![Michael Andrews and Gary Jules - Mad World [Restored] @VideoFunForAll](https://i.ytimg.com/vi/IBscOcU_uY0/maxresdefault.jpg)
Uploaded October 2019 | Updated September 2026, 3 weeks ago
"Mad World" is a 1982 song by the British band Tears for Fears. Written by Roland Orzabal and sung by bassist Curt Smith, it was the band's third single release and first chart hit, reaching number 3 on the UK Singles Chart in November 1982. Both "Mad World" and its B-side, "Ideas as Opiates", appeared on the band's debut LP The Hurting (1983).
"Mad World" achieved a second round of success 20 years after its release, when it was covered by Michael Andrews and Gary Jules for the film Donnie Darko (2001). While the Tears for Fears version featured synthesizers and heavy percussion, the Andrews/Jules
version was stripped down; instead of a full musical backing, it used only a set of piano chords, a mellotron imitating a cello, very light touches of electric piano, and modest use of a vocoder on the chorus.
Their version was originally released on CD in 2002 on the film's soundtrack, but an increasing cult-following spawned by the film's DVD release finally prompted Jules and Andrews to issue the song as a proper single. It was released through Sanctuary Records on 15 December 2003, in time for the race for the UK's Christmas number one, beating "Christmas Time (Don't Let the Bells End)" by The Darkness to take the title the following week.
"Mad World" is a 1982 song by the British band Tears for Fears. Written by Roland Orzabal and sung by bassist Curt Smith, it was the band's third single release and first chart hit, reaching number 3 on the UK Singles Chart in November 1982. Both "Mad World" and its B-side, "Ideas as Opiates", appeared on the band's debut LP The Hurting (1983).
"Mad World" achieved a second round of success 20 years after its release, when it was covered by Michael Andrews and Gary Jules for the film Donnie Darko (2001). While the Tears for Fears version featured synthesizers and heavy percussion, the Andrews/Jules
version was stripped down; instead of a full musical backing, it used only a set of piano chords, a mellotron imitating a cello, very light touches of electric piano, and modest use of a vocoder on the chorus.
Their version was originally released on CD in 2002 on the film's soundtrack, but an increasing cult-following spawned by the film's DVD release finally prompted Jules and Andrews to issue the song as a proper single. It was released through Sanctuary Records on 15 December 2003, in time for the race for the UK's Christmas number one, beating "Christmas Time (Don't Let the Bells End)" by The Darkness to take the title the following week.
![Michael Andrews and Gary Jules - Mad World [Restored]](https://i.ytimg.com/vi/IBscOcU_uY0/mqdefault.jpg "Michael Andrews and Gary Jules - Mad World [Restored]
Mad World is a 1982 song by the British band Tears for Fears. Written by Roland Orzabal and sung by bassist Curt Smith, it was the bands third single release and first chart hit, reaching number 3 on the UK Singles Chart in November 1982. Both Mad World and its B-side, Ideas as Opiates, appeared on the bands debut LP The Hurting (1983).
Mad World achieved a second round of success 20 years after its release, when it was covered by Michael Andrews and Gary Jules for the film Donnie Darko (2001). While the Tears for Fears version featured synthesizers and heavy percussion, the Andrews/Jules
version was stripped down; instead of a full musical backing, it used only a set of piano chords, a mellotron imitating a cello, very light touches of electric piano, and modest use of a vocoder on the chorus.
Their version was originally released on CD in 2002 on the films soundtrack, but an increasing cult-following spawned by the films DVD release finally prompted Jules and Andrews to issue the song as a proper single. It was released through Sanctuary Records on 15 December 2003, in time for the race for the UKs Christmas number one, beating Christmas Time (Dont Let the Bells End) by The Darkness to take the title the following week.")
![The Four Seasons - Lets Hang On (1965) [Digitally Enhanced]](https://i.ytimg.com/vi/JG1JnZ-eOHg/mqdefault.jpg "The Four Seasons - Lets Hang On (1965) [Digitally Enhanced]
Lets Hang On! is a song composed by Bob Crewe, Sandy Linzer, and Denny Randell that was popularized by The Four Seasons in 1965. The single reached the No. 3 position in the Billboard Hot 100 singles chart, the groups highest placement since Rag Doll hit the top spot in July 1964.
This was the last Four Seasons hit to feature bass singer/bassist Nick Massi. The same month Lets Hang On! was released, Massi left the group and was temporarily replaced by the bands arranger Charles Calello before Joe Long came in as Massis full-time replacement.")
![Tavares - Heaven Must Be Missing an Angel (1976) [Restored]](https://i.ytimg.com/vi/KFJZtU3W4MY/mqdefault.jpg "Tavares - Heaven Must Be Missing an Angel (1976) [Restored]
Heaven Must Be Missing an Angel is a disco song written by Freddie Perren and Keni St. Lewis. It was recorded by the American band Tavares in 1976. It was released as a single from the album Sky High! and was split into two parts: the first part was 3 minutes and 28 seconds in length, while the second part was 3 minutes and 10 seconds. Heaven Must Be Missing an Angel was re-released in February 1986.
Heaven Must Be Missing an Angel reached number 15 on the Billboard Hot 100 chart in 1976. It peaked at number 3 on the Hot Soul Singles chart. Heaven Must Be Missing an Angel, with the track Dont Take Away the Music, spent two weeks at number 1 on the Hot Dance Club Play chart. It became the groups only Gold record.")
![Fred Astaire and Ginger Rogers - Isnt This a Lovely Day (Top Hat) (1935) [Digitally Enhanced]](https://i.ytimg.com/vi/KllSjF4uCDY/mqdefault.jpg "Fred Astaire and Ginger Rogers - Isnt This a Lovely Day (Top Hat) (1935) [Digitally Enhanced]
Isnt This a Lovely Day? is a popular song written by Irving Berlin for the 1935 film Top Hat, where it was introduced by Fred Astaire in the scene where his and Ginger Rogers characters are caught in a gazebo during a rainstorm. The lyric is an example of a song which turns a bad situation into a love song, a common style for Irving Berlin, as in Ive Got My Love to Keep Me Warm and Lets Have Another Cup of Coffee.
His 1935 version was assessed as reaching the No. 3 spot in the charts of the day")
![Bob Hope & Shirley Ross - Thanks for the Memory (1938) [Restored]](https://i.ytimg.com/vi/KmE7gVkK14I/mqdefault.jpg "Bob Hope & Shirley Ross - Thanks for the Memory (1938) [Restored]
Thanks for the Memory (1938) is a popular song, with music composed by Ralph Rainger and lyrics by Leo Robin. It was introduced in the 1938 film The Big Broadcast of 1938 by Bob Hope and Shirley Ross, and recorded by Shep Fields and His Orchestra featuring John Serry Sr. on accordion and vocals by Bob Goday.")
![Carmen McRae - Round Midnight (1962) [Restored]](https://i.ytimg.com/vi/L6b2NeKjCjc/mqdefault.jpg "Carmen McRae - Round Midnight (1962) [Restored]
Carmen McRae: Vocal
Norman Simmons: Piano
Victor Sproles: Bass
Walter Perkins: Drums
Round Midnight is a 1944 composition by pianist Thelonious Monk with lyrics by Jon Hendricks that quickly became a jazz standard and has been recorded by a wide variety of artists. A version recorded by Monks quintet was added to the Grammy Hall of Fame in 1993. It is the most recorded jazz standard composed by a jazz musician.")
![Rob de Nijs - Zet een kaars voor je raam (1976) [Restored]](https://i.ytimg.com/vi/LB39RFQisLc/mqdefault.jpg "Rob de Nijs - Zet een kaars voor je raam (1976) [Restored]
Rob de Nijs (born 26 December 1942) is a Dutch singer and actor, active since the 1960s.
Zet een Kaars voor Je Raam is a Dutch translation by Lennaert Nijgh of David McWilliamss Can I Get There by Candlelight?")
![Fats Domino - Blueberry Hill [Restored]](https://i.ytimg.com/vi/LDjIAHk_xRY/mqdefault.jpg "Fats Domino - Blueberry Hill [Restored]
Fats Domino - Blueberry Hill [Restored]")
![Santa Esmeralda - Dont Let Me Be Misunderstood (1977) [Restored]](https://i.ytimg.com/vi/LJAEk1PsNhs/mqdefault.jpg "Santa Esmeralda - Dont Let Me Be Misunderstood (1977) [Restored]
Dont Let Me Be Misunderstood is a song written by Bennie Benjamin, Horace Ott and Sol Marcus for the singer and pianist Nina Simone, who first recorded it in 1964. Dont Let Me Be Misunderstood has been covered by many artists, most notably by The Animals, whose blues rock version of the song became a transatlantic hit in 1965. A 1977 four-on-the-floor disco rearrangement by disco group Santa Esmeralda was also a hit.")
![Glenn Gould - J.S. Bach - The Art of Fugue (Contrapunctus XIV) - The Last Fugue [Restored]](https://i.ytimg.com/vi/LWNGwVrdJPo/mqdefault.jpg "Glenn Gould - J.S. Bach - The Art of Fugue (Contrapunctus XIV) - The Last Fugue [Restored]
Glenn Gould - J.S. Bach - The Art of the Fugue - Last Fugue
Bachs last and not completed fugue.
The Unfinished Fugue
A handwritten manuscript of the piece known as the Unfinished Fugue is among the three bundled with the autograph manuscript P200. It breaks off abruptly in the middle of its third section, with an only partially written measure 239. This autograph carries a note in the handwriting of Carl Philipp Emanuel Bach, stating Über dieser Fuge, wo der Name B A C H im Contrasubject angebracht worden, ist der Verfasser gestorben. (At the point where the composer introduces the name BACH [for which the English notation would be B♭–A–C–B♮] in the countersubject to this fugue, the composer died.) This account is disputed by modern scholars, as the manuscript is clearly written in Bachs own hand, and thus dates to a time before his deteriorating health and vision would have prevented his ability to write, probably 1748–1749.
Many scholars, including Gustav Nottebohm (1881), Wolff and Davitt Moroney, have argued that the piece was intended to be a quadruple fugue, with the opening theme of Contrapunctus I to be introduced as the fourth subject. The title Fuga a 3 soggetti, in Italian rather than Latin, was not given by the composer but by CPE Bach, and Bachs obituary actually makes mention of a draft for a fugue that was to contain four themes in four voices. The combination of all four themes would bring the entire work to a fitting climax. Wolff also suspected that Bach might have finished the fugue on a lost page, called fragment X, on which the composer attempted to work out the counterpoint between the four subjects. The 2016 completion by pianist Kimiko Douglass-Ishizaka rejects the fourth subject theory, opting instead to develop the extant materials in the fugue to completion.
A number of musicians and musicologists have composed conjectural completions of Contrapunctus XIV, notably Boëly, music theoretician Hugo Riemann, musicologists Donald Tovey and Zoltán Göncz, organists Helmut Walcha, David Goode and Lionel Rogg, and Davitt Moroney. Ferruccio Busonis Fantasia contrappuntistica is based on Contrapunctus XIV, but is more a work by Busoni than by Bach. In 2001 Luciano Berio arranged the contrapunctus for orchestra; while Berio did not complete the fugue in the usual sense, he produced a performing version that allows the composition to fade away gracefully.
In 2007, New Zealand organist and conductor Indra Hughes completed a doctoral thesis about the unfinished ending of Contrapunctus XIV, proposing that the work was left unfinished not because Bach died, but as a deliberate choice by Bach to encourage independent efforts at a completion.
Douglas Hofstadters book Gödel, Escher, Bach discusses the unfinished fugue and Bachs supposed death during composition as a tongue-in-cheek illustration of Austrian logician Kurt Gödels first incompleteness theorem. According to Gödel, the very power of a sufficiently powerful formal mathematical system can be exploited to undermine the system, by leading to statements that assert such things as I cannot be proven in this system. In Hofstadters discussion, Bachs great compositional talent is used as a metaphor for a sufficiently powerful formal system; however, Bachs insertion of his own name in code into the fugue is not, even metaphorically, a case of Gödelian self-reference; and Bachs failure to finish his self-referential fugue serves as a metaphor for the unprovability of the Gödelian assertion, and thus for the incompleteness of the formal system.
Sylvestre and Costa reported a mathematical architecture of The Art of Fugue, based on bar counts, which shows that the whole work was conceived on the basis of the Fibonacci series and the golden ratio. The significance of the mathematical architecture can probably be explained by considering the role of the work as a membership contribution to the Correspondierende Societät der musicalischen Wissenschaften (de), and to the scientific meaning that Bach attributed to counterpoint.
Source: Wikipedia.")
