Earning My Stripes Quotes

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I remember you was conflicted Misusing your influence Sometimes I did the same Abusing my power, full of resentment Resentment that turned into a deep depression Found myself screaming in the hotel room I didn’t wanna self destruct The evils of Lucy was all around me So I went running for answers Until I came home But that didn’t stop survivor’s guilt Going back and forth trying to convince myself the stripes I earned Or maybe how A-1 my foundation was But while my loved ones was fighting the continuous war back in the city, I was entering a new one A war that was based on apartheid and discrimination Made me wanna go back to the city and tell the homies what I learned The word was respect Just because you wore a different gang color than mine's Doesn’t mean I can’t respect you as a black man Forgetting all the pain and hurt we caused each other in these streets If I respect you, we unify and stop the enemy from killing us But I don’t know, I’m no mortal man, maybe I’m just another nigga
Kendrick Lamar, To Pimp a Butterfly
21. You Are His Treasure “The kingdom of heaven is like a treasure that somebody hid in a field, which someone else found and covered up. Full of joy, the finder sold everything and bought that field.” (Matthew 13:44, CEB) The idea that Jesus is the treasure in the field and that you must sell everything to obtain him has been preached for a couple thousand years. With few exceptions, this coincides with much of the doctrine in the church today. I know I was taught this growing up. I felt like I had to earn Jesus (and my salvation). I was convinced that I had to give up everything that brought me joy to obtain him. Somehow I had to do something to gain this treasure. I didn’t know how I would do it, but I had to obtain this treasure. Then my eyes were opened. I saw myself buried in the field, and Jesus selling everything he had for me. His desire for me was so potent that when he obtained the field, he breathlessly dug me out of the miry clay and held me close to his chest. I could feel his heartbeat synchronizing with mine. I tell you this story in hopes that you can put yourself in that position and realize how important you are. How cherished you are. How much Jesus treasures you. God didn’t hide you in that field; the years and years of teaching that you were dirty, separated from him, did that. He had to find you; when he did, he took the stripes that you thought God was waiting to give you. He died the death that you were told you deserved. He was buried in the dirt and tomb reserved for you. Then he broke forth and rose from the miry clay as a representation of God finding you. You see, God sold everything to obtain you, gave everything to get you, and drained every ounce of blood to purify you. He gave everything of himself to get you, to bring you into unity with him.
James Edwards (The Song of You: 30 Day Devotional)
The flag story is important, Berntson thought. Before the assault was over, Christmas had sent Frank Thomas, his gunnery sergeant, to find an American flag. He knew it was against the rules. This was a war on behalf of the Republic of Vietnam, and the correct flag to run up the pole at its province headquarters would have been Saigon’s yellow and red ensign. But Christmas’s men had bled and died all the way across southern Hue, not ARVN troops. They had looked up at that enemy flag the whole way. They had taken it down, and they wanted to show who had done it. The Stars and Stripes had earned its place. Berntson continued jotting down Christmas’s words: “‘Proudest moment of my life—to be given opp to do it’ . . . ‘main thought was getting the flag up—so it would fly and everyone could see that flag flying’ . . . Capt. Ron Christmas, 27, 2001 S.W. 36th Ave, Fort Lauderdale, FLA CO for 2/5 Hotel . . . ‘street fighting is dirtiest close in. Biggest problem is control—keeping all platoons in line—communication also problem . . . platoons have done extremely well . . . flag. ‘inspiration thing I have ever seen in my lifetime—because it was a hard thing. That feeling of patriotism . . . all you could hear are cheers . . . really brings out America Spirit.’” Hours later, Christmas was paid a visit by two officers, both majors, one army and the other marine. They had been sent by Colonel Hughes from the compound. They said the American flag would have to come down. The South Vietnamese flag was the appropriate one. The men around Christmas were still loading up the wounded and dead. “I don’t think my men are going to like that,” he said. “That doesn’t make any difference,” said one. “You are violating protocol.” “Well, I’ll tell you what,” said Christmas. “If you want to take the flag down, you guys go take it down. But I cannot be responsible for all of my men.” Kaczmarek, who was sitting close enough to overhear the exchange, chose that moment to reposition his rifle. The majors left. The flag remained. Christmas had a gunny sergeant haul it down at sunset, and the next morning a bright yellow South Vietnamese flag flew in its place. But watching Old Glory run up that afternoon was a sight none of the marines who witnessed it would ever regret, or forget.
Mark Bowden (Hue 1968: A Turning Point of the American War in Vietnam)
Oh yeah, total freak in the sheets. A real tiger. Earned his stripes for sure. No one has ever blown my mind like Nathan Donelson.
Sarah Adams (The Cheat Sheet)
Dean Martin, and Sammy Davis Jr. The cool kids of the 1960s invited the old man who had been cool before they knew cool was cool to join them in a musical romp that nobody took particularly seriously. Crosby enjoys himself. He has nothing at stake, since he’s not the star who has to carry the film. He’s very casual, and appears to be ad-libbing all his lines in the old Road tradition with a touch of W. C. Fields’s colorful vocabulary thrown in: “You gentlemen find my raiment repulsive?” he asks Sinatra and Martin when they object to his character’s lack of chic flash in clothing. Crosby plays a clever con man who disguises himself as square, and his outfits reflect a conservative vibe in the eyes of the cats who are looking him over. The inquiry leads into a number, “Style,” in which Sinatra and Martin put Crosby behind closet doors for a series of humorous outfit changes, to try to spruce him up. Crosby comes out in a plaid suit with knickers and then in yellow pants and an orange-striped shirt. Martin and Sinatra keep on singing—and hoping—while Crosby models a fez. He finally emerges with a straw hat, a cane, and a boutonniere in his tuxedo lapel, looking like a dude. In his own low-key way, taking his spot in the center, right between the other two, Crosby joins in the song and begins to take musical charge. Sinatra is clearly digging Crosby, the older man he always wanted to emulate.*17 Both Sinatra and Martin are perfectly willing to let Crosby be the focus. He’s earned it. He’s the original that the other two wanted to become. He was there when Sinatra and Martin were still kids. He’s Bing Crosby! The three men begin to do a kind of old man’s strut, singing and dancing perfectly together (“…his hat got a little more shiny…”). The audience is looking at the three dominant male singers of the era from 1940 to 1977. They’re having fun, showing everyone exactly not only what makes a pro, not only what makes a star, but what makes a legend. Three great talents, singing and dancing about style, which they’ve all clearly got plenty of: Frank Sinatra, Bing Crosby, and Dean Martin in Robin and the 7 Hoods
Jeanine Basinger (The Movie Musical!)