performed. No performer identity, catalog, reception, or scene positioning enters below. Two voices trade sections; read as plain words on a page.

-72. Graphic, liquored, violent in its imagery.

A mutual sexual come-on conducted while both parties are drunk, escalating into an explicit account of the act, with the second voice describing sex through images of burning, drowning, and killing.

negative_payload. The sexual content is the song's whole substance, the hook returns to it roughly twenty times, and the escalation into anatomical explicitness and violent metaphor is the arc rather than an aside. The mutual-desire framing is a surface condition, not a competing subject.

- Red 1 (explicit sexual objectification), the engine: the second voice names female anatomy directly, states that it is available for taking, reports hearsay about other men's reaction to her body, and instructs her on physical positioning. The first voice supplies coded equivalents (appliance and baking imagery, an animal diminutive) throughout its own section. - Red 3 fused with Red 1 (violence as the register of the act): the encounter is described as burning her to cremation, as drowning, and as slaughter carried out by a named horror-film killer. The violence is metaphor rather than threat, but it is the vocabulary chosen to describe sex. - Red 2 (substance): heavy drinking is named on both sides and is the stated precondition of the encounter, including an admission that being around each other in that state is unwise, and an observation that she is gone on cognac. - Availability framing: she is described as there for the taking twice, and told to watch what she says. Her own section is enthusiastic and self-initiated, so this reads as mutual heat rather than coercion, and no possession or control tenet fires. - Notably absent: contempt, a roster of partners, malice, or a flex payload. One line inverts a flex by placing diamonds below the other person. Removal test: strip the sexual explicitness and the intoxication and nothing remains. "Harm: -77. Pervasiveness: pervasive."

No internal work, no witness, no affirmation of the addressee beyond her desirability. "Transcendence: 0."

Placed against -75 and -83. Stronger than -75: the explicitness here is more graphic than that entry's, and the violent imagery attached to the act adds a register that entry does not carry. Weaker than -83: that entry requires explicit objectification as the WHOLE engine with no sympathetic frame and ego-conquest driving it, whereas a full section of this song is a woman voicing her own desire on her own terms, and no conquest tally or contempt appears anywhere. Sits between the two, close to -75, held just past the orange ceiling by the anatomical explicitness and the slaughter register. "Precedents: -75, -83" and "Center: -77".

- Saturation: 0. Sexual content runs through every section, matching the placements. - Resolution: -1. Closes on the repeated hook word, no completed stance. - Register: +1. The violence-fused sexual imagery is more startling than the derivative registers of both placements. - Reach: 0. One pair, matching the placements.

The harm axis is pervasive and governs the charge, so the song calibrates at the payload's level and the flag does not apply. "Contamination: none"

No doctrinal framework appears. dogma_referenced=false.

Corrupted territory, between -75 and -83 and close to -75, because the dominant arc is an explicit drunken sexual account whose describing imagery is burning and slaughter, held near the boundary by genuine mutuality and the absence of contempt.

aligned

Corrupted territory, between -75 and -83 and close to -75, because the dominant arc is an explicit drunken sexual account whose describing imagery is burning and slaughter, held near the boundary by genuine mutuality and the absence of contempt.