How to Disappear Completely

Transcription

1 Illinois State niversity IS ReD: Research and edata Theses and Dissertations 018 Ho to Disaear Comletely Gregory Watson Illinois State niversity, Follo this and additional orks at: htts://irliraryillinoisstateedu/etd Recommended Citation Watson, Gregory, "Ho to Disaear Comletely" (018) Theses and Dissertations 897 htts://irliraryillinoisstateedu/etd/897 This Thesis and Dissertation is rought to you or ree and oen access y IS ReD: Research and edata It has een acceted or inclusion in Theses and Dissertations y an authorized administrator o IS ReD: Research and edata For more inormation, lease contact ISReD@ilstuedu

2 HOW TO DISAPPEAR COMPLETELY GREGORY WATSON 96 Pages Ho to Disaear Comletely is ritten or chamer choir (eight solo voices) and a mixed ensemle o iano, electric guitar, virahone, and ass drum The text is taken rom the ikiho article titled Ho to Disaear Comletely This article discusses the stes required to aandon one s current lie and start over somehere else, doing so ithout anyone else knoing The article has ten stes hich are divided into three large sections This iece o music is divided u in the same ay The irst art, THINKING IT THROGH, discusses the reliminary stes required or such a disaearance The irst movement o art one, nderstand the Legal Ramiications, urges the listener to understand the various consequences o disaearing or dierent reasons Though the article goes into detail o hat these consequences could e, I chose to set only the ords understand the legal ramiications The second movement, Kno that You Must Go Alone, discusses the reasons one ould need to disaear ithout the aid o another erson or ithout another erson knoing This not only revents eing discovered, ut it lessens serious legal consequences o disaearing ith another erson The third movement, nderstand What You re Running From, urges the listener to have a dee understanding o the seciic reasons they are lanning to disaear The ay a erson ould need to aroach their disaearance could vary greatly deending on i they are disaearing or ersonal or legal reasons

3 The second art is called COERING YOR TRACKS This section discusses the reliminary measures that need to e taken or a successul disaearance The ourth movement, Get Rid o Certain Possessions, urges the listener not to kee any mementos or items that ill create nostalgia or them This not only ties them to their revious lie, ut certain articles o clothing can also make it easier to recognize a erson The ith movement, Disconnect Yoursel, discusses the need to remove yoursel rom social media and social situations sloly The aundance o technology makes it diicult to disaear successully Movement six, Get Rid o the Plastic, generally urges the listener to only use cash rom this oint orard, ecause electronic ayments make it easier to track a erson The seventh movement, lie, discusses the harsh truth that one needs to e decetive and dishonest i they ish to disaear This includes lying to riends and amily The third art, YOR NEW IDENTITY, discusses the actual act o disaearing Movement eight, Gather Your Resources, is the active act o rearing hat you ill need to have ith you or your disaearance The ninth movement, Leave Ton, is the actual act o disaearing This discusses ho to ind a ne lace to go, and ho to go aout travelling there Leave Ton also urges the listener to careully think through their disaearance one last time, as this is the iggest commitment The tenth and inal movement, Cultivate Ne Haits, discusses ho to rid onesel o their old ersonality Old ersonality traits can make it easier to e ound, so develoing and committing to ne ones ill make one more diicult to track This is the longest movement, reeating the ords cultivate ne haits and orever

4 Minimalism inluences Ho to Disaear Comletely This is most aarent in the irst and inal movements, hich have very slo and little harmonic change Each large art has its on dramatic curve Part one eaks in movement to, art to eaks in movement seven, and art three eaks in movement nine Ho to Disaear Comletely uses scales as diatonic sets These sets create diatonic clusters in several movements Most movements use aeolian and dorian modes Pitch class D is the itch center or many o these scales and modes Pitch class D is signiicant ecause it is ell estalished in the irst to movements ut does not return until the climax in movement seven The key o E has signiicance in to movements The irst hal o movement our is centered around E, though E is never used as an arrival oint This is signiicant ecause movement our discusses the irst act o disaearing A tonal center revolving around E does not return until the inal movement, hen the disaearance has comleted KEYWORDS: ho to disaear comletely; disaear; chamer choir

5 HOW TO DISAPPEAR COMPLETELY GREGORY WATSON A Thesis Sumitted in Partial Fulillment o the Requirements or the Degree o MASTER OF MSIC School o Music ILLINOIS STATE NIERSITY 018

6 Coyright 018 Gregory Watson

7 HOW TO DISAPPEAR COMPLETELY GREGORY WATSON COMMITTEE MEMBERS: Martha Horst, Chair Roy Magnuson Karyl Carlson

8 ACKNOWLEDGMENTS I ould like to thank Dr Martha Horst or her continued atience, suort, and eedack as I have orked on this roect Her insight into the style and use o text in this iece is immeasurale This iece ould not have een ossile ithout her contriution I ould also like to thank Dr Roy Magnuson or his inut and guidance ith this roect, and or heling me shae mysel as a comoser u this oint as ell Dr Magnuson encouraged me to continue riting in a style that elt natural and cathartic or me, hich has made a massive dierence to me as an artist I ould like to thank Dr Karyl Carlson or her insight into the realm o choral comosition She is the vastest resource into this orld o music, and as this as ne to me her inut is invaluale I ould e remiss i I did not thank my riends and amily or their continued suort throughout my musical career I ould like to thank my arents, Tommy and Sherry Watson or their suort not only emotionally ut inancially I ould like to thank my sister, Michelle Watson, or continually eing an outlet or me Finally, I ould like to thank Brittany Smith or her continued love and suort throughout this roect None o this ould have een ossile ithout any o you G W i

9 CONTENTS Page ACKNOWLEDGMENTS CONTENTS i ii HOW TO DISAPPEAR COMPLETELY (SCORE TITLE PAGE) 1 Perormance Instructions Text Instrumentation 5 1 THINKING IT THROGH 6 i nderstand the Legal Ramiications 6 ii Kno that You Must Go Alone 1 iii nderstand What You re Running From 5 COERING YOR TRACKS 0 iv Get Rid o Certain Possessions 0 v Disconnect Yoursel 5 vi Get Rid o the Plastic 50 vii Lie 55 YOR NEW IDENTITY 65 viii Gather Your Resources 65 ix Leave Ton 71 x Cultivate Ne Haits 8 ii

10 Ho to Disaear Comletely Gregory Watson 1

11 PERFORMANCE INSTRCTIONS C score, excet or standard octave transositions (guitar) Soken text should e soken at a calm, natural ace, ree o temo Soken text is to egin on the doneat o the measure under hich it occurs I it is to occur on a dierent eat, this ill e shon ith a rest and a line In the guitar, the lus sign (+) indicates to mute the higher three strings and allo the loer three strings to ring symathetically In the enultimate movement, a ox around text olloed y an arro indicates to raidly reeat that text or the duration o the measure This is meant to e out o temo and singers should not sync u ith each other All rolls in iano should e rolled u, not don

12 TEXT 1 THINKING IT THROGH i nderstand the Legal Ramiications nderstand the legal ramiications o your disaearance ii Kno that You Must Go Alone Kno you must go alone Your odds o eing discovered increase dramatically i you intend to disaear ith another erson, esecially a child Disaearing ith a child could get you charged ith kidnaing or child endangerment, even i you have good intentions iii nderstand What You re Running From nderstand hat you're running rom Ater all, you're not staging a vanishing act or no reason When they say "kee your riends close, ut kee your enemies closer," this is a situation they ere reerring to Kno hat you're u against to decrease your chance o eing oundi you're running rom a souse or amily memer, think aout their resources Ho ar ould they go to ind you Ho much money do they have to send I you're running rom the olice, the IRS, or immigration oicers, you have your ork cut out or you COERING YOR TRACKS iv Get Rid o Certain Possessions Get rid o certain ossessions It s est to tie u your loose ends Destroy as many ictures o you as ossile Aandon your car Leave the ink sli in the glove ox, the door unlocked, the indo don, and ark it in a ad area A thie's lucky day Don't e temted to take mementos ith you This ill connect you to your old lie, making you ant to go ack home, and e a resource or your oosition later on v Disconnect Yoursel In today's orld, this ste is one o the most imerative Sloly decrease your activity until none is the norm This ste takes rearation Start disosing o your old ersonality it y it vi Get Rid o the Plastic From no on, you ill e using cash Get rid o all your cards Cut them u into small ieces and thro them aay Don t kee them or an emergency This is not a crutch vii Lie You ll have to lie to those around you Lie to your riends and your amily Tell no one, i ossile Even your closest riend in the entire orld cannot kno Create a ruse, make a long term lan Suerluous accounts, reaid hones There are ays to do this i you think it through Create a ackstory that ill conuse anyone ho tries to ollo your trail I cannot live

13 ith mysel YOR NEW IDENTITY viii Gather Your Resources Beore you disaear, make sure you have hat you need to survive You need to gather all your resources Be sure to ay all in cash Do this eore you disaear ix Leave Ton No that you re set, here ill you go You should take time hen you decide I you re staying in your on country, kno that you might e ound You need to commit to this Many cheaer countries make it easier to live or long eriods o time You ll need residency cards Commit ust take your time to lan You must go alone This disaearance ill take its toll on you hysically, mentally, and emotionally x Cultivate Ne Haits Cultivate ne haits You must not all into your old haits You must not all into them Go Forever Text taken and adated rom the ikiho article Ho to Disaear Comletely sed ith ermission

14 INSTRMENTATION Sorano 1 Sorano Alto 1 Alto Tenor 1 Tenor Baritone 1 Baritone Piano Electric Guitar irahone Bass Drum 5

15 Score 1 THINKING IT THROGH i nderstand the Legal Ramiications Sorano 1 calm, ominous Sorano Alto 1 Alto Tenor 1 Tenor understand understand understand understand understand understand understand Baritone 1 Baritone 6

16 1 THINKING IT THROGH 7 S the A T un derstand un derstand un derstand understandthe understandthe understandthe understandthe understandthe understandthe B 7

17 1 THINKING IT THROGH 1 S understand P un der A T understand understand understand understandthe legal understandthe legal understandthe legal understandthe legal un derstand un derstand un derstand un derstand B un derstand 8

18 1 THINKING IT THROGH S A T B 19 P un stand the le understand un derstand the un derstand the understand un derstand the un derstand the understand un derstand the un derstand the understand un derstand the un derstand the der understand un derstand the un derstand the stand P P P the gal P P 9

19 1 THINKING IT THROGH S F un derstand F un der stand F un derstand the le gal un derstand the le gal A T un derstand un derstand un derstand the un derstand the un derstand the le gal F F un der stand the le gal un derstand the le gal F un derstand the le gal B the un derstand the le gal F un derstand un derstand the le gal 10

20 1 THINKING IT THROGH S 8 un der stand un der stand the le gal the le gal A the ra mi i ca tions ra mi i ca tions T un der stand the le gal F ra mi i ca tions le gal un der stand B the le gal 11

21 1 THINKING IT THROGH 1 un derstand the le gal un der stand 5 S A T B ra mi i cations un derstand the le gal ra mi i cations ra mi i cations un derstand the le gal ra mi i cations le un derstand the le gal un derstand the le gal un derstand the le gal ust gal un der stand un der stand un der stand un der stand un der stand un der stand un der stand

22 S A T B un derstandthe un derstandthe le gal un derstandthe un derstandthe le gal un derstandthe un derstandthe le gal un derstandthe un derstandthe le gal rami i cations un derstandthe un derstandthe le gal un derstandthe un derstandthe le gal un derstandthe un derstandthe le gal 1 THINKING IT THROGH ƒ ƒ ƒ ƒ ƒ ƒ ƒ un derstandthe un derstandthe le gal ƒ 1

23 ii Kno that You Must Go Alone Sorano 1 serious, ut calm Sorano Alto 1 Alto P kno you must go Tenor 1 Tenor Baritone 1 Baritone Piano Electric Guitar ed ad li, semre irahone Bass Drum 1

24 1 THINKING IT THROGH 8 S P you must must go a lone kno you must A T B 8 8 i 8 B Dr 8 15

25 1 THINKING IT THROGH S 16 soken, reely: Your chances o eing discovered increase go a lone go must go a lone A T B i 16 B Dr 16 16

26 1 THINKING IT THROGH S dramatically i you intend to go ith another erson A T P you P must go a B kno you must go must go ( ) i B Dr 17

27 S A T B i B Dr lone a lone Soken, reely: esecially a child P P P Soken, reely: disaearing ith a child could get you charged ith kidnaing or child endangerment 18 1 THINKING IT THROGH

28 S 9 P Dis P Dis a ear 1 THINKING IT THROGH a ear ing ing ith ith a a A T B i B Dr g F F F soken, reely: even i you have good intentions g

29 1 THINKING IT THROGH 5 child S child F i you have good in ten tions A you have T you have good in ten tions you have B 5 g g g g > 5 i 5 B Dr 5 0

30 51 F 1 THINKING IT THROGH S you F you have have good good in in ten ten tions tions you have A good in ten tions you have T good in ten tions B Dis a ear 51 g g g Dis a ear g g g 51 i 51 B Dr 51 1

31 1 THINKING IT THROGH 57 S good in ten tions A good in ten tions F i T B ring ith a child 57 ring > ith g a child g g g 57 i 57 B Dr 57

32 6 1 THINKING IT THROGH S kno that you must A kno you i must you you have have T you F have good in ten tions you have good in ten tions B 6 6 g g > g g i B Dr 6 6 F

33 69 1 THINKING IT THROGH S gọ a lone A go good good in in must ten ten go tions tions a lone T B i you have good in ten tions 69 g g you g have good g in ten > tions 69 i 69 B Dr 69 >

34 iii nderstand What You're Running From Sorano 1 Sorano Alto 1 ominous F un derstand hat you'rerunning F you're running rom Alto Tenor 1 Tenor soken, reely: Baritone 1 Baritone Piano Electric Guitar irahone Bass Drum 5

35 6 1THINKING IT THROGH S A F kno hat you're u soken, reely:when they say "kee your riends close and enemies closer", this is hat they ere reerring to u ag ainst T Ater all, you're not staging a vanishing act or no reason B F you're u against 6 6 i B Dr 6 6 > 6

36 1 1THINKING IT THROGH S o eing disco vered A F T to decrease your chance soken, reely: I you're runing rom a amily memer, ho ar ould they go to ind you F B i B Dr g > > F I æ you you > 7

37 18 1THINKING IT THROGH S or im mi gration o i cers A I you'rerunningrom T the o lice the I R S B you've i 18 B Dr 18 8

38 1 1THINKING IT THROGH S A you've got your orkcut out or you T you've got yourork cut out or you B 1 1 got yourork cut out or you i 1 B Dr 1 F æ ƒ 9

39 Sorano 1 Sorano Alto 1 Alto Tenor 1 Tenor Baritone 1 Baritone Electric Guitar irahone Bass Drum Piano reminiscing N g g > N g > COERING YOR TRACKS iv Get Rid o Certain Posessions 0

40 COERING YOR TRACKS 8 S A T B 8 getrid o cer tain os cer tain os 8 g N g g i B Dr 8 8 æ > N > N æ > 1

41 COERING YOR TRACKS 1 S getrid o A T getrid o cer tain os sessions cer tain os sessions getrid o cer tain os sessions cer tain os sessions B ses sions 1 ses sions g n 1 N g g N g i 1 N n N B Dr 1 > æ

42 COERING YOR TRACKS 19 S cer tain os sessions cer tain os sessions A It'sest to tie u your loose ends tie u your T n It'sest to tie u your B tie u your loose ends 19 g n g 19 g N g i 19 N N B Dr 19

43 COERING YOR TRACKS S Destroy as many ictures o you as ossile A looseends Aandon your car Leave the door unlocked and the indo don A thie's lucky day Don't e temted to take mementos ith you This ill connect you to your old lie, making you T looseends B g g i n B Dr > > > > > >

44 COERING YOR TRACKS 0 S A ant to go ack home Getrid o T It ill e a resouce or your oosition later on B cer tain os ses sions 0 Getrid o cer tain os ses sions n g i B Dr > > æ n > F g N > 5

45 COERING YOR TRACKS 5 S getrid o cer tain os cer tain os A T cer tain os cer tain os ses sions ses sions getrid o cer tain cer tain os os ses sions ses sions B 5 g n g 5 g N g i 5 n N B Dr 5 > > > > > 6

46 COERING YOR TRACKS 0 S ses ses sions sions A It's est to tie u your loose ends tie u your T n It'sest to tie u your B tie u your loose ends 0 g n g 0 g N g i 0 N N B Dr 0 > > > > 7

47 COERING YOR TRACKS S A loose ends ƒ T ƒ loose ends B g i B Dr g n > > > N g N ƒ 8

48 S A T B i B Dr g 8 N 8 N g N g n 9 COERING YOR TRACKS

49 Sorano 1 Sorano Alto 1 Alto Tenor 1 Tenor Baritone 1 Baritone Electric Guitar irahone Piano intimate, sacious > F > > Disconnect Yoursel sul G, B, E 0

50 S A T B i > > > 1 COERING YOR TRACKS mute G, B, e allo E, A, D to ring

51 COERING YOR TRACKS 15 P S in today's orld this P ste P A is P T oneo the B > > > > i 15

52 COERING YOR TRACKS 1 S sloly de A T most P im era tive P B sloly 1 1 > > > i 1 n

53 COERING YOR TRACKS 6 S crease yourac ti vi ty A P until T un til none yourac tivity B de crease 6 6 > > > i 6

54 COERING YOR TRACKS 1 S A none is T is the norm B the norm 1 1 > > i 1 n 5

55 S A T B i this ste this takes ste takes re ar a re ar tion a tion 6 COERING YOR TRACKS

56 COERING YOR TRACKS S start dis os ing A T start dis os ing o o your your old old er er so B i 7

57 COERING YOR TRACKS 8 S A so na li ty T na li ty B 8 it y it it y it 8 i 8 8

58 S A T B i COERING YOR TRACKS

59 Sorano 1 Sorano Alto 1 Alto Tenor 1 Tenor Baritone 1 Baritone Electric Guitar irahone Bass Drum Piano From no on F P vi Get Rid o the Plastic 50

60 covering your tracks 6 S A T From no on you ill e us ing you ill e us ing cash cash Get rid o all your B i a B Dr 6 51

61 covering your tracks 10 S A Cutthem u Cutthem u into small ie ces cards ie ces T cards ie ces B i 10 F F a B Dr 10 5

62 covering your tracks 1 S a ay A T and thro them a ay Don'tkee them or or an e mergency B i F > > B Dr 1 > 5

63 covering your tracks 19 S A This is not a crutch T B g > i B Dr > F 5

64 Sorano 1 Sorano Alto 1 Alto Tenor 1 Tenor Baritone 1 Baritone Electric Guitar irahone Bass Drum Piano to lie You'llhaveto lie You'llhaveto lie You'llhaveto lie morose, stern F to round you a round you those a round you a round you yourriends Lietoyourriends Lietoyourriends Lietoyourriends and vii Lie 55

65 S A T B i B Dr 7 mi ly a mi ly your a mi ly your a mi ly to lie You'llhave to lie You'llhave to lie You'llhave to lie You'llhave to lie to to 56 II COERING YOR TRACKS

66 II COERING YOR TRACKS S A 11 round you a round you those a round you a round you your riends Lie to your riends Lie to your riends Lie to your riends T a round you B 11 those a round you Lie to your riends 11 i 11 B Dr 11 57

67 II COERING YOR TRACKS S 1 mi ly a mi ly A and your a mi ly your a mi ly T a mi ly B 1 and your a mi ly 1 i 1 B Dr 1 58

68 II COERING YOR TRACKS 17 S A T B Tell no one, i ossile Create a ruse Make a long term lan Even your closest riend in the entire orld cannot kno There are ays to do this i you think it through Suerluous accounts, reaid hones i B Dr

69 II COERING YOR TRACKS S A T B i B Dr 5 Create a ackstory that ill conuse anyone ho tries to ollo your trail Stick to one ake identity F You'll have to lie A good disaearing act takes ork You'll have to lie You'll have to lie You'll have to lie You'll have to lie You'll have to lie You'll have to lie 60

70 II COERING YOR TRACKS S A to lie You'llhave to lie You'llhave to lie You'll haveto lie to roundyou around you those a round you around you your riends Lie to your riends Lie to your riends Lie to your riends T B i B Dr 61

71 II COERING YOR TRACKS S A T 8 and mi ly a mi ly your a mi ly your a mi ly You'llhave to lie to lie You'llhave to lie You'llhave to lie to lie B You'llhave to lie 8 You'llhave to lie 8 i 8 B Dr 8 6

72 II COERING YOR TRACKS S A T B to to to round you a round you those a round you a round you round you a round you those a round you those a round you I can not live I can not live I can not live I can not live I can not live I can not live I can not live I can not live i B Dr 6

73 II COERING YOR TRACKS S 6 live ith my sel ith my sel A T live ith my sel live ith my sel live ith my sel B 6 ith my sel live ith my sel live ith my sel 6 i 6 B Dr 6 6

74 YOR NEW IDENTITY viii Gather Your Resources Sorano 1 contemlative Sorano Alto 1 Alto Tenor 1 Be ore Tenor Baritone 1 Baritone Piano Electric Guitar irahone Bass Drum π arco π π 65

75 YOR NEW IDENTITY 7 S ore dis a ear A Be ore Beoreyou dis a ear T B 7 i 7 7 ith mallets, hard B Dr 7 66

76 YOR NEW IDENTITY 1 S Makesure have hat you need to sur vive Youneedto A you have hatyou need sur vive ga T B to sur vive Youneedto i sur loco vive ga arco loco B Dr 1 > 67

77 YOR NEW IDENTITY 18 S ga ther all your re sources A ther your re sour ces T Be Be sure to ay sure to ay B ga ther all your re sources 18 ther your re sour ces > loco i > ith mallets B Dr 18 > 68

78 YOR NEW IDENTITY 5 S 5 A this e Do this e ore ore T B i all in cash all in cash N > > > this e ore Do this e ore youdisaear æ B Dr 5 > ƒ 69

79 YOR NEW IDENTITY 8 S A T B i B Dr 8 70

80 Sorano 1 Sorano Alto 1 Alto Tenor 1 Tenor Baritone 1 Baritone Electric Guitar irahone Bass Drum Piano ith groing tension No here that you're set ix Leave Ton 71

81 YOR NEW IDENTITY S 6 ill yougo You shouldtake time theorld is hen you decide yours A T i you'restay ing youneed to com mit B i B Dr n 7

82 YOR NEW IDENTITY 10 accel S A inyouroncoun try kno thatyou might e ound T youneed to com mit to this B 10 F i > R r > F B Dr 10 > > 7

83 YOR NEW IDENTITY 1 S A T B 1 1 > R r > i 1 B Dr 1 > > > æ 7

84 YOR NEW IDENTITY 17 S A T B 17 i B Dr 17 ƒ P 75

85 YOR NEW IDENTITY 0 S A T B 0 i B Dr

86 YOR NEW IDENTITY S A Many cheaer countries make it easier to live or long eriods o time T You'll need residency cards B i B Dr 77

87 S A T B i YOR NEW IDENTITY soken and reeated at on ace or duration o measure Do not sync u 7 Commit Commit Commit Commit Commit Commit Commit Commit n n Take ust Take ust take take your your > your your > time time time time B Dr 7 æ 78

88 YOR NEW IDENTITY 0 S to lan You must Take your to lan ust take A T to lan Take Take your your B to lan ust take 0 i 0 0 > > > B Dr 0 79

89 YOR NEW IDENTITY S go a lone time to lan your time to lan A time to lan T time to lan B your time to lan i > > > B Dr 80

90 YOR NEW IDENTITY 6 S You must go a Take your time to A Take ust take your your time time to to Take your time to T Take your time to B ust take your time to 6 n i 6 6 B Dr 6 > > > > > 81

91 YOR NEW IDENTITY 9 ƒ S lone ƒ A lan lan lan ƒ ƒ ƒ T B lan lan lan ƒ ƒ This disaearance ill take its toll on you hysically, mentally, and emotionally 9 ƒ i 9 9 ƒ B Dr 9 > > > > > ƒ 8

92 x Cultivate Ne Haits Sorano 1 morose, isolated Sorano Alto 1 Alto Tenor 1 Tenor cul ti vate ne Baritone 1 vate its Baritone ti vate ha its cul ti vate ne 8

93 YOR NEW IDENTITY 7 S A T culti vate ne culti vate vate its vate B ti vate ha its ti vate cul ti vate ne cul ti vate 8

94 YOR NEW IDENTITY 1 S A vate its T ne its B ha its ne 85

95 19 YOR NEW IDENTITY S vate A vate vate vate vate T cul ti vate cul ti vate vate vate B ti vate ti vate cul ti vate cul ti vate 86

96 YOR NEW IDENTITY 5 S vate its A vate vate vate its its its T cul ti vate ne vate its B ti vate ha its cul ti vate ne 87

97 YOR NEW IDENTITY 1 S must to must P You in You P A not your not P all old all P T its to P them P B all ha its in 88

98 S A T B 7 F Go F Go, F F Go Go F Go, F Go YOR NEW IDENTITY Go Go, Go Go Go, Go or or Go, Go ev Go, Go, ev Go For Go er er ev Go Go, Go, Go, 89

99 YOR NEW IDENTITY ƒ slightly sloer S Go For ev er ƒ cul ti vate Go, Go, Go, Go ƒ vate A Go, er Go, go Go ƒ ƒ ti vate suito cul ti vate T Go For ev er ƒ Go, Go or ev er ƒ B Go, Go, or ev Go, Go er ƒ 90

100 YOR NEW IDENTITY 9 S ne cul ti vate ne its vate its A ne ha its ti vate ha its cul ti vate ne T B 91

101 YOR NEW IDENTITY 55 S A er er er or ev er T or ev er or ev er or ev er er er er B ev er ev er ev er or ev er or ev er or ev er 9

102 S 6 YOR NEW IDENTITY or ev er or ev er A T er orev er or ev er or ev er er or ev er or ev er or ev er or ev er or ev er or ev er or ev er or ev er er or ev er or ev B ev er or ev er or or ev ev er er or or ev ev 9

103 YOR NEW IDENTITY S 68 or ev er A T or ev er or ev er er orev er or ev er or ev er er or ev er or ev er or ev er or ev er er er er or ev B er er ev er or ev er ev er or ev er or or ev ev 9

104 YOR NEW IDENTITY S 7 or ev er or ev er A T or ev er or ev er or ev er or ev er or ev er or ev er or ev er or ev er or ev er er or ev er or ev er er B er or ev er or ev er ev er er or ev er or ev er or ev er 95

105 YOR NEW IDENTITY 80 S A er er er or ev er er orev er or ev er er T or ev er or ev er or ev er er er er B ever ever ever or ev er or ev er or ev er 96