Unknown writers, no profiles. Plain words on the page. Visceral: -88. Killing as sport, gleeful. Concept: A street war anthem that celebrates shooting rivals on sight, mocks named dead enemies at their own funerals, and threatens police, with lean, cash, and disposable women as the trimmings.

The hook orders a rival blasted and pays for it without asking, brags about past murders, and hates enemies so much it would dig them up to kill them again. The verses stack shooters returning to spin the block, a roll-call of dead friends, taunts aimed at named dead rivals still twitching, a promise to shoot everyone outside, and a threat to fry police, closing on the boast that the narrator takes rather than asks. Posture: ordering a killing and paying for it -> promising more killings and taking what he wants.

several real people are named as dead rivals, dead friends, a performer, an actor, and street sets; each is referred to as [rival], [fallen associate], [performer], [actor] or [crew] below. Slurs reproduced in the lyrics are referred to abstractly (an in-group racial epithet used as address, a misogynist epithet for women) and are voiced from the narrator's own position, never as witness. Route: negative_payload The dominant arc IS the harmful content: contract violence, mocking the dead, shooting up crowds, threatening police, drug use and sexual disposal of women. Nothing else is on the page. No witness frame, no warning, no regret.

Red-3 fires as the engine: a rival ordered blasted on the hook, a shooter who spins back and claps again, a promise to shoot up everybody outside, a chopper bullet flipping a man. Red-4 fires at full weight: contempt for named dead rivals (rest in pee at your funeral, [rival] still twitching, [rival] did all that woofing and did not make it). Red-6 fires: hating enemies so much you dig them up and tell them to die again; hawking men down after giving head starts. Red-8 fires: the dead are stripped of dignity for entertainment. Red-1 fires: women reduced to disposable partners on mattresses, a misogynist epithet for them. Red-2 fires: bring back the lean. Red-9 fires: paying fifty to have a man killed. Red-10 fires: the stance is destruction of others. Red-13 fires: rage aimed at rivals and police as the fuel. All of it is hook-carried and verse-carried; removal guts the song. Ego: -90. Pervasiveness: pervasive.

No blue or violet tenet fires. The roll-call of dead friends is grief used as license for more killing, not processing. Transcendence: 0.

(ego already in the Corrupted band, enumerate red to state what holds it there) red-1 fires, women as disposable partners on mattresses, epithet used. red-2 fires, calling for lean by brand. red-3 fires, shooting rivals on sight, shooting up everyone outside, the engine of the song. red-4 fires, named dead rivals mocked at their funerals and while still twitching. red-5 does not, no possession of a person. red-6 fires, dig enemies up and tell them to die again; hunt men down after head starts. red-7 does not, no self-destruction acknowledged as wrong. red-8 fires, the dead stripped of dignity for entertainment. red-9 fires, contract killing paid in cash. red-10 fires, destruction of others is the core stance. red-11 does not, feeling is present as rage and glee. red-12 does not, no explicit nihilism beyond the violence. red-13 fires, rage at rivals and police fuels every verse. Adjacent tier: red enumerated, 9 fire.

Kept: -92 (violence and dehumanization as the point, graphic murder threats plus systematic dehumanization delivered as entertainment or provocation, multiple Corrupted tenets at full weight, rage as the engine, first-person endorsement). The song reads as that archetype in full: contract violence, corpse-mocking of named victims, shooting crowds, threatening police, no deflection offered. Rejected: -97 (annihilation of a person or group meant sincerely with no performance frame; the song is street braggadocio delivered as provocation and boast, which is a performance posture even though no just-joking line appears), -83 (objectification and lifestyle stacking tops out at -82; this song's engine is murder, a qualitative step past that ceiling), -78 (contempt for a named rival; here the contempt is several named dead men plus threats to kill more, which exceeds the diss archetype). The song sits at -92, slightly stronger than the entry for the sheer count of named victims mocked, and below -97 because the frame is provocation and boast. Precedents: [-92] Center: -91

(relative to -92) Saturation: +1, every line carries a red tenet. Resolution: 0, closes on the taking-not-asking boast, same posture. Register: -1, stock boasts and repeated fills. Reach: 0, one crew against its rivals. Contamination: none (the ego axis governs; pervasive payload).

Corrupted territory, at the -92 archetype and slightly stronger, because the dominant arc is contract violence and corpse-mocking delivered as boast, with nine Corrupted tenets firing at full weight. Reconciliation: aligned (visceral -88, center -91). Dogma: none. Confidence: 0.95. Full lyrics present; arc unambiguous.

Corrupted territory, at the -92 archetype and slightly stronger, because the dominant arc is contract violence and corpse-mocking delivered as boast, with nine Corrupted tenets firing at full weight.