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[INTRO: Saukrates (Common)]
Word up, Saukrates in the house (yeah, yeah)
‘Bout to turn it all out again
Y’all n—as check my s–t out, word up

check me out (check that s–t out)

Amazed dudes to wack crews
Lay it down
Kids could never walk a mile in my shoes
Shorties clockin’ me
Always be coming in the two
From the north
I’m bringing you tracks and good news
My debut was real to the blind industry minds
Who never had the time
Now kids press rewind to the top
But legally I gotta show love
Call me A, B and C, answers D
All of the above
I attack the microphone like Jack Ripper real for stacks
Leaving kids no headroom like Max
Try to react, but you were never clam
And never could kick a verse
When worse come to worse I’m better
Shine like genuine rhine, and black patented leather
On half naked honeys who forgot about the weather
F–k an exhibition, and warm up scrimmage
Shoot more words that Macho Man spit jism in the village

[CHORUS: {Common Sense} (Saukrates)]
{Play dis}, (play dis)
{Play dis}, (play dis)
{Play dis y’all, play dis}, (play dis)

{Play dis}, (play dis)
{Play dis}, (play dis)
{Play dis y’all, play dis}, (play dis)

[Common Sense]
Stimulated by a tree and drama
I advanced on a branch of respect and honor
A patient of the Ill state
Sittin’ in trauma, never been one to “cide” with “homo”
For Armageddon, I’m getting armed plus armor
The comma of matter on the rise like a tip
In the southside diner
Your preference to the book that likes to pack humid
To it I react, by staying strapped with the mac and courage
Parallel to a carrousel of murders
I prefer to make a life than take a life
Stopped at a street called Wise and made a right
Sort of how I play my broads, just how I play the mic
First I cuff it, then finger f–k it
Check it something rugged, other n—as be reluctant
To touch it after me
Passively they strike, never matching me
Rapidly, don’t placidly
I fabricate the verbal tapestry
Tap the keg of you conscious
Navigate n—as like Farrakhan with a compass


Kids setting their watches 5 minutes fast to stay on top of time
But I’m already 10 minutes away
N—a, play what you want to play, he say she say
But Saukrates got the buttas in T dot O dot today

Slowly but surely I pour the lyric into the glass of your mind
My rhyming will be the diamond that will cut through
Lines say but you to do, you don’t know what to
Got wisdom like a tooth
Incidentally I get buck too
Didn’t get my jest, so I just had to do it
My mic or your mic, come on no congruent
Seen broads be brew to me, be jubilee
On my neck be hot jewelry
My old man be schooling me
For sho’ I rock good, cats claim this hood and that hood
Black man, your hood is the universe
On this Earth, you were first through the worse
My crew could hearse
Used to go up stairs and we went through the purse
I don’t curse around juniors
Spread live like rumors
N—as loved my tape, but how many were consumers?

Shout out to honeys working them hourglass hips
Stay soprano, reading Serrano
Dramatic episodes, yo Common
Let me play with n—as brains like clay kits
When I rock stage hits
Skip the rumors and lies
So you’re under the stairs
When I drop my hip-hop, you’ll be some Maytag repairmen
And flip flop the fake, who thought the scored
And half-assed n—as sending you back to drawing boards
To deliver the real s–t, at least we’ll spit on you mic
I’m versatile like a plate of real grits


[Common: talking behind chorus]
This is how we bust that s–t out
Yeah, yeah
Father time, check it out
We the fathers, y’all know what time it is
You better watch the clock, use your mind
Check it out, yes two brothers need to rhyme

Never eat swine, we don’t want it on our pizza
Just cheese, checkered MCs
They better just freeze, n—as stop please
What goes on?
Check it out, they bumble like bees
No I ain’t a killer
I’m the n—a that don’t drink Miller
I like Heineken, it’s sort of like my vitamin
I gotta rhyme, because I got a big mouth
Where I come from, what, what
I side with the Southside
N—as be outside with they hat cocked
I’m telling you, check it out
I rock the black block
I rock the black blocks all over
Call over on some ill s–t, yeah
My n—as Sauk come to do it
Yo we got to get into it
Check it out, this is how I blew it
Right here, now yeah, yeah

(Peace out, T dot, O dot)
[It’s that ol’ adlib s–t]

The manuscript Blue Lines is the fictional coming of age narrative of a young California woman Key Yemaya Walker, and her 2 year growing journey through school, love, and life period piece, written by Kenneth Suffern, Jr., taking place at the University of North Carolina at Chapel Hill between the years of 1997 – 1998. Loosely based on true events, and experiences during that time, told through the eyes and voice of the main female protagonist, a freshman first attending the school.