In the time of chimpanzees I was a monkey Butane in my veins and I'm out to cut the junkie With the plastic eyeballs Spray-paint the vegetables Dog food stalls with the beefcake pantyhose
( N A M E ) Aesop Mykonos Bloom ( A G E ) Seventeen ( G E N D E R ) Male ( D I S T R I C T / A R E A ) District Six
Kill the headlights and put it in neutral Stock car flamin' with a loser and the cruise control Baby's in Reno with the vitamin D Got a couple of couches Sleep on the love-seat
( A P P E A R A N C E )
Poverty is etched across Aesop's body, the unspoken evidence of hardship unmistakable even to strangers. Hunger is one of his most consistent companions, whittling him down over the years until he'd grown gaunt and rawboned, with thin wrists and ribs rippling like piano keys stretched beneath his skin. The less he eats, the more food remains for his family and he would rather watch himself waste away than them. At 6'2", his height makes his spindle-shanked limbs all the more conspicuous and although he does his best to hide the more tangible signs of starvation, his lopsided smile fools no one.
Self-neglect has become his habit. His scruffy black hair grows quickly and he's certain he has better things to worry about than how, when, or who cuts it, so it's frequently overgrown and unkempt. By the time it reaches his shoulders (it's usually an inch or two past chin length) and his brother starts taking jabs at Aesop's masculinity over it, he'll sigh in exasperation and have his sister cut it for him. She gets a kick out of taming the infamous manginess of the Bloom brothers and will even paint Aesop's fingernails with black writing ink when she can convince him to sit still long enough. This, however, tends to be counterproductive to her efforts, as the ink eventually ends up rubbing off on anything he touches and the cycle starts again.
Someone came in sayin' I'm insane to complain About a shotgun wedding and a stain on my shirt Don't believe everything that you breathe You get a parking violation And a maggot on your sleeve
Perhaps the only things Aesop prides himself on are his slight of hand skills and effortless con artist coordination. In his mind he imagines himself as a ghost, pickpocketing passing strangers as if his sly touch were able to pass directly through them. Although he rarely steals from his fellow District Six residents anymore, such schemes were mostly a phase of childhood desperation, he has no qualms about stealing from the nameless, faceless entities of the Capitol.
So shave your face with some mace in the dark Savin' all your food stamps and burnin' down the trailer park (Yo. Cut it.) Soy un perdedor I'm a loser, baby So why don't you kill me? (Double-barrel buckshy)
Working in a factory packaging medications for the government, more than a few stray pills have found their way into Aesop's pockets. However, pilfering medications from machinery is more dangerous than lifting loose coins from pockets, and even minor miscalculations have wrought significant damage on his hands, leaving him with crooked fingers and numerous scars. While most of the tablets and capsules that Aesop liberates from the factory are sold to junkies or sickly neighbors, curiosity has prompted him to indulge in a few himself. The combination of drug use and malnutrition has tinged his tawny skin with jaundice and hollowed the expression from his dark eyes, leaving them perpetually dilated and glassy.
Preoccupied with his devious habits, little of his attention remains to bother with his clothing choices. Dressing in a haphazard mishmash of whatever happens to be conveniently laying around, it is seldom coordinated and he can rarely be bothered to care. It is only when dressed in his starkly clinical work uniform or if his sister coerces him into something respectable for an occasion, like the yearly Reaping, that he looks presentable. He will scarcely put forth effort of his own accord and insists people should count their blessings that he troubles himself enough to scrounge up clean clothing.[/justify]
Forces of evil on a bozo nightmare Ban all the music with a phony gas chamber 'Cuz one's got a weasel and the other's got a flag One's on the pole Shove the other in a bag
( P E R S O N A L I T Y )
As a child, Aesop was so bright and happy-go-lucky that he was practically effervescent. Times were easier for his family then and youth felt effortless. Their subsequent fall from grace, following the death of their mother, was reflected most strongly in the two Bloom brothers, who were more than willing to make whatever self-sacrifices were necessary for the sake of helping to care for their younger sister. Each struggle with their newfound responsibility chipped away at them until nearly all remnants of their carefree traits had vanished.
So it was that the hopeless optimism of Aesop's inner child was locked up and buried so deeply that most days he forgets it's still an indestructible piece of him. From time to time it will flare up and catch him by surprise, sneaking past his lonely bitterness and demanding that he remember that if things can change for the worse, then perhaps they could still change for the better as well. Unfortunately, his life choices tend to veer towards self-destructive, making positivity difficult to maintain and inevitably leaving him with an aftermath of crippling disappointment that only pulls him deeper into depression. When something goes unexpectedly well for him though, he practically implodes from disbelief with unrestrained, childlike joy.
With the rerun shows and the cocaine nose-job The daytime crap of the folksinger slob He hung himself with a guitar string A slab of turkey-neck and it's hangin' From a pigeon wing
Blind to the problems of anyone outside his family, Aesop has become rather self-righteous about his misfortunes, assuming no one could possibly be suffering worse than him. This defeatist attitude has led him to abandon all attempts at discovering his own hopes and dreams, choosing instead to put his effort into supporting his sister's endeavors to become a chemist. In his mind, she is the only remainder of his former happiness and he will do whatever it takes to protect her and preserve any form of goodness in her life, even if it means risking his tongue for extra income. Towards others, not excepting his own father and brother, he isn't nearly so caring. Although sympathy comes easily, he is too caught up in his martyr complex to concern himself over them too much, figuring they're capable of looking after themselves.
You can't write if you can't relate Trade the cash for the beef for the body for the hate And my time is a piece of wax Fallin' on a termite That's chokin' on the splinters
The rest of his life is approached with lazy resignation. A fatalist, he assumes that everything is inevitable and there isn't much he can do to change things, so he may as well just sit back and go along for the ride. Being so laid-back takes the edge off his sarcasm and more spiteful behavior, sustaining some semblance of likability, and tends to be the reason friends and family put up with his immaturity and self-pity. This mindset also inspires him to live recklessly, whether stealing from the factory or abusing the medications himself. He doesn't see the harm in indulging in morphling trips, despite being aware of his creeping descent into addiction, when the numbness brings him a gratification that is absent from the rest of his life. As he sees it, being dependent on the drug won't alter his future, it will just make getting there a little more interesting.
However, addiction doesn't come without its side effects, and although Aesop does his best to outwardly laugh them off with his deadpan humor, he can't hide his problems so easily from himself. He has always been a lucid dreamer, able to bend his dream world to his will, but the dream world his morphling use pulls him into is more difficult to control. Slowly and subtly, he is losing track of his own existence, finding himself increasingly unable to differentiate between reality, hallucinations and sleep. In the end, he's uncertain if there really is a difference between them and, even if there is, he's not entirely convinced it matters.[/justify]
Soy un perdedor I'm a loser, baby So why don't you kill me? (Get crazy with the cheeze whiz)
( H I S T O R Y )
Life was blissful for Aesop in the beginning and, by District Six standards, the Bloom family lived an extremely fortunate life. His mother, Eleanor, was a well respected and successful pharmaceutical developer, responsible for several ground-breaking discoveries in vaccinations. Days were never passed with empty stomachs, even after their father, Parker, lost an arm in a factory accident and was unable to continue working. Their three children were bright and carefree, doing well in school and finding themselves with enough free time to cause plenty of good-natured mischief.
The brothers Bloom, Aesop and Napoleon (who is often called Poe, now 18), were pint-sized imps from the start. Their interest in magic tricks began innocently enough, conjuring coins from behind their mother's ear or making flowers disappear into handkerchiefs with a flourish. It came most naturally to Aesop, his quick-handed illusions fooling even the keenest of watchful eyes. Everything from card tricks to a specialty in juggling unconventional objects found its way into his repertoire, but as their lives took a turn for the worse, so did their tricks.
Soy un perdedor I'm a loser, baby So why don't you kill me? (Drive-by body-pierce) (Yo bring it on down)
After accidentally contracting a lung disease she had been studying in her lab, their mother unexpectedly passed away, throwing the thunderstruck Bloom family into mourning and destitution. With a disabled father unable to find work and a younger sister to care for, Aesop and Napoleon turned from magicians to juvenile con men, adapting their once innocent deceptions for financial gain. Pickpocketing became routine and although Aesop was as subtle as a phantom, Napoleon's clumsier fingers soon outed them as notorious swindlers. Desperate for a new way to save their family from starvation, the pair of young teenagers dropped out of school and talked their way into jobs in the local medical factories.
Old habits died hard, or rather, didn't die at all. Discovering that their minimal factory wages alone weren't enough to make ends meet, the brothers plotted new scams that utilized their individual strengths far better than their previous cons. With Aesop's unrivaled slight of hand skills and new position working the conveyor belts that transported unbottled medications for packaging, he began stealing from the loose pills. The pilfered capsules and tablets would be passed along to Napoleon, whose silver-tongued street smarts made his transition into the friendly neighborhood drug dealer look effortless.
(I'm a driver, I'm the winner; Things are gonna change I can feel it) Soy un perdedor I'm a loser, baby, so why don't you kill me? (I can't believe you)
While the addition of their newfound source of income wasn't enough to return the Bloom family to their previous standard of living, it was sufficient to keep starvation at bay and to allow their younger sister, Calliope (now 15), to continue her studies to become a chemist. Having sacrificed any thoughts of their own futures for her sake, the brothers placed all their hopes on her, optimistic that she could follow in their mother's footsteps and grow up to become as capable and self-sufficient. No matter what trouble they cause in their efforts to provide for her, they do everything they can to shelter her from their shady dealings.
Still, Calliope is extremely intelligent and few of the Bloom brothers' extracurricular activities escape her notice. Understanding that their drug trafficking is integral to the survival of their family, she turns a blind eye, but helplessly watching their decline into morphling addiction isn't as easy for her to ignore. It began with Napoleon, who fell hard and fast into dependency, but as always, Aesop has never been far behind his brother. Their substance abuse goes unspoken though, no one willing to admit that the solution to their problems will also inevitably tear their fragile family apart again one day.[/justify]
Soy un perdedor I'm a loser, baby So why don't you kill me? (Sprechen sie Deutches, baby)
( C O D E W O R D ) Odair ( F A C E C L A I M ) Kim Jae Wook
Soy un perdedor I'm a loser, baby So why don't you kill me?