The day the dust finally settles on Dwayne Michael Carter Jr.’s lawsuit against Cash Money Records, true Americans will boot up their computers, open Spotify and queue up a playlist.

That playlist will comprise 51 plays of Lil Wayne’s “A Milli,” because that’s precisely the number of millis for which the 32-year-old rapper is suing his label.

Cash Money CEO Birdman has allegedly withheld Wayne’s album advances; refused to pay agreed-upon quarterly overhead costs for his imprint, Young Money; neglected to hold a contractual $1 million account for Young Money expenses; declined to pay those involved in making Young Money albums; refused to sign artists Wayne wanted on his label; and has never shown Young Money any accounting statement on Drake, arguably the imprint’s most valuable artist and likely its second most disgruntled after Wayne himself.

So, rather than getting his Suge Knight on, Wayne admirably has decided to take his label beef to a court of law. It’s one of the foremost triumphs of our nation’s judicial system to date. Lil Wayne is the best (except, of course, when it comes to making music after the year 2008, an area in which he’s fallen heartbreakingly flat).

This turn of events should involve significantly fewer guns and balcony-dangling, which places it firmly in the wins column. On the other hand, it also involves a decent amount of arithmetic, which you’d think would land it equally firmly in the losses column, but you’d be forgetting this Wayne line from “Mercy”: “I’m counting money; I’m smoking plants/ Call that shit math and science.”

In the same spirit, here’s a graphical and mathematical analysis of Young Money Entertainment LLC versus Cash Money Records Inc.

In 1998, the first year to which the lawsuit makes mention, Wayne signed a record deal with Cash Money as a sprightly 16-year-old. That same year, he appeared on Juvenile’s “Back That Azz Up,” a romantic come-on with a 100 percent success rate. Here’s a reminder of what else was going down in America the better part of two decades ago:

• Four days after the release of 400 Degreez, on which “Back That Azz Up” appears, Barenaked Ladies top the Billboard chart with “One Week”

• A Bug’s Life and Mulan hit theaters

• Apple introduces the iMac

• “I did not have sexual relations with that woman.” — Bill Clinton

The world was full of promise. Friends was in the heyday of its 10-season run, and early-adopting Y2K stockpilers were beating the rush. But things soured over time between Wayne and Birdman, which brings us to this:

The Bad Rap: Birdman graph

Birdman blows. This is known. From his ludicrously tatted bald pate to his furiously rubbing hands, he emits a singular aura of suck. Though the latter appendages admittedly possess the rap equivalent of the Midas touch, Stunna’s business acumen hardly translates into lyrical prowess. You’ll notice that there are two outliers on this graph: These represent Rich Gang Tha Tour, parts one and two. Rich Homie Quan and Young Thug, two beautiful, beautiful humans, are the hip-hop versions of the volcanic eruption that buried Pompeii, only if the volcano had spewed out Givenchy robes and Rolls-Royce Phantoms, bequeathing upon the residents of the first-century Roman city an indomitable swag. Even a minute-long, embarrassingly cyclical Birdman soliloquy to open the tape can’t take that away.

Naturally, Birdman’s head for business and Lil Wayne’s rising cultural capital led the two to ink a deal over the Young Money imprint, in which Birdman has a 51 percent stake and Wayne has the remaining 49, granting the dastardly bastard majority control. This is a good situation for Birdman. By comparison, Oklahoma City Thunder forward Kevin Durant shoots 51 percent from the field. These are solid numbers from a player widely considered one of the best in the game. Fifty-one percent of the time, Kevin Durant makes the basketball do whatever the hell he wants it to do. Forty-nine percent of the time, he messes up, but that’s OK, because most of the time he does stuff like this. Unlike the basketball, though, Weezy has to do what Birdman says 100 percent of the time, which is not OK, because a lot of the time he does stuff like this. Here’s a pie chart of the percentages held by Birdman and Weezy:

The Bad Rap: pie

Birdman’s general disregard for the rules of business and contractual obligations, however, has landed him in the hot water in which we currently find the embattled hip-hop mogul. Wayne has allegedly been paid just $2 million of an $8 million advance Tha Carter V and is owed another $2 million for finishing it. (Some people are excited about this development. Everyone else still remembers 2009’s Rebirth and still hasn’t really gotten over it.) Ten million dollars is nothing to sneeze at, even for Wayne, who boasts an estimated net worth of about $150 million.

Ten millis is enough to buy 11 matching sets of his and hers Ferraris (one for Wayne, one for his daughter, racial epithet), assuming those Ferraris are the ultra-rare, $450,000 599GTO, of which just 599 were produced. Wayne’s daughter copped one for her massively dope sweet 16.

The Bad Rap: Ferraris

Ten million dollars accounts for just a fraction of the total $51 million lawsuit, though. Fifty-one million is a number that’s large enough to mostly exist just in the abstract. I have never owned 51 million of anything. Barring the crunchy Cheetos stuck between my couch cushions, I’m not sure I’ve ever even seen 51 million of anything in my life. It’s almost easier to show what $51 million is not.

The Bad Rap: elevator

Fifty-one million dollars is not a billion dollars, which, of course, is the number of dollars that caused some shit to go down on an elevator containing Beyoncé, Jay Z and Solange. In fact, it’s only about 5 percent of that total. Wayne doesn’t even get on that elevator without at least another few hundred thousand stacks.

Fifty-one million dollars is, however, enough to pay off his protégé’s two mortgages, though, appraised at $30 million — if Drake’s “Energy” is to be believed. That’s also enough to put a down payment on another Calabasas safe house, assuming Weezy wants to move next door once the suit gets settled, thus fulfilling Manifest Destiny.

The Bad Rap: mortgages

Songs of the week:

“Monday” – EarthGang feat. Mac Miller

“Six Degrees” – Ghostface Killah feat. Danny Brown

“We Be on It” – Dej Loaf

“All Your Fault” – Big Sean feat. Kanye West

“Mona Lisa” – Daye Jack

“Did I Do That” – Salomon Faye