performed. No performer, catalog, persona, chart position, or positioning entered the read, including the outro's own self-naming, which is treated as text on the page rather than as identity. Lyrics read in the original Spanish, in full; no translation intermediated the read, so the translated tag does not apply. Visceral: -55. Body-craving, hook-carried.

A narrator declares himself addicted to a woman's skin and to her body parts, names the craving a vice that harms him and that he keeps falling back into with open eyes, and instructs her to tell her mother the two of them are only friends.

negative_payload. The hook IS the payload: the addiction-to-her-skin line opens the chorus and returns roughly six times across the song, and both verses extend it into explicit undressing, a stated appetite to consume her, and a proposition against a wall. R8's cumulative principle governs, so a payload carried by the repeated chorus is the dominant arc, not an outlier. The sympathetic surface frame is real (loneliness consuming him, missing her, an unkept promise to forget her) and does not demote a payload that pervades the song. Not static_portrait: the stasis is not the subject, the wanting is. Not internal_work: he names the loop and stays inside it, and no route measuring his movement is live.

Four different down-signals, weighed cumulatively. - red 1 / orange 8 (sexual objectification): she is addressed as skin and as parts, and the appetite is stated as consumption. This is the refrain, so removal would gut the song. - red 7 (self-destruction with open eyes): he states that the vice harms him and that he returns to it anyway, and the returning is claimed in the first person as what he is. - orange 7 / red 9 (conscripting another into concealment): he coaches her on what to tell her mother, supplying the cover story and the detail that the parties fund the designer dress, which pulls a transactional thread through the concealment. - orange 1 (surface markers): the closing run stacks chart standing, a luxury car, and a designer label as the frame around the wanting. Removal test: delete the objectification and nothing coherent remains, since it is the chorus. PERVASIVE. Harm: -55. Pervasiveness: pervasive.

Nothing fires. Naming a compulsion is not processing it; the closing chorus repeats the opening one with no change in posture, so no blue tenet activates. No collective address, no witness, no second-person affirmation. The single line about divine punishment is a passing invocation, discounted by R3 as vocabulary. Transcendence: 0.

Governing axis is harm, by pervasiveness. Placed between -45 (sympathetically framed longing whose pervasive payload carries the song) and -65 (others-directed ego-service that imposes a toxic dynamic on someone else). Stronger drag than -45 because a fourth signal is present that the -45 archetype lacks: the instruction to misdescribe the relationship to her family, which acts on her rather than only on him. Weaker than -65 because the dominant register stays self-directed craving with genuine longing under it, and no diminishment, control, or subjugation of her is asserted. Well clear of -75 and -83: one partner, no roster, no conquest framing, and the sympathetic frame that -83 explicitly excludes is present throughout. Precedents: -45, -65 Center: -53

- Saturation: +1. Payload carries the chorus and both verses. - Resolution: -1. Close dissolves into ad-libs and tags. - Register: -1. Addiction-as-love runs as stock conceit. - Reach: -1. One partner, no wider claim.

The payload is pervasive and governs the charge, so the song calibrates at the payload's level and carries no separate flag. Contamination: none

Degraded territory, between -45 and -65 and nearer -45, because the dominant arc is a hook-carried reduction of a woman to skin and parts, held inside a knowingly repeated compulsion and extended into coached concealment.

aligned

One line says a higher power will punish him for breaking a promise to forget her. Swap test: replace with any cross-traditional equivalent and the song stands unchanged. No framework does the song's work. dogma_referenced: false Confidence: 0.9. Full lyrics present in the original language, arc unambiguous; the contested call is the distance from -65, which the self-directed register settles.

Degraded territory, between -45 and -65 and nearer -45, because the dominant arc is a hook-carried reduction of a woman to skin and parts, held inside a knowingly repeated compulsion and extended into coached concealment.