A work song is a song sung while doing labor or any kind of work.
 Usually the song aids in keeping rhythm or is used as a distraction.
 Work songs can include content focused around the surrounding environment, resistance, or protest.
 Many different groups throughout history have sung work songs, but enslaved African-American women have a unique history associated with work songs.
 Because of their particular positionality as African-American enslaved women, their work songs portray their specific standpoint and experiences during the slavery period in the United States.
A samba school (Portuguese: "Escola de samba" ) is a dancing club or school.
 They practise and often perform in huge square-compounds ("quadras de samba") devoted to practising and exhibiting samba, an African-Brazilian dance.
 The schools (which are structured more like a guild than a school in the usual sense) have a strong community basis and are traditionally associated with a particular neighborhood.
 They are often seen to affirm the cultural validity of the Afro-Brazilian heritage in contrast to the mainstream education system.
 and have evolved often in contrast to authoritarian development.
 The phrase "escola de samba" is popularly held to derive from the schoolyard location of the first group's early rehearsals.
 In Rio de Janeiro especially, they are mostly associated with particular shanty towns ("favela") .
 Samba and the samba school can be deeply interwoven with the daily lives of the shanty-town dwellers.
 Throughout the year the samba schools have various happenings and events, most important of which are rehearsals for the main event which is the yearly carnival parade.
 Each of the main schools spend many months each year designing the theme, holding a competition for their song, building the floats and rehearsing.
 It is overseen by a "carnavalesco" or carnival director.
 From 2005, some fourteen of the top samba schools in Rio have used a specially designed warehouse complex, the size of ten football pitches, called Samba City (Cidade do Samba) to build and house the elaborate floats.
 Each school's parade may consist of about 3,000 performers or more, and the preparations, especially producing the many different costumes, provide work for thousands of the poorest in Brazilian society.
 The resulting competition is a major economic and media event, with tens of thousands in the live audience and screened live to millions across South America.
Alembic was a poetry magazine established by Peter Barry, Ken Edwards, and Robert Gavin Hampson, which appeared eight times during the 1970s.
 The first issue appeared in 1973: it was a collection of poems by Barry, Edwards, Hampson and Jim Stewart with graphic work by John Simpson, Robert Snell and Sibani Raychaudhuri.
 The work was printed on different colours and sizes of paper - and contained in a plastic bag.
 It was sold at the Edinburgh Festival of 1973, where Hampson was working with the Liverpool-based multimedia group Zoom Cortex.
 (See Adrian Henri, "Events and Happenings", Thames and Hudson, for Zoom Cortex.)
The second issue maintained the same format (a collection of loose pages in a plastic bag) but with an increased number of poets.
 Richard Kostelanetz's assemblages have been described by the editors as their model for this mode of publication.
 With the third issue, the magazine adopted the standard little-magazine format of the time: A4 pages, card cover, stapled.
 Alembic 3, 4 and 5 also marked a more self-conscious engagement with contemporary London-based experimental poetry.
 "Alembic" 3 (Spring 1975) announced the intention to engage with "one area of contemporary creative practice' in each issue in order to represent the range of poetry being written in the UK.
 This issue focused on contemporary work that had its roots in surrealism.
 It included Lee Harwood's essay 'Surrealist Poetry Today', which had been a talk given at the Poetry Society, and it included work by Harwood, Paul Matthews, Jeff Nuttall, Heathcote Williams and others.
 "Alembic" 4 was edited solely by Hampson and was dedicated to open field poetry and the idea of place.
 Allen Fisher was the featured poet: in addition to work by him, there was also an interview with him conducted by Barry and Edwards.
 This issue also included work by Roy Fisher, Eric Mottram, and a small number of American poets, including Alan Davies, who was to be associated with LANGUAGE poetry.
 "Alembic" 5 (Autumn 1976)was edited solely by Edwards and focused on experimental prose, including work by Paul Buck, Opal Nations, Jeff Nuttall, Maxim Jakubowski, David Miller, the Canadian writer Greg Hollingshead and James Sherry, who was also associated with LANGUAGE poetry.
 This issue was also the first to be offset.
 (Like "Alembic" 4.
 it had a wrap around cover rather than card.)
 "Alembic" 6 (Summer 1977)was again solely edited by Hampson.
 It included further work by contributors to earlier issues.
 The featured poet was the Australian poet David Miller: as well as poems and essays by Miller, there was also poetry by Robert Lax and a reprint of work by Charles Madge, on both of whom Miller had written.
 In addition, there was also work by Rosmarie Waldrop, Tom Leonard, Elaine Randell and Barry MacSweeney.
 "Alembic" 7 (Spring 1978), edited by Edwards and Hampson out of Lower Green Farm, was the 'Assemblage Issue', assembled by inviting a range of poets and visual artists to provide the contents.
 It included work by Jeremy Adler, Paul Buck, Herbert Burke, Paula Claire, cris cheek, Bob Cobbing, Glenda George, Robert Sheppard, E. E. Vonna-Michel, Lawrence Upton and others.
 A particular feature of this issue was that every cover was different: they were hand-printed by Vonna-Michel with a rubber-stamp used for the title.
 "Alembic" 9 (to be edited by Hampson) was promised, but never appeared: Edwards had begun to publish "Reality Studios" as a slimmer, faster and more frequent publication.
 This eventually metamorphosed (through an amalgamation with Wendy Mulford's Street Editions) into Reality Street, which has been a major publisher of experimental poetry and prose since the 1980s.
In number theory, Tate's thesis is the 1950 thesis of under supervision of Emil Artin.
 In it, he used a translation invariant integration on the locally compact group of ideles to lift the zeta function of a number field, twisted by a Hecke character, to a zeta integral and study its properties.
 Using harmonic analysis, more precisely the summation formula, he proved the functional equation and meromorphic continuation of the zeta integral and the twisted zeta function.
 He also located the poles of the twisted zeta function.
 His work can be viewed as an elegant and powerful reformulation of a work of Erich Hecke on the proof of the functional equation of the twisted zeta function (L-function).
 Hecke used a generalized theta series associated to an algebraic number field and a lattice in its ring of integers.
Crowder Canyon Archaeological District is an archaeological district located in Cajon Pass in San Bernardino County, California.
 The district consists of several sites associated with Native American occupation during the Millingstone Horizon.
 The sites in the district include habitation areas, work camps, and activity sites used for a single function.
 At the time of its discovery, the district was the furthest site inland associated with the Millingstone Horizon, though other sites further inland have since been discovered.
 The first excavations at the site took place in the 1940s; later surveys and excavations were conducted by the Southern California Gas Company and Caltrans prior to construction work in the area.
Vulgar auteurism is a term used to describe a movement in film criticism associated with championing or reappraising filmmakers, mostly working in the action genre, whose work has supposedly been overlooked or unfairly maligned by the critical mainstream.
 Initially associated with the social network and streaming service Mubi and its online film magazine, "Notebook", vulgar auteurism became a controversial topic in the cinephile community following the publication of an article in the "Village Voice" in 2013.
 It has been described as "a critical movement committed to assessing the 'unserious' artistry of popcorn cinema with absolute seriousness."
Elizabeth Campbell along with her husband William (Bill) Campbell first proposed that artifacts found along the shores of Lake Mojave and other Pleistocene lakes and rivers of the desert West were contemporaneous with the presence of water.
 Furthermore their investigations showed that there were virtually no sites that were not associated with archaic water sources.
 They hypothesized that the geologic features associated with the artifacts could be used to date the period of human habitation.
 This is the first use of what has become known as environmental archaeology.
 Their work proposed a much earlier date for the presence of man in the desert Southwest than was generally accepted.
A positive pressure enclosure, also known as welding habitats or hot work habitats, is a chamber used to provide a safe work environment for performing hot work in the presence of explosive gases or vapours.
 They are used most often in conjunction with the need for welding, and are often associated with the offshore oil industry.
Akershus Fortress (Norwegian: "Akershus Festning" ) or Akershus Castle (Norwegian: "Akershus slott" ) is a medieval castle that was built to protect Oslo, the capital of Norway.
 It has also been used as a palace and as a prison.
Petter Andreas Holger Sinding-Larsen (5 July 1869 – 12 December 1938) was a Norwegian architect.
 He is most associated with his work at Akershus Fortress, where he was a member of the restoration committee and architect from 1905-1922.

Question: Holger Sinding-Larsen was most associated with his work at a fortressed used as what?
Answer: used as a palace and as a prison