#def for ralph

[apath3t1c-pr1nc3]

BAHAH THANK YOU @thatsleepyartist

I'm mad at myself for taking like 20 minutes on this when my last post took 4 days

[critifull]

Definitely didn't make this just to draw him in That Stupid Pose

Idk what universe this audio would've fit in for this to make sense aside from Kill Switch SOBBING @king-candybug-backup

[wargnak]

ralph when jack comes to terrorize him at his soccer game the minute choir practice is over:

[flustered-art]

BENITEZ PLUSHIE INTEREST FORM!!

If you want this to possibly happen then please fill this out ❤️🙏

[hueghost]

Crazy Shapiro analysis???

Shapiro’s entire emotional world seems to orbit around Vinnie. He’s not just friends with him but he constantly seeks Vinnie’s approval. He defers to him in almost every situation, and expresses an almost obsessive loyalty. His frequent “I love you” remarks, physical closeness, and visible emotional vulnerability around Vinnie contrast sharply with his shallow or chaotic relationships with women. It’s not just admiration, it borders on unspoken romantic or emotional yearning towards him.

His sexual relationships with Eva and Rozzie are messy, impulsive, and detached. They feel more like attempts to prove something—to Vinnie, to the gang, maybe even to himself—than sincere romantic or emotional connections. He doesn’t seem to pursue women on his own terms. It’s usually when they’re emotionally available or convenient, and there’s a hollowness to how those moments play out. The affair with Rozzie, Vinnie’s gf, might not be about her at all—but about getting a reaction out of Vinnie. It’s painful, self-destructive, and possibly a way of saying: “I want to matter to you this much.”

Shapiro initially doesn’t want Eva because she’s fat—which could be surface-level misogyny or deeper internal discomfort with women in general. Vinnie, though, talks about her as a prize, a conquest. And he pushes Shapiro into sleeping with her, not because he thinks they’ll get along, but because it’ll be funny or prove something. The dare escalating from $5 to $5.50 is laughably petty, but it means that Shapiro doesn’t care about the money. He gives in the second Vinnie tweaks the offer, because it’s Vinnie doing the daring. It’s not about Eva, it’s about Shapiro constantly needing to prove he’s “one of the guys.” He can do what Vinnie tells him to, he’s not different. But he is different. He doesn’t desire women the way Vinnie does and he knows this, but uses it as leverage against Shapiro, not compassion.

Shapiro is physically affectionate, sometimes inappropriately so, especially toward Vinnie. His behavior is more tactile and emotionally intense than that of his peers. Remember, this is a 1950s New York gang environment and would never allow open queerness, so any same-gender affection would have to be channeled through coded behavior like teasing, bromance dynamics, exaggerated “jokes” that aren’t quite jokes. In this context, Shapiro’s behavior feels like it’s pushing the limits of what he can get away with—longing expressed through brotherhood, proximity, and humor. He likely has no real attraction to women, but uses them as props in his pursuit of male validation, is desperate for Vinnie’s love, even if it can’t be romantic—he wants closeness, approval, just really anything. He’s unable to assert his own desires, because he doesn’t know what those are in a world that hasn’t allowed him to explore them, is painfully loyal, even to people who manipulate him because being needed, even conditionally, is better than being alone.

This is a textbook example of repressed queer people longing playing out under social and cultural constraints, being set in the hypermasculine, deeply homophobic world of 1950s Brooklyn—perfectly captures that tension without needing to spell it out. The scene where some of the queer Stompers’ gang members are kissing in private but acting straight in public speaks volumes because in their world, queerness exists, but only in the shadows. The fact that Vinnie doesn’t seem to care shows that he’s not aggressively homophobic but he may be indifferent or even tolerant in a “don’t ask, don’t tell” kind of way. But still, the rules of masculinity are unspoken and rigid like “You can be gay, but don’t be soft. Don’t disrupt the masculine hierarchy. Don’t flirt with the leader.” So even if he accepts queerness on some level, there’s a difference between tolerating it in others and being the subject of queer desire himself.

Vinnie doesn’t hate Shapiro. He might even care about him in a distant, possessive way. But he treats him more like a pet than a friend because he lets Shapiro orbit him emotionally. He dangles validation just enough to keep Shapiro close, tests his loyalty constantly through humiliation, manipulation, or dares. And he’s fully aware that Shapiro will do anything to stay in his favor. It’s classic toxic masculinity. Vinnie’s not outwardly cruel (except for a few times), but he doesn’t respect Shapiro as an equal. He uses him as a tool for control and a mirror to his own ego.

Vinnie uses Shapiro for entertainment and control, and Shapiro goes along with it because he wants love, loyalty, and to feel like he belongs. His actions around women aren’t driven by desire but by a need to “pass” and survive. And Vinnie—though tolerant of queerness in others—is unwilling or unable to acknowledge Shapiro’s feelings, instead redirecting him with humiliation and dares masked as “fun.” This is what makes Shapiro tragic. He’s not just comic relief. He’s a young queer-coded man caught in a suffocating system, clinging to the only person who gives him scraps of attention while losing himself in the process.

Remember the beginning of the movie where Shapiro is sitting afar from the hookers while Vinnie is doing all the negotiating and convincing? Despite it being Shapiro’s idea first by saying he wanted to “pick up girls that night”, it feels like he’s trying to sound confident, like he’s echoing what a “normal” guy in his circle should be saying. It’s posturing, not desire. He’s saying it for Vinnie’s benefit, probably to prove he’s just as “manly” or cool. He spots the women, signals for drinks but makes no actual move. He lets the idea hang there without commitment. This is classic behavior for someone who is trying to perform heterosexual interest but doesn’t have the emotional or sexual drive to back it up. That’s not just social awkwardness, it reads as internal conflict. And he only goes through with it because Vinnie wants him to, which reflects the emotional dynamic. Shapiro does things not because he wants to, but because Vinnie does. Shapiro knows he can’t be out, even in a “tolerant” environment. Is desperately in love with someone emotionally unavailable—someone he can’t have. He sees that Vinnie is tolerant of others, but can’t bring himself to risk rejection by being fully open about his feelings. He might be a repressed queer man or at the very least, someone performing heterosexuality to gain approval.

Vinnie’s judgment of the women as “low” adds a layer of pressure. Suddenly Shapiro’s attempt to impress him backfires, he’s made the “wrong” choice. This likely triggers his deep-seated insecurity as he’s trying to impress someone who can’t be impressed in the way he needs. Vinnie then takes control and starts doing the talking, coaxing Shapiro to follow through, almost like a test of masculinity. While he engages, Shapiro lingers from afar. He wants Vinnie to think he’s confident and masculine, but in practice, he freezes. It’s not necessarily shyness, he’s very extroverted. It’s the lack of interest, conflict, and discomfort. His body language says everything that “It’s not what I want, but I have to do it.” That physical distance mirrors the emotional distance between who he pretends to be and who he really is.

Shapiro’s a young man navigating a rigid system of masculinity, trying desperately to pass as straight, cool, and sexually assertive. He knows that being different like being soft, unsure, or affectionate toward another man, puts him at risk, even in a gang where queerness exists privately. But he’s also not attracted to women in any convincing way because his pursuit of them is only ever filtered through his relationship with Vinnie. He wants to be seen as worthy of Vinnie’s friendship and approval like using women as social tools, not romantic partners, can’t fully admit his feelings, even though they’re obvious in how much he stares, clings, and emotionally prioritizes Vinnie.

He’s as a tragically submissive, emotionally abused queer-coded character whose loyalty is constantly manipulated by Vinnie. And what’s heartbreaking is that he seems aware that he’s doing things he doesn’t want to do, but he does them anyway for the one person’s approval he desperately craves. He eventually does sleep with the prostitute, but only after Vinnie has done all the negotiating. Shapiro shows zero initiative himself. He never flirts or engages beyond the minimum effort. It’s not attraction, it’s obligation. “I guess I have to prove I’m not weird. I have to keep up the act.” And Vinnie isn’t even watching when it happens, which makes it even sadder because Shapiro is performing for someone who’s not even paying attention. This is an emotionally confused man, pressured into heteronormative performance, not because he wants the experience, but because he thinks it will keep his place in the gang and his bond with Vinnie intact.

Also, Vinnie probably does know. He’s not stupid because in the movie, he’s portrayed as very observant (and also manipulative). He sees Shapiro constantly touching him, watching him, doing everything to stay close. And he doesn’t lash out, which is interesting. In the 1950s, a man “grabbing” another man, playing with his hair, or hugging him for too long could easily provoke violence or odd stares. Instead, Vinnie firmly sets boundaries. He moves Shapiro’s hands off him, tells him to back off, reasserts his dominance. This could be his way of saying “I know. I don’t hate you for it. But I can’t give you what you want.” Which is deeply tragic but realistic. It’s a quiet rejection that preserves the friendship while keeping emotional distance. Vinnie likely knows and respects him in his own guarded way but also makes it clear “You can love me, but I can’t love you back.”

If Shapiro were to openly confess or cross a line, it might end things completely. Only then, he could stay close by pretending. Even if Vinnie is okay with queerness, Shapiro may not be. He might feel shame or confusion especially in a world that’s toxically tells him masculinity is everything (instead of a positive masculinity). He knows Vinnie isn’t interested, but he can’t stop feeling it. So he hangs around, hoping for crumbs of affection. Like the rest of the queer Stompers members, he “acts straight” in public. It’s not just social camouflage but survival.

Ralph Bakshi is known for pushing boundaries with his characters whether racially, sexually, and psychologically. He’s portrayed complex and marginalized figures in other works like Heavy Traffic and American Pop, and he’s definitely not afraid to include queer-coded characters in unconventional ways. Shapiro might not be an “out” character because the 1950s setting wouldn’t allow it but Bakshi knows that repression, confusion, and queerness existed long before open representation. So, it’s entirely possible, and very likely intentional, that Shapiro is written as a repressed or questioning queer man. That repression becomes part of his emotional unraveling. He doesn’t know how to exist in his world as someone soft, affectionate, or vulnerable, let alone queer. So his love becomes something destructive, desperate, and confusing.

Crazy Shapiro might be one of Bakshi’s more tragic queer-coded characters as he’s caught between the world’s expectations of what a man should be, masculinity, violence, and his own aching need for love and connection, especially from Vinnie. Whether it’s romantic or not, his attachment is emotionally charged and painfully real. In a hypermasculine, homophobic 1950s gang culture, that kind of unspoken queerness is exactly the kind of thing that would drive someone to the edge. Crazy Shapiro is a layered, tragic character because he’s emotionally raw, desperate for love, possibly queer, and stuck in a world that doesn’t give him the language or safety to understand himself. It’s sad but human, and for a 1982 film, it’s incredibly progressive and heartbreaking for its time. Ralph Bakshi definitely knew what he was doing.

[basterdk]

you guys dont know how much i love ralph fiennes performance as amon goeth in schindler's list. its so impressive how his range goes from mr gustave, to thomas lawrence and to this monstrousity of a character. he never fails to amaze with his ability to yield every kind of role.

[crownedinmarigolds]

Because we went to Renfaire I imagined all the OCs going to Renfaire but Ralph and Khlo seem the absolute most likely out of all of the OCs to actually go if there was a night time weekend. Ralph is a Satyr (because I straight up think it's hot no other reason because he'd probably otherwise definitely be a cool warrior) and Khloe is basic tavern wench chic. <3

[reblog-house]

Ralph: yeah so they call me the Phone Guy because I always call everyone up and everything lol I am always near a phone. Anyway my friend Dave from maintenance loooooves purple so people call him the Pur-

[simpingforcys]

Every single frame of this is perfect for different reasons, I love how half of him just disappears.

[wo0zyw3ezer]

One adult Rude Ralph doodle page + kid Ralph comin’ right up!

[krispyweiss]

Mott the Hoople and Bad Company Co-founder Mick Ralphs Dies at 81

Mick Ralphs, the co-founding lead guitarist of Mott the Hoople and Bad Company, has died.

News of Ralphs’ death at 81 comes nine years after the guitarist suffered a career-ending stroke.

“Our Mick has passed, my heart just hit the ground,” Bad Company singer Paul Rodgers said in a statement.

“He has left us with exceptional songs and memories. He was my friend, my songwriting partner (and) an amazing and versatile guitarist who had the greatest sense of humor.”

“The world is a poorer place today,” Def Leppard’s Joe Elliott said in eulogizing the man who “has been a constant companion through my musical journey and … one of the kindest souls I ever met.”

Ralphs co-founded Mott in 1969 and stayed with the band through six albums until 1973, when he joined former Free members Rodgers, drummer Simon Kirke and former King Crimson bassist Boz Burrell to form Bad Company.

“(Ralphs) was a dear friend, a wonderful songwriter and an exceptional guitarist,” Kirke said in a statement. “We will miss him deeply.”

The guitarist’s songwriting credits include “Ready for Love,” “Can’t Get Enough” and “Feel Like Makin’ Love,” which along with Ralphs’ “high-gain guitar riffs and heavy phrasing … helped define Bad Company as hard rock’s quintessential supergroup,” the Rock and Roll Hall of Fame said in a statement.

Lynyrd Skynyrd guitarist Damon Johnson mourned Ralphs with a “heavy sigh from my heavy heart” on social media.

“And thank you for charting the path for all of us that love soulful, badass rock and roll,” Johnson said.

6/24/25

[zappedbyzabka]

[awesam-sauce]

hello how are you?

aaaa hallo!!! i’m doing well! i just got off work a few hours ago so i’m a little tired but pretty good overall!! working on a comic for the au blog and watching the ‘63 movie too :)

how are you doing? have you done anything fun this summer/have anything planned?

[fagbearentertainment]

please tell me im not the only one who had a childhood crush on cybug king candy/turbo...

Sorry anon that’s the one weird childhood crush I didn’t have 😭😭😭

[zappedbyzabka]

Pardon? What is the picture?

[idkfitememate]

This is actually a very fun idea wait-

Fat Chinese baby vanellope or something

Yada yada yada, head canoning there was an original King candy who was vanellopes father who got killed by Turbo, the usual head canon. I also gave a name to the original KC... Perfetti van Melle schweetz. I like the name I've given him low-key