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The article presents the discussion on Kim Ximya's verbal assault on the Korean music entertainment industry. Topics include avant-garde aesthetics of early industrial music having an affinity for critical social commentaries from the post-punk scene; and involving the creation of rhythmic intensity appropriate to the musical style or genre being performed.

The rise of Asian ODA donors - Japan, South Korea, China - and their divergence from traditional western donors put forward the question if a distinct Asian-style development cooperation is in the making. In this paper, we attempt to characterize the emergent Asian-style ODA based on donors' own development experiences and assess its effectiveness in terms of fostering “true” ownership of development partners. One particular case, South Korea’s Knowledge Sharing Program to Vietnam, will illuminate the theoretical issues and practical challenges of the Asian-style ODA, which tends to avoid “political interference” while trying to increase capacities of development partners. [ABSTRACT FROM AUTHOR]

An essay is presented on how South Korea was influenced by American popular culture and rock music during the Korean war. It discusses how the Western culture through the U.S. soldiers gave birth to modern "rok" from the traditional style of Korean popular songs known as "kayo," and the Korean music groups such as Add our and Key Boys that formed thereafter. It also provides a brief history of these Korean groups and how individual performers such as Kim Tae-hwan and Han Myong-suk were influenced by American popular and rock artists.

Information about the 13th Biennial Conference of the IASPM on July 25-30, 2005 in Rome, Italy is presented. The Korean panel was attended by ten attendees who have been studying East Asia. Shelley Brunt and Jeroen de Kloet presented papers on Asian popular music. The conference was organized into five streams that merged into the common theme of making musical meaning.