- published: 23 Mar 2009
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Nimrod (/ˈnɪm.rɒd/;Hebrew: נִמְרוֹדֿ, Modern Nimrod, Tiberian Nimrōḏ Aramaic: ܢܡܪܘܕ Arabic: النمرود, an-Namrood), king of Shinar, was, according to the Book of Genesis and Books of Chronicles, the son of Cush, the great-grandson of Noah. The Bible states that he was "a mighty hunter before the Lord [and] .... began to be mighty in the earth". Extra-biblical traditions associating him with the Tower of Babel led to his reputation as a king who was rebellious against God. Since Accad (Babylonian Akkad) was destroyed and lost with the destruction of its Empire in the period 2200–2154 BC (long chronology), the stories mentioning Nimrod seem to recall the late Early Bronze Age. The association with Erech (Babylonian Uruk), a city that lost its prime importance around 2,000 BC as a result of struggles between Isin, Larsa and Elam, also attests the early provenance of the stories of Nimrod. Several Mesopotamian ruins were given Nimrod's name by 8th-century Arabs, including the ruins of the Assyrian city of Kalhu (the biblical Calah), built by Shalmaneser I (1274–1244 BC) (see Nimrud). A number of attempts to connect him with historical figures have been made.
Sir Edward William Elgar, 1st Baronet OM GCVO (2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
Although Elgar is often regarded as a typically English composer, most of his musical influences were not from England but from continental Europe. He felt himself to be an outsider, not only musically, but socially. In musical circles dominated by academics, he was a self-taught composer; in Protestant Britain, his Roman Catholicism was regarded with suspicion in some quarters; and in the class-conscious society of Victorian and Edwardian Britain, he was acutely sensitive about his humble origins even after he achieved recognition. He nevertheless married the daughter of a senior British army officer. She inspired him both musically and socially, but he struggled to achieve success until his forties, when after a series of moderately successful works his Enigma Variations (1899) became immediately popular in Britain and overseas. He followed the Variations with a choral work, The Dream of Gerontius (1900), based on a Roman Catholic text that caused some disquiet in the Anglican establishment in Britain, but it became, and has remained, a core repertory work in Britain and elsewhere. His later full-length religious choral works were well received but have not entered the regular repertory.
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Hey mister, where you headed?
Are you in a hurry?
I need a lift to happy hour
Say, oh, no
Do you brake for distilled spirits?
I need a break as well
Oh well, that inebriates the guilt
1, 2, 1, 2, 3, 4
Cold turkey's getting stale
Tonight, I'm eating crow
Fermented salmonella poison oak, no
There's a drought at the fountain of youth
Now, I'm dehydrated
My tongue is swelling up
I said, 1, 2, 1, 2, 3, 4
Troubled times
You know I cannot lie
I'm off the wagon
And I'm hitchin' a ride
There's a drought at the fountain of youth
Now, I'm dehydrated
My tongue is swelling up
I say, shit
Troubled times
You know I cannot lie
I'm off the wagon
And I'm hitchin' a ride
(Don't know where I'm going)
Hitchin' a ride
(Don't know where I'm going)
Hitchin' a ride
(Don't know where I'm going)
Hitchin' a ride
(Don't know where I'm going)
Hitchin' a ride
(Don't know where I'm going)
Hitchin' a ride
(Don't know where I'm going)
Hitchin' a ride
(Don't know where I'm going)
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