood you leave behind
    Run as you might my love will
    Never ever

  • The song "You'll Be Back" from Hamilton is every bit this, sung sweetly by King George III to the colonies. He nonchalantly mentions that if America won’t take him back, he will kill her friends and family… to remind her of his love. '(Da da da da da…)'
  • Sweeney Todd: The Demon Barber of Fleet Street has "Johanna", which in the film version of the play comes off as quite stalkerish — Anthony is singing it after having just taken one hell of a beating at the hands of the Beadle, and the look on his bloody face as he sings is quite creepy:
    "I'll steal you, Johanna, I'll steal you. Do they think that walls could hide you? Even now, I'm at your window. I am in the dark beside you, buried sweetly in your yellow hair! I feel you, Johanna, and one day I'll steal you!"
    • But it's nothing compared to the "Johanna" sung by Judge Turpin, which makes Anthony look positively heroic by comparison. Which may be the intention.
  • Speaking of Sondheim, there's also "Unworthy of Your Love" from Assassins, sung by John Hinckley Jr. and Squeaky Fromme to Jodie Foster and Charles Manson, respectively. Though that one almost sounds sweet out of context.
  • John Jasper's half of "The Name of Love" from The Mystery Of Edwin Drood. Bonus points that it's a duet sung with his terrified victim/love interest, Rosa. "I see you scowl; you see me smile. Tis you I'll break! I've no denial. My words are mad: I speak them in the name of love..."
  • The Dark Reprise of "All I Ask of You" at the end of the first act of The Phantom of the Opera ends with: "You will curse the day you did not do/All that the Phantom asked of you!" The Phantom proves as good as his word when he causes the chandelier to fall immediately afterward.
  • "It's a Dangerous Game" from Jekyll & Hyde almost sounds like a romantic duet, except that it's about a psychotic killer stalking a prostitute who's too terrified of/fascinated by him to make a run for it.
  • Death from Elisabeth has three songs of this type.
    • Act one has the short version of "Die Schatten werden länger", in which he tells Sisi that she needs him and warns her against dragging Franz Joseph into her tragedies.
    • He actually gets physically aggressive with Sisi during "Der letzte Tanz" and "Wenn ich tanzen will": dancing violently, throwing her around, kneeling between her legs and leaning in very close to her face, grabbing her by the wrists, hands, and then the back of the head... All of this is done while he reiterates that no one loves/understands her as he does, she is free only through him, and she will want him/be his eventually.
  • In Oklahoma!, Jud Frye's song "Lonely Room" starts off as a self-pitying reflection of how empty and meaningless his life is, but turns into an angry obsession song by the end as he decides he is going to leave his room and take what he believes is his by rights, i.e. Laurie. And murder Curly into the bargain.


    Anime and Manga 

    Film — Animated 
  • As if there wasn't already enough Foe Romance Subtext in Disney's The Great Mouse Detective, Ratigan designs his Death Trap with a Musical Trigger with "a sprightly tune I recorded especially for" Basil, with lyrics such as "You followed me, I followed you — we were like each other's shadows for a while."
  • The Nightmare Before Christmas: Does it count as an Obsession Song if it's not about a person? In any case...
    In these little bric-a-brac,
    A secret's waiting to be cracked!
    These dolls and toys confuse me so!
    Confound it all, I love it, though...
    Simple objects, nothing more,
    But something's hidden through a door,
    Though I do not have the key.
    Something's here I cannot see!
    What does it mean?!
    What does it mean?!
    ... What does it mean?

    Film — Live-Action 
  • Messed around with in the movie Say Anything..., where the character Corey has written 65 songs about her ex-boyfriend.

    Live-Action TV 
  • Interview with the Vampire (2022): Daniel Hart's "Come to Me" with Sam Reid as the vocalist contains a few verses which reflect how besotted Lestat de Lioncourt is with Louis de Pointe du Lac. The Title Drop occurs ten times in the lyrics, and it's a Call-Back to the pilot where Lestat (who was in full-blown Stalker with a Crush mode) psychically called out to Louis "Come to me/Viens à moi" repeatedly, paying no heed to the latter's insistence that he be left alone.
    Come to me
    I get intoxicated by the very air of you
    Come to me
    I'm so infatuated with the grand affair of you
  • Stephen Colbert did one on his show, "Charlene (I'm Right Behind You)" (also the shortest free downloadable track in Rock Band). He also made a comment that would be a nice quote for this trope. It went something like, "By the way, Charlene, technically this doesn't violate the restraining order."

  • Elvis Costello's "I Want You" from Blood & Chocolate, which contains heavy doses of both passive and aggressive.
  • Morrissey also likes this trope, with quite a few of his songs (both solo and with The Smiths) falling into the passive category, although he has some more aggressive ones as well, most notably "The More You Ignore Me, The Closer I Get."
    • "Jack The Ripper"— the original version is significantly creepy, too.
  • Garbage's "#1 Crush" is a perfect example of the passive variety.
    • Only at first. It becomes increasingly aggressive over the course of the song.
    • "Vow" went beyond this, mixing obsession with seething rage and threats of extreme violence.
  • The Killers - "Andy, You're A Star" and "Mr. Brightside."
    • Almost the whole of that album...
  • Clay Aiken's "Invisible" is an infamous unintentional example.
  • Parodied by "Weird Al" Yankovic in "Do I Creep You Out?"
    • Another Weird Al example - "Melanie," which includes lines "I had to go through your garbage just to learn more about you, Melanie!"
  • Queens of the Stone Age have "You Can't Quit Me Baby", which could be either extreme passive or aggressive depending on how one interprets the ambiguous ending; the protagonist is either Spurned into Suicide or murders the woman he is stalking, if not both.
  • "The Stalker Song."
  • They Might Be Giants - "I'm Your Boyfriend Now."
  • "Betty's Body" by The Residents.
  • Sarah McLachlan's "Possession" sounds rather romantic...until you learn that she put the lyrics together from passages from letters that several stalkers sent to her. Brrrrr...
    • It gets progressively creepier, too. From "My body aches to breathe your breath/Your words keep me alive" to "And nothing stands between us here/and I won't be denied". Yeesh.
    • One of the stalkers later sued her for plagiarizing his letters, but killed himself before the lawsuit came to trial.
      • And he only wanted to sue her so he could get closer to her when they inevitably met in court. I'll see your Brrrrr and raise you a GAH.
    • "Sweet Surrender" might be an example of the passive type.
  • The Stooges - "I Wanna Be Your Dog" from The Stooges (Album).
    • "Your Pretty Face Is Going To Hell" from Raw Power
  • Played for laughs in "Not About You" by Jonathan Coulton, which is about a man who insists he's not obsessed with (or possibly stalking) his ex.
    Every time I ride past your house I forget it's you who's living there
    Anyway I never see your face cause your window's up too high
  • Charlotte Martin's "I'm Normal, Please Date Me" is a similarly comedic take on it, with a girl insisting that she's not stalking a guy, all the while making it increasingly clear that she is.
  • The Smashing Pumpkins' "Ava Adore" from Ava Adore might count.
    • "Ava Adore" is, according to Billy Corgan, about his mother's death. Which may be even creepier...
    • "Zero" sounds a lot like the passive variety, although it's hard to tell between the rather dense lyrics.
    • "Lily (My One And Only)" is a delusional stalker's narrative paired with a cutesy little singsong tune:
    Oh Lily, I know you love me
    'Cause as they're draggin' me away
    I swear I saw her raise her hand and wave goodbye
  • Space love this trope. 'Drop Dead' (aggressive), 'Diary Of A Wimp' (both), 'There's No You' (passive), 'Bastard Me Bastard You' (aggressive), 'Turn Me On To Spiders' (aggressive)...and there's probably more.
  • Lady Gaga's "Paparazzi".
  • My Dying Bride - "Black God" and "Sear Me."
  • Cradle of Filth - "Nymphetamine."
  • "My Obsession" by Icehouse.
  • Mono Puff's remake of Gary Glitter's "Hello Hello" comes out along these lines.
  • "Ingrata", from Café Tacuba, can be interpreted as either a man berating a woman who just used him and get away by claiming to love him until he got fed up, or a creepy obsssed stalker towards a girl who tried to live her life and in and attempt to calm him she said that she loved him with no sucess. Either way, at the end of the song the singer announces that he's going to shot the woman "so you can get hurt too", and ends "Even if I'm sad for not having you anymore / I'm going to stay with you in your funeral"
  • "I Know You're Out There Somewhere", The Moody Blues.
  • Stabbing Westward has a few of these: "What Do I Have to Do?", "Shame", "You Complete Me" and "Waking Up Beside You", among others.
  • Several comedy bands have variations on this including "Stalker Song" by Tripod and the reversed trope "Stalker Girl" by The Arrogant Worms.
  • The appropriately titled "Obsesión", by bachata group Aventura, is a kind of verbal confrontation between a Stalker with a Crush (male singer) and the object of his affection (female voice, chorus), where the boy believes that his increasingly invasive, controlling ways are acceptable forms of showing love, and isn't clued by the fact that the girl has been avoiding him as he becoming creepier, and that she's saying quite directly in the chorus that whatever he feels, isn't truly related with love...
  • "You Can't Change That", Ray Parker Jr.
  • Depeche Mode - "It's No Good".
    • Also (arguably) "See You", which straddles the border of this and Break Up Song.
  • Devo's "I Desire" comes off as one (if you don't miss it due to Lyrical Dissonance) even without the knowledge that it's based on a poem written by a real life Stalker with a Crush who unsuccessfully tried to kill Ronald Reagan in order to impress Jodie Foster.
  • Although possibly not intended as one, Alison Krauss' "Baby, Now That I've Found You" does come off as an Obsession Song if you pay attention to the lyrics.
  • Siouxsie and the Banshees have a song entitled, what else, Obsession
  • Buddy Holly's classic and much-covered "Not Fade Away" is pretty creepy in the right light.
  • Enrique Iglesias's Escape, in which he sings about, and I quote
    If you feel like leaving, I'm not going to make you stay
    But soon you'll be finding, you can run, you can hide, but you can't escape my love!
    • The accompanying music video in which he follows her into the BATHROOM and proceeds to make out with her. Obsession INDEED!!!
      • Much Fromage, a yearly awards comparable to the Raspberrys for music videos, awarded the music video for Escape as "Creepiest Music Video of the Year".
    • Hero, while not really an Obsession Song, has a very humorous parody of it called Stalkerbook.
  • Sonata Arctica has a few. "The End of This Chapter" and "Don't Say a Word" are possibly the most obvious of them.
  • TechN9ne's "Psycho Bitch" features an actual answering message from the titular stalker.
  • Steely Dan's "Rikki Don't Lose That Number"
  • Smiling Karen by Tito & Tarantula is about an extremally psychopathic case of this.
  • "Hot", "Contagious", "Girlfriend" by Avril Lavigne.
  • "R.D.C. (Opie's Lament)" by Dead Baby Comedian Stephen Lynch is sung from the perspective of someone obsessed with Rae Dawn Chong.
  • "I'm Gonna Getcha Good" by Shania Twain.
  • Skillet's My Obsession is technically a passive song ("Come down to me/Don't ever say that it's over/I kiss your feet/Worship the air you breathe"), but it's certainly a resentful one ("I spend my days/Tangled in thoughts of you/Stuck in this place/Resigned to be your fool"). At one point the singer actually wonders if he's going crazy.
    • Considering it's a Christian band it may be talking about his relation to God, which doesn't change anything.
    • Don't forget about Whispers in the Dark.
  • Snake River Conspiracy covers Lovesong in a way that invokes this trope.
  • Kate Nash's "We Get On" starts off sort of innocent, until the singer's crush is seen with someone else:
    I don't ever dream about you and me
    I don't ever make up stuff about us, that would be classed as insanity
    I don't ever drive by your house to see if you're in
    I don't even have an opinion on that tramp you're still seeing
    I don't know your timetable, I don't know your face off by heart
    But I must admit there is a part of me that thinks we should get on.
  • Depending on interpretation, Lou Christie's freakishly catchy "Lightning Strikes" is either a mild but smarmy type 2 or a combination of both — it probably wasn't intended that way, but there's a clear subtext of a Casanova Wannabe pursuing an utterly uninterested woman.
  • Jack's Mannequin gives us "What Gets You Off" and "Miss California".
  • 'I Touch Myself' by Divinyls. Not only is it about some, uhh, "quality time with oneself", it's also about being incredibly obsessed/devoted to them.
  • Parachute's "Ghost". It seems passive at first, then it sounds more like the thoughts of an erotomanaical stalker who is trying to tell the victim that they are always together, whether they realize it or not. I honestly have no idea whether or not this was meant to be taken in that context.
    Look behind you
    Avoid the shadows
    Watch your back now
    Make your breathing shallow
    Keep your room locked
    And leave the blinds closed
    I'm right there staring at your window
    And all I need is you, all I need is you
    I'm in the background on the radio
    I'm in your car, in your house, waiting at your door
    Under your footsteps, I'm everything you know...
  • The Orion Experience has the weirdly upbeat Obsessed With You.
  • Jace Everett (of "Bad Things"/True Blood fame) has at least two: 'Posession' ("you don't even notice me, it makes me want you more [...] I'll be your possession...") and 'Damned If I Do' especially:
    Late at night, all I can do is walk these streets and think of you [...]
    I'm damned if I do, and damned if I don't want you.
    To taste your lips, to touch your skin, to pull you close and drink you in. I should let you go, but I don't know how.
    I see your face through that windowpane. My lips don't move as I scream your name (etc.)
  • Several Muse songs, such as "Sing for Absolution", "Endlessly", and "Hysteria".
    • "Space Dementia" describes a weird Tsundere version: "You make me sick / But I adore you so..." That is, if it's not just talking about Space Madness. (Although there's always the possibility that it's both.)
  • "Don't Leave Home," by Dido.
  • The Legendary Pink Dots love this trope, with "Obsession" and "Thursday Night Fever" (see also Yandere) being crowning examples of the passive and aggressive types respectively.
    • Their song "True Love" is also a good (if still rather frightening) example of the passive variety, with the lyrical speaker telling the object of his affection that he'll do all kinds of dangerous or harmful things for her (including plucking out his eyes "because love is blind"). It's made even worse when the last lyrics of the song abstractly suggest she's abusive or apathetic towards him.
  • Taylor Swift's "You Belong With Me" could be interpreted as this.
    Think I know where you belong
    Think I know it's here with me...
    Can't you see that I'm the one who understands you?
    Been here all along, so why can't you see
    You belong with me?
    • Also her song "Speak Now" is a good example of stalker songs.
  • The Hush Sound's "Sweet Tangerine," although upbeat and catchy, has the lead singer admit that he wishes he could lock his ex-girlfriend's up and is trying to sneak into his ex-girlfriend's home, convinced that he can reconcile their love.
    Let me in, please it's cold I'm freezing out here, I miss you my dear
    You're all his and I'm all yours, like it or not, I'm all you've got
    If I could I'd lock you up and toss out the key, it's just you and me
    Crept through the curtains, as quick as the cold wind
    Slowly exploring the room where you sleep
    The stare of your portrait, the passing of your scent
    Left me no choice but to stay
    • Also, Love You Much Better has the female lead singer switching back and forth between passive and aggressive, albeit somewhat mildly.
    Passive: Why do you sing to everybody but me? Why do I let it go on? You've got such a music box song in my head all day long.
    Aggressive: But one day soon, I'm gonna grab you by the collar and kiss you all I want!
    Passive: I can love you much better, if you can't see it you're blind.
    Aggressive: I can love you much better, and you know some day, I'm gonna make you mine! La-la-lalalala...
  • London After Midnight's "Love You To Death"
    You're my possession, a sweet obsession of mine
    It's just a matter of time; I'll wear you down, one day you will be mine
  • Johnny Dowd's gentle country ballad "Hope You Don't Mind" combines this with paedophilia to very disturbing effect.
  • Tegan & Sara's song "Knife Going In" contains the line "On the night I die I swear I'll sleep outside your window." Also "Living Room" seems to be about stalkerish behavior.
  • The Offspring's "Special Delivery" is pretty blatant with the stalker theme.
  • "Jævel av en tango" by Kaizers Orchestra. The lyrics, translated, go like this:
    But, for Señor Flamingo
    The situation was a win-win situation
    Either, Clementine would be his wife and his all
    Or he'd have her five years in an institution
  • Dream Theater's 1994 album Awake closes with "Space Dye Vest", a song about a deranged man who, rejected by numerous women, becomes obsessed with fashion catalog models to the exclusion of actual human relationshipsnote :
    Now that she's gone I'm trying to take it, learning to swallow the rage
    Found a new girl I think we can make it, as long as she stays on a page
    There's no one to take my blame, if they wanted to
    There's no one to keep me sane, and it's all the same to you
    There's nowhere to set my aim, so I'm everywhere
    Never come near me again! Do you really think I need you?
  • Queensrÿche has "Walk in the Shadows" and "Gonna Get Close to You", surprisingly from the same album.
  • Torn Apart gets bonus points for being about desperate lust towards two women at the same time.
  • Maroon Five's "Cant stop" , in which he obsesses over a girl so much he "wakes up making love to a pillow".
  • Keroleen by the Scottish indie pop band Bis
    She is my heroine (Wanna! See Her! Wanna! BE HER! Don't go! NEAR HER!)
    • It doesn't help that the singer sounds like a he's in shock or that the backing vocals at the chorus sound like a berserk priest with a terrible itch.
  • Da Vincis Notebook's One-Woman Song to "Heather Graham":
    I have made it my sworn duty
    To sing the praises of her booty
    What I would not give to rock her
    But I can't, so I'll just stalk her
  • The Veronicas "Everything" and "I Can't Stay Away", both have shades of both.
  • "Until You're Mine" by Demi Lovato is rather passive.
    Wanted something out of reach
    It's killing me, you're all I see, yeah
    • and rather aggressive
    Forget about fate and just hold me
  • Evanescence: Surrender, Farther Away and Anything For You fall into both categories.
  • Emilie Autumn: Opheliac has shades of both types...The water rises up again ...AND diva/metal screaming!
  • 'Love the Way You Lie' by Eminem and Rihanna has shades of both.
    Passive: Just gonna stand there and watch me burn/ well that's alright because I like the way it hurts/ Just gonna stand there and see me cry/ well that's alright because I love the way you lie
    Agressive: If she ever tries to fuckin' leave again/ Imma tie her to the bed and set this house on fire
  • Hurt's "Got Jealous" flips from one to the other over the course of the song.
    Aggressive: If you don't get outta here / I'm gonna kill someone /I think he's been in your room / For way too damn long
    Passive: How will you let me know, when you let me go / My love, my love / Hey you, you're everything to me
  • Vermilion by Slipknot could be either. Part 1 is a standard, if slower, Slipknot song (aggressive). Part 2 is an acoustic ballad, that's, blatantly from a stalker's POV( passive).
  • "Imagine You Were Mine" by Mitch Benn is about the creepiest stalker imaginable. He's not quite aggressive because he doesn't make any direct overtures to the object of his obsession, but he's not exactly passive about it either. (And the last line definitely seems like a threat.)
  • "Catherine" by PJ Harvey from Is This Desire is a mix of the two types. The singer never outright threatens Catherine, but it's still extremely disturbing. The singer appears to hate Catherine for not loving them back, but they also seem to hate themselves.
    I envy the road
    The ground you tread under
    I envy the wind
    Your hair riding over
    I envy the pillow
    Your head rests and slumbers
    I envy to murderous
    Envy your lover
    'Til the light shines on me
    I damn to hell every second you breath
  • "I'm Gonna Make You Love Me" by The Supremes very easily could turn into a creepy stalker song even though it was trying to be romantic.
  • Arctic Monkeys' song "Do I Wanna Know?" is a mixed example. The lyrics are generally on the Passive end, but the way they're sung (and the dark instrumentation) adds some menacing undertones.
    Have you no idea that you're in deep?
    I dreamt about you nearly every night this week
    How many secrets can you keep?
    'Cause there's this tune I found that makes me think of you somehow
    And I play it on repeat until I fall asleep...
  • Meg Myers again, this time with "Monster", a song about a relationship where the narrator's partner isn't as involved as she is and she's not taking it well.
    oh, it aches and it aches
    you make me wanna die
    I gotta kill you, my love
  • Steeleye Span's Wintersmith
    • "You" has the Wintersmith declare that "Everything I touch turns into you". And as readers of the book know, this is absolutely literal. The actual lyrics appear passive, but there's a dark undercurrent to the tune that foreshadows the more aggressive turn he takes later.
    • The Deluxe edition has "To Be Human", which shows it from Tiffany's perspective
      Every smile seen as a sign,
      That somehow I've made you mine.
      Nothing could be more untrue.
      I need to escape from you!
  • "You're Getting To Be A Habit With Me" by Frank Sinatra from Songs for Swingin' Lovers!:
    But now I couldn't do without my supply
    I need you for my own
    Oh, I can't break away I must have you everyday
    As regularly as coffee or tea
  • "Vampire Smile" by Kyla la Grange switches between:
    I'll get so drunk on you
    And kill your friends
    And you'll need me
    And we can be obsessed
    • and
    Baby, you're cruel to me
    But you know I love it when you make me plead
    I want a scar that looks just like you
  • Ministry's "WKYJ".
    I got all of your letters
    Told me to stay away
    You know me better
    I'll pay a visit today
  • "Nothing Without Me" by Markus Schulz. It's a case of Real Life Writes the Plot, as Schulz stated that it was written as a "dedication" of sorts to a stalker fangirl he had a couple brushes with.
    You know we belong together
    And we're only strong together
    You are nothing without me
    If you run
    You'll be on the run forever
    I will haunt your mind forever
    You are nothing without me
  • Poets of the Fall's "Carnival of Rust" has its Love Hungry singer advertising his deeply dysfunctional, passive-aggressive fixation on his listener via an opening verse that takes the form of a Trial Balloon Question lathered in Wishful Projection.
    D'you breathe the name of your saviour in your hour of need
    N' taste the blame if the flavor should remind you of greed,
    Of implication, insinuation and ill will, till' you cannot lie still
    In all this turmoil, before red cape and foil come closing in for a kill?
And this is before the Scare Chord punctuated chorus, which changes to a blatant, direct demand to be loved, or his life will be ruined.
  • "Under The Willow Tree" has Madeline Harper Guest watching an Obsession Song unfold from the sidelines. All she wants is to be with her lover again, but she doubts that'll ever happen.
  • "Make Damn Sure" by Taking Back Sunday is a mix of Passive and Possessive because although the singer wants to "break" the woman down he loves "so badly," he's too shy and awkward to do so ("Well I trip over everything you say").
    "It starts out with this real honest bright feeling. ... Be it love or whatever ... it brings out the darker side of you and you don't really understand," he said. "I mean that's what happens with me, I don't know if that makes me sound crazy or not."

  • "Nigun Atik" ("Ancient Melody"), a famous poem by Israeli poet Nathan Alterman, starts passive and ends up aggressive. In the first three verses, the speaker states that he will do anything for his love, including selling his own eyes and giving his life as her birthday gift. The final verse however roughly translates to:
    But if you will ever laugh
    at a party without me,
    my jealousy will silently pass
    and burn your house down.

  • Chauvelin gets "Marguerite" in the musical adaptation of The Scarlet Pimpernel, where's he Promoted to Love Interest. Ironically, his obsession in the original novel is even stronger... it's just for the Scarlet Pimpernel.
  • "Meant to Be Yours" from Heathers manages to be both aggressive AND passive.
    • It starts out with JD explaining how he built a bomb and tricked all the students of Westerberg High into writing a suicide note. It's terrifyingly up-tempo and the way it's delivered is bone-chilling.
      "You chucked me out like I was trash"
      "For that you should be dead."
      "But! But! But!"
      "Then it hit me like a flash!"
      "What if high school went away instead?"
      "Those assholes are the key!"
      "They're keeping you away from me!"
      "They made you blind, messed up your mind"
      "But I can set you free!"
    • Then it gets slower and waltz-like, as he explains how he and Veronica were meant to be the only ones for each other.
      "I was meant to be yours!"
      "We were meant to be one!"
      "Don't give up on me now!"
      "Finish what we've begun!"
    • It switches back and forth a lot but then gets INCREDIBLY aggressive as he begs her to open the door to the closet where she's hiding.
      "Open the- Open the door please-"
    • ...And then threatens to kill her if she doesn't.
      "FUCK IT!"
    • And then it returns to passive as he sees Veronica, having faked her own suicide, dangling from a noose.
      "Please... don't... leave me alone..."
      "You... were... all I could trust..."
      "I... can't... do this alone..."
    • It's basically the Obsession Song to end all Obsession Songs.
  • "Never Ever Getting Rid of Me" from Waitress is a cute, bouncy song about how Ogie will wear Dawn down until she decides to give in and be with him.

    Video Games 
  • A sort of passive/aggressive mix and a disturbing one at that (though considering that the song is from the perspective of The Joker, it's understandable), in Coheed and Cambria's "Deranged" off the Batman: Arkham City album.
    Who will be your pretty, little enemy?
    When I'm gone your world will prove empty.
    I promise you will always remember me.
    The joke's on you, poison me.
    While you clean the streets of misfortune,
    I pick the innocent from my dirty teeth.

    Western Animation 
  • "The Worst Hyena We Know" from The Lion Guard is Janja angrily ranting about how the "friendly and kind" hyena Jasiri, who's "like nothing that you seen" and a "fearless" and unbeatable fighter, "drives me out of my mind!" And her "cute little smile." And how much he hates her friendship with Kion...


Video Example(s):

Alternative Title(s): Mad Love Song


Poisonous Love

Gabi's villain song Poisonous Love is this where she sings about her obsessive love for Nigel and it is very creepy...

How well does it match the trope?

5 (3 votes)

Example of:

Main / ObsessionSong

Media sources: