Childhood
Health Officials To Ban Fairy Bread And Replace It With Mung Beans
Australian health officials are reportedly set to ban a childhood favourite, fairy bread, in schools and day care centres and replace it with mung beans. The move is designed to get children away from sugar and used to a life that contains little to no joy.
”We need to get our kids healthy, active and ready for a life in which they work hard to make things better for the boomers,” said a health official. ”Sugar can cause weak bones and obesity, which we don’t want in our future aged care workers.”
”Little fatties grow in to big fatties and that’s not a good thing.”
When asked why mung beans were chosen as the dish designed to replace fairy bread, the health official said: ”Our bad we let the Greens decide.”
”Apparently some people like mung beans.”
”Sorry kids, anyway don’t be sad, it could’ve been worse the Greens did want to replace Zooper Doopers with Kale pops.”
”We had to draw the line somewhere.”
Mark Williamson
@MWChatShow
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Chasing Butterflies: Capturing the Transience of Childhood
Emily Knight talks at the Ashmolean Museum about eighteenth-century portraits of children. Throughout history we have attempted to capture the transience of childhood in images, whether through portraits painted in the eighteenth century or photos taken on a phone and shared on social media today.
In this short talk Emily Knight takes us back to the eighteenth century, when artists including Thomas Gainsborough, William Hogarth, Joshua Reynolds, Henry Fuseli and George Romney were painting children’s portraits.
Ideas of childhood had begun to shift in the era, which was reflected in the portraiture. At the time infant mortality rates were high, meaning parents felt an even greater desire to have an image of their child to capture those fleeting early moments. Emily shows how these ideas were reflected in the portraiture through recurring motifs like the butterfly.
Emily Knight is a DPhil candidate in History of Art at the University of Oxford researching posthumous portraiture in the late eighteenth to early nineteenth centuries in Britain, considering the ways in which these works became a language for mourning and commemoration.