The Spell of the Crown: A Biblical, Psychological & Cultural Analysis of The Notorious B.I.G.’s “Hypnotize”
VCG @ LOR 7/22/2026
Performed by The Notorious B.I.G.
From Life After Death (1997)
Mainstream Song Breakdown by VCG @ LOR
Underground News Network — July 2026
Executive thesis
“Hypnotize” is a masterclass in charismatic self-mythology.
The Notorious B.I.G. presents himself as a figure whose voice, wealth, sexual confidence, criminal reputation, humor, fashion, and verbal skill overwhelm resistance.
The song does not merely say that listeners admire him.
It portrays attention as capture.
That is the significance of the title.
To “hypnotize” is to suspend ordinary resistance and place another person under the power of suggestion.
Within the record, Biggie’s primary instrument is not physical force.
It is presence:
his rhythmic command;
his voice;
his wit;
his reputation;
his display of luxury;
his sexual boasting;
and the dangerous world attached to his name.
The music makes this power pleasurable.
Its smooth bass line, bright production, danceable pulse, and conversational flow invite the listener to enjoy images that include greed, promiscuity, domination, criminal identity, and violence.
The record therefore raises a serious biblical question:
What happens when destructive values are delivered with enough beauty, humor, rhythm, and confidence to make moral resistance feel unnecessary?
The song’s central psychological movement is:
Charisma transforms insecurity and danger into spectacle, while spectacle disguises bondage as freedom.
Its biblical correction is not that rhythm, wealth, sexual attraction, verbal brilliance, or cultural influence are inherently evil.
The correction is that magnetism is not moral authority.
“Favour is deceitful, and beauty is vain:
but a woman that feareth the LORD, she shall be praised.”—Proverbs 31:30
The immediate verse concerns a virtuous woman, but the principle reaches further:
outward attraction can mislead.
A captivating image is not necessarily a truthful image.
I. Historical and musical setting
“Hypnotize” was released as the lead single from The Notorious B.I.G.’s second album, Life After Death.
The single appeared in March 1997, shortly before Christopher Wallace was murdered on March 9, 1997.
The album was released later that month, on March 25.
The song was written by Christopher Wallace alongside credited contributors connected with its production and sampled material.
Deric “D-Dot” Angelettie and Ron “Amen-Ra” Lawrence are credited as producers, with Sean “Puffy” Combs as co-producer.
Its instantly recognizable instrumental foundation samples “Rise,” Herb Alpert’s 1979 instrumental hit, written by Andy Armer and Randy Alpert.
The chorus also draws from the phrasing tradition of Slick Rick and Doug E. Fresh’s “La Di Da Di.”
“Hypnotize” reached No. 1 on the Billboard Hot 100 after Biggie’s death and received a Grammy nomination for Best Rap Solo Performance.
The music video amplified the record’s fantasy through yachts, luxury vehicles, women, underwater imagery, helicopters, pursuit, and cinematic escape.
Rather than presenting fame as peaceful security, the video portrays celebrity as an expensive action film in which pleasure and danger are inseparable.
Interpretive caution
The rapper’s persona should not be treated as a complete transcript of Christopher Wallace’s private character.
Rap frequently employs:
exaggeration;
fictionalized violence;
competitive boasting;
comic invention;
criminal mythology;
role-play;
and compressed autobiography.
However, “it is a persona” does not make the moral content meaningless.
Fictional and exaggerated speech still communicates ideals, fantasies, fears, and models of power.
The question is not simply:
Did every described event literally happen?
The deeper questions are:
- What kind of man is being presented as admirable?
- What desires are being activated?
- What forms of power are treated as impressive?
- What consequences disappear beneath the pleasure of the performance?
II. Why the song feels hypnotic
The song’s persuasive power does not primarily arise from a philosophical argument.
It comes from convergence.
Several attractive elements operate simultaneously:
- A warm and recognizable bass groove.
- A confident but relaxed vocal delivery.
- Dense internal rhyme and verbal surprise.
- Humor mixed with threat.
- Luxury imagery.
- Sexual attention.
- The suggestion of criminal danger.
- A chorus that tells the audience what is happening: resistance is disappearing.
The song performs its thesis.
It says Biggie has hypnotic power while using rhythm and language to demonstrate that power.
This self-confirming design is crucial.
The listener does not merely hear about charisma.
The listener experiences it.
III. The governing image: hypnosis
1. Hypnosis as charisma
In ordinary social terms, a “hypnotic” person holds attention so strongly that others stop evaluating normally.
Charisma can produce:
fascination;
trust;
imitation;
emotional surrender;
erotic attraction;
and reduced skepticism.
Charisma is not inherently wicked. Leaders, teachers, artists, and preachers may possess unusual presence.
But charisma becomes dangerous when it replaces examination.
Biblical principle
“Beloved, believe not every spirit, but try the spirits whether they are of God…”—1 John 4:1
Scripture does not instruct hearers to reject everything compelling. It tells them to test it.
The hypnotic voice says:
Feel first.
Submit now.
Examine later.
Biblical wisdom says:
Listen carefully, test truthfully, and do not confuse force of presentation with truth of content.
2. Hypnosis as sexual power
The chorus presents women as captivated by the rapper’s style, money, fame, and sexual confidence.
The implication is not mutual discovery between persons. Attraction becomes proof of his power.
Women function as:
witnesses to status;
rewards for achievement;
signs of masculine dominance;
and part of the luxury inventory.
Psychology
This form of boasting can defend against insecurity.
The more a man doubts his worth, the more he may need repeated external proof:
expensive objects;
sexual access;
visible envy;
public fear;
and exaggerated stories of control.
The persona therefore communicates invulnerability while revealing dependence upon constant confirmation.
Biblical correction
Scripture treats sexual desire as powerful but morally accountable.
“Lust not after her beauty in thine heart; neither let her take thee with her eyelids.”—Proverbs 6:25
The warning addresses a man being enticed into adultery, but it also establishes a larger principle: visual and erotic captivation can overcome judgment.
Sexual attraction is real. It is not sovereign.
IV. Close thematic analysis
1. The opening establishes total confidence
Textual observation
Biggie enters as though his superiority is already settled. He does not ask permission to be impressive.
His delivery communicates ease rather than strain.
Psychology
Effortless confidence is socially persuasive because it implies hidden evidence:
He must possess real power, or he could not sound this certain.
But confidence and competence are not identical.
A person can be:
confident and foolish;
charming and dishonest;
powerful and unjust;
admired and inwardly unstable.
Biblical agreement
Scripture recognizes the force of bold speech.
False teachers, rulers, deceivers, and proud men often speak with certainty.
Biblical correction
“He that trusteth in his own heart is a fool:
but whoso walketh wisely, he shall be delivered.”—Proverbs 28:26
Self-confidence is not always sinful.
Trust in one’s own heart as the final authority is.
2. Wealth becomes visible identity
Textual observation
Luxury vehicles, expensive food, fashion, travel, jewelry, and consumer abundance establish rank.
Money is not merely useful. It becomes theatrical evidence that the speaker has escaped insignificance.
Cultural interpretation
For an artist emerging from poverty and a neighborhood marked by limited opportunity, luxury imagery can symbolize survival, mobility, and victory over exclusion.
The display therefore has real social meaning:
The person whom society expected to remain powerless has entered spaces of wealth and visibility.
That dimension should not be dismissed.
Psychological complication
Material success can answer deprivation without answering identity.
The person may still ask:
- Do they respect me or my money?
- Will attraction remain if the wealth disappears?
- How much display is enough?
- Who is loyal?
- Who is watching?
- Who wants what I possess?
- Who intends to take it?
The objects meant to prove security can increase vigilance.
Biblical correction
“A man’s life consisteth not in the abundance of the things which he possesseth.”—Luke 12:15
Christ does not say possessions are imaginary.
He says they cannot contain life.
3. Consumption becomes kingship
Textual observation
The persona consumes the best of everything:
food;
cars;
clothing;
alcohol;
sex;
travel;
and attention.
Power is demonstrated by unrestricted access.
Psychology
Consumer culture defines freedom as the removal of limits:
I am free because I can obtain whatever I desire.
But unrestrained appetite eventually reverses the relationship.
The consumer becomes governed by consumption.
A person who must continually prove status through acquisition is not free from objects.
He is serving them.
Biblical correction
“All things are lawful unto me, but all things are not expedient… I will not be brought under the power of any.”—1 Corinthians 6:12
Biblical freedom includes the ability to refuse an appetite.
If desire cannot be denied, desire has become master.
4. Women become an audience for male worth
Textual observation
Female attraction verifies the rapper’s desirability and rank.
The women are rarely presented as full moral subjects with fears, histories, loyalties, boundaries, and spiritual value.
They are seen through the question:
What does their desire prove about him?
Psychology
This converts relationship into performance.
The man does not merely want intimacy. He wants evidence that other men should envy him.
Sexual access becomes social currency.
Cultural effect
Listeners may internalize a marketplace view of sexuality:
men accumulate status;
women select high-status men;
male success earns female bodies;
relational fidelity restricts victory;
and public desirability matters more than private faithfulness.
Biblical correction
“Honour all men.”—1 Peter 2:17
The word “men” here means persons generally.
Sexual desire never cancels the command to treat another human being with honor.
A woman is not proof of a man’s greatness.
5. The persona combines pleasure and threat
Textual observation
Biggie’s humor and luxury are never far from criminal danger.
The voice can sound relaxed because violence remains available in the background.
Psychology
This produces a dual attraction:
the listener enjoys proximity to pleasure;
the listener also feels proximity to power.
The dangerous man seems exciting because he appears capable of violating limits that constrain ordinary people.
Biblical agreement
Scripture understands that violent power can fascinate.
“My son, if sinners entice thee, consent thou not.”—Proverbs 1:10
The passage continues with men inviting another person into violence and shared gain.
The attraction includes both belonging and profit.
Biblical correction
Violence does not prove manhood.
The ability to harm is a form of power, but Scripture places greater value upon self-government:
“He that is slow to anger is better than the mighty; and he that ruleth his spirit than he that taketh a city.”—Proverbs 16:32
6. Criminal identity becomes prestige
Textual observation
The record draws authority from street credibility.
The speaker is not merely rich or famous.
He remains connected to danger, illegal enterprise, and a reputation for retaliation.
This prevents commercial success from making him appear harmless.
Cultural interpretation
Within hip-hop, authenticity debates often punished artists perceived as becoming too polished or disconnected from their origins.
The criminal image could therefore function as proof that commercial visibility had not erased street legitimacy.
Psychological cost
A dangerous identity can become difficult to leave.
If one’s respect depends upon being feared, then peace may look like weakness.
The performer must continually renew the image through:
harsher threats;
greater risk;
public conflict;
and visible refusal to retreat.
The mask intended for protection can demand sacrifice from the wearer.
Biblical correction
“The way of transgressors is hard.”—Proverbs 13:15
The verse does not deny that transgression may briefly appear profitable or glamorous. It states the underlying direction of the road.
7. Humor lowers moral resistance
Textual observation
Biggie’s wordplay often makes outrageous material funny.
Humor allows threat, vanity, sexuality, and excess to pass through the listener’s defenses.
Psychology
Laughter can create moral distance.
The listener may say:
It is only entertainment.
But repeated humorous presentation can normalize what direct argument could not persuade us to accept.
Humor does not automatically endorse everything it describes.
Yet comedy can make a vice feel socially harmless.
Biblical correction
“Fools make a mock at sin…”—Proverbs 14:9
The verse does not forbid comedy.
It warns against making moral evil unserious.
8. The rapper’s body becomes part of the myth
Textual observation
Biggie’s physical size, voice, appearance, sexuality, and unexpected agility within the beat all contribute to the persona.
He converts traits that could have been targeted for ridicule into sources of authority.
Cultural importance
This reversal matters.
A large, dark-skinned man who did not fit conventional entertainment-industry ideals of polished male beauty became one of popular music’s most commanding figures.
His lyrical skill and vocal control redefined what charisma could look and sound like.
Biblical agreement
Scripture repeatedly overturns superficial judgments.
“For man looketh on the outward appearance, but the LORD looketh on the heart.”—1 Samuel 16:7
Biblical correction
Rejecting one beauty hierarchy does not justify replacing it with another hierarchy based on money, sexual conquest, violence, or fear.
Human dignity does not require dominance over others.
9. The song converts insecurity into omnipotence
Textual observation
The persona appears to have no vulnerability.
He possesses wealth, women, weapons, wit, fame, and escape routes.
Psychology
Grandiosity can function as armor.
It protects against:
shame;
poverty memories;
physical insecurity;
fear of death;
betrayal;
and the possibility of being ordinary.
This does not mean every boast proves hidden weakness.
But the total absence of need is itself revealing.
No human being is invulnerable.
Biblical correction
“Pride goeth before destruction, and an haughty spirit before a fall.”—Proverbs 16:18
The warning is not that every confident person will immediately collapse.
It is that pride blinds a person to limits, danger, correction, and dependence upon God.
10. The luxury world remains surrounded by death
Textual observation
Within the broader world of Life After Death, celebration and mortality remain close together.
The album’s title itself places triumph beside death, and the circumstances of its release made that tension unavoidable.
Life After Death arrived sixteen days after Wallace was killed.
Interpretive caution
It would be irresponsible to treat every violent image as prophecy.
However, the historical outcome exposes the inability of fame, wealth, armed reputation, entourage, or cultural importance to guarantee survival.
Biblical correction
“For what shall it profit a man, if he shall gain the whole world, and lose his own soul?”—Mark 8:36
The verse does not say worldly gain is unreal.
Its force depends upon the gain being real—and still insufficient.
V. The psychology of the “hypnotic” persona
1. Charismatic dominance
The persona gains social control through verbal and emotional certainty.
A charismatic figure may cause others to:
suspend criticism;
imitate style;
overlook contradiction;
excuse misconduct;
and desire proximity.
The more entertaining the figure, the harder moral examination becomes.
2. Compensatory grandiosity
Poverty, humiliation, exclusion, and danger may produce fantasies of total control.
The mind answers powerlessness with:
One day nobody will deny me anything.
Grandiosity can motivate achievement, but it can also make ordinary limits intolerable.
3. Status addiction
Status must be continually verified.
Yesterday’s luxury becomes today’s baseline.
The symbol loses force, requiring a larger symbol.
The person becomes dependent upon escalation.
4. Erotic validation
Sexual attention is used to answer the question:
Am I desirable and powerful?
But no amount of conquest can permanently settle identity because each victory requires another witness.
5. Hypervigilance
The world of luxury is also a world of suspicion.
More visibility can produce:
fear of robbery;
fear of betrayal;
fear of rivals;
fear of surveillance;
and uncertainty about loyalty.
The king cannot rest because the crown attracts challengers.
VI. Cultural analysis
1. The commercialization of danger
“Hypnotize” helped package street danger within an accessible pop format.
The production is smooth enough for broad radio appeal while the persona remains criminally credible.
This combination was central to late-1990s mainstream rap:
the record could enter clubs, television rotation, radio, and affluent consumer markets without abandoning the aura of the street.
Its chart success demonstrated how effectively that fusion reached a mass audience.
2. Luxury as reversal of exclusion
The wealth imagery should not be analyzed only as personal greed.
For marginalized artists, visible luxury can signify:
survival;
access;
revenge against exclusion;
proof of talent;
and entry into spaces historically denied.
The biblical critique should therefore distinguish between rejoicing in deliverance from poverty and making wealth the measure of human worth.
3. The audience participates in the myth
The song does not hypnotize by force.
Listeners cooperate because the fantasy is pleasurable.
They may imagine:
possessing the cars;
commanding the room;
receiving the attention;
defeating rivals;
and escaping consequences.
The cultural power lies in shared desire.
4. The respectable market profits from outlaw imagery
Record companies, broadcasters, advertisers, and consumers can profit from dangerous personas while remaining distant from the actual consequences of violence, addiction, incarceration, exploitation, and death.
The outlaw becomes a product.
The audience purchases symbolic danger without necessarily bearing its cost.
5. Death intensified the legend
Because “Hypnotize” became a No. 1 hit after Wallace’s murder, its swagger acquired an unavoidable tragic frame.
The voice sounds invincible, while history tells the listener that the man was mortal.
This creates retrospective tension, but it should not be converted into simplistic moral arithmetic. His death does not prove that every lyric caused his fate, nor should tragedy be used as entertainment.
VII. Biblical theology of enchantment
1. The heart can be captured through sight and sound
Scripture repeatedly warns that evil may appear desirable.
The first temptation in Genesis includes something seen as good, pleasant, and desirable.
Sin rarely presents itself merely as ugliness.
It often arrives as:
beauty;
wisdom;
pleasure;
status;
freedom;
or power.
2. Seduction is not limited to sexuality
People may be seduced by:
wealth;
fame;
violence;
belonging;
charisma;
ideology;
or artistic brilliance.
The hypnotic effect occurs whenever attraction suspends moral judgment.
3. The tongue can rule a crowd
“Even so the tongue is a little member, and boasteth great things.”—James 3:5
Biggie’s primary greatness as an artist was verbal.
That gift could create vivid worlds within seconds.
Biblically, such verbal power is a stewardship.
The question is not whether the tongue is powerful.
James agrees that it is.
The question is what fire it kindles.
4. Wealth is uncertain
“Charge them that are rich in this world, that they be not highminded, nor trust in uncertain riches…”—1 Timothy 6:17
The verse does not command the rich to pretend they possess nothing.
It commands them not to trust what cannot remain stable.
5. Pleasure is a poor god
“She that liveth in pleasure is dead while she liveth.”—1 Timothy 5:6
The verse addresses a particular pastoral situation, but its principle is severe:
a life organized around self-indulgence can look alive while becoming spiritually dead.
6. True kingship is self-giving
The gospel’s King does not prove authority through consumption.
Christ lays down his life.
The world’s king says:
Others exist to confirm my greatness.
Christ says:
“The Son of man came not to be ministered unto, but to minister, and to give his life a ransom for many.”—Mark 10:45
VIII. What “Hypnotize” gets right
The song correctly perceives that:
charisma can alter social reality;
language is power;
rhythm can make a persona larger than life;
wealth changes how people respond;
attraction is influenced by status;
criminal danger can become culturally glamorous;
humor increases persuasive force;
and public identity is partly theatrical.
It also represents extraordinary technical control.
Biggie’s rhythmic placement, internal rhyme, tonal ease, and ability to make dense language sound conversational remain central to the record’s impact.
Admiring that craft does not require accepting every value expressed through it.
IX. Where the song is morally incomplete
It equates attention with authority
People are captivated, therefore the speaker appears justified.
But fascination is not approval from God.
It equates wealth with victory
Possession proves success, while the spiritual cost remains largely invisible.
It treats women as verification
Their desire serves the male legend more than their own humanity.
It presents violence as protective prestige
Threat becomes part of masculine credibility.
It disguises insecurity through total confidence
The persona permits little room for fear, grief, dependence, repentance, or ordinary human need.
It removes consequences through spectacle
Pleasure, danger, and criminality become cinematic rather than morally weighty.
It offers fame without peace
The king commands attention but remains surrounded by threat.
X. Scripture-corrected reconstruction
The song’s argument can be paraphrased:
My talent, money, danger, humor, sexual appeal, and status are so powerful that people cannot resist me. My ability to command attention proves that I have won.
A biblically completed response would be:
Your gifts may genuinely command attention. Your survival and success may represent extraordinary achievement against real disadvantage. But the power to captivate does not prove righteousness. Wealth cannot secure the soul, sexual conquest cannot create love, fear cannot create honor, and violence cannot establish manhood. Test your desires, govern your appetites, honor those attracted to you as human beings rather than trophies, and use verbal power to speak truth rather than merely enlarge the self. The highest king is not the man who can make everyone serve him, but the one who has learned under God to master himself and serve others.
XI. Final verdict
Artistically
“Hypnotize” is exceptionally constructed popular rap.
The warm sample, elastic flow, humor, polished production, memorable chorus, and visual extravagance create the exact sensation named by the title.
The record does not merely describe captivation; it engineers it.
Psychologically
The song dramatizes:
charisma;
grandiosity;
erotic validation;
status dependence;
consumer appetite;
masculine performance;
and threat-based identity.
Its invulnerability is compelling precisely because human beings know vulnerability.
Culturally
The record stands at the meeting point of street credibility and mass-market luxury.
It offered listeners an outlaw fantasy polished for radio, television, clubs, and global celebrity.
Its posthumous chart success intensified the contradiction between the immortal voice of the recording and the mortality of the man who made it.
Biblically
The deepest danger in “Hypnotize” is not simply that it names sinful desires.
The Bible itself names lust, greed, pride, violence, and vanity.
The danger is that the song makes them beautiful enough to enjoy without judgment.
That is how temptation commonly works.
“There is a way which seemeth right unto a man, but the end thereof are the ways of death.”—Proverbs 14:12
The hypnotized listener sees:
wealth but not dependence;
women but not covenant;
weapons but not victims;
fame but not judgment;
confidence but not fear;
pleasure but not slavery;
kingship but not service;
and life at the very edge of death.
The biblical answer is not aesthetic blindness.
It is moral wakefulness.
Recognize the brilliance.
Study the technique.
Understand the cultural wound behind the fantasy.
But do not surrender judgment merely because the beat is smooth and the voice is commanding.
The strongest spell is broken when the listener remembers:
charisma is not character,
luxury is not life,
fear is not honor,
conquest is not love,
and being able to command the room is not the same as being approved by God.
VCG COUNTER SONG:
Late-1990s cinematic East Coast hip-hop with deep commanding male rap vocals, smooth R&B hook, warm funk bass, crisp drums, vinyl texture, orchestral stabs, subtle choir, and luxurious nighttime atmosphere. The narrator once used money, women, danger, and charisma to control every room, but realizes the crown has become a chain. He rejects fear-based respect, sexual conquest, greed, and the need to appear invincible. Verses are sharp, witty, confident, and reflective; the chorus is soulful, memorable, and redemptive. Build from dark swagger into a triumphant gospel-infused finale. No copied melody or lyrics. Theme: charisma is not character, wealth is not life, self-control is greater than domination, and the true King gives rather than consumes.
BREAK THE SPELL
[Intro]
[Low bass, vinyl crackle, distant choir]
They loved the crown.
They never saw the chain.
[Verse 1]
I used to enter every room
Like the room belonged to me,
Gold around my neck and danger
Made the doubtful disagree.
Every laugh became approval,
Every stare became a vote,
But the louder they applauded,
The more fear lived in my throat.
I had women for the image,
I had money for the pain,
I had men who called it loyalty
Because they feared my name.
I could make the whole room follow,
I could bend them with a phrase,
But a man who needs attention
Is still begging in a blaze.
[Pre-Chorus]
The crown looked like glory,
But it tightened every day.
[Chorus]
Break the spell,
Let the glitter lose its hold.
I am more than what I purchase,
More than diamonds, guns, and gold.
I do not need your fear
To prove that I am strong.
Break the spell,
I have served myself too long.
[Verse 2]
I called appetite my freedom,
I called conquest being blessed.
Every pleasure made a promise
Then left hunger in my chest.
I could choose from every table,
Still I never learned to rest.
If a man cannot refuse himself,
Then his riches own him best.
I saw beauty as a trophy,
I saw bodies as applause,
Never asked about the person
Or the wounds behind the gloss.
I was counting every victory
While my conscience paid the cost,
Trying to gain the whole wide world
While the man inside was lost.
[Pre-Chorus]
The mirror showed a kingdom,
But the soul had gone away.
[Chorus]
Break the spell,
Let the glitter lose its hold.
I am more than what I purchase,
More than diamonds, guns, and gold.
I do not need your fear
To prove that I am strong.
Break the spell,
I have served myself too long.
[Instrumental Break]
[Heavy drums, funk bass, muted trumpet, choir hum]
[Verse 3]
I kept danger in the doorway
Like a guard against disgrace,
But the weapon that protected
Put a target on my face.
Every rival fed the legend,
Every conflict fed the flame,
Till I could not leave the battlefield
Without losing my whole name.
Now I measure strength by mercy,
I measure power by restraint.
Any fool can make men tremble;
Few can rule the heart within.
I will not confuse destruction
With the courage of a king.
The strongest man can lower pride
And serve without demanding anything.
[Bridge]
[Beat strips down]
No more women as possessions.
No more money as my worth.
No more violence as a language.
No more heaven built on earth.
No more laughter hiding sorrow.
No more swagger hiding shame.
Let the truth remove the costume.
Let the Lord restore the name.
[Build]
[Choir rises, strings swell]
[Final Chorus]
Break the spell,
Let the false crown hit the floor.
I will not be ruled by hunger,
I will not be bought by more.
I do not need your fear
To know where I belong.
Break the spell,
The truth has made me strong.
Break the spell,
Let the captives leave the show.
Charisma is not character,
And wealth cannot save the soul.
The King who wore the thorns
Did not conquer by control.
He gave his life for many;
That is power made whole.
[Outro]
[Choir and bass only]
Not the yacht.
Not the chain.
Not the women.
Not the fame.
Not the threat.
Not the crown.
[Lead]
Let the idol fall down.
[Choir]
Break the spell.
[Music fades]
VCG SONG BREAKDOWNS & COUNTERS