A Quote by John Steinbeck

Wherever there's a cop beatin' up a guy, I'll be there. — © John Steinbeck
Wherever there's a cop beatin' up a guy, I'll be there.
Wherever they’s a fight so hungry people can eat, I’ll be there. Wherever they’s a cop beatin’ up a guy, I’ll be there. If Casy knowed, why, I’ll be in the way guys yell when they’re mad an’—I’ll be in the way kids laugh when they’re hungry n’ they know supper’s ready. An’ when our folks eat the stuff they raise an’ live in the houses they build—why, I’ll be there.
John Steinbeck's 'The Grapes of Wrath' also speaks urgently to today's concerns: the cratered trail of dreams for Mexican immigrants seeking a promised land in the Western [United States]; the perfidy of banks in foreclosing on poor people's homes; and the insurgent urge of the book's protagonist, Tom Joad, to speak truth to police power. 'Wherever there's a cop beatin' up a guy,' Tom promises, 'I'll be there.' In Salinas, Calif., Ferguson, Mo., or Staten Island, N.Y., Tom's truth goes marching on.
My parenting style could be described as not good cop or bad cop so much as nervous cop. I'm always yelling for somebody to stop because they're about to get hurt. I'm the take a jacket, slow down guy.
Dirty Harry, for example. Clint Eastwood was not a rogue cop. He was a maverick cop, but he was a good guy.
Nearly every day on the television set the hero cop breaks into the bad guy's house and beats a confession out of him and we cheer on the cop. Propaganda smears our clear vision. It causes us to accept the diminishment of our constitutional protections as something to be lauded - after all, the cop was protecting us.
If I play a cop, it's always a racist cop or a trigger-happy cop or a crooked cop - but by and large I play cowboys, bikers, and convicts.
If I write a cop show, it's not up to me to decide how different it is from 'Law & Order.' I had screenwriters go on and on and on about how their cop show isn't like any other cop show on TV. They made very good points, and it absolutely doesn't matter. It's entirely up to the audience to decide.
In Crash, you've got a pathological cop who at the end justifies police brutality. He tells the naïve, young cop that you're going to end up the same as him. He's the most sympathetic character in the movie. So, the naïve cop ends up murdering this Black kid and tries to cover up the evidence. It sort of justifies police brutality and the planting of evidence which is what happened in the O.J. Simpson case.
My uncle was a cop, a career cop, on the beat in downtown Chicago. He was my hero when I was growing up.
If Anderson was the good cop, and Blake was the bad cop, Jamaal was the complete psycho cop.
If I see a cop, it's not like, 'Oh, there's a cop who's gonna keep me safe.' It's more, 'There's a cop who might be having a bad day, so don't make eye contact.'
With a face like this, there aren't a lot of lawyers or priest roles coming my way. I've gotta face that was meant for a mug shot and that's what I've been doing for the past thirty years. If I play a cop, it's always a racist cop, or a trigger-happy cop or a crooked cop - but by and large I play cowboys, bikers, and convicts.
Each guitar has its own character and personality, which can be magnified once the player engages in beatin' it up
I have a new show now called 'The Bridge,' where I play a guy who's a real-life guy. My character's based on the life of a guy named Craig Bromell who was a cop for 12 years and then became head of the police association, so basically the president of the union for 85,000 cops.
My parents did the whole good-cop/bad-cop thing - Dad was the bad cop, and Mom was the good cop. I remember my father saying, 'I'm his father, not his friend.' That kind of stuck with me.
There's really no such thing as an 'ex-cop' or a cop who's 'off-duty' or 'retired.' Once trained, once indoctrinated, a cop is always alert, assessing reality in terms of its potential for illegal acts.
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