Tuesday 2 november 2010 2 02 /11 /Nov /2010 09:15

WASHINGTON -- Voters from coast to coast were poised to deliver a heavy blow Tuesday to President Barack Obama's Democrats in elections likely to cost the party control of at least one chamber of Congress. Just two years after Obama swept into office on a promise of hope and change, voters discouraged by the dismal U.S. economy were expected to hand Republicans control of the House of Representatives. Republicans were also expected to make gains in the Senate, with an outside shot at capturing the upper chamber. In the campaign's final hours, Democrats and Republicans pressed their supporters to vote, especially in states with toss-up Senate contests, such as Pennsylvania, Nevada, Illinois, Colorado and Washington state. "We're hoping now for a fresh start with the American people," said Republican National Committee chairman Michael Steele. A big Republican win would derail Obama's agenda in the last two years of his term, potentially leaving Washington in political gridlock unless the president can find common ground with some of his fiercest critics. Domestic issues such as Obama's tax and spending plans would be most affected, but the repercussions would be felt internationally too, on issues such as climate change, trade and arms control. Obama was home from the campaign trail at the White House after a weekend rush through four states. The president traveled to 14 states in the final month of the campaign, some of them twice, in a bid to rekindle the enthusiasm of young voters, liberals, blacks and independents whose ballots propelled him to the White House. The vote will shape American politics as Obama looks toward running for re-election in 2012 and Republicans begin the process of selecting a candidate to oppose him. Changes at the top of Congress are likely. If Republicans gain the 40 seats needed to win the 435-member House, Rep. John Boehner of Ohio would replace Nancy Pelosi as speaker, making him second in line to the presidency. Even if Republicans fail to pick up the 10 seats they need to win the 100-seat Senate, Democrats may need a new majority leader. Sen. Harry Reid faces a tough challenge from Sharron Angle in Nevada. Angle is a favorite of the ultraconservative tea party movement that has jolted American politics with its call for a drastically smaller government and lower taxes. Polls have shown Republicans to be more enthusiastic than Democrats about casting ballots. In Nevada, final tallies for two weeks of in-person voting and a preliminary count of mail-in ballots for the state's two most populous counties, Clark and Washoe, showed Republicans outperforming Democrats in getting a higher percentage of their voters to the polls, even though Democrats had a 9,000-voter edge in ballots cast. Beyond the congressional votes, Republicans are expected to score big gains in 37 gubernatorial elections and in votes for state legislatures. Those races are important as states redraw congressional districts following the 10-year census. America's political environment has changed drastically since 2008, when Democrats expanded their majorities in both chambers, riding on voters' economic anxiety, their weariness with George W. Bush's presidency and Obama's popularity. Some wondered if Republicans would need decades to recover. But the anti-incumbent mood and economic worries didn't go away and, with Democrats now controlling the White House as well as Congress, public anger is directed at them. The amorphous tea party movement has been the clearest voice of that rage, energizing Republicans even as it has toppled some party veterans. Republicans have also benefited from changes in political spending regulations stemming from a Supreme Court ruling that made it easier for corporations, unions and other groups to spend money on elections. Democrats say they inherited an economy in dire condition and managed to prevent a financial breakdown and the collapse of the U.S. auto industry. But they find it hard winning elections by arguing that things could have been worse. Obama's signature achievement -- a massive health care overhaul -- has not helped his party. Liberals criticize it as too meek and conservatives as too expensive and intrusive. Democrats have also been hurt by Obama's declining popularity. While he was once lauded as dynamic and inspirational, he is now criticized as overly academic and aloof. Republican candidates look to tie their rivals to Obama while some Democrats tried to distance themselves from him. "This election is entirely about him and this big majority in Congress and what they've been doing for the last two years," Senate Republican Leader Mitch McConnell said in an interview with The Associated Press. Among the Senate seats that Democrats could lose is the one in Illinois formerly held by Obama. A win there by Republican Mark Kirk over Democrat Alexi Giannoulias would have huge symbolic importance to Republicans and greatly improve their prospects for capturing the Senate. Besides winning Illinois and Reid's seat in Nevada, Republicans probably need to capture seats now held by Democrats in Pennsylvania, Washington state and Colorado to have a shot at controlling the Senate. Less likely, but still possible, is a Republican win in California, where veteran liberal Sen. Barbara Boxer faces former Hewlett-Packard chief executive Carly Fiorina. The Democrats' best chance of capturing a Republican Senate seat may be in Alaska, where the Republican vote could be split. Joe Miller, a tea party favorite supported by former Alaska Gov. Sarah Palin, won the party nomination from the incumbent, Lisa Murkowski. But Murkowski has stayed in the race as a write-in candidate, creating an opening for Democrat Scott McAdams if the Republican vote is split. It is one of several races in which the tea party's success in displacing traditional Republicans could work to Democrats' advantage. In Nevada, Reid might have been further down in the polls if he faced a challenger other than Angle, whom Democrats cast as too extreme. In one of the most widely watched races, Democrats are likely to hold onto Vice President Joe Biden's old Senate seat in Delaware, because Republicans nominated tea party-backed Christine O'Donnell instead of a more moderate candidate. O'Donnell's quirky comments in old TV interviews -- including an admission that she once dabbled in witchcraft -- made her the target of late-night comedians. Her attempts to defend herself haven't helped. In one TV ad, she declared, "I'm not a witch." Democrats had their own outrageous candidates. In the coal-mining state of West Virginia, Senate hopeful Gov. Joe Manchin took up a rifle in a TV ad to show voters his opposition to his own party's climate change legislation. Manchin was seen loading a hunting rifle and firing a shot into a target labeled "Cap and Trade Bill." Still, for all the attention given to outlandish candidates and the country's anti-establishment mood, most incumbents are likely to be reelected. And some of the new lawmakers will be very much part of the mainstream. Among the Republican Senate candidates favored to win are Rob Portman, a top trade official in the George W. Bush administration who is running in Ohio, and Dan Coats, a former senator and ambassador to Germany, in Indiana.

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Sunday 31 october 2010 7 31 /10 /Oct /2010 08:07

SAN FRANCISCO (Reuters) - California unveiled on Friday its final burberry sale blueprint of a market system to curb greenhouse gases, relaxing expected rules in the face of a weak economy in a measure that could set the tone for the nation's climate policy. By agreeing to give away virtually all necessary permits to factories and power plants when the program starts in 2012, rather than sell them at auction, the U.S. state with the biggest economy and population is acknowledging the challenges of double-digit unemployment -- and the reality that pollution decreases as the economy slows. California aims to cap total emissions of gases linked to global warming and let factories and power plants trade for an ever-decreasing number of permits to emit gases. In theory, market forces will drive efficiency in the system, known as cap and trade. There is still a debate about the economic merits of the plan, which planners in the Friday draft prada outlet estimate will shave about 0.1 percentage point from annual state growth. Many Californians see such environmental regulation as positive for the economy by spurring "green" jobs. Voters next Tuesday could put on hold a climate change law, including the emissions market, but polls show the Proposition 23 challenge to the state's climate change law is set to be rebuffed. After the failure of federal climate legislation, the fate of California's law and the details of its cap-and-trade plan are seen as a U.S. turning point -- either away from addressing climate change or toward stronger action. "California is the biggest icebreaker there is, and if that ugg ship stops moving it will have a huge effect on everyone else," said former state climate change planner Jon Costantino, a lawyer at Manatt, Phelps & Phillips, who said passage of the rule, rather than its details, was the key for alternative energy clients. Many in traditional industry consider the state climate initiative to be too ambitious, at least for now. "The economy is still bad. We can't afford it," said Anita Mangels of the Yes on 23 campaign to suspend the climate law. But a group of manufacturers, farmers, petroleum companies and others who have been critical of plans, said the new draft better reflected the reality of the weak economy. "It also provides a gradual approach in the early years that will allow California businesses cheap ugg boots the time needed to meet the 2020 goals," said Shelly Sullivan, executive director of the AB 32 Implementation Group. The state's 2006 law, AB 32, requires it to return to 1990 levels of greenhouse gas emissions by 2020, and the hobbled economy has produced fewer greenhouse gas emissions than expected, making the goal less onerous. The state agency planning cap-and-trade has responded in part by ignoring a suggestion by a panel of economists last year to auction off the emissions permits. Under the plan unveiled on Friday and likely to be adopted air max shoes December 16 by the powerful Air Resources Board, the brunt of the market force will not be brought to bear for years. Planners say that by setting clear limits and clear rules for the scheme, it hits a compromise that will allow polluters flexibility to act, investors certainty, and improve the environment without causing economic disruption. Polluters will be given on average about 97 or 98 percent of the permits they will require in the first year. DIFFERENT INDUSTRIES, DIFFERENT PLANS The state will give away 100 percent of permits through 2020 to oil drilling, cement air max shoes and other industries that otherwise might shut down if forced to pay for permits. Sawmills, food manufacturing and others will get shorter-term aid. Within an industry, more efficient firms will get more allowances, which less efficient companies may need to buy. In addition up to 8 percent of their permit needs could be met with so-called offset credits from projects that avoid emissions or soak up greenhouse gases - such as planting trees. That's double a previous goal and a clear easing of rules. The state will create as many permits as expected emissions in the first year, and it will set aside an average of 4 percent of permits over 2012-2020 to be sold if trading prices go too high. The reserve will be about 1 percent in 2012. Any permits auctioned by the state will cost at least $10 per gucci shoes tonne in the first year, rising to $15 in 2020. There will also be a range of ceiling prices each year, in case trade becomes too volatile, rising in steps between $40 and $50 per tonne in 2012 to a top range of $60 to $75 in 2020. Transportation fuels will not be covered until the second round of trade, starting in 2015, when roughly 85 percent of state emissions will be governed by cap-and-trade. California is part of an 11-member group of states and Canadian provinces, the Western Climate Initiative, which aims to start a joint trading scheme in 2012, beginning with a few members. A similar cap-and-trade system is in place in Europe and a limited scheme already is operating in the U.S. northeast. (Additional reporting by Tim Gardner in Washington DC and Sarah McBride in Los Angeles; editing by Mary Milliken and Andre Grenon)

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Tuesday 26 october 2010 2 26 /10 /Oct /2010 08:10

Two call centers with previous experience working for Verizon are both looking to staff up??adding thousands of customer service representatives for a, "major wireless cell phone service retailer" that many postulate could be Verizon itself. If that's the case, is this yet one more sign in the unfolding rumor-mongering that is Verizon's potential iPhone launch? Apple Insider's Josh Ong air max LTD says that, "the connection between a flurry of call center recruiting and a Verizon iPhone is tenuous at best." However, both Teleperformance and Ryla both have experience working for Verizon, Apple, or both. The former's pulled double-duty for both companies, whereas Ryla has air max worked with Verizon for more than ten years. Ryla's currently hiring for approximately 1,700 new positions across Indiana, Colorado, Virginia, and California. For the 500 or so people the company's seeking in Clovis, California, "The new hires air max 2009 will be answering customer-service calls on behalf of a Ryla client identified only as a Fortune 500 cellular/telecommunications company that expects to increase its marketing and sales," reports Tim Sheehan of The Fresno Bee. Teleperformance's air yeezy listing for Pennsylvania positions indicates that employees would, "Take Inbound Customer Service Calls for a major wireless cell phone service retailer." The locations of its other open positions are a bit more varied??and equally cryptic. Positions in Utah include, "Outbound Sales Reps to sell products to existing customers jordan shoes for a leading software or wireless company," and positions listed in Idaho indicate that an employee would, "Take inbound technical support calls for laptop and mp3 player assistance." Fanning the rumor flames, Teleperformance vice president of recruiting Marcie Ballard said in an October interview with The Augusta Chronicle that the new positions needed to be lined up by November of this year. More importantly, they would be supporting an existing (and major) wireless client with which the company has secured a brand-new line of business. Unfortunately, Ballard would not say what company that specifically prada sunglasses is. According to a report from Electronista, it would take a air max 24-7 given calling center roughly three to four weeks to train employees prior to actually sticking them in a cube. If that's the case, then Teleperformance's November deadline puts the new employees in the chairs right around the January timeframe, assuming delays and time lost for the holidays??and that's the same January, "when many expect a Verizon iPhone to be ready," reports the site.

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Tuesday 12 october 2010 2 12 /10 /Oct /2010 08:25

Joan Sutherland, one of the most acclaimed sopranos of the 20th century, a singer of such power and range that she was crowned “La Stupenda,” died on Sunday at her home in Switzerland, near Montreux. She was 83.
Her death was confirmed by her close friend the mezzo-soprano Marilyn Horne.

It was Italy’s notoriously picky critics who dubbed the Australian-born Ms. Sutherland the Stupendous One after her Italian debut, in Venice in 1960. And for 40 years the name endured with opera lovers around the world. Her 1961 debut at the Metropolitan Opera in New York, in Donizetti’s “Lucia di Lammermoor,” generated so much excitement that standees began lining up at 7:30 that morning. Her singing of the Mad Scene drew a thunderous 12-minute ovation.

Ms. Sutherland’s singing was founded on astonishing technique. Her voice was evenly produced throughout an enormous range, from a low G to effortless flights above high C. She could spin lyrical phrases with elegant legato, subtle colorings and expressive nuances. Her sound was warm, vibrant and resonant, without any forcing. Indeed, her voice was so naturally large that at the start of her career Ms. Sutherland seemed destined to become a Wagnerian dramatic soprano.

Following her first professional performances, in 1948, during a decade of steady growth and intensive training, Ms. Sutherland developed incomparable facility for fast runs, elaborate roulades and impeccable trills. She did not compromise the passagework, as many do, by glossing over scurrying runs, but sang almost every note fully.

Her abilities led Richard Bonynge, the Sydney-born conductor and vocal coach whom she married in 1954, to persuade her early on to explore the early-19th-century Italian opera of the bel canto school. She became a major force in its revitalization.

Bel canto (which translates as “beautiful song” or “beautiful singing”) denotes an approach to singing exemplified by evenness through the range and great agility. The term also refers to the early-19th-century Italian operas steeped in bel canto style. Outside of Italy, the repertory had languished for decades when Maria Callas appeared in the early 1950s and demonstrated that operas like “Lucia di Lammermoor” and Bellini’s “Norma” were not just showcases for coloratura virtuosity but musically elegant and dramatically gripping works as well.

Even as a young man, Mr. Bonynge had uncommon knowledge of bel canto repertory and style. Ms. Sutherland and Mr. Bonynge, who is four years younger than she, met in Sydney at a youth concert and became casual friends. They were reacquainted later in London, where Ms. Sutherland settled with her mother in 1951 to attend the Royal College of Music. There Mr. Bonynge became the major influence on her development.

Ms. Sutherland used to say she thought of herself and her husband as a duo and that she didn’t talk of her career, “but of ours.”

In a 1961 profile in The New York Times Magazine she said she initially had “a big rather wild voice” that was not heavy enough for Wagner, although she did not realize this until she heard “Wagner sung as it should be.”

“Richard had decided — long before I agreed with him — that I was a coloratura,” she said.

“We fought like cats and dogs over it,” she said, adding, “It took Richard three years to convince me.”

In her repertory choices Ms. Sutherland ranged widely during the 1950s, singing lighter lyric Mozart roles like the Countess in “Le Nozze di Figaro” and heavier Verdi roles like Amelia in “Un Ballo in Maschera.” Even then, astute listeners realized that she was en route to becoming something extraordinary.

In a glowing and perceptive review of her performance as Desdemona in Verdi’s “Otello” at Covent Garden in London in late 1957, the critic Andrew Porter, writing in The Financial Times, commended her for not “sacrificing purity to power.” This is “not her way,” Mr. Porter wrote, “and five years on we shall bless her for her not endeavoring now to be ‘exciting’ but, instead, lyrical and beautiful.”

She became an international sensation after her career-defining performance in the title role of “Lucia di Lammermoor” at Covent Garden — its first presentation there since 1925 — which opened on Feb. 17, 1959. The production was directed by Franco Zeffirelli and conducted by the Italian maestro Tullio Serafin, a longtime Callas colleague, who elicited from the 32-year-old soprano a vocally resplendent and dramatically affecting portrayal of the trusting, unstable young bride of Lammermoor.

Mr. Porter, reviewing the performance in The Financial Times, wrote that the brilliance of Ms. Sutherland’s singing was to be expected by this point. The surprise, he explained, was the new dramatic presence she brought to bear.

“The traces of self-consciousness, of awkwardness on the stage, had disappeared; and at the same time she sang more freely, more powerfully, more intensely — and also more bewitchingly — than ever before.”

This triumph was followed in 1960 by landmark portrayals in neglected bel canto operas by Bellini: Elvira in “I Puritani” at the Glyndebourne Festival (the first presentation in England since 1887) and “La Sonnambula” at Covent Garden (the company’s first production in half a century).
Ms. Sutherland’s American debut came in November 1960 in the title role of Handel’s “Alcina” at the Dallas Opera, the first American production of this now-popular work. Her distinguished Decca recording of “Lucia di Lammermoor,” with an exceptional cast conducted by John Pritchard, was released in 1961, the year of her enormously anticipated Metropolitan Opera debut in that same work, on Nov. 26.

At Ms. Sutherland’s first appearance, before she had sung a note, there was an enthusiastic ovation. Following the first half of Lucia’s Mad Scene in the final act, which culminated in a glorious high E-flat, the ovation lasted almost 5 minutes. When she finished the scene and her crazed, dying Lucia collapsed to the stage floor, the ovation lasted 12 minutes.

Reviewing the performance in The New York Times, Harold C. Schonberg wrote that other sopranos might have more power or a sweeter tone, but “there is none around who has the combination of technique, vocal security, clarity and finesse that Miss Sutherland can summon.”

Even for some admirers, though, there were limitations to her artistry. Her diction was often indistinct. After receiving steady criticism for this shortcoming, Ms. Sutherland worked to correct it, and sang with crisper enunciation in the 1970s.

She was also sometimes criticized for delivering dramatically bland performances. At 5-foot-9, she was a large woman, with long arms and large hands, and a long, wide face. As her renown increased, she insisted that designers create costumes for her that compensated for her figure, which, as she admitted self-deprecatingly in countless interviews, was somewhat flat in the bust but wide in the rib cage. Certain dresses could make her look like “a large column walking about the stage,” she wrote in “The Autobiography of Joan Sutherland: A Prima Donna’s Progress” (1997).

Paradoxically, Mr. Bonynge contributed to the sometimes dramatically uninvolved quality of her performances. By the mid-1960s he was her conductor of choice, often part of the deal when she signed a contract. Trained as a pianist and vocal coach, he essentially taught himself conducting. Even after extended experience, he was not the maestro opera fans turned to for arresting performances of Verdi’s “Traviata.” But he thoroughly understood the bel canto style and was attuned to every component of his wife’s voice.

Yet if urging her to be sensible added to her longevity, it sometimes resulted in her playing it safe. Other conductors prodded Ms. Sutherland to sing with greater intensity: for example, Georg Solti, in an acclaimed 1967 recording of Verdi’s Requiem with the Vienna Philharmonic and the Vienna State Opera Chorus, and Zubin Mehta, who enticed Ms. Sutherland into recording the title role in Puccini’s “Turandot,” which she never sang onstage, for a 1972 recording. Both of these projects featured the tenor Luciano Pavarotti, who would become an ideal partner for Ms. Sutherland in the bel canto repertory. Ms. Sutherland’s fiery Turandot suggests she had dramatic abilities that were never tapped.

Joan Alston Sutherland was born on Nov. 7, 1926, in Sydney, where the family lived in a modest house overlooking the harbor. The family garden and the rich array of wildflowers on the hillside near the beach inspired her lifelong love of gardening.

Her mother, Muriel Sutherland, was a fine mezzo-soprano who had studied with Mathilde Marchesi, the teacher of the Australian soprano Nellie Melba. Though too shy for the stage, Ms. Sutherland’s mother did vocal exercises every day and was her daughter’s principal teacher throughout her adolescence.

Ms. Sutherland’s father, William, a Scottish-born tailor, had been married before. His first wife died during the influenza epidemic after World War I, leaving him with three daughters and a son. Ms. Sutherland was the only child of his second marriage. He died on the day of Ms. Sutherland’s sixth birthday. He had just given her a new bathing suit and she wanted to try it out. Though feeling unwell, he climbed down to the beach with her and, upon returning, collapsed in his wife’s arms. Joan, along with her youngest half-sister and their mother, moved into the home of an aunt and uncle, who had sufficient room and a big garden in the Sydney suburb of Woollahra.

Although Ms. Sutherland’s mother soon recognized her daughter’s gifts, she pegged her as a mezzo-soprano. At 16, facing the reality of having to support herself, Ms. Sutherland completed a secretarial course and took office jobs, while keeping up her vocal studies. She began lessons in Sydney with Aida Dickens, who convinced her that she was a soprano, very likely a dramatic soprano. Ms. Sutherland began singing oratorios and radio broadcasts and made a notable debut in 1947 as Purcell’s Dido in Sydney.
In 1951, with prize money from winning a prestigious vocal competition, she and her mother moved to London, where Ms. Sutherland enrolled at the opera school of the Royal College of Music. The next year, after three previous unsuccessful auditions, she was accepted into the Royal Opera at Covent Garden and made her debut as the First Lady in Mozart’s “Zauberfl?te.”

In the company’s landmark 1952 production of Bellini’s “Norma,” starring Maria Callas, Ms. Sutherland sang the small role of Clotilde, Norma’s confidante. “Now look after your voice,” Callas advised her at the time, adding, “We’re going to hear great things of you.”

“I lusted to sing Norma after being in those performances with Callas,” Ms. Sutherland said in a 1998 New York Times interview. “But I knew that I could not sing it the way she did. It was 10 years before I sang the role. During that time I studied it, sang bits of it, and worked with Richard. But I had to evolve my own way to sing it, and I would have wrecked my voice to ribbons had I tried to sing it like her.”

In 1955 she created the lead role of Jenifer in Michael Tippett’s “Midsummer Marriage.”

During this period Ms. Sutherland gave birth to her only child, Adam, who survives her, along with two grandchildren and Mr. Bonynge, her husband of 56 years.

Immediately after her breakthrough performances as Lucia in 1959, Ms. Sutherland underwent sinus surgery to correct persistent problems with nasal passages that were chronically prone to becoming clogged. Though it was a risky operation for a singer, it was deemed successful.

In the early 1960s, using a home in southern Switzerland as a base, Ms. Sutherland made the rounds, singing in international opera houses and forming a close association with the Met, where she ultimately sang 223 performances. These included an acclaimed new production of “Norma” in 1970 with Ms. Horne in her Met debut, singing Adalgisa; Mr. Bonynge conducted. There was also a hugely popular 1972 production of Donizetti’s “Fille du Régiment,” with Pavarotti singing the role of Tonio.

Though never a compelling actress, Ms. Sutherland exuded vocal charisma, a good substitute for dramatic intensity. In the comic role of Marie in “La Fille du Régiment,” she conveyed endearingly awkward girlishness as the orphaned tomboy raised by an army regiment, proudly marching in place in her uniform while tossing off the vocal flourishes.

Ms. Sutherland was plain-spoken and down to earth, someone who enjoyed needlepoint and playing with her grandchildren. Though she knew who she was, she was quick to poke fun at her prima donna persona.

“I love all those demented old dames of the old operas,” she said in a 1961 Times profile. “All right, so they’re loony. The music’s wonderful.”

Queen Elizabeth II made Ms. Sutherland a Dame Commander of the Order of the British Empire in 1978. Her bluntness sometimes caused her trouble. In 1994, addressing a luncheon organized by a group in favor of retaining the monarchy in Australia, she complained of having to be interviewed by a foreign-born clerk when applying to renew her passport, “a Chinese or an Indian — I’m not particularly racist — but find it ludicrous, when I’ve had a passport for 40 years.” Her remarks were widely reported, and she later apologized.

In retirement she mostly lived quietly at home but was persuaded to sit on juries of vocal competitions and, less often, to present master classes. In 2004 she received a Kennedy Center Honor for outstanding achievement throughout her career. In 2008, while gardening at her home in Switzerland, she fell and broke both legs, which led to a lengthy hospital stay.

Other sopranos may have been more musically probing and dramatically vivid. But few were such glorious vocalists. After hearing her New York debut in “Beatrice di Tenda” at Town Hall, the renowned Brazilian soprano Bidú Say?o, herself beloved for the sheer beauty of her voice, said, “If there is perfection in singing, this is it.”

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Tuesday 12 october 2010 2 12 /10 /Oct /2010 08:18

Although Tom and I have known each other for 16 months, we still haven't had what you might call a decent chat. I've tried to initiate conversation countless times, but he always seems more interested in playing games, singing songs or hiding. It's good to talk, I tell him, but he doesn't reply. I'm beginning to get frustrated.

It's not necessarily Tom's fault. I'm pretty confident he does want to talk to me; he just doesn't know how. He doesn't speak my language. Unfortunately he doesn't speak any other languages either. If he did, I'm sure we'd have found some way to communicate by now, even it was one of those clicking languages from southern Africa. If he was a parrot from southern Africa we'd have made more progress. If he was a dolphin he could do the clicks. But Tom's problem is more fundamental than simply being a different species.

The thing is, he's a baby. He was born in May last year and he isn't yet physically capable of speech. His modest brain isn't quite up to speed and even if it was, he has very little control of his tiny tongue. Although occasionally cute, baby humans are virtually useless. He can't even walk, let alone forage for food or sleep beyond 6am.

But Tom can now do some things. He can slither down from a sofa, pick up peas and point wildly at anything that catches his bright blue eyes. And while not particularly useful as a single manoeuvre, that level of co-ordination means he's more than ready to communicate, if only I knew how to encourage him. It's really me who is being slow.

We don't know what words man said first. Some experts have speculated that primitive language was developed from random sounds; early homo, they say, might have based his first words either on the noises he heard, like the splash of falling water or the thud of a rock smashing into a skull; or on his own instinctive cries, like a gulp of surprise at the sight of falling water or a yelp of effort caused by smashing a rock into a skull.

But some believe that language was developed from signs rather than noises. Gestural theory suggests that man first communicated with hand and body movements and developed language from there, probably around the time they needed their hands free for tools (for smashing rocks into skulls more effectively).

The origin of language theories can never amount to much more than educated conjecture. But anyone who owns a child can observe firsthand how their speech slowly emerges. Tom, for instance, has yet to say his first proper word. He did go through a phase of saying "bra" every time he looked at a woman, but that was surely just a coincidence.

As well as "bra", Tom has been able to say "dada" and "mama" for almost a year now, but I'm not counting these as proper words. Babies throughout the world tend to start with such sounds, and this in turn is why so many languages' words for mother, father and baby have similar shapes; father can be expressed as "daddy" in English, baba in Albanian, ubaba in Zula, pˉapˉa in Maori and atta in Latin. We've chosen these terms to mirror the repetitious consonants that babies seem to like so much.

As with all their basic skills, babies start talking at different ages. Einstein famously didn't say a word until he was three years old, Picasso said piz piz (a shortening of the Spanish for pencil) at 18 months, and one of the babies in our NCT class said "foible" before she was one. It's probably best not to worry too much about when they say what. They'll all get there in the end. But when I Google "my baby can't talk yet" I can't help but grow a little concerned. A typical 18-month-old, says the website of the Child Development Institute, "has vocabulary of approximately five to 20 words". Perhaps we will count bra, mama and dada after all. Just two more in two months and he'll be normal.

As far as I can tell, Tom hasn't deliberately mastered a sign for any particular object yet, but he does point incessantly, wave goodbye and clap when excited. So perhaps his gestures are advancing faster than his speech. Perhaps, with a helping hand, this could be our shortcut to satisfying communication.

We'd like Tom to talk to us as soon as possible so that we can find out what's on his mind, rather than whether his mind is average or not. I'm desperate to know what he's got to say for himself. And, more than his opinions on culture and politics, I mainly want to know how he's feeling, if only so that my wife and I no longer have to guess. One whingey afternoon we thought he might be hungry, tired, teething or just a generally grumpy human being before finally realising he was hot. If only we'd all known there was a simple gesture for it.

Baby signing was invented with just such a situation in mind. The basic premise – that babies can communicate before they can talk – was investigated thoroughly by the scientist Joseph Garcia, among others, in the late 1980s. While working at Alaska Pacific University, Garcia suggested that even at six months, hearing babies of hearing parents can begin learning basic sign language for ideas such as eat, drink, milk, more, no and hot. According to his theory, a hot baby with a basic grasp of signing would simply move his open hand across his forehead to make his parents instantly remove his unnecessary jumper.

It wasn't until a few years ago, however, that baby signing really took off in the UK. It seems odd that, despite having the means to sign since the birth of language, we've only recently decided to share this information with our babies. Deaf communities have always known that infants can sign before they can talk, but hearing parents hadn't thought to follow suit.

Today, though, there are countless baby sign groups offering hundreds of classes in the UK alone. My wife took Tom to one such class when he was just a few months old, having heard about it from another mum, Sam, who'd read about it on the National Child Trust's (NCT) website. Her son, another Tom, was born six months before ours and had just about mastered the signs for milk and food, which is all you really need to survive at his age. More importantly, Sam told the group that she and Tom both loved the class itself, and that really got everyone's attention. When mums discover a new fun, cheap and healthy thing to do with their babies, the news spreads like wildfire.

The first time round, however, baby signing didn't work for us. We all needed to find our feet before our hands. In fact, despite our good intentions, no one in our NCT group had stuck with the signing. It might make things easier in the long run, but at a time when you're trying to get your head round suddenly keeping another human alive it's hard to prioritise. But after 16 non-communicative months I felt it was time to try again, so I took him along to a local baby sign class ran by TinyTalk, which claims to be "the biggest and best baby-signing organisation in the UK, Ireland and Australia".

There wasn't a lot of focus on vocabulary or grammar. Instead there were colourful mats to sit on, colourful books to look at, colourful toys to play with and a cuddly monkey to ape. Eight babies were herded by eight parents in the general direction of our teacher, Lisa Peycke, herself a mum of two, who spoke, sang and signed to us in a manner that was admirably patient without being condescending.

With a degree in linguistics from Bangor University, Lisa had left a job in HR to become a signing instructor soon after becoming a mother. It was, she says, the perfect job, especially since her own kids have taken to signing so well. Her eldest had 40 signs at his disposal at 13 months and her youngest signed her first word, milk, at just five months. Those are impressive stats.

At first glance hers was much like many of the other parent-and-baby classes we've attended, where we're encouraged to sing songs, clap hands, listen to stories and gossip. Tom seemed to enjoy himself and so we did too. At Lisa's class, for the first time in his short life, he was the oldest child in the room and seemed to revel in this role, sitting silently like a village elder for 40 minutes before eventually cracking when some biscuits were brought out.

The signing aspect of the class was underplayed and far from overwhelming. Lisa signed throughout the songs and stories, we tried to join in, and the babies watched each other. But by the end of the hour I found I had learnt at least half a dozen signs, more than enough to get me going with Tom back at home. I left impressed. I've always been suspicious of baby education, of teaching them the front crawl at six weeks or Mozart in the womb, but this was different, mainly because it was really aimed at the parents.

The idea is that I will now use the signs I've learnt every time they're relevant to Tom. Every time I put him down for a nap I'll do the sign for sleep, while also slowly and deliberately saying the word. Eventually, in theory, Tom will connect the ideas and not only recognise the sign but make it himself if he feels sleepy. And because I will have deliberately used the word "sleep" each time, he will, in time, start copying that, too.

As well as the communication aspect, those who promote baby signing report huge benefits for everyone involved, including larger expressive and receptive spoken language vocabularies, more advanced mental development, a reduction in problematic behaviour and improved parent-child relationships. To those who think signing might slow down speaking, they say the opposite occurs: encouraging sign language empowers babies to focus the topic and context of conversation and ultimately makes them more interested in words. There's even research indicating that simply pointing at things aids the process of object naming and language development, so I'm now telling anyone I meet that my son is really rather advanced.

Whether or not any of this rubs off on Tom we'll have to see. But instinctively it feels good to be trying to connect with him. Any sort of focused interaction must be a good thing. Having said that, I have to admit feeling a little embarrassed in the class itself, memories of my French oral flooding back as I, the only bloke in the room, tried to sing in tune and remember the actions to "Heads, Shoulders, Knees and Toes" (yes, I realise now the clue is in the title).

Luckily, if you can't overcome your inhibitions, there are plenty of other more private baby sign options. After our second lesson I bought myself the TinyTalk Let's Sign! DVD, one of several interactive introductions to the language currently available. There are also numerous signing demonstrations on YouTube, and if you watch CBeebies as, I like to reassure myself, all parents do at least once a day, you'll be familiar with the work of one Justin Fletcher. Justin is the very soul of CBeebies, the star of the genuinely amusing Gigglebiz (Arthur Sleep, anyone?) and, most importantly, the presenter of Something Special. In this Bafta-winning show he takes kids with disabilities and learning difficulties on gentle adventures around the country, speaking to the children on screen and at home using a system called Makaton that mixes speech, signing and graphic symbols. As children grow more competent and confident with speech, the signs and symbols are gradually phased out, in just the same way that baby signing slowly gives way to baby talking.

I'm determined to continue with baby sign language, inspired by both Lisa and Justin. Neither came from a signing background and both managed to learn well over 100 signs in a matter of days. More importantly, they make signing look easy, not ridiculous. If they can do it, if Lisa's daughter could do it at five months, then I can do it, too.

After just a couple of weeks of practice, Tom managed to sign his first word. Or at least I think he did. When I slowly asked him if he was sleepy, he certainly raised his hands to the side of the cheek as if to copy my action, and I was thrilled, even if it might just have been another coincidence. We're getting there. In the short term I'm hoping we'll help each other get to the elementary level of baby signing in a few months, because it's not just him I want to have words with. Tom's going to become an older brother at Christmas, and baby signing could just be how our family of four first gets to know each other. It'll hopefully be our helping hand, our secret language, our way of telling each other if we're a bit hot.

Alex Horne is a comedian and writer. He has just released The Horne Section, a CD of comedy, jazz and poetry

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