In Greek mythology, Andromache was the wife of Hector, daughter of Eetion, sister to Podes. She was raised in the city of Cilician Thebe, over which her father ruled; the name means "man battler" or "fighter of men" or "man's battle", from the Greek stem ἀνδρ- "man" and μάχη "battle". During the Trojan War, after Hector was killed by Achilles and the city taken by the Greeks, the Greek herald Talthybius informed her of the plan to kill Astyanax, her son by Hector, by throwing him from the city walls; this act was carried out by Neoptolemus who took Andromache as a concubine and Hector's brother, Helenus, as a slave. By Neoptolemus, she was the mother of Molossus, according to Pausanias, of Pielus and Pergamus; when Neoptolemus died, Andromache became Queen of Epirus. Pausanias implies that Helenus' son, was by Andromache. In Epirus Andromache faithfully continued to make offerings at Hector’s cenotaph. Andromache went to live with her youngest son, Pergamus in Pergamum, where she died of old age.

Andromache was famous for her fidelity and virtue, her character represents the suffering of Trojan women during war. Homer. Iliad VI, 390–470: XXII 437–515 Bibliotheca III, xii, 6, Epitome V, 23. Euripides. Andromache. Euripides; the Trojan Women. Virgil. Aeneid III, 294–355. Ovid. Ars Amatoria III, 777–778. Seneca; the Trojan Women. Sappho's Fragment 44 Andromache was born in Thebe, a city that Achilles sacked, killing her father Eetion and seven brothers. After this, her mother died of illness, she was taken from her father's household by Hector. Thus Priam’s household alone provides Andromache with her only familial support. In contrast to the inappropriate relationship of Paris and Helen and Andromache fit the Greek ideal of a happy and productive marriage, which heightens the tragedy of their shared misfortune. Once Achilles kills Hector, Andromache is utterly alone. Andromache is therefore alone when Troy falls and her son is killed. Notably, Andromache remains unnamed in Iliad 22, referred to only as the wife of Hector, indicating the centrality of her status as Hector's wife and of the marriage itself to her identity.

The Greeks divide the Trojan women as spoils of war and permanently separate them from the ruins of Troy and from one another. Hector's fears of her life as a captive woman are realized as her family is stripped from her by the violence of war, as she fulfills the fate of conquered women in ancient warfare. Without her familial structure, Andromache is a displaced woman who must live outside familiar and safe societal boundaries. Andromache's gradual discovery of her husband's death and her immediate lamentation culminate the shorter lamentations of Priam and Hecuba upon Hector's death. In accordance with traditional customs of mourning, Andromache responds with an immediate and impulsive outburst of grief that begins the ritual lamentation, she casts away her various pieces of headdress and leads the Trojan women in ritual mourning, both of which they did. Although Andromache adheres to the formal practice of female lamentation in Homeric epic, the raw emotion of her discovery yields a miserable beginning to a new era in her life without her husband and without a home.

The final stage of the mourning process occurs in Iliad 24 in the formal, communal grieving upon the return of Hector's body. In Iliad 22, Andromache is portrayed as the perfect wife, weaving a cloak for her husband in the innermost chambers of the house and preparing a bath in anticipation of his return from battle. Here she is carrying out an action Hector had ordered her to perform during their conversation in Iliad 6, this obedience is another display of womanly virtue in Homer's eyes. However, Andromache is seen in Iliad 6 in an unusual place for the traditional housewife, standing before the ramparts of Troy. Traditional gender roles are breached as well. Although her behavior may seem nontraditional, hard times disrupts the separate spheres of men and women, requiring a shared civic response to the defense of the city as a whole. Andromache's sudden tactical lecture is a way to keep Hector close, by guarding a section of the wall instead of fighting out in the plains. Andromache's role as a mother, a fundamental element of her position in marriage, is emphasized within this same conversation.

Their infant son, Astyanax, is present at the ramparts as a maid tends to him. Hector takes his son from the maid, yet returns him to his wife, a small action that provides great insight into the importance Homer placed on her care-taking duties as mother. A bonding moment between mother and father occurs in this scene when Hector's helmet scares Astyanax, providing a moment of light relief in the story. After Hector's death in Iliad 22, Andromache's foremost concern is Astyanax's fate as a mistreated orphan. In Euripides' The Trojan Women, Andromache despairs at the murder of her son Astyanax and is given to Neoptolemus as a concubine. In his Andromache, Euripides dramatizes when she and her child were nearly assassinated by Hermione, the wife of Neoptolemus and daughter of Helen and Menelaus, she is the subject of a tragedy by French classical playwright Jean Racine, entitled Andromaque, a minor character in Shakespeare's Troilus and Cressida. In 1857, she importantly appears in B

Premios Oye!

Premios Oye! are presented annually by the Academia Nacional de la Música en México for outstanding achievements in the Mexican record industry. The awards ceremony features performances by important national and international artists like Robbie Williams, Sarah Brightman, Juanes, Paul McCartney and Lily Allen among others; the awards were established in 2002 by the ANAMUSA in order to reward composers, record companies and every person, involved in the music industry. This recognizes the best of musical production without counting the position where the artists charted in the Mexican Albums Chart; the equivalent of Premios Oye! to the United States's Grammy Awards. It is telecast by Televisa in Mexico through its Canal de las Estrellas and on Univision in the USA; the trophy was created by the recognized Mexican plastic artist Jorge Marín, who previewed the award as a silhouette of a woman. In his own words, he acknowledges that the female body is a perfect body which represents the triumph of its gender and reflects the victory of each winner.

The Muse consists of an alloy with bronze and polished silver, creating a unique contrast that enhances the aesthetic appeal of the trophy. The trophy consists of a woman standing on the world, in her right hand holding the world of music and on the left, a lyre, the symbol of ANAMUSA. Bearing a naked torso and a rising sun on its head, this statue is a collector's item; the awards are divided into 3 groups: Pop and Rock and Popular which includes physical and digital sales. El Consejo de la Comunicación gives an award called Premio Social a la Música to the song or artist that promotes positive values; the Academy dedicated a special tribute to the trajectory of Timbiriche, Marco Antonio Solís, Los Tigres del Norte and Miguel Bosé, first awarded in 2008. The 20 categories as 2008 are: Main Spanish: Spanish Record of the Year Spanish Song of the Year Spanish Breakthrough of the Year Latin Pop Spanish: Pop Male Solo Artist Pop Female Solo Artist Pop Group Pop Breakthrough Latin Rock Spanish: Rock Solo or Group Main English: English Record of the Year English Song of the Year English Breakthrough of the Year Main Popular: Popular Record of the Year Popular Song of the Year Popular Breakthrough of the Year Norteño Solo or Group Grupero Solo or Group Ranchero Solo or Group Banda/Duranguense Solo or Group Tropical Solo or Group Video of the Year Soundtrack ThemeIt is expected that Electronica and Indie categories will be included soon due to success in recent years.

ANAMUSA and record companies are responsible for entering into nomination the works that they deem most deserving. Once a work is entered, reviewing sessions are held by experts selected from the academy; this is done only to determine whether or not a work is eligible or entered into the proper category for official nomination. Some of the rules of nomination process are: Live Records and Best Of are eligible for nominations if they contain at least 2 new records and only participate in Song of the Year according to its category. Any artist can be nominated in Breakthrough Artist of the Year national and international artists who have achieved significant success in Mexico for the first time with records released in the eligibility period; as of 2008, the eligibility period for the Premios Oye! begins July 1 from the previous year to June 30 of the actual year. PricewaterhouseCoopers is in charge of accounting the results of votes from more than 1,700 members of the jury in order to obtain 5 nominees or 6 in case of a tie.

It is responsible for publicizing the winners through sealed envelopes that will be open on the day of the final. 155 Musas of Premio Oye! have been awarded to 95 artists in 9 years. To date Shakira and Alejandro Fernández has won 9 and 8 respectively. List of winners Premios Oye! Year by Year Since Televisa is responsible for the show, that year Nadia and Yahir were nominated for Breakthrough artists in Popular and Spanish and since the artists were alumni from TV Azteca's project La Academia, some media expected the banning of the moments from Televisa since they were promoting their competitor; however there was no banning from the first winner, Nadia, congratulated by the host, Adal Ramones. But the controversy came when Yahir won Breakthrough of the Year because he thanked TV Azteca in a live show transmitted in Televisa Network; some prominent media figures disagreed with the presentation of an award to Angélica Rivera because they said she was an actress, not a singer and the other nominees had more seniority in the music field.

They contended that the award was given to her because the show was on Televisa and her telenovela was successful at the time. However she has a musical background since 90's when she sang in Muñecos de Papel alongside Ricky Martin and Sasha Sokol Official Site Premios Oye

Bensonhurst, Brooklyn

Bensonhurst is a residential neighborhood in the southwestern section of the New York City borough of Brooklyn. The neighborhood is bordered on the northwest by 14th Avenue, on the northeast by 65th Street, on the southeast by Avenue P and 22nd Avenue, on the southwest by 86th Street, it is adjacent to the neighborhoods of Dyker Heights to the northwest, Borough Park and Mapleton to the northeast, Bath Beach to the southwest, Gravesend to the southeast. Bensonhurst contains several major ethnic enclaves, it is known as a Little Italy of Brooklyn due to its large Italian-American population. Bensonhurst has the largest population of residents born in China of any neighborhood in New York City and is now home to Brooklyn's second Chinatown; the neighborhood accounts for 9.5% of the 330,000 Chinese-born residents of the city, based on data from 2007 to 2011. Bensonhurst is part of Brooklyn Community District 11 and its primary ZIP Codes are 11204 and 11214, it is patrolled by the 62nd Precinct of the New York City Police Department.

Politically it is represented by the New York City Council's 43rd, 44th, 47th Districts. Bensonhurst derives its name from Egbert Benson, whose lands were sold by his children and grandchildren to James D. Lynch, a New York real estate developer. Lynch bought the old farmlands of the Benson family in the mid-1880s, by 1888, began selling private lots in an area dubbed as Bensonhurst-by-the-Sea, now Bath Beach; the first sale of lands in "The New Seaside Resort" area was advertised in the July 24, 1888 issue of the Brooklyn Daily Eagle. Through the mid-20th century, Bensonhurst developed as an Jewish enclave. Despite a wave of commercial development in the 1980s, some land had remained undeveloped by then. By the early 2000s, condominiums were being built in Bensonhurst, it had turned into a diverse community of Chinese, Mexican, Middle-Eastern, Russian residents. Based on data from the 2010 United States Census, the combined population of Bensonhurst West and Bensonhurst East was 151,705, an increase of 8,499 from the 143,206 counted in 2000.

Covering an area of 1,890.81 acres, the neighborhood had a population density of 75.7 inhabitants per acre. The racial makeup of the neighborhood was 48.7% White, 0.7% African American, 0.1% Native American, 35.7% Asian, 0% Pacific Islander, 0.2% from other races, 1.2% from two or more races. Hispanics or Latinos of any race were 13.4% of the population. The entirety of Community Board 11 had 204,829 inhabitants as of NYC Health's 2018 Community Health Profile, with an average life expectancy of 83.8 years. This is higher than the median life expectancy of 81.2 for all New York City neighborhoods. Most inhabitants are middle-aged adults and youth: 20% are between the ages of 0–17, 31% between 25–44, 26% between 45–64; the ratio of college-aged and elderly residents was lower, at 8% and 15% respectively. As of 2016, the median household income in Community District 12 was $53,493. In 2018, an estimated 23% of Bensonhurst residents lived in poverty, compared to 21% in all of Brooklyn and 20% in all of New York City.

Less than one in ten residents were unemployed, compared to 9% in the rest of both Brooklyn and New York City. Rent burden, or the percentage of residents who have difficulty paying their rent, is 52% in Bensonhurst, about the same as the citywide and boroughwide rates of 52% and 51% respectively. Based on this calculation, as of 2018, Bensonhurst is considered to be low-income and not gentrifying relative to the rest of the city. In the early 20th century, many Italians and Jewish migrants moved into the neighborhood, prior to World War II, the neighborhood was about Jewish and Italian. In the 1940s, under pressure of an influx of immigrants from southern Italy moving in, leaving the area predominantly Italian. Traditionally, most of the Italians in the area lived in the small apartment buildings centered around the Bay Parkway corridor, with the Jews in the private homes. Around 1989, an influx of immigrants from China and the former USSR began to arrive from Southern China, Russia and Armenia.

In the 2000s, Bensonhurst grew in cultural diversity. Bensonhurst is home to many ethnic Polish, Russian, Bosnian, Turkish, Uzbek, Palestinian, Lebanese, Mexican, Salvadorian and Puerto Rican Americans. In 2000, the New York City Department of City Planning determined that just over half of the residents were born in another country. By 2013, then-Mayor Michael Bloomberg announced that the city's foreign-born population had reached a record high, that Bensonhurst had the city's second-highest number of foreign-born people with 77,700 foreign born immigrants in the neighborhood, just after Washington Heights. With a large Italian-American population, Bensonhurst is considered the main "Little Italy" of Brooklyn; the Italian-speaking community was over 20,000 strong, according to the census of 2000. The Italian-speaking community, though, is becoming "increasingly elderly and isolated, with the small, tight-knit enclave in the city disappearing as they give way to demographic changes." Its main thoroughfare, 18th Avenue between 60th Street and Shore Parkway, is lined with predominantly small, Italian family-owned businesses—many of which have remained in the same family for several generations.

86th Street is another popular local thoroughfare, located under the elevated BMT West End Line. The annual Festa di Santa Rosalia, is held on 18th Avenue from Bay Ridge Parkway to 66th Street in late