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A play on Orson Welles' famous quote:

We’re born alone, we live alone, we die alone. Only through our love and friendship can we create the illusion for the moment that we’re not alone.

Though I have to wonder… did he get his Charlie Parker on?

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Like Kanye’s lady in “All Falls Down”, sometimes the scratch you get from cutting hair can get you through troubled times

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The second verse is a carbon copy of the first verse, replacing the distraught mother with the frustrated and hurt son

Because it is coming from the child, it shows us that he is only taking on board what his mother tells him, denoting a certain unbalance in his upbringing.

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Lupe describes what his robot really is: a physical manifestation of the issues plaguing the ghetto.

Notice how the arrangement of these people represents the social hierarchy. The prostitutes are at the bottom, the crackheads are just a little bit above them, and the police are above both.

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This is a reference to “the Re-up” in which a dealer’s stash is replenished with fresh supply. Since it has to be done in stealth to avoid the law, a brown paper bag is often used with a quick/discreet pass from one person to another. Lupe is comparing that process to the way that people go through drive-thru windows to get something that he considers to be just as poisonous in similar brown paper bags.

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MYH tried to get himself locked up to escape the wrath of the Game, but since the police (“bacon”, “pigs”) were on the Game’s payroll, they wouldn’t take him down to the station, presumably in their patrol car (paddy/“patty”).

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Uttered faintly in the background, Lupe mimics Soulja Boy’s trademark “YOO!”, then declares it to be stupid.

Seemingly, this would be a diss, but Lupe is one of the only rappers on record to actually support Soulja Boy.

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Presumably, the intro is uttered by a very resentful Game, jealous of Michael Young History’s success and infuriated by his tryst with the Game’s wife, the Streets.

From left to right: Michael Young History, the Streets, Lupe, the Cool, the Game.

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Lupe wants to return home where they “toss flowers” at him, an age-old expression of praise and gratitude by an audience. With the club presented in the first verse likely being a metaphor for stardom, home is likely a metaphor for the underground hip hop sphere; Lupe feels his presence is more appreciated there than in the mainstream.

“Yellow M&M’s” are likely being used to contrast with hip hop figurehead Eminem, who is very notably White in an industry dominated by Black people.

Eminem in 2007.

Being the most commercially successful rapper of the century, Eminem is likely being used to represent the mainstream, elitist celebrity sphere that Lupe was rejected from. Therefore, Lupe wants to distance himself from that sphere and go back to where the only M&Ms he’s concerned with are the literal candy brand. Put simply, he wants to be where M&M’s are yellow instead of white.

It’s also worth noting that Lupe is a devout Muslim, and may therefore prefer yellow M&M’s over red ones due to a myth that red M&M’s contain an element that Muslims are religiously forbidden from eating in their Halal diet. In reality, no M&M’s are suitable for the Halal diet.

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