And out one of them pops, as if on cue!
And I would suggest you refrain from the personal insults. Those of us who have reservations concerning Elgar are not necessarily stupid, insensitive, unsubtle, careless, or whatever epithets you choose to fling. I have given Elgar's symphonies a number of tries through the years and I continue to find aspects of them overblown and even vulgar (e.g., the way the return of the main themes in #2, outer movements, are punctuated by big chords on the brass and cymbal crashes). It is precisely the lack of subtlety at such moments that alienates me from this strain in Elgar, and his tendency towards grandiosity without irony that makes those pieces less than first-rate in my opinion. It's precisely the subtler works - perhaps above the string quartet, the cello concerto, and Falstaff - that have most won me over. In the first two especially, there is an elegiac tone that is more subtle and moving to me than most anything in the symphonies. There are other works of Elgar I truly admire - the Intro and Allegro, the Cockaigne Overture with its bracing good spirits, and In the South.
The latter of these reflects yet another problem I have with Elgar - trying to hear a distinctive personality that makes his work instantly recognizable. For example, in the first movement of the Piano Quintet I hear a lot of Brahms, especially those quarter-quarter-quarter-eighth note triplet rhythms; and I've referred to In the South as one of my favorite pieces by Richard Strauss. (The music depicting ancient Rome about 6 minutes into the piece is not Straussian, however, and those 3-4 minutes sound both highly original and one of the most powerful passages I know in all of Elgar.)