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Amiga Rica

Suni Paz musical creations draw from her extensive knowledge of Latin American and Spanish musical tradition making this CD and all CDs in the series a powerful introduction to the Hispanic musical heritage.

Amiga Rica

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This handbook, inspired in the Transformative Education process developed by Alma Flor Ada and F. Isabel Campoy, explores the use of songs in the classroom and provides specific suggestions to be applied with Música amiga.

The production of the Música amiga series has been one the highlights of my life as an author. Although these books may have a much humbler physical appearance than many other of my books, this program combines the creativity of three extraordinary artists and human beings: Isabel Campoy, Suni Paz and Ulises Wensell. Furthermore the product was originally published by my son Alfonso Zubizarreta and its production was one more expression of his support for my work.

Many of the poems/songs that appear in Música amiga were originally part of the Reading Program Hagamos caminos, and signify the first time that Suni Paz and I collaborated. I have mentioned in many occasions that having such an excellent musician create music for my poems has been one of my greatest satisfaction.

CWM is proud to support 37 Mano Amiga campuses in 8 countries throughout Latin America and the Philippines. Thanks to you, more than 22,000 children have been educated at a Mano Amiga school. 22,000 children who would have never had the chance to go to school otherwise. 22,000 children who will grow up to give back to their communities as doctors, teachers, and loving parents, all because you made it possible for them to get a high quality, life-changing Catholic education at a Mano Amiga school!

The reason we went through all this is so we can play games, right? So how do we add them? I normally store my games in the floppies folder on my MicroSD card, under amiga_files. Games are in ADF (Amiga Disk Format). Think of them as a snapshot of an Amiga diskette. Some games require multiple disks, and there are two ways to handle them: you can load each disk under the "floppies" section of the emulator, or you can ZIP the files and load the ZIP file onto the "floppy." They will automatically be extracted when you hit the Reset button. If you ever need to add a floppy mid-game, press F4 to pause the game and return you to the emulator window. From there, you can add the new disk under "floppies" and hit the Resume button.

It was ported to the Nintendo Entertainment System under the shortened title of Super C in North America and as Probotector II: Return of the Evil Forces in Europe. Both the arcade version and the NES version have been re-released for various other platforms since their original releases.

Two versions of the Super Contra arcade game were produced: an English version (which was distributed not just in North America, but also in Europe, where the game retained its original title,[6][7][8][9] in contrast to the Gryzor variant of the first arcade game) and a Japanese version. The two versions of the game are almost identical aside from the language of the text shown during the intro sequence. However, the English version ends the game after the player has cleared the final stage, whereas the Japanese version restarts the game from the first stage after the end credits are shown. On the second loop, the player's score, lives and weapons (including hyper shells) will be carried over from the previous playthrough and the game's difficulty will be set to its highest level (regardless of the machine's actual setting), but the continuation feature will cease to be available. This means the game will be completely over when the player completes the final stage again or runs out of lives.

A home version of Super Contra was released for the Nintendo Entertainment System on February 2, 1990, in Japan and in April 1990 in North America, where it was retitled Super C. A PAL version of the NES game, titled Probotector II: Return of the Evil Forces, was released in 1992.

The original arcade soundtrack was rearranged for the Japanese and North American versions by Hidenori Maezawa. Because the soundtrack used DPCM samples of orchestra hits, Yuichi Sakakura altered the sound driver for Probotector II to avoid playing the samples out of tune (a common occurrence in previous NTSC-to-PAL conversions).[10]

A pair of computer versions of Super C developed by Distinctive Software were released in North America for the Amiga and IBM PC compatibles by Konami in 1990. Despite bearing the NES version's title of Super C, the computer ports are based on the original arcade game.

The NES version also saw several rereleases. The 2002 Windows compilation Konami Collectors' Series: Castlevania and Contra features Super C along with the NES version of the original game, as well as the first three Castlevania games for the system. Super C was later released as a Virtual Console title in North America in 2007.[13] A corresponding release for Probotector 2: Return of the Evil Forces was made for the European and Australian Virtual Console.[14] The Famicom Super Contra was released for the Japanese Virtual Console on February 12, 2008.[15] Both the NES versions of Contra and Super C are also included as unlockable bonuses in the Nintendo DS game Contra 4, also released in 2007. The NES version of Super C is also released on the Virtual Console for 3DS and Wii U as well as the NES Classic Edition compilation; released in 2013, 2014 and 2016, respectively.[16][17][18] Like its arcade counterpart, the NES game is included on the Contra Anniversary Collection compilation from 2019.[12]

Comienza escuchando a tu amiga. Deja que saque toda la historia sin interrumpirla. No tienes que entender cada detalle. Es importante que suelte parte de la carga que ha estado llevando y que ya no se sienta sola.

Pregúntale a tu amiga si alguna vez escuchó sobre la ayuda a las personas que la están pasando mal después de un aborto. Existen lugares seguros donde personas capacitadas pueden ayudarla a superar el profundo dolor y la pérdida, y darle esperanza. Hay consejeros, sacerdotes y ministros preparados para ayudar, como también grupos de apoyo y retiros. Ofrécele el nombre y teléfono del Ministerio del Proyecto Raquel local. Puedes darle la dirección de este sitio digital:

Si ves a una amiga que lucha contra la tristeza y la confusión emocional, y crees que el aborto pueda ser la causa, sabrías cómo tratar el tema sin preguntar directamente si el aborto es la causa de su dolor? Sugerencia: en algún momento y lugar apropiados, podrías decir algo como esto:

If you want a bigger engine like a V6 or V8, it is not common in Costa Rica and will be difficult to find. If you find one, it will be much more expensive since cars in Costa Rica have small engines. Cars with big engines are considered high premium so be prepared to pay more if you want to rent an automatic, V6 engine, American car.

In MemoriamDeb Cohen (1955-2020) Elaine M. Miller Deb Cohen, Professor Emerita of Spanish at Slippery Rock University in Pennsylvania, passed away suddenly on March 13, 2020. After working in the travel industry, Deb earned her PhD in Spanish from the University of Kansas, where she wrote a dissertation about the plays of Mexican dramatist Rodolfo Usigli under the direction of George Woodyard and served as Latin American Theatre Review's Editorial Assistant. Those who knew Deb well remember her as an insightful scholar of Mexican and Central American theatre, an effective teacher, an accomplished play translator, and a talented lighting designer and set painter for theatrical productions.

Deb's earliest contributions to Latin American theatre studies include articles in Latin American Theatre Review on the plays of Usigli and Luisa Josefina Hernández. Travel to Honduras sparked her interest in that country's popular theatre during the 1980s, leading her to co-author two articles with Kenton V. Stone, one on Teatro de la Basura and the second on Jack Warner and Teatro La Fragua. When accompanying students studying abroad in Costa Rica, she researched that country's theatre and became known for her pioneering work on its New Wave dramatists, who began writing plays in the 1980s. Her articles offer feminist interpretations of plays by Claudia Barrionuevo, Ana Istarú, and Melvin Méndez, analyze the critique of political corruption in plays by Barrionuevo, Walter Fernández, and Ailyn Morera, and examine the historical theatre of Jorge Arroyo, Leda Cavallini, Lupe Pérez Rey, and Miguel Rojas. Deb's final scholarly project was Diálogos dramatúrgicos Costa Rica-México, an anthology of six plays co-edited with Elaine Miller and published by Editorial Memoria en Movimiento.

Deb's collaborative nature was evident not only in her publications but also during conferences, for which she regularly organized panels. She would not hesitate to state her honest opinion when advising colleagues in the early stages of their careers or evaluating manuscripts for the Latin American Theatre Review. Students benefited as well from her excellent mentoring skills, [End Page 149] with many of them posting on social media after her passing about how "Dr. Deb" had helped them to learn the basics of the Spanish language. She also enriched their extracurricular life by hosting an international music hour on the campus radio station and serving as faculty advisor for the LGBTQ club.

Although we will miss Deb tremendously, we will always remember her creativity, clever sense of humor, and zest for life. Since Deb's family has a tradition of commemorating the date of a departed loved one's birth or passing with a toast of one's favorite beverage, I believe that Deb would appreciate our raising a glass in her honor: Un brindis por nuestra querida amiga y colega que nos sonríe desde las estrellas! [End Page 150] 041b061a72


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