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"End of the Beginning" has been described as a doom metal song. [1] According to lyricist Geezer Butler, the song deals with the fear of how "technology is going to completely take over the human race", inspired particularly by cloning: "It seems like eventually, people are going to clone the Beatles and stuff like that.
"End of Beginning" is a song by American actor and singer-songwriter Joe Keery, under his stage name Djo. It was independently released on September 16, 2022, as track six of his second studio album Decide and later released as a single on March 1, 2024. The song gained popularity in early 2024 through TikTok and YouTube. [2] [3]
The End of the Beginning (God Is an Astronaut album) or the title song, 2002; The End of the Beginning (Judie Tzuke album), 2004; The End of the Beginning (Like a Storm album) or the title song, 2009; The End of the Beginning, 2003; The End of the Beginning, by Richie Havens, 1976; The End of the Beginning, a video by Sabbat, 1990
On Spotify, "End of Beginning" has received more than 200 million plays and on YouTube, videos posted from the DJO account have more than 12 million combined views.
Joe Keery got a confidence boost from one of the best possible sources when Taylor Swift praised his song “End of Beginning.”. Keery, 32, recalled running into the pop superstar at the ...
"The End Is the Beginning Is the End" is a song by the American alternative rock band the Smashing Pumpkins. Originally released as a single from the soundtrack to the film Batman & Robin (1997), it was their first release with drummer Matt Walker, who would go on to contribute percussion to several tracks of Adore and all of James Iha's Let It Come Down.
The song was recorded at Criteria Studios in Miami, engineered by Chuck Kirkpatrick, produced by Marlin Productions and arranged by the Beginning of the End. [1] It reached #7 on the US R&B chart, #15 on the Billboard Hot 100 the week of July 17, 1971 and #31 on the UK Singles Chart in 1974. [2] [3] The song was featured on their 1971 album ...
At the end of Episode 1, a song plays on the radio, the song’s release decade a code for trouble. Like Santaolalla’s score and Hank Williams’ song titles, the final radio song creates an ...