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“M.O.” is an abbreviation for the Latin term modus operandi (1), or “Mode of Operation”–simply put, how you live your life. His modus operandi is to add a B to anything to make it better (music, food, sex etc.).

Wayne’s M.O. is Money Over Bitches (as his chest tattoo states).

M.O.B. is also slang for the Bloods, with whom Wayne is openly affiliated. The Bloods are a gang, or a mob.

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An extended metaphor on how being an emcee is like being a magician. Sage pulled the ultimate vanishing act when he got out of the game.

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Sage Francis commented on the meaning of this lyric in a Strange Famous Records blog post celebrating 15 years since the release of A Healthy Distrust:

I’ve always viewed [this lyric] in two different ways. It can be a literal reference to breaking down a stage after performing. When all the music and magic is gone. When the man behind the curtain is revealed. It can also be a reference to an emotional breakdown after trying to put on your best face for too long. When all the music and magic is gone. When the man behind the curtain is revealed.

Also, if the extended metaphor of hip-hop as magic is being continued, the lyric is saying there is nothing special about a hip-hop breakdown. There’s no magic in overanalyzing things and taking them apart (like we’re doing here!). Like a great joke, if you have to explain it, it’s not the same.

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Nicki’s taking over every business venture she can. She has a deal with MAC Cosmetics. She has her own nail polishes, and is working on a fragrance and clothing line. She’s dominating every avenue, especially 5th Avenue, New York’s fashion district.

Nicki was “dominating every avenue” as she was the most popular Halloween costume that year.

Her lipstick!

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Donald Glover’s (blood) parents also raised foster kids, as referenced heavily in his stand-up Weirdo. His parents hit the lottery when they had him, meaning he’s going to bring them untold amounts of fortune and fame.

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He’s lucky that the girl he’s after is unattached and won’t have to deal with taking care of her bambinos if they hook up. Kids are so awkward!

There isn’t the threat of this chick trying to get herself pregnant during sex.

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The paradox of expressing your deepest personal feelings in an extremely public space. Being a contrarian, Sage goes against the usual idea of connecting with an audience by setting up an exhibitionist/voyeur angle instead.

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A song about Sage’s childhood, specifically his relationship to his mother. On the album version, this is a rare single-verse song—it originally had a guest verse by Saul Williams, but Sage, at the time, liked to keep his albums guest-free. Saul Williams' verse was kept as a b-side on the “Sea Lion” single only.

We include both verses here for completeness

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Sage Francis' anthem to himself being the bearer of bad news, i.e. the only one willing to speak the truth. Here he argues for self-improvement and moderation.

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The second single from Drake’s album Take Care.

A love note to Drake’s main squeeze/Nicki Minaj asserting the fact that she’s the queen of the game. Drake’s verse is deliberately ambiguous: he could be talking to Nicki, but he doesn’t have to be. This is a furtherance of the publicity stunt that is their “relationship,” began in Nicki’s Moment 4 Life and carried on to bolster both emcees' careers by feeding the gossip blogs.

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