Erase the planted song

They called it the Moral Paradox Protocol; I was one of its field agents, a temporal observer tasked with excising anomalies before they ossified into catastrophe. This morning's anomaly was small and stubborn: a woman in 1958 whose protest pamphlet, if it circulated, would seed a surveillance regime decades later; the Protocol's default answer was quiet deletion, but I chose a different tack—improvisation and artifice instead of erasure. I swapped her pamphlet for a witty lyric I'd composed on a street-side typewriter, planted the song in jukeboxes and dance halls, and watched belief mutate into chorus as citizens traded manifestos for melodies. The unintended consequence arrived within a generation: the tune codified into rituals that disciplined dissent into efficient networks, and now I face the moral knot of whether to undo my own improvisation or accept that my improvised solution forged a new kind of order.

I move through the network like a quiet saboteur, plucking the melody from sheet, lacquer, and memory until what was once a hymn is only a rumor the century can no longer hum. At first the change is microscopic—dancers misstep where choruses used to center them, jukeboxes spit coins back, and a blank day blooms in the city's ritual calendar. Within a few years the surveillance architecture that had piggybacked on those rituals stutters and reconfigures; without a popular tune to naturalize control, power migrates into dry procedures and niche enforcement, while the pamphlet's ideas creep back through marginal zines and whispered manifestos. I watch those divergent small histories like a surgeon watching a scar close, knowing some comforts vanished with the song and that the Protocol is already tallying my improvisation as an offense I can never fully balance.