The_King

sorry for the delay, it take a while to find all the old pictures of SG. hope you guys like it this one tons of old pictures

hahahaha

there a 4 yr gap la. he had oral sex with a man in 2017 . dont tell me from 2017 to 2021 he nv have sex at all. what i think most likely is other session he got it

the reason why i nv watch any movie cause i just need to watch this channel https://www.youtube.com/channel/UCCuKxrg0JuF64CEtV0n9kKg

why not use their plane to packed real penang laska and fly to sg within 2 hr confirm i will buy often to try all penang food

old uni uniform so different le

Same name, same kid? Not quite, it seems. A school bus driver turned up to pick up a kindergarten student on Monday (Mar 1), not realising he had gone to the wrong school – Sparkletots, instead of My First Skool, which is located just a block away. His actions alarmed the student's teacher, who quickly contacted the mother, the child's father told Lianhe Wanbao in an interview. Neither of them recognised the bus driver, but the said driver knew their son's name. "The man's phone had a name list, and my son's name was among them. I wanted to know why he had my child's name so I asked the teacher to hold him back, but he said he had to go fetch other kids and left just like that," the 36-year-old recounted. Worried that someone was out to get their child, the father later filed a police report and posted about his experience on Facebook, where it went viral. Things only came to light after a woman saw his post and contacted him to explain that their sons shared the same name, and her son was the person the bus driver had meant to fetch – but had gone to the next door kindergarten by accident. "This was probably just a case of misunderstanding," she told the father. The school bus company had also reached out to clarify the situation, he confirmed. AsiaOne has reached out to Sparkletots for further comment.

SINGAPORE: Wanting to help increase blood supplies during the COVID-19 pandemic, a man went to donate blood, but made a declaration that he had never had sex with another man before. This proved to be untrue - as he had oral sex with a man in 2017 on a bus in India, but did not indicate it as he thought "sex" did not include oral sex. His blood tested positive for HIV and was not used, but the 37-year-old man was charged last month under the Infectious Diseases Act for supplying false information linked to a blood donation. The man, who cannot be named due to a gag order protecting his identity, came to court on Wednesday (Mar 3) intending to plead guilty. The prosecutor read out the statement of facts in full, with the court hearing that the man had gone to Bloodbank@HSA on May 3 last year to donate blood. Before doing so, he had to fill out a Donor Health Assessment Questionnaire - a legal document that he had to sign and acknowledge. One of the questions was: "In your entire lifetime: Male Donors: Have you had sex with another man?" He answered "no". The first page of the document defined "sex" as various penetrative acts including oral sex, but the court heard that signatures were not required on the first page, and the accused said he had overlooked this bit. A doctor had confirmed his answers with him, and he affirmed that they were truthful. His blood was later tested and confirmed as infected with HIV, and after the doctor explained to him that oral sex was considered sex, the accused admitted that he had unprotected oral sex with a man on a bus in 2017. The judge rejected the accused's plea of guilt as he qualified it by saying that he had not known at the time that oral sex was considered sex. This means he did not knowingly supply a false statement. He directed the case to a pre-trial conference next week, the earliest date possible. The prosecution is seeking at least three months' jail and a fine of S$10,000, but acknowledged that the accused admitted to the offence when first asked by the doctor. The man, who is unrepresented, brought luggage with him to court as he was ready to go to jail. LOST HIS JOB, CANNOT AFFORD HIV TREATMENT He told the judge that he had lost his job eight months ago and can no longer work in Singapore. He said he had spent all his savings and has only S$250 left for rent or food. He said he is now an HIV patient and cannot afford the treatment, which is not subsidised for him as he is a foreigner. "Once I came to know about this, I was so depressed (over) the severity of the disease," he said. He added he was the sole breadwinner for six dependents in his home country. He said he had answered "no" to the question in the form as he had a "wrong perception", but agreed with what the prosecutor said. "Now I'm suffering from this disease. If it (had) been transfused to someone else, they will also be (suffering)," he said. "I didn't want to hurt anyone, or release spread of this disease or anything," he said. "I wanted to in fact help the country during the pandemic, during the crisis. When I went, it was during COVID time and the blood supply was very (little)." He will return to court on Mar 12 for a pre-trial conference. The penalty for giving false information relating to a blood donation is a maximum jail term of two years, a fine of up to S$20,000, or both. Source: CNA/ll(ac)

heng since i so fat, i prefer to go to bukit timah hill to job to lost work and keep fit

Seeing the Disney+ launch across the Marina bayfront last week, you’re reminded of a truism of not many years ago, that people would never pay for content if they could get it free. Singapore is a small market for Disney, to be sure, but the world’s largest entertainment company sure made a grand entrance with a spectacular light show to kick off its much-awaited video streaming service. What could account for that brashness and of course extravagance? Well, clearly, it’s that streaming services are no longer a novelty and people are now willing to pay for content. Just two weeks ago, before its Singapore launch, Disney revealed that it had signed up nearly 95 million Disney+ subscribers globally. It plans to have 260 million by 2024. That would bring it ahead of the number of subscribers Netflix has today, which is more than 203.7 million. Netflix added 37 million in a pandemic-stricken 2020. So, what changed between the turn of the millennium, when Napster opened the floodgates to illegal MP3 downloads, and today? Why have so many streaming services flourished? Clearly, consumers got something they would happily pay for. What sealed the deal was a simple, reasonable offer that gave them the content they wanted in a manner they wanted. In Singapore, Disney+ costs S$11.98 a month, or S$119.98 a year, and gives access to 500 films and 15,000 episodes of content, including new episodes of the popular Mandalorian and WandaVision, along with others in the Disney stable. The offer lets you connect up to four devices or users so everyone at home can watch at the same time. Your kids can fire up Frozen 2 on the TV while you catch up on the Mandalorian episodes on the tablet. For Singapore viewers, similar offers are now available from Netflix, Amazon Prime, HBO and Apple TV. In their fierce competition for viewers, the companies behind these services are spending lavishly to get Hollywood A-Listers as well as local talents to create new engaging content. How different a world this is from the dystopian one that the entertainment industry painted all these years ago. You can’t beat piracy by using only the carrot – you have to resort to the stick with legal threats and anti-piracy restrictions, according to many in the industry back then. I still remember when CDs were made to be impossible to “rip” or convert to MP3 tracks, only to be defeated by a community of users who found tools to bypass the copy protection. In 2005, one record company, Sony BMG, even went so far as to create a secret rootkit that was meant to prevent you from copying the tracks but ended up exposing unwitting users to malware. Treating customers as potential thieves was the modus operandi. Back then, there were already conversations about delivering a service that made sense to customers. A simple flat fee and access to a large catalog on a wide number of devices could seal the deal, some optimists opined. More than a decade ago, this was tougher to accomplish because the cloud and content delivery networks were not as advanced as today. Even devices like smart TVs have only really taken off in the past five years or so. But thankfully, the technology has made streaming services a reality, so today most youngsters have no concept of a DVD or CD. Or the idea that content is released at a studio’s fancy to maximise profit in each region, instead of benefiting customers. Companies such as Netflix, which was once a DVD rental company, challenged the strict structures that the entertainment industry had on when and where shows should be released. What’s the big idea? Deliver the content to the people on their terms and they will pay for it. Well, it worked. When it became easy and cheap enough to get the content legitimately, the appeal of piracy surely dropped. It’s true there will always be piracy – there are hardcore users who will never pay. That said, the more effective the carrot, the less need there will be for the stick. Some popular shows like The Mandalorian have been heavily pirated but that’s also partly because Disney+ wasn’t available in more regions than the initial markets such as the United States. As it expands its reach, you’d expect more viewers to sign on. Ironically, the variety of streaming services today has some critics complaining that they have to sign up for several of them to watch all the shows they want. Really? Shall we go back to using a laggy set-top box from your pay-TV operator that was stuffed with all the copy protection technology because you can’t be trusted as a paying customer? When choice is a burden, you know things are better off than before. READ ALSO Jack Neo’s Ah Boys To Men Is Netflix’s Most Popular Singaporean Title Of 2020 And far from the doomsday scenario painted back in 2000, the content industry certainly appears to be doing better than before. It’s certainly more confident people will pay for what it is creating. Read more at https://www.todayonline.com/commentary/they-said-people-wouldnt-pay-content-look-disney-launch-singapore

NAC have to learn that nothing last forever

The Substation cited the inability to return fully to the premises and the loss of autonomy over the space and facilities as reasons for its closure on Mar 2, 2021. (Photo: TODAY/Raj Nadarajan) SINGAPORE: The National Arts Council (NAC) said on Tuesday (Mar 2) that it was “disappointed” with The Substation board’s decision to close permanently, and that the company was “increasingly financially unsustainable”. Earlier on Tuesday, The Substation board cited the inability to return fully to the premises at 45 Armenian Street and the loss of autonomy over the space and facilities as reasons for its closure. It has been a mainstay in the arts scene in Singapore for more than 30 years. The NAC said that the centre has been aware of the decision to renovate 45 Armenian Street since 2017. It met with The Substation board on Feb 15 this year, and has emphasised it would like the firm to continue its role as an “arts incubator”, said a spokesperson for the council. The spokesperson added that the council has “consistently explained” to the centre that it would be welcomed back after the renovations, which are targeted for completion in 2023, but it would be as a co-tenant with other arts companies. “This would allow for more arts companies to benefit from the enhanced space,” said the NAC spokesperson. “The Substation’s request was to return as the sole tenant and to be the only user of the entire space.” “INCREASINGLY FINANCIALLY UNSUSTAINABLE” According to the spokesperson, The Substation had sought autonomy over the whole space so that it could generate income from venue hire, including the space formerly leased to Timbre. Commercial venue hire contributed to a substantial proportion of The Substation’s annual revenue, he added. "However, NAC was of the view that this was neither feasible nor sustainable in the longer term," said the council spokesperson. "In a landscape where there are now more organisations and practitioners, the space would be of greater benefit to the broader arts community, when made available to other arts groups." The NAC said it has been concerned as The Substation was "increasingly financially unsustainable" after 31 years of funding support. "The Government provides almost 90 per cent of The Substation’s income through direct and indirect funding. This indirect funding is through the provision of 45 Armenian Street as subsidised premises to The Substation. It pays around S$70,000 in rental per year," said the NAC in response to CNA’s queries. "At the same time, The Substation lets out part of this subsidised premises on a commercial basis and keeps the proceeds. This includes letting to Timbre, and to various other users, which accounted for S$410,000 to S$525,000 of its income over the past three years.” The council spokesperson said the NAC had explained that it would not be feasible for any arts company to be sustainable if it relies on almost 90 per cent of its income from government funding, including the commercial tenancy income it derives from leasing out parts of the subsidised premises at 45 Armenian Street allocated by the NAC. The NAC said that The Substation's own arts programming activity has "reduced significantly" over the years. It pointed out that the company’s expenditure on programming has been a "small proportion" of total operational expenses, at 23 per cent on average from FY2017 to FY2019. The Substation has also incurred more than S$1.5 million in salaries and other manpower costs. "This would not be sustainable in the long term, and would pose more challenges in a pandemic. Furthermore, there are assets that belong to the company that will need to be replaced as the building ages," said the NAC. "The next two years - when 45 Armenian Street is being upgraded - would have been an opportunity for The Substation to review its current artistic and financial strategies and to rethink its mode of operations as its current model is unsustainable in the long term." CONTINUED SUPPORT FOR THE SUBSTATION The council spokesperson said the NAC has offered continued support for The Substation "through the period of the renovations and beyond", including several interim premises. It also agreed to increase its grant funding during the period while The Substation was operating from such premises. This additional funding would be on top of the funds it has been receiving since 1990, as well as funding from the Government’s COVID-19 support schemes. The grants would have helped to mitigate operational expenses while it was off-site, while allowing The Substation to continue with some programming, said the council. "We had invited them to share their future plans for sustainability and growth so that we could work toward a positive outcome," said the NAC. "We had been prepared to work closely with The Substation to review and draw up plans so that it will uphold its mission and vision, and enhance its contributions to our arts ecosystem." "A HOME FOR THE ARTS COMMUNITY" In an FAQ on its website, The Substation addressed the issue of the use of 45 Armenian Street for multiple arts groups instead of as a single arts centre. It noted the rise in the number of arts groups and space being “at a premium”, but pointed out that it has "always worked with emerging artists and arts groups". The centre said its facilities have been hired out primarily for arts usage and to members of the arts community. “After the upgrading of 45 Armenian Street, if the NAC had seen it fit to return 45 Armenian Street to The Substation, 45 Armenian Street would have continued as a home for the arts community and a myriad of diverse artists and multiple arts groups, as it has been for the last 30 years,” the centre said. It added that NAC's decision to take back control of the premises "appears to have been largely on utilitarian grounds". “In making this decision, it also decided against conserving the identity and the precious heritage, built over the last 30 years, of 45 Armenian Street,” said The Substation. “We believe that there must be other buildings or spaces in Singapore, without such a long intangible heritage and historical significance, that could have served as a multi-tenanted arts facility operated by the NAC. “We understand that all policy decisions come with trade-offs. However, we also note that the arduous work of placemaking also comes with trade-offs, such as the need to prioritise identity and heritage over utilitarian or functionalist concerns.” Source: CNA/ic

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