One AsiaOne forum user, stnomygawd, who heard the song said: "I prefer the old patriotic songs, like 'Count on me Singapore'."
Another forum user pointed out that songs from older National Day Parades were more significant: "The older songs have more meaning and when singing them, give us good memories of our younger days."
This is the most fucked up National Day song ever...
Be prepared on 9th August to see live on TV, the crowd consisting of Grassroots por lumpars, chao Ah Nehs, Ah Tiongs. all of them swaying to this shitty song...
This is the most fucked up National Day song ever...
Be prepared on 9th August to see live on TV, the crowd consisting of Grassroots por lumpars, chao Ah Nehs, Ah Tiongs. all of them swaying to this shitty song...
Will KeeChiu be ushering the old folks?
This Haresh Sharma is the clever prick who murdered the Lady Gaga song and converted it to be our National Day song...
<a href="http://s1205.photobucket.com/albums/bb440/zeddy9/?action=view&current=haresh01.jpg" target="_blank"><img src="http://i1205.photobucket.com/albums/bb440/zeddy9/haresh01.jpg" border="0" alt="Photobucket"></a>
This Haresh Sharma is the clever prick who murdered the Lady Gaga song and converted it to be our National Day song...
Sharma sees playwriting as a liberating experience for him. Many of his plays are concerned with Singaporean and global issues. His works have dealt with social themes that include mental illness, AIDS, interracial relations and the educational system in Singapore.
Sharma does not adhere to a particular or single form of playwriting, preferring to experiment with different forms. His plays have been written either from "scratch", based on field research, or in a collaborative mode with input and improvisations from other playwrights, directors and actors. In addition, he foresees a greater inclusion of choreography and multimedia in his future works. Hence, Sharma prefers to experiment with different forms of playwriting as to him there is no one audience and no one uniform response to his plays.
Form however, does not override his concern with the development of characters in his plays. This is because an audience accesses the play most directly through people, that is, character.
Education
Temasek Junior College.
1990 : Bachelor of Arts, National University of Singapore.
1995 : Master of Arts (Playwriting), University of Birmingham.