Korean popular music (K-pop) has expanded its cultural reach among Western audiences over the past 20 years (Lie, 2015), and groups like BTS and BLACKPINK have achieved unprecedented global success recently (McIntyre, 2022). As K-pop evolves into a global cultural export, scholars have paid more attention to the code-mixing of English within its lyrics (Yeo, 2018; Ahn, 2021).

Africa’s regional archives offer crucial records to explore the continent’s postcolonial past. Although these archives are often difficult to locate and access and are exposed to several challenges that might even threaten their existence, this article presents a solid case for reconsidering their importance. Recent trends, aptly labelled ‘postcolonial African archival pessimism’, have mainly pointed to problems and often to the limited accessibility of state archives in some regional and local contexts. This article instead engages with their potential, discussing four case studies in Benin, Cabo Verde, Ghana and Congo-Brazzaville. Results stemming from these case studies are brought into contact with wider debates on custodial cultures and the regional archives’ role in contemporary sub-Saharan Africa. The intention is to provide a more positive and empirically based overview of research possibilities at regional archives and ultimately to change the nature of our approach to these resources.

This article traces bricolage in the city of Lomé, Togo, as it is given meaning, practised and resisted by the ‘makers’ involved in the city’s makerspaces. While the Lévi-Straussian definition of bricolage as ‘making do’ given limited resources is heralded as an innovative practice in the Euro-American Maker Movement, Lomé’s makers appear to distance themselves from the concept due to its perceived stigmatization in both Lomé and Francophone Africa as a devalued survival practice through improvisation. Through their identification as ‘makers but not bricoleurs’, and their expression ‘we deserve new things’, I unpack the ambiguous relationship Lomé’s makers have with bricolage, and how their disavowal of the concept reveals more about the global infrastructural inequalities that surround it. By foregrounding the critical self-awareness of Lomé’s makers, I explore how ethnography allows for the de-centring and decolonization of foundational concepts and ideologies, as the makers challenge and reclaim bricolage to arrive at a future where it is no longer a necessity but a choice.

This paper presents an integrated power amplifier (PA) following the orthogonal load-modulated balanced amplifier (OLMBA) topology. The fixed-phase prototype in this paper is implemented with 22 nm complementary metal oxide semiconductor (CMOS) fully depleted silicon-on-insulator (FDSOI) process. The proposed PA operates at 26 GHz frequency range, where it achieves 19.5 dBm output power, 16.6 dB gain, 15.7% power added efficiency, and 18.3 dBm output 1-dB compression point ($P_{\rm 1\,dB}$). The PA is also tested with high dynamic range modulated signals, and it achieves, respectively, 11.4 dBm and 4.9 dBm average output power (Pavg) with 100 MHz and 400 MHz 64-QAM third-generation partnership project/new radio frequency range 2 signals, and 14 dBm Pavg with 0.6 Gb/s (120 MHz) single carrier 64-QAM signal, measured at 26 GHz and using −28 dBc adjacent channel leakage ratio and −21.9 dB (8%) error vector magnitude as threshold values. The proposed OLMBA is also compared to a stand-alone quadrature-balanced PA. Modulated measurements show that the stand-alone quadrature-balanced PA has better linearity in deep back-off, but the OLMBA has better efficiency.

We present two exceptional cases of 14-year-old girls diagnosed with rare cardiomyopathies (left ventricular non-compaction, and arrhythmogenic right ventricular cardiomyopathy), both presenting with the unusual finding of bidirectional ventricular tachycardia.