Last week I lost my voice - totally, for 4 days. It wasn't just croaky, it was completely gone. Our two daughters are currently home on school holidays, and the day my voice went, was the day Euan returned to work after his Christmas break.
The first day wasn't too bad. I felt very unwell, but our girls are pretty self sufficient and managed without much input from Mummy for the day. They played together, helped make lunch and watched a movie while I rested. When I needed to communicate with them, I wrote notes (thankfully both of them can read) and used signs.
By day two I began to get frustrated. I couldn't catch their attention without going to them, the usual stern tone of voice saying their name if they began to push boundaries with each other or me couldn't happen. Facial expressions only work when they're looking at you. Trying to help them do things was difficult trying to write explanations isn't as effective as spoken ones. Most frustrating was the fact the the girls weren't speaking to me. I was trying to use sign language, and so they were doing the same back to me. When I mouthed words to them, they mouthed replies back!
The first day I lost my voice, I didn't expect it to last, so didn't consider how to cope with silent parenting. Euan came up with an idea after work the second day. When he returned home he downloaded an app onto this new tablet that would translate my typing into spoken words! Ironically when I was finishing cooking dinner and trying to catch everyone's attention by banging on the kitchen bench, then banging a glass with a spoon - everyone ignored the noise - and me, because they were too busy playing with this new app that was supposed to help me communicate! Doubly frustrating - and I'm afraid tears ensued after a very long day!
The app on the tablet did at least make a little light of the situation. Typing wasn't really any faster than me writing what I wanted to say - and the pronuciation wasn't always understandable. Plus it was new and exciting to the girls so they would watch me type and read out what I was typing before the tablet had a chance to say it for me! Still, it did provide some light relief of the difficult situation for me, as we played around with the speed and pitch of the tablet's pronunciation, and made it say silly things!
Not being able to speak for four days, made me realise quite how much I do normally speak. Not just conversations, telling and asking things, but also just little comments and words, voicing my thoughts, and also singing along to songs on the radio. I love to sing with the girls and I've been missing that!
I also found that people do tend to speak to you in the way you speak to them. Aside from the girls themselves mouthing and whispering words to me, when I ventured out to the shops while unable to speak I found shop assistants doing the same - then shaking their heads and speaking properly. I don't think anyone did it consciously, but it was another thing I did find frustrating!
After two days of not being able to speak to my kids, I started to wonder how long this was going to last, and how could I cope with it better.
It made me think of 'baby sign language'.. I remember reading about it when our daughters were both speaking, so really it was bit late for them, but it seems like a good idea. I wonder if babies who are taught this type of sign language, then find non verbal communication any easier when they get older?
It also made me think of the game of charades. We've never played it with our girls, but this experience has made me feel that we should! Perhaps last week would have been easier - and maybe a little more fun, had I been able to use principles from charades to communicate more? Maybe not, but if nothing else it would be a fun game to play with the kids.
Losing my voice and having to parent silently for 4 days did make me look at how I do things, and what I would like to do differently. One thing I want to do is to get the girls more actively involved in the house - doing more chores, and helping out more. This is one area I'll definitely explore this week - and figure out what is possible! Watch this space!
Have you ever lost your voice? How do you think you would cope if you couldn't speak to your kids for a few days?
Jill
Top Ten Films Of 2011
Final tally for the year’s film viewing was 501, of which 418 (83%) were films I’d never seen before.
This list represents the best new films I saw throughout the year and includes feature films that received a UK release between January 1st and December 31st 2011, on any format, but doesn’t include festival showings.
It also includes the 11-20 spots, just for context:
20. The Girl With The Dragon Tattoo (David Fincher)
19. Animal Kingdom (David Michôd)
18. Beginners (Mike Mills)
17. I Saw The Devil (Jee-woon Kim)
16. Blue Valentine (Derek Cianfrance)
15. Cell 211 (Daniel Monzón)
14. Cave Of Forgotten Dreams (Werner Herzog)
13. The Artist (Michel Hazanavicius)
12. A Separation (Asghar Farhadi)
11. NEDS (Peter Mullan)

Wuthering Heights (Andrea Arnold)
A list of adjectives I'd use in describing Andrea Arnold’s take on Emily Brontë’s frequently-adapted novel: vital, visceral, modern, immediate, sensual, charged. There’s a raw energy to her earthy take which retains the jist but takes many artistically justified liberties. Boxed-in by the film’s intensely focused 4:3 frame, there’s a real sense of being part of Heathcliff and Cathy’s world, which makes it all the more touching when their close bond begins to fray.

Rango (Gore Verbinski)
What’s been missing from Hollywood studio animation lately? A peyote-fried, psychedelic Western homage populated by a cast of freakish animals. The cry of ‘it’s not really for kids’ has never been as apt as it is applied to this. When it isn’t spending its time hat-tipping Hunter S. Thompson it’s revelling in grisly, morbid detail and following a chameleon on an existential journey. This is as close as Johnny Depp will get to a spiritual sequel to Dead Man.

Tyrannosaur (Paddy Considine)
This tale of two lost souls both troubled by violence, as either aggressor or victim, is an assured feature directorial debut from Paddy Considine. It’s often bleak and troubling but absolutely never treats its characters with anything less than utmost humanity. It’s an exploration of what drives our baser emotions. Peter Mullan imbues Joseph with a fragility at odds with his threatening veneer while Olivia Colman gives an understated tragic performance that completely belies her comedy roots. This is heartbreaking, but ultimately beautiful, stuff.

Black Swan (Darren Aronofsky)
Darren Aronofsky continues apace with making each subsequent film a markedly different beast from that which came before with this masterful psychosexual thriller. Taking elements of The Red Shoes and mashing them with giallo tropes and Cronenbergian body horror, it creates a dark melodrama about identity and repression. A film ostensibly about ballet becomes a hysterical, shrieking nightmare through the use of an intricate soundscape, cunningly engineered jolts and horror prosthetics. It’s not subtle but it’s not required to be.

True Grit (Joel & Ethan Coen)
The Coen Brothers inject more grit into True Grit with this retelling of the grizzled tale which is not without the occasional flash of their usual oddities (witnessed most prominently in the striking image of what appears to be a bear on horseback appearing from the distance). For the most part this plays out as a surprisingly straight-up Western with Jeff Bridges’ shambling souse, Marshal Rooster Cogburn, rallying brilliantly against the impressive Hailee Steinfeld’s buttoned-up, determined child. Its elegiac qualities make way for elements of mismatched buddy comedy as the tone subtly shifts against the backdrop of the beautifully captured landscapes.

Trollhunter (André Øvredal)
From the simple premise of following the jaded employee of a bureaucratic agency dealing with Norway's native troll populace, there's a lot wrung from this mock-doc which proves found footage is not a spent force. Troll mythology is scientifically explained with a straight face but there's still room for sly allusions to the fairytales of yore and perfectly-pitched comic moments. Full of suspenseful vignettes, subtle effects and just the right amount of gore, it's a refreshing European take on the well-worn monster movie genre.

Melancholia (Lars von Trier)
The film starts with a rupturing bass rumble, which signifies Earth's atmosphere is being invaded by the eponymous celestial body, and immediately sets you ill at ease. A constant disquieting thrum pervades for the duration as the focus shifts from galactic affairs to a focused tale of depression as a family disintegrates at a country house wedding. Kirsten Dunst captivates as the morose Justine and the cinematography, framing moments like a Pre-Raphaelite painting, is astounding. This is a riveting human drama from Lars von Trier which also happens to feature the annihilation of Earth.

Bridesmaids (Paul Feig)
More than just another ensemble comedy, this is an acute deconstruction of the nature of friendships and a treatise on faded glory and life expectations. It's also an ensemble comedy. Not enough for you? It manages to find time to fit in one of the most charming romantic subplots of recent years, and features a grown woman punching her way through a 4 foot cookie.

Drive (Nicolas Winding Refn)
Without doubt this is the year's classiest actioner, which coolly underplays the little action it does have with restraint. It's a throwback in electric pink, underneath a neon glow and shot through with flashes of burnished gold. Ryan Gosling's stoic turn as he tentatively couples with Carey Mulligan means this is really a brutal, damaged love story as much as it is a stylishly rendered tale of botched robberies and vengeful mafiosi.

We Need To Talk About Kevin (Lynne Ramsay)
This is powerful, stunning filmmaking and a welcome return from Lynne Ramsay after nine years in the wilderness. The back-and-forth structure and recurring symbolism intensifies the psychological torment and leaves your guts torn out by the time the film’s lynchpin action finally occurs. Tilda Swinton has never been better and through both her and Ezra Miller’s performances, difficult questions are left untainted by easy answers. This is a confident mixture of heart-wrenching and horrifying, which impresses on every front.
WORST FILMS OF 2011
The worst films of the year list is again dominated by comedies. The notable trend among those in 2011 appears to be raunchy romcoms that want to have the appeal of their sweeter counterparts but also want to be able to say “vagina” every 4.67 words.
Here's the bottom ten:
10. Friend With Benefits (Will Gluck)
By the time an Alzheimer’s subplot rears its ugly head, this vapid mess will already have offended every sensibility.
9. Colombiana (Olivier Megaton)
A few impressive moments creep through the fug of all-consuming stupidity and ineptly-handled action but not enough to redeem it.
8. How Do You Know (James L. Brooks)
A string of contrivances held together by navel-gazing, from a cast and director who really should know better. It can’t even be bothered to punctuate its title.
7. What's Your Number? (Mark Mylod)
One. Out of five.
6. Zookeeper (Frank Coraci)
What’s the only thing worse than an Adam Sandler vehicle? An Adam Sandler stooge vehicle. With talking animals.
5. Sleeping Beauty (Julia Leigh)
Nihilistic erotic drama that’s neither erotic nor dramatic. The film itself is as blank and empty as its characters.
4. Anuvahood (Adam Deacon, Daniel Toland)
Woefully misjudged knockabout comedy that veers wildly between wacky romp and scenes of brutal violence.
3. No Strings Attached (Ivan Reitman)
Friends With Benefits without the relative charms of Justin Timberlake or Mila Kunis. Ashton Kutcher and Natalie Portman exchange fluids but not chemistry.
2. Just Go With It (Dennis Dugan)
Just don’t. Middle-aged Adam Sandler wank fantasy where he splurges hundreds of thousands of dollars on duping a model into having sex with him.
1. The Change-Up (David Dobkin)
A morally and emotionally bankrupt, misogynist body-swap comedy. High concept; lowest common denominator.
This list represents the best new films I saw throughout the year and includes feature films that received a UK release between January 1st and December 31st 2011, on any format, but doesn’t include festival showings.
It also includes the 11-20 spots, just for context:
20. The Girl With The Dragon Tattoo (David Fincher)
19. Animal Kingdom (David Michôd)
18. Beginners (Mike Mills)
17. I Saw The Devil (Jee-woon Kim)
16. Blue Valentine (Derek Cianfrance)
15. Cell 211 (Daniel Monzón)
14. Cave Of Forgotten Dreams (Werner Herzog)
13. The Artist (Michel Hazanavicius)
12. A Separation (Asghar Farhadi)
11. NEDS (Peter Mullan)

Wuthering Heights (Andrea Arnold)
A list of adjectives I'd use in describing Andrea Arnold’s take on Emily Brontë’s frequently-adapted novel: vital, visceral, modern, immediate, sensual, charged. There’s a raw energy to her earthy take which retains the jist but takes many artistically justified liberties. Boxed-in by the film’s intensely focused 4:3 frame, there’s a real sense of being part of Heathcliff and Cathy’s world, which makes it all the more touching when their close bond begins to fray.

Rango (Gore Verbinski)
What’s been missing from Hollywood studio animation lately? A peyote-fried, psychedelic Western homage populated by a cast of freakish animals. The cry of ‘it’s not really for kids’ has never been as apt as it is applied to this. When it isn’t spending its time hat-tipping Hunter S. Thompson it’s revelling in grisly, morbid detail and following a chameleon on an existential journey. This is as close as Johnny Depp will get to a spiritual sequel to Dead Man.

Tyrannosaur (Paddy Considine)
This tale of two lost souls both troubled by violence, as either aggressor or victim, is an assured feature directorial debut from Paddy Considine. It’s often bleak and troubling but absolutely never treats its characters with anything less than utmost humanity. It’s an exploration of what drives our baser emotions. Peter Mullan imbues Joseph with a fragility at odds with his threatening veneer while Olivia Colman gives an understated tragic performance that completely belies her comedy roots. This is heartbreaking, but ultimately beautiful, stuff.

Black Swan (Darren Aronofsky)
Darren Aronofsky continues apace with making each subsequent film a markedly different beast from that which came before with this masterful psychosexual thriller. Taking elements of The Red Shoes and mashing them with giallo tropes and Cronenbergian body horror, it creates a dark melodrama about identity and repression. A film ostensibly about ballet becomes a hysterical, shrieking nightmare through the use of an intricate soundscape, cunningly engineered jolts and horror prosthetics. It’s not subtle but it’s not required to be.

True Grit (Joel & Ethan Coen)
The Coen Brothers inject more grit into True Grit with this retelling of the grizzled tale which is not without the occasional flash of their usual oddities (witnessed most prominently in the striking image of what appears to be a bear on horseback appearing from the distance). For the most part this plays out as a surprisingly straight-up Western with Jeff Bridges’ shambling souse, Marshal Rooster Cogburn, rallying brilliantly against the impressive Hailee Steinfeld’s buttoned-up, determined child. Its elegiac qualities make way for elements of mismatched buddy comedy as the tone subtly shifts against the backdrop of the beautifully captured landscapes.

Trollhunter (André Øvredal)
From the simple premise of following the jaded employee of a bureaucratic agency dealing with Norway's native troll populace, there's a lot wrung from this mock-doc which proves found footage is not a spent force. Troll mythology is scientifically explained with a straight face but there's still room for sly allusions to the fairytales of yore and perfectly-pitched comic moments. Full of suspenseful vignettes, subtle effects and just the right amount of gore, it's a refreshing European take on the well-worn monster movie genre.

Melancholia (Lars von Trier)
The film starts with a rupturing bass rumble, which signifies Earth's atmosphere is being invaded by the eponymous celestial body, and immediately sets you ill at ease. A constant disquieting thrum pervades for the duration as the focus shifts from galactic affairs to a focused tale of depression as a family disintegrates at a country house wedding. Kirsten Dunst captivates as the morose Justine and the cinematography, framing moments like a Pre-Raphaelite painting, is astounding. This is a riveting human drama from Lars von Trier which also happens to feature the annihilation of Earth.

Bridesmaids (Paul Feig)
More than just another ensemble comedy, this is an acute deconstruction of the nature of friendships and a treatise on faded glory and life expectations. It's also an ensemble comedy. Not enough for you? It manages to find time to fit in one of the most charming romantic subplots of recent years, and features a grown woman punching her way through a 4 foot cookie.

Drive (Nicolas Winding Refn)
Without doubt this is the year's classiest actioner, which coolly underplays the little action it does have with restraint. It's a throwback in electric pink, underneath a neon glow and shot through with flashes of burnished gold. Ryan Gosling's stoic turn as he tentatively couples with Carey Mulligan means this is really a brutal, damaged love story as much as it is a stylishly rendered tale of botched robberies and vengeful mafiosi.

We Need To Talk About Kevin (Lynne Ramsay)
This is powerful, stunning filmmaking and a welcome return from Lynne Ramsay after nine years in the wilderness. The back-and-forth structure and recurring symbolism intensifies the psychological torment and leaves your guts torn out by the time the film’s lynchpin action finally occurs. Tilda Swinton has never been better and through both her and Ezra Miller’s performances, difficult questions are left untainted by easy answers. This is a confident mixture of heart-wrenching and horrifying, which impresses on every front.
WORST FILMS OF 2011
The worst films of the year list is again dominated by comedies. The notable trend among those in 2011 appears to be raunchy romcoms that want to have the appeal of their sweeter counterparts but also want to be able to say “vagina” every 4.67 words.
Here's the bottom ten:
10. Friend With Benefits (Will Gluck)
By the time an Alzheimer’s subplot rears its ugly head, this vapid mess will already have offended every sensibility.
9. Colombiana (Olivier Megaton)
A few impressive moments creep through the fug of all-consuming stupidity and ineptly-handled action but not enough to redeem it.
8. How Do You Know (James L. Brooks)
A string of contrivances held together by navel-gazing, from a cast and director who really should know better. It can’t even be bothered to punctuate its title.
7. What's Your Number? (Mark Mylod)
One. Out of five.
6. Zookeeper (Frank Coraci)
What’s the only thing worse than an Adam Sandler vehicle? An Adam Sandler stooge vehicle. With talking animals.
5. Sleeping Beauty (Julia Leigh)
Nihilistic erotic drama that’s neither erotic nor dramatic. The film itself is as blank and empty as its characters.
4. Anuvahood (Adam Deacon, Daniel Toland)
Woefully misjudged knockabout comedy that veers wildly between wacky romp and scenes of brutal violence.
3. No Strings Attached (Ivan Reitman)
Friends With Benefits without the relative charms of Justin Timberlake or Mila Kunis. Ashton Kutcher and Natalie Portman exchange fluids but not chemistry.
2. Just Go With It (Dennis Dugan)
Just don’t. Middle-aged Adam Sandler wank fantasy where he splurges hundreds of thousands of dollars on duping a model into having sex with him.
1. The Change-Up (David Dobkin)
A morally and emotionally bankrupt, misogynist body-swap comedy. High concept; lowest common denominator.
Scouts for boys and girls
Were you a scout or guide?Do you have happy memories of spending time outdoors or does the thought of a couple of days away from home and modern technology and comforts make you scared? Surely you can survive without a computer for a couple of days- or would you sneak an ipad or tablet into the essentials pile of things to take?
Scouts was formed in the early 1900s in England by Baden Powell as a way of passing on useful skills to youngsters in an outdoor setting. Within a few years girls and boys were enjoying ‘scouting’ in their free time– living in tents, cooking their own food and learning through games.
Scouts has since grown to have over 41 million members worldwide by 2011 and aims to be voluntary and open to all young people with no regard to race, religious belief or origin. Scouts have uniforms and the famous ‘woggle.’
Through participating in activities,scouts earn badges showing their successes and competency in a variety of areas from cooking to sports, knot tying to orienteering. It is a great way to get kids outdoors and in some cases outside their comfort zones in a safe environment.
The kids are broken into different age groups and has sections in each country which are used to keep similar ages together. The Australian movement is for both boys and girls and is split as follows:
Our family friends are involved in scouts and as we look at the options for the girls this year, scouts will definitely be one of the options on the table. Fostering identity and team spirit is a great alternative provided through scouts rather than the simple desire to win (individually or as a team) that regular sporting or extra curricular school activities provide.
I’d love to hear your memories of scouts or how your children are currently enjoying scouts.
Euan
Scouts was formed in the early 1900s in England by Baden Powell as a way of passing on useful skills to youngsters in an outdoor setting. Within a few years girls and boys were enjoying ‘scouting’ in their free time– living in tents, cooking their own food and learning through games.
Scouts has since grown to have over 41 million members worldwide by 2011 and aims to be voluntary and open to all young people with no regard to race, religious belief or origin. Scouts have uniforms and the famous ‘woggle.’
Through participating in activities,scouts earn badges showing their successes and competency in a variety of areas from cooking to sports, knot tying to orienteering. It is a great way to get kids outdoors and in some cases outside their comfort zones in a safe environment.
The kids are broken into different age groups and has sections in each country which are used to keep similar ages together. The Australian movement is for both boys and girls and is split as follows:
Our family friends are involved in scouts and as we look at the options for the girls this year, scouts will definitely be one of the options on the table. Fostering identity and team spirit is a great alternative provided through scouts rather than the simple desire to win (individually or as a team) that regular sporting or extra curricular school activities provide.
I’d love to hear your memories of scouts or how your children are currently enjoying scouts.
Euan
WWE Don't try this at home
I love wrestling, I remember as a kid not believing that it could be rehearsed or staged. Back in the UK, as a kid, I watched Big Daddy and Giant Haystacks before I even knew about the WWE and glitzy American wrestling.
It is only human for boys, as testosterone and society demand that play fights occur and where better to gain moves from than TV and even wrestling. WWE wrestling with current starts such as John Cena, Randy Orton, the Undertaker and the rest of the superstars lead the way and provide styalised violence on family times slot TV. It is interesting how the watching demographic for wrestling has dipped to younger and younger kids. Just look at all the plastic toys and figurines that are available for youngsters.
The ringside leaps, flying and twisting routines to pulverise an opponent and signature moves that are unique to particular wrestlers make the franchise of WWE strong and resilient.
It is difficult not to be a bit cynical when you think of the money that is involved in the WWE worldwide.
With this discussion in mind, I still love wrestling. Despite the fact that the vast majority of the show is more acting than sport, the undoubted athleticism and hours of hard work exercising and building superhuman physiques to do superhuman moves is still awesome.
I also enjoy watching it with our girls to show them the boyish aspect of childhood. Whilst some of their friends are banned from watching the show, the girls do not copy the moves or actually fight between themselves. We always stop for the 'Don't try this at home's' message and I can see the girls breaking up future play ground fights and being one step ahead of the boys with their knowledge of wrestlers and the latest moves.
So, although not sending a peaceful or 'good' message, I understand this and still enjoy the show. With a little guidance, the girls can enjoy the show and even question what they are seeing on TV (he didn't really hit him there, I saw him slap his hand not head!!) and they are seeing fit people moving athletically (can we join gymnastics again this term??).
Life is not just sugar coated idealism and girls need an understanding of what young boys are up to and after all, it is all good American fun isn't it?
Euan
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