April 5, 2026
The Greatest Cover Songs of All-time: 10. Gary Jules - "Mad World"
Tears for Fears' 1982 "Mad World" was upbeat synth-pop—bouncing basslines, programmed drums, danceable despite dark lyrics. For the 2001 cult film Donnie Darko, composer Michael Andrews and singer Gary Jules stripped it to devastating minimalism: just piano and whispered vocals. The film bombed theatrically but became a DVD phenomenon. Fans demanded the song's release. December 2003: it became UK Christmas #1, selling over a million copies—the first #1 with zero radio play. Now has more streams than the Tears for Fears original. Garrett Fisher explores how radical reinterpretation created two completely different songs from identical lyrics, launching the sad-cover-of-pop-songs genre.
Unlock an ad-free podcast experience with Caloroga Shark Media! Get all our shows on any player you love, hassle free! For Apple users, hit the banner on your Apple podcasts app. For Spotify or other players, visit caloroga.com/plus. No plug-ins needed!
Subscribe now for exclusive shows like 'Palace Intrigue,' and get bonus content from Deep Crown (our exclusive Palace Insider!) Or get 'Daily Comedy News,' and '5 Good News Stories’ with no commercials! Plans start at $4.99 per month, or save 20% with a yearly plan at $49.99. Join today and help support the show!
We now have Merch! FREE SHIPPING! Check out all the products like T-shirts, mugs, bags, jackets and more with logos and slogans from your favorite shows! Did we mention there’s free shipping? Get 10% off with code NewMerch10 Go to Caloroga.com
Get more info from Caloroga Shark Media and if you have any comments, suggestions, or just want to get in touch our email is info@caloroga.com
WEBVTT
1
00:00:03.200 --> 00:00:12.160
Kalaroga Shark Media. I'm Garrett Fisher and this is the
2
00:00:12.240 --> 00:00:16.480
Hit Maker Chronicles. Today we're launching something special, a countdown
3
00:00:16.559 --> 00:00:18.719
of the top ten best cover songs of all time,
4
00:00:19.039 --> 00:00:22.039
as voted by the staff here at Kalaroga Shark Media.
5
00:00:22.120 --> 00:00:26.039
These aren't just covers that charted well. These are covers
6
00:00:26.079 --> 00:00:29.800
that transformed the original, that became more famous than the
7
00:00:29.839 --> 00:00:33.320
song they were covering, that changed how we think about
8
00:00:33.359 --> 00:00:36.439
what a cover can do. And we're starting at number
9
00:00:36.439 --> 00:00:40.000
ten with one of the most radical transformations in cover
10
00:00:40.159 --> 00:00:45.200
song history, Gary Jules's Mad World. Because here's the thing
11
00:00:45.200 --> 00:00:48.640
about Mad World. If you only know the Gary Jewles version,
12
00:00:48.880 --> 00:00:52.759
the slow, haunting, devastating piano ballad that soundtracked one of
13
00:00:52.759 --> 00:00:56.520
the most memorable scenes in Donnie Darko, you have no
14
00:00:56.679 --> 00:01:00.200
idea that the original was an upbeat nineteen eighty synth pop.
15
00:01:00.280 --> 00:01:02.960
So this is the story of how a forgotten cult
16
00:01:02.960 --> 00:01:06.680
film soundtrack cover became a UK Christmas number one and
17
00:01:06.760 --> 00:01:13.799
completely eclipsed the original. Let's start with Tears for Fears.
18
00:01:14.840 --> 00:01:18.120
In nineteen eighty two, Roland or Zibal and Kurt Smith
19
00:01:18.159 --> 00:01:22.319
were two young musicians from Bath, England, making synthesizer driven
20
00:01:22.359 --> 00:01:27.040
pop music that was simultaneously catchy and deeply introspective. Their
21
00:01:27.120 --> 00:01:30.719
debut album, The Herting, was inspired by primal scream therapy
22
00:01:30.840 --> 00:01:35.560
and dealt with childhood trauma, pain and emotional vulnerability. The
23
00:01:35.640 --> 00:01:39.280
album's lead single was Mad World Now. If you've only
24
00:01:39.319 --> 00:01:42.799
heard Gary Jules's version, you need to understand the Tears
25
00:01:42.840 --> 00:01:47.200
for Fears original sounds nothing like what you're expecting. It's
26
00:01:47.280 --> 00:01:51.680
driven by a bouncing synth bassline. There are programmed drums,
27
00:01:52.040 --> 00:01:56.599
multiple keyboard layers. It's up tempo, it's danceable. It has
28
00:01:56.640 --> 00:02:00.519
that distinctly early eighties British synthpop production that sits alongside
29
00:02:00.560 --> 00:02:04.400
Depeche Mode, The Human League and Duran Duran. The lyrics
30
00:02:04.439 --> 00:02:08.439
are dark. Roland or zebal Is singing about people going nowhere,
31
00:02:08.800 --> 00:02:12.439
familiar faces, worn out places, a world where people are
32
00:02:12.520 --> 00:02:16.639
going through the motions. But the music around those lyrics
33
00:02:16.680 --> 00:02:20.840
is energetic, almost cheerful in its melodic bounds. It's a
34
00:02:20.919 --> 00:02:23.680
song about depression wrapped in production that makes you want
35
00:02:23.680 --> 00:02:27.280
to dance. The single peaked at number three on the
36
00:02:27.400 --> 00:02:31.520
UK Singles Chart in November nineteen eighty two. It was
37
00:02:31.560 --> 00:02:34.599
a hit Tears for Fears were on their way to
38
00:02:34.639 --> 00:02:37.439
becoming one of the defining bands of the nineteen eighties,
39
00:02:37.840 --> 00:02:42.439
eventually achieving massive global success with Shout and Everybody Wants
40
00:02:42.479 --> 00:02:46.879
to Rule the World. But Mad World was their beginning,
41
00:02:47.120 --> 00:02:50.919
their first major chart entry, and for nearly twenty years,
42
00:02:50.960 --> 00:02:55.960
that synthpop version was the only version anyone knew. In
43
00:02:56.120 --> 00:02:59.080
January two thousand and one, a film called Donnie Darko
44
00:02:59.199 --> 00:03:02.120
premiered at the Site Dance Film Festival. It was directed
45
00:03:02.159 --> 00:03:06.120
by Richard Kelly, a first time filmmaker. It starred Jake
46
00:03:06.159 --> 00:03:10.439
Gillenhall as a troubled teenager who experiences bizarre visions involving
47
00:03:10.479 --> 00:03:14.000
a six foot tall demonic rabbit named Frank. The film
48
00:03:14.080 --> 00:03:18.000
was a dark, twisted exploration of time travel, mental illness, adolescence,
49
00:03:18.080 --> 00:03:22.719
and suburban alienation. It was weird, really weird, and when
50
00:03:22.719 --> 00:03:25.639
it was released theatrically in October two thousand and one,
51
00:03:26.080 --> 00:03:30.000
just a few weeks after September eleventh, it bombed. The
52
00:03:30.080 --> 00:03:34.000
distributor pulled it from most theaters within weeks. The movie
53
00:03:34.039 --> 00:03:36.680
made less than seven hundred and fifty thousand dollars at
54
00:03:36.680 --> 00:03:40.599
the domestic box office. But here's where the story gets interesting.
55
00:03:41.120 --> 00:03:45.159
Donnie Darko became a cult phenomenon on DVD and through
56
00:03:45.240 --> 00:03:50.159
word of mouth. College students discovered it. Film nerds championed it.
57
00:03:50.159 --> 00:03:52.719
It became one of those movies people insisted you had
58
00:03:52.719 --> 00:03:55.639
to see, even though nobody had seen it in theaters,
59
00:03:56.120 --> 00:03:58.439
and one of the most memorable scenes in the film
60
00:03:58.599 --> 00:04:03.000
was the ending. The climactic sequence where Donnie sacrifices himself
61
00:04:03.000 --> 00:04:06.400
and the timeline resets is set to a slow, piano
62
00:04:06.479 --> 00:04:10.479
driven cover of Mad World performed by Michael Andrews, who
63
00:04:10.520 --> 00:04:14.719
composed the film's score, and featuring vocals by Gary Jewles.
64
00:04:19.120 --> 00:04:22.839
Gary Jewles was a California based singer songwriter. He'd released
65
00:04:22.839 --> 00:04:25.240
an album called Greetings from the Side in two thousand
66
00:04:25.240 --> 00:04:30.000
and one. He was talented but largely unknown. Michael Andrews
67
00:04:30.040 --> 00:04:32.199
was a composer and producer who'd worked with Gary on
68
00:04:32.240 --> 00:04:35.240
that album. When Andrews was hired to score Donnie Darko,
69
00:04:35.480 --> 00:04:38.240
he needed a song for the film's ending, something that
70
00:04:38.319 --> 00:04:42.879
captured the melancholy, the emotional devastation, the sense of a
71
00:04:42.920 --> 00:04:46.439
world stuck in cycles it can't escape. He thought of
72
00:04:46.600 --> 00:04:50.040
Mad World, but not the Tears for Fears version. He
73
00:04:50.079 --> 00:04:56.040
imagined it completely stripped down, just piano and voice, slow, minimal,
74
00:04:56.480 --> 00:04:59.959
All the production pulled away until only the emotional core remained.
75
00:05:00.680 --> 00:05:03.800
He called Gary Jewles to sing it. They recorded it
76
00:05:03.839 --> 00:05:07.360
for the film, and when Donnie Darko's ending played, with
77
00:05:07.519 --> 00:05:11.519
Gary's voice barely above a whisper, singing the dreams in
78
00:05:11.560 --> 00:05:14.360
which I'm dying are the best I've ever had over
79
00:05:14.560 --> 00:05:18.879
simple piano chords, it became the emotional crescendo of the
80
00:05:19.079 --> 00:05:23.399
entire movie. Everyone who saw Donnie Darko remembered that scene,
81
00:05:23.759 --> 00:05:27.399
that song, that moment. But in two thousand and one,
82
00:05:27.480 --> 00:05:30.800
when the film came out, you couldn't buy the song anywhere.
83
00:05:31.240 --> 00:05:39.399
It existed only in the film. As Donnie Darko built
84
00:05:39.439 --> 00:05:41.720
its cult following through two thousand and two and early
85
00:05:41.759 --> 00:05:44.959
two thousand and three, fans started asking where can we
86
00:05:45.000 --> 00:05:49.199
get that version of Mad World. The film's website received messages.
87
00:05:49.600 --> 00:05:53.279
Gary Jewles's website received messages. People were tracking down the
88
00:05:53.360 --> 00:05:57.240
Donnie Darko soundtrack, only to discover it didn't include the song,
89
00:05:57.800 --> 00:06:03.600
just Michael Andrews's instrumental score. The demand was real, and
90
00:06:03.839 --> 00:06:08.399
eventually someone listened. In the UK, there was a growing
91
00:06:08.439 --> 00:06:11.800
movement to get Mad World released as a proper single.
92
00:06:12.560 --> 00:06:15.959
The British public had embraced Donnie Darko even more enthusiastically
93
00:06:16.000 --> 00:06:19.720
than American audiences. The film had become a midnight movie
94
00:06:19.720 --> 00:06:23.360
phenomenon in London, and that cover of Mad World had
95
00:06:23.399 --> 00:06:27.680
become synonymous with the film's emotional impact. In December two
96
00:06:27.680 --> 00:06:31.120
thousand and three, nearly two years after Donny Darko's theatrical release,
97
00:06:31.439 --> 00:06:35.480
Mad World by Michael Andrews featuring Gary Jewles was officially
98
00:06:35.560 --> 00:06:40.040
released as a single in the UK. The timing was strategic.
99
00:06:40.240 --> 00:06:44.519
It was released as a potential Christmas number one. In
100
00:06:44.600 --> 00:06:46.920
the UK, the Christmas number one is a big deal.
101
00:06:47.199 --> 00:06:49.439
It's the single that tops the charts during the final
102
00:06:49.480 --> 00:06:52.920
week of the year, and historically it's been dominated by
103
00:06:53.000 --> 00:06:58.160
novelty songs, charity singles and massive pop stars. In two
104
00:06:58.199 --> 00:07:02.439
thousand and three, the expected Christmas number one was Maniac
105
00:07:02.680 --> 00:07:07.920
by Michael Sambello, a re release of the Flashdance soundtrack hit. Instead,
106
00:07:08.040 --> 00:07:11.600
Mad World debuted at number one on December twenty first,
107
00:07:11.759 --> 00:07:14.560
two thousand and three. It held the top spot through
108
00:07:14.639 --> 00:07:17.720
Christmas and into the new year. It became the first
109
00:07:17.720 --> 00:07:20.319
single to reach number one in the UK without any
110
00:07:20.439 --> 00:07:23.480
radio play It was entirely driven by word of mouth,
111
00:07:23.639 --> 00:07:27.560
bandmand and the emotional connection people felt to the Donnie
112
00:07:27.600 --> 00:07:31.199
Darko scene. The song sold over a million copies in
113
00:07:31.240 --> 00:07:33.959
the UK alone. It became one of the best selling
114
00:07:34.000 --> 00:07:37.879
singles of the decade in Britain and critically it introduced
115
00:07:37.920 --> 00:07:42.240
an entirely new generation to mad world, a generation that
116
00:07:42.360 --> 00:07:45.199
had no idea. It was a cover of a nineteen
117
00:07:45.240 --> 00:07:52.160
eighty two Tears for Fear song, So let's talk about
118
00:07:52.160 --> 00:07:54.920
what makes Gary Jules's version so powerful and why it
119
00:07:54.959 --> 00:08:00.000
completely overshadowed the original. First, the arrangement Michael Andrews stripp
120
00:08:00.120 --> 00:08:04.600
to weigh everything, no sense, no program drums, no layered production,
121
00:08:05.319 --> 00:08:08.720
just a piano playing simple chords and Gary Jeweles singing
122
00:08:08.759 --> 00:08:12.720
with minimal reverb right up close to the microphone. That
123
00:08:12.920 --> 00:08:16.319
minimalism forces you to hear the lyrics. In the Tears
124
00:08:16.319 --> 00:08:19.759
for Fears version, the dark lyrics are buried under bright production.
125
00:08:20.399 --> 00:08:22.920
You can dance to it without really processing what Roland
126
00:08:23.079 --> 00:08:26.680
Orzibal is saying. In Gary's version, you can't escape the words.
127
00:08:27.040 --> 00:08:31.000
All around me are familiar faces, worn out places, worn
128
00:08:31.000 --> 00:08:34.799
out faces, bright and early for the daily races, going
129
00:08:34.879 --> 00:08:40.919
nowhere going nowhere. That's not just melancholy, that's existential dread.
130
00:08:41.559 --> 00:08:43.960
That's the feeling of being trapped in a life you
131
00:08:44.039 --> 00:08:48.039
didn't choose, surrounded by people who are just going through
132
00:08:48.080 --> 00:08:52.840
the motions. And then the bridge. The dreams in which
133
00:08:52.879 --> 00:08:56.440
I'm dying are the best I've ever had. In the
134
00:08:56.519 --> 00:09:00.799
upbeat Tears for Fears version, that line is jarring. It's
135
00:09:00.879 --> 00:09:04.039
such a dark sentiment wrapped in cheerful music that your
136
00:09:04.039 --> 00:09:09.279
brain almost doesn't process it. In Gary Jules's version, it's devastating.
137
00:09:09.480 --> 00:09:12.799
It's a confession. It's someone telling you that death dreams
138
00:09:12.799 --> 00:09:18.080
feel better than waking life. Gary Jeules's vocal performance is
139
00:09:18.120 --> 00:09:21.799
what makes this cover transcendent. He's not a powerful singer.
140
00:09:21.879 --> 00:09:25.240
He's not doing vocal runs or showing off range. His
141
00:09:25.440 --> 00:09:29.080
voice is quiet, almost fragile. There's a weariness to it,
142
00:09:29.480 --> 00:09:33.039
a resignation. He sounds like someone who's given up, not
143
00:09:33.159 --> 00:09:36.360
in a dramatic way, but in a quiet, exhausted way,
144
00:09:37.039 --> 00:09:39.600
like someone who's been sad for so long that they've
145
00:09:39.679 --> 00:09:43.799
run out of energy to even perform sadness anymore. That's
146
00:09:43.840 --> 00:09:46.200
why the song works so well. At the end of
147
00:09:46.279 --> 00:09:51.279
Donnie Darko, Donnie has just sacrificed himself to reset the timeline,
148
00:09:51.519 --> 00:09:55.000
to undo everything. And as the camera shows us all
149
00:09:55.039 --> 00:09:58.159
the other characters waking up in the reset timeline, not
150
00:09:58.320 --> 00:10:01.879
remembering what happened, knowing what Donnie did for them, we
151
00:10:01.960 --> 00:10:04.320
hear this voice telling us that the world is mad,
152
00:10:04.720 --> 00:10:07.759
that people are going nowhere, that dreams of dying are
153
00:10:07.799 --> 00:10:11.919
the best we've got. It's bleak, It's honest. It's beautiful
154
00:10:11.919 --> 00:10:23.639
in its bleakness. So how did Tears for Fears feel
155
00:10:23.679 --> 00:10:27.960
about their upbeat, synthpop song being transformed into a slow,
156
00:10:28.360 --> 00:10:33.879
devastating ballad that became more famous than their original Roland Orzibal,
157
00:10:34.159 --> 00:10:38.399
the song's primary writer, was gracious about it. I think
158
00:10:38.440 --> 00:10:41.720
it's a great version, he said in interviews. He acknowledged
159
00:10:41.759 --> 00:10:44.240
that Gary Jewles had found something in the song that
160
00:10:44.480 --> 00:10:48.320
maybe wasn't fully realized in the original production, but he
161
00:10:48.399 --> 00:10:52.279
also pointed out something interesting. The Tears for Fears version
162
00:10:52.480 --> 00:10:56.039
was intentionally produced the way it was. They wanted the
163
00:10:56.080 --> 00:11:00.440
contrast between dark lyrics and bright music. That tension was
164
00:11:00.440 --> 00:11:04.679
the point. Gary Jules's version removes that tension. It makes
165
00:11:04.720 --> 00:11:08.480
the song unifically sad, and that works brilliantly. For what
166
00:11:08.559 --> 00:11:12.960
it is, but it's a fundamentally different artistic choice. Neither
167
00:11:13.039 --> 00:11:17.679
version is better. They're two completely different interpretations of the
168
00:11:17.720 --> 00:11:20.879
same set of lyrics. One is about the dissonance between
169
00:11:20.879 --> 00:11:23.919
how we feel and how we present ourselves. The other
170
00:11:24.159 --> 00:11:29.360
is about allowing the sadness to be fully present. Here's
171
00:11:29.399 --> 00:11:33.279
something fascinating about Mad World and the streaming era. Gary
172
00:11:33.360 --> 00:11:36.440
Jules's version has more streams than the Tears for Fears
173
00:11:36.440 --> 00:11:40.840
original on Spotify. As of twenty twenty six, the Gary
174
00:11:40.960 --> 00:11:45.240
Jewles version has accumulated hundreds of millions of streams. The
175
00:11:45.320 --> 00:11:49.720
Tears for Fears original has significantly fewer. That means there
176
00:11:49.759 --> 00:11:53.279
are millions of people who know Mad World only as
177
00:11:53.320 --> 00:11:57.000
the slow, sad piano ballad from Donnie Darko. They have
178
00:11:57.080 --> 00:11:59.960
no idea it was originally an eighty synth pop song,
179
00:12:00.559 --> 00:12:03.120
and when those people discover the Tears for Fears original,
180
00:12:03.360 --> 00:12:08.519
their reaction is usually shock, Wait, this is the original.
181
00:12:08.759 --> 00:12:12.639
This sounds nothing like the Gary Jewles version. That's the
182
00:12:12.679 --> 00:12:16.720
power of a transformative cover. It doesn't just reinterpret the song,
183
00:12:17.159 --> 00:12:20.679
It fundamentally changes what the song means in popular culture.
184
00:12:22.000 --> 00:12:26.080
Mad World opened doors for other artists to radically reinterpret covers.
185
00:12:26.600 --> 00:12:28.559
It proved that you could take a well known song
186
00:12:28.679 --> 00:12:32.639
and strip it down to its emotional core, changing everything
187
00:12:32.679 --> 00:12:35.840
about the arrangement while keeping the lyrics and melody intact.
188
00:12:36.639 --> 00:12:41.360
You can hear its influence in countless covers that followed, slow, minimal,
189
00:12:41.559 --> 00:12:46.120
piano based reinterpretations of up tempo pop songs. Damian Rice
190
00:12:46.200 --> 00:12:50.559
covering Britney Spears, the Civil Wars covering Billy Jean, the
191
00:12:50.799 --> 00:12:54.000
entire genre of sad covers of pop songs owes something
192
00:12:54.039 --> 00:12:57.240
to what Michael Andrews and Gary Jeweles did with Mad World.
193
00:12:58.000 --> 00:13:01.600
The song also cemented Donnie Darko's status as a cult classic.
194
00:13:02.120 --> 00:13:05.240
The film and the song are now inseparable. You can't
195
00:13:05.279 --> 00:13:08.519
watch that ending without hearing Gary's voice. You can't hear
196
00:13:08.559 --> 00:13:11.679
that cover without thinking of Jake Gillenhall's face as the
197
00:13:11.720 --> 00:13:19.279
timeline resets. So why does Mad World earn the number
198
00:13:19.320 --> 00:13:22.159
ten spot on our countdown of the best cover songs
199
00:13:22.200 --> 00:13:25.639
of All time? Because it's the perfect example of a
200
00:13:25.679 --> 00:13:29.120
cover that completely transforms the original while still honoring it.
201
00:13:29.840 --> 00:13:32.320
Gary Jewles and Michael Andrews didn't try to compete with
202
00:13:32.360 --> 00:13:36.840
Tears for Fears version. They created something entirely different, because
203
00:13:36.879 --> 00:13:39.159
it proved that a cover from a cult film soundtrack
204
00:13:39.240 --> 00:13:42.679
could become a massive commercial success two years after the
205
00:13:42.720 --> 00:13:47.600
film's release, driven entirely by fandomand because it became more
206
00:13:47.600 --> 00:13:51.399
culturally significant than the original, introducing a new generation to
207
00:13:51.480 --> 00:13:54.879
a song they would have never discovered otherwise, And because
208
00:13:54.879 --> 00:13:57.399
it showed that sometimes the best way to cover a
209
00:13:57.440 --> 00:14:01.159
song is to strip away everything that made the original
210
00:14:01.200 --> 00:14:05.320
work and find something new underneath. The Tears for Fears
211
00:14:05.399 --> 00:14:08.039
version of Mad World is a great song about the
212
00:14:08.080 --> 00:14:11.480
tension between how we feel and how we present ourselves.
213
00:14:12.279 --> 00:14:15.480
Gary Jewles's version is a great song about accepting that
214
00:14:15.559 --> 00:14:18.200
the world is mad and we're all stuck in it together.
215
00:14:18.679 --> 00:14:24.440
Same lyrics, same melody, completely different songs. That's the power
216
00:14:24.480 --> 00:14:27.799
of a truly great cover, and that's why Mad World
217
00:14:27.840 --> 00:14:31.639
by Gary Jewles is number ten on our countdown. This
218
00:14:31.840 --> 00:14:35.720
is Garrett Fischer and This is the Hit Maker Chronicles
219
00:14:36.320 --> 00:14:38.919
join us next Sunday for number nine on our countdown
220
00:14:38.960 --> 00:14:41.440
of the top ten best cover songs of all time.
1
00:00:03.200 --> 00:00:12.160
2
00:00:12.240 --> 00:00:16.480
3
00:00:16.559 --> 00:00:18.719
4
00:00:19.039 --> 00:00:22.039
5
00:00:22.120 --> 00:00:26.039
6
00:00:26.079 --> 00:00:29.800
7
00:00:29.839 --> 00:00:33.320
8
00:00:33.359 --> 00:00:36.439
9
00:00:36.439 --> 00:00:40.000
10
00:00:40.159 --> 00:00:45.200
11
00:00:45.200 --> 00:00:48.640
12
00:00:48.880 --> 00:00:52.759
13
00:00:52.759 --> 00:00:56.520
14
00:00:56.679 --> 00:01:00.200
15
00:01:00.280 --> 00:01:02.960
16
00:01:02.960 --> 00:01:06.680
17
00:01:06.760 --> 00:01:13.799
18
00:01:14.840 --> 00:01:18.120
19
00:01:18.159 --> 00:01:22.319
20
00:01:22.359 --> 00:01:27.040
21
00:01:27.120 --> 00:01:30.719
22
00:01:30.840 --> 00:01:35.560
23
00:01:35.640 --> 00:01:39.280
24
00:01:39.319 --> 00:01:42.799
25
00:01:42.840 --> 00:01:47.200
26
00:01:47.280 --> 00:01:51.680
27
00:01:52.040 --> 00:01:56.599
28
00:01:56.640 --> 00:02:00.519
29
00:02:00.560 --> 00:02:04.400
30
00:02:04.439 --> 00:02:08.439
31
00:02:08.800 --> 00:02:12.439
32
00:02:12.520 --> 00:02:16.639
33
00:02:16.680 --> 00:02:20.840
34
00:02:20.919 --> 00:02:23.680
35
00:02:23.680 --> 00:02:27.280
36
00:02:27.400 --> 00:02:31.520
37
00:02:31.560 --> 00:02:34.599
38
00:02:34.639 --> 00:02:37.439
39
00:02:37.840 --> 00:02:42.439
40
00:02:42.479 --> 00:02:46.879
41
00:02:47.120 --> 00:02:50.919
42
00:02:50.960 --> 00:02:55.960
43
00:02:56.120 --> 00:02:59.080
44
00:02:59.199 --> 00:03:02.120
45
00:03:02.159 --> 00:03:06.120
46
00:03:06.159 --> 00:03:10.439
47
00:03:10.479 --> 00:03:14.000
48
00:03:14.080 --> 00:03:18.000
49
00:03:18.080 --> 00:03:22.719
50
00:03:22.719 --> 00:03:25.639
51
00:03:26.080 --> 00:03:30.000
52
00:03:30.080 --> 00:03:34.000
53
00:03:34.039 --> 00:03:36.680
54
00:03:36.680 --> 00:03:40.599
55
00:03:41.120 --> 00:03:45.159
56
00:03:45.240 --> 00:03:50.159
57
00:03:50.159 --> 00:03:52.719
58
00:03:52.719 --> 00:03:55.639
59
00:03:56.120 --> 00:03:58.439
60
00:03:58.599 --> 00:04:03.000
61
00:04:03.000 --> 00:04:06.400
62
00:04:06.479 --> 00:04:10.479
63
00:04:10.520 --> 00:04:14.719
64
00:04:19.120 --> 00:04:22.839
65
00:04:22.839 --> 00:04:25.240
66
00:04:25.240 --> 00:04:30.000
67
00:04:30.040 --> 00:04:32.199
68
00:04:32.240 --> 00:04:35.240
69
00:04:35.480 --> 00:04:38.240
70
00:04:38.319 --> 00:04:42.879
71
00:04:42.920 --> 00:04:46.439
72
00:04:46.600 --> 00:04:50.040
73
00:04:50.079 --> 00:04:56.040
74
00:04:56.480 --> 00:04:59.959
75
00:05:00.680 --> 00:05:03.800
76
00:05:03.839 --> 00:05:07.360
77
00:05:07.519 --> 00:05:11.519
78
00:05:11.560 --> 00:05:14.360
79
00:05:14.560 --> 00:05:18.879
80
00:05:19.079 --> 00:05:23.399
81
00:05:23.759 --> 00:05:27.399
82
00:05:27.480 --> 00:05:30.800
83
00:05:31.240 --> 00:05:39.399
84
00:05:39.439 --> 00:05:41.720
85
00:05:41.759 --> 00:05:44.959
86
00:05:45.000 --> 00:05:49.199
87
00:05:49.600 --> 00:05:53.279
88
00:05:53.360 --> 00:05:57.240
89
00:05:57.800 --> 00:06:03.600
90
00:06:03.839 --> 00:06:08.399
91
00:06:08.439 --> 00:06:11.800
92
00:06:12.560 --> 00:06:15.959
93
00:06:16.000 --> 00:06:19.720
94
00:06:19.720 --> 00:06:23.360
95
00:06:23.399 --> 00:06:27.680
96
00:06:27.680 --> 00:06:31.120
97
00:06:31.439 --> 00:06:35.480
98
00:06:35.560 --> 00:06:40.040
99
00:06:40.240 --> 00:06:44.519
100
00:06:44.600 --> 00:06:46.920
101
00:06:47.199 --> 00:06:49.439
102
00:06:49.480 --> 00:06:52.920
103
00:06:53.000 --> 00:06:58.160
104
00:06:58.199 --> 00:07:02.439
105
00:07:02.680 --> 00:07:07.920
106
00:07:08.040 --> 00:07:11.600
107
00:07:11.759 --> 00:07:14.560
108
00:07:14.639 --> 00:07:17.720
109
00:07:17.720 --> 00:07:20.319
110
00:07:20.439 --> 00:07:23.480
111
00:07:23.639 --> 00:07:27.560
112
00:07:27.600 --> 00:07:31.199
113
00:07:31.240 --> 00:07:33.959
114
00:07:34.000 --> 00:07:37.879
115
00:07:37.920 --> 00:07:42.240
116
00:07:42.360 --> 00:07:45.199
117
00:07:45.240 --> 00:07:52.160
118
00:07:52.160 --> 00:07:54.920
119
00:07:54.959 --> 00:08:00.000
120
00:08:00.120 --> 00:08:04.600
121
00:08:05.319 --> 00:08:08.720
122
00:08:08.759 --> 00:08:12.720
123
00:08:12.920 --> 00:08:16.319
124
00:08:16.319 --> 00:08:19.759
125
00:08:20.399 --> 00:08:22.920
126
00:08:23.079 --> 00:08:26.680
127
00:08:27.040 --> 00:08:31.000
128
00:08:31.000 --> 00:08:34.799
129
00:08:34.879 --> 00:08:40.919
130
00:08:41.559 --> 00:08:43.960
131
00:08:44.039 --> 00:08:48.039
132
00:08:48.080 --> 00:08:52.840
133
00:08:52.879 --> 00:08:56.440
134
00:08:56.519 --> 00:09:00.799
135
00:09:00.879 --> 00:09:04.039
136
00:09:04.039 --> 00:09:09.279
137
00:09:09.480 --> 00:09:12.799
138
00:09:12.799 --> 00:09:18.080
139
00:09:18.120 --> 00:09:21.799
140
00:09:21.879 --> 00:09:25.240
141
00:09:25.440 --> 00:09:29.080
142
00:09:29.480 --> 00:09:33.039
143
00:09:33.159 --> 00:09:36.360
144
00:09:37.039 --> 00:09:39.600
145
00:09:39.679 --> 00:09:43.799
146
00:09:43.840 --> 00:09:46.200
147
00:09:46.279 --> 00:09:51.279
148
00:09:51.519 --> 00:09:55.000
149
00:09:55.039 --> 00:09:58.159
150
00:09:58.320 --> 00:10:01.879
151
00:10:01.960 --> 00:10:04.320
152
00:10:04.720 --> 00:10:07.759
153
00:10:07.799 --> 00:10:11.919
154
00:10:11.919 --> 00:10:23.639
155
00:10:23.679 --> 00:10:27.960
156
00:10:28.360 --> 00:10:33.879
157
00:10:34.159 --> 00:10:38.399
158
00:10:38.440 --> 00:10:41.720
159
00:10:41.759 --> 00:10:44.240
160
00:10:44.480 --> 00:10:48.320
161
00:10:48.399 --> 00:10:52.279
162
00:10:52.480 --> 00:10:56.039
163
00:10:56.080 --> 00:11:00.440
164
00:11:00.440 --> 00:11:04.679
165
00:11:04.720 --> 00:11:08.480
166
00:11:08.559 --> 00:11:12.960
167
00:11:13.039 --> 00:11:17.679
168
00:11:17.720 --> 00:11:20.879
169
00:11:20.879 --> 00:11:23.919
170
00:11:24.159 --> 00:11:29.360
171
00:11:29.399 --> 00:11:33.279
172
00:11:33.360 --> 00:11:36.440
173
00:11:36.440 --> 00:11:40.840
174
00:11:40.960 --> 00:11:45.240
175
00:11:45.320 --> 00:11:49.720
176
00:11:49.759 --> 00:11:53.279
177
00:11:53.320 --> 00:11:57.000
178
00:11:57.080 --> 00:11:59.960
179
00:12:00.559 --> 00:12:03.120
180
00:12:03.360 --> 00:12:08.519
181
00:12:08.759 --> 00:12:12.639
182
00:12:12.679 --> 00:12:16.720
183
00:12:17.159 --> 00:12:20.679
184
00:12:22.000 --> 00:12:26.080
185
00:12:26.600 --> 00:12:28.559
186
00:12:28.679 --> 00:12:32.639
187
00:12:32.679 --> 00:12:35.840
188
00:12:36.639 --> 00:12:41.360
189
00:12:41.559 --> 00:12:46.120
190
00:12:46.200 --> 00:12:50.559
191
00:12:50.799 --> 00:12:54.000
192
00:12:54.039 --> 00:12:57.240
193
00:12:58.000 --> 00:13:01.600
194
00:13:02.120 --> 00:13:05.240
195
00:13:05.279 --> 00:13:08.519
196
00:13:08.559 --> 00:13:11.679
197
00:13:11.720 --> 00:13:19.279
198
00:13:19.320 --> 00:13:22.159
199
00:13:22.200 --> 00:13:25.639
200
00:13:25.679 --> 00:13:29.120
201
00:13:29.840 --> 00:13:32.320
202
00:13:32.360 --> 00:13:36.840
203
00:13:36.879 --> 00:13:39.159
204
00:13:39.240 --> 00:13:42.679
205
00:13:42.720 --> 00:13:47.600
206
00:13:47.600 --> 00:13:51.399
207
00:13:51.480 --> 00:13:54.879
208
00:13:54.879 --> 00:13:57.399
209
00:13:57.440 --> 00:14:01.159
210
00:14:01.200 --> 00:14:05.320
211
00:14:05.399 --> 00:14:08.039
212
00:14:08.080 --> 00:14:11.480
213
00:14:12.279 --> 00:14:15.480
214
00:14:15.559 --> 00:14:18.200
215
00:14:18.679 --> 00:14:24.440
216
00:14:24.480 --> 00:14:27.799
217
00:14:27.840 --> 00:14:31.639
218
00:14:31.840 --> 00:14:35.720
219
00:14:36.320 --> 00:14:38.919
220
00:14:38.960 --> 00:14:41.440