performed. The credited writer's reputation, sales position, public controversies and catalogue set to zero, and no comparison drawn to the other song by the same credited name earlier in this stretch; each work stands alone. Visceral: -25. Jealous fixation, pressing.

A narrator addresses a former partner who is now with someone else, opens by conceding he knows nothing about where she is, then predicts she will put the new man through hell. The chorus, repeated three times, walks through her ordinary evenings with that man, the drink, the drive, the bed, and demands to know whether she is thinking of the narrator during each one. Two separate lines assert that her rightful place is with him.

negative_payload. The song's engine is the narrator's need to remain the centre of her attention, and that demand IS the hook, restated in full three times. R8's cumulative principle applies: the recurring structural claim is the ego-service. static_portrait was tested and rejected because the song is not a self-portrait; the narrator turns outward almost entirely, and its subject is her interior life as he insists on it. internal_work does not open; no part of the ending is examined, and his own role in it is never mentioned.

Orange 5 fires as the governing tenet: the entire lyric is organized around the narrator's requirement that he still occupy her mind, with her new relationship valued only as the setting in which she might be remembering him. Orange 8 fires on the first verse, where she is characterized as a woman who puts men through hell, a judgment delivered as pity for the new man. Orange 3 fires (the fixation is circled with no movement through it). Orange 11-adjacent possessiveness is explicit twice, in a claim that the truck in her drive ought to be his and in a flat assertion that he knows where she ought to be, which are ownership claims over the relationship's rightful order. R4 places the whole shape at case (a) and holds it out of the Corrupted band: she has already gone, the narrator concedes in his opening line that he has no idea where she is, and everything that follows is imagined rather than observed. R12 was tested and does not apply, since this is contemporary writing with no era gap. CRUCIALLY, R4's literal-control trigger does NOT fire: there is no watching, following, tracking or contacting anywhere on the page, and the song's own first line rules it out. That distinction is what keeps this a fixation rather than a surveillance read.

pervasive. The demand is the chorus and the chorus is most of the song; removal leaves nothing.

No blue tenet fires. Nothing is questioned, owned, accepted or released, and the narrator ends more insistent than he began. Transcendence: 0.

Governing axis is harm. Placed between -28 and -45, nearer -28. Past -28 because that entry's harm is appetite without malice, where this one carries a character judgment aimed at a specific person plus two assertions of where she belongs. Short of -45 because that entry stacks three DISTINCT down-signals and this page carries one, self-serving fixation, with no intoxication payload, no sexual tally and no sustained contempt; the new man is pitied rather than degraded, which is a lighter move than diminishing him. Well clear of -65, which requires power held over the person being diminished, and this narrator states in his first line that he has none. Precedents: -28, -45. Center: -34.

- Saturation: +1. The demand carries three full chorus passes plus both verses. - Resolution: -1. Ends on the same question, unanswered. - Register: +1. Concrete domestic specifics over stock lament. - Reach: -1. One triangle, no scope beyond it.

Run independently of the placement. The harm axis is pervasive and governs, so the song calibrates at the payload's level and cannot carry the flag; orange reads are excluded in any event. The first-verse character judgment was tested as a candidate discrete artifact and fails on the same ground, since the governing arc is itself on the harm axis and offers no higher message to undermine. R5(d) has no application; no slur or epithet appears. Contamination: none.

Degraded territory, between -28 and -45 and nearer -28, because the dominant arc is a hook-carried demand that a former partner keep the narrator in mind, supported by a claim over where she belongs.

aligned.

Degraded territory, between -28 and -45 and nearer -28, because the dominant arc is a hook-carried demand that a former partner keep the narrator in mind, supported by a claim over where she belongs.