The worst thing about this is message it sends to folks making these sorts of movies. If you want your movie shown, leave out anything that isn’t in Bible. Maybe work in some references to God. Throw in A few shots of a bearded guy shooting stars out of his ass. Better make that beard thicker, wouldn’t want him to be confused as female. Alanis Morrisette is right out. Maybe Lucas-like fellow could even ask to borrow a starship. God does that sort of thing you know.

This mess reflects poorly on normal, mainstream Christians, and as usual reflects poorly on justifiably maligned Deep South. We deserve stereotypes. Might as well kick back in your rocking chair and suck on a corn-cob pipe brothers. Religion is well and good but please, keep it to yourself. You’re making whole region look like bullshit. God bless Texas?

Although Sir Edward Elgar composed his Cello Concerto in E Minor around same time as Holst wrote most of The Planets, Elgar’s piece reflects more earthly matters — namely, horror of Great War that had just ended. Appropriately, Philharmonic’s guest soloist for this piece was expressive virtuoso Daniel Gaisford, who sat directly facing audience to present drama of this concerto.

Until twentieth century, European wars were largely affairs of honor in which small royal armies did battle far from cities. A few soldiers were lost on each side, and public rooted for their sides like distant soccer teams. World War I, with its industrial-strength killing machines, changed everything and gave continent a sense of lost innocence. Elgar’s concerto is a lament for a bygone age, filled with sad, sweet passages throughout its three movements. Even final “allegro” section is utterly devoid of optimism we heard in Walton’s overture.

Read this entire feature free with photos at: http://www.jetsettersmagazine.com/archive/jetezine/classic/vegas04/sphere/sphere.html

- By Robert LaGrone, Las Vegas Entertainment Editor. Read Jetsetters Magazine at www.jetsettersmagazine.com