Brad Pitt on Larry King podcast (1)
Brad Pitt on Larry King podcast (2)
Brad Pitt on Larry King podcast (3)
Brad Pitt on Larry King podcast (4)
Brad Pitt on Larry King podcast (5)
Thursday, December 20, 2007
Tuesday, December 18, 2007
Brad Pitt busy making it right in the Lower 9th Ward
Brad Pitt is my hero.
At the center of a buzzing construction zone in the heart of the worst-ravaged corner of the Lower 9th Ward, movie megastar Brad Pitt took a break Sunday afternoon to imagine the future.
Strewn around him a half-mile in every direction were hundreds of enormous pink blocks, 8-foot-high boxes and huge triangular wedges, representing the uprooted foundations and dislocated roofs that littered the area beside the Industrial Canal for months after Hurricane Katrina.
"Right now there are scattered blocks, like they were scattered by fate's hand, symbolic of the aftermath of the storm," Pitt said as crews installed more of the metal-and-tarp structures. "But we will be flipping the homes, essentially righting the wrong."
In his first extensive one-on-one interview since moving his family to New Orleans last year, Pitt shared with The Times-Picayune on Sunday details of this next phase of his $12 million "Make It Right" project: a vast public art display to be unveiled today as a fundraiser to expand the project beyond its initial goal of 150 homes, and possibly into other neighborhoods and parishes.
Pitt, 43, also spoke of his years-long love for New Orleans, which he thinks will thrive again despite the propensity of some public officials to let the city "die on the vine," and his hope that national leaders will use the ongoing disaster as an impetus to retool public policy with an eye toward the poor.
Katrina "illuminated the brutal truth that there's a portion of our society that we're not looking after, that we are marginalizing. And that shouldn't be," said Pitt, who watched the horrific televised images of the flooded city in 2005 from Calgary, Alberta, where he was filming the 2006 movie "The Assassination of Jesse James."
Green-friendly homes
• Hear the interview
Steering the conversation away from himself, Pitt focused on Make It Right's efforts to build affordable, environmentally friendly, storm-safe houses for residents of the Lower 9th Ward on the same lots where their old homes once stood. In announcing the project in September at a meeting of world leaders on global warming, Pitt and philanthropist Steve Bing pledged $5 million each to jump-start the project.
"This cannot be about me," he said Sunday from inside a trailer at the project site. "I am fortunate to have a big spotlight in my hand, and I can point it in a direction."
Today that place will be the section of the Lower 9th Ward best-known as the spot where a barge came to rest after floating through a fractured levee. Pitt is slated to lead news reporters on a tour around the area's conglomeration of pink art pieces, then to issue a public call to corporations, foundations and church organizations around the world to "adopt" the blocks, for $150,000 each, to support his project.
Donors also will be invited to make smaller gifts -- from $5 to $45,500 -- to sponsor the individual elements of the houses' eco-friendly designs, such as fluorescent bulbs, low-flush toilets and solar-panel installations. More information is available at the project's Web site, www.makeitrightnola.org.
With the average house slated to cost between $100,000 and $174,000, planners expect participants to contribute some money, including insurance and Road Home proceeds, toward construction. But they expect most homeowners will fall about $70,000 short of paying off their new homes. To fill the gap, Make It Right plans to offer forgivable loans of as much as $100,000, with the caveat that applicants must have owned a home or lot in the Lower 9th Ward before Katrina.
Pink 'screams the loudest'
Eventually, Pitt said, planners will turn the all-natural pink fabric covering into novelty items, such as bags, that will be sold to raise more money.
"Why pink? For me it screams the loudest," Pitt said. "It says that this place, where so many people thrived, is still sitting there like a barren wasteland, and we can change that."
In addition to being a tool for fundraising, the giant pink pieces will, Pitt said, become the ornamentation for a nightly driving tour in the style of City Park's annual "Celebration in the Oaks" festival, albeit with a more somber focus. Expected to open to the public Tuesday evening and extend for five weeks, the tour will feature the large pieces interspersed with 1,000 smaller bulbs representing the residents who died in Katrina. All the lights will be solar-powered, he said.
In addition, the whole installation will be laid out in the precise pattern of the constellations as they glowed on the night of Aug. 29, 2005, he said.
Though the vast work of art aims to draw attention to the Make It Right project, Pitt said it also reflects the "vitality" of the city that he first visited in 1994 during the filming of "Interview with the Vampire" and adopted as his home a year ago, when he and his partner, actress Angelina Jolie, bought a house in the French Quarter.
New Orleans is "the only place that we could do something as crazy as what you see out there and it not be considered so crazy, that it (could) actually be fun," he said. "This is the place of Mardi Gras. This is the place where I had a parade going by my house yesterday. I have no idea what for. It was at noon. I have no idea, but it made me smile."
'We love it here'
Saying he plans to spend the next several weekends in the city, Pitt reiterated a point he has made before: that New Orleans offers himself, Jolie and their four children uncommon tranquillity.
"We love it here," he said. "And for some reason we can have some semblance of a normal life here. The folks treat us so well and give us space and let us be a family. We don't have that luxury in other major cities."
A prime focus of Pitt's work in the coming months will be helping a team of nearly 200 planners, many working for free, turn Make It Right plans into reality. Tom Darden, the project's executive director, said 13 architecture firms from around the globe that lent their efforts pro bono have finished schematic designs and are working on blueprints.
Eight pilot families have been chosen, all with lots in the three blocks of Tennessee Street between North Claiborne Avenue and Galvez Street, Darden said. Construction is expected to begin by the end of March.
"I am telling you, there are going to be families returning into homes, they'll be spending Christmas here next year," Pitt said. "They won't have to spend another Christmas away from home. Next Thanksgiving: turkey dinner."
Pitt acknowledged that even as Make It Right nears groundbreaking on its pilot homes, the project he first pitched to residents in February has faced hurdles, including the deep skepticism of a community where residents lived for years amid abandoned properties, failing public schools and escalating crime fueled by the illegal drug trade.
Cautiously optimistic, residents demanded full participation in the project. And they got it by way of weekly meetings in their neighborhood with architects and planners. Each time architects returned from their drawing boards, residents have said, their plans included more of neighbors' suggestions, from the inclusion of backup fuel sources for solar-powered appliances to wheelchair ramps to reach elevated first floors.
"I come from Missouri," Pitt said. "They call it the Show Me State. I grew up with the same nature. When you know the story here, (can you) question that the locals here would question some outsider coming in?
"Look at the way the freeways are laid in," he said. "They're just laid right on top of neighborhoods. It's so clear some of them were laid out for the needs of a few and not the needs of many."
'A social justice issue'
Aiming to even the balance, Pitt -- a professed "technology junkie" -- has steered his curiosity about advances in environmental design into a requirement that any Make It Right house incorporate such items as energy-efficient appliances, south-facing roofs laden with solar panels, outdoor space for composting, and interior finishes made from products that are not harmful to residents' health or the environment.
"This to me is a social justice issue, too," he said. "They're not getting the crap materials that give your kids asthma, increase your health bills. They're not getting the cheap appliances that are going to run up your bills and keep that burden on you. It's a respectful way to treat people."
Broadly, Pitt said he hopes such issues will be raised during the 2008 presidential campaign. He also wants candidates to address directly the ongoing struggle of hurricane victims across the Gulf Coast.
"I would challenge all the candidates to focus on what's going on down here, what's not going on here," he said. "We're going to build some houses here, but there are bigger issues that need to get answered here, such as education and health. These need to be major factors of the campaign.
"My point is: If you can't get it right down here, you're not getting it right anywhere. This is the place to do it, and there's definitely a need for it right now. I hope to see it become one of the major issues of the upcoming campaign, not as a tool to beat the past administration but as a real focus on the problems of this country."
Even as Make It Right revs up, Pitt said he remains concerned about New Orleans' future and criticized the failure of local leaders to make clear decisions, such as which parts of the city will be rebuilt and how.
"Someone said that it was like it was being left to die on the vine, and I couldn't put it any better than that, meaning there's no real effort either way," he said. "There's just been no clear line drawn."
Public officials say, "'We want you to come back, but we're only going to give you a little bit (of money) to come back.' It just hasn't been a strong enough, clear plan of direction," he said.
Nevertheless, Pitt said residents' resilience will pull the city back to its feet.
"The thing is, I don't believe it will ever die on the vine," he said. "There's just too many seventh-generation families. They're not letting this place go under."
Michelle Krupa, staff writer December 02, 2007
Michelle Krupa can be reached at mkrupa@timespicyune.com or (504) 826-3312.
Sunday, December 16, 2007
The Long Journey of Sharon Jones & the Dap-Kings
Sharon Jones "It's a Man's World" Encore!!!!!
Sharon Jones & the Dap-Kings are a funk/soul band. They are signed to Daptone Records, where the Dap-Kings are the house band. They are widely thought to be spearheads of a revivalist movement that aims to capture the essence of funk/soul music as it was at its height in the mid-1960s to mid-1970s. Part of the way this is achieved is to shun modern digital recording methods in favour of using traditional analogue recording equipment. The type of instruments used by the band may also be considered limited to those that would have been available up until the mid seventies.
Daptone: a new label and the birth of the Dap-Kings
In 2000, due to a growing difference of opinion, Lehman and Roth decided to go separate ways and both set up new labels. Philip Lehman set up Soul Fire Records (now defunct, the back catalogue is handled by Truth & Soul Records). Gabriel Roth went on to start Daptone Records with Sugarman 3 saxophonist Neal Sugarman. The Soul Providers split and a new band, the Dap-Kings formed. The band was consisted of label owners Roth AKA Bosco Mann on bass and Neal Sugarman on Saxophone, plus original Soul Providers: guitarist Binky Griptite, organist Earl Maxton, percussionist Fernando Velez and trumpeter Anda Szilagyi. Joining them were original members of the Mighty Imperials whose album, Thunder Chicken, was the last release on the Desco label: tenor saxophonist Leon Michels and drummer Homer Steinwess.
Having secured a summer residency at The Boite, a club in Barcelona, Spain, the band recorded an LP, Dap Dippin' with Sharon Jones and the Dap-Kings in 2001. A few hundred copies were pressed, so that sales during the residency would provide financial backing on what would have otherwise been a financially disastrous trip. With promotional copies reaching notable funk DJs and reviewers, the album gained a significant reputation and was officially released as the first LP and CD on Daptone Records in 2002 to universal acclaim amongst enthusiasts. In their review at the time, quarterly hip-hop and funk magazine Big Daddy (defunct) suggested that it might be the best new funk album ever, credited Roth with being "one of the best analogue producers there is" and stated "this LP is a major triumph and a new standard has been set".
An exhausting schedule of international shows then followed to promote the album and it quickly became clear that promotion of Sharon Jones would be key to the success of the Daptone label. Whilst trying to build upon the revue style stable showcasing and trying to record other groups and artists on the label, other projects have to a certain extent been sidelined in favour of building on the success of Sharon Jones. Expected albums from Lee Fields and Naomi Davis have so far been victim to a lack of time, funds and energy a small independent label has. Neal Sugarman's own band Sugarman 3 who have themselves released several popular albums including one on the Daptone label, Pure Cane Sugar, have also been somewhat sidelined.
Following the album, three 45's of note, not included on the album where also released. "What If We all Stopped Paying Taxes", released in 2002 just ahead of the U.S. Election, was a militant anti-war statement denouncing the Iraq War. "Genuine (parts 1 & 2)" in 2004 was an uncompromisingly hard funk record which firmly kept the interest of enthusiasts and their cover of "Just Dropped In (To See What Condition My Condition Was In)", released in 2005 but which was apparently recorded for a KFC commercial in 2002 but was never used.
Desco: the early years
The original incarnation of the band, the Soul Providers, were formed in the mid nineties by Philip Lehman and Gabriel Roth AKA Bosco Mann. The Soul Providers began recording an album consisting of James Brown inspired instrumentals and vocal collaborations with Deep Funk legend Lee Fields. It was during these sessions that Roth and Lehman discovered vocalist Sharon Jones after she recorded backing vocals for one of the Lee Fields tracks. They were impressed enough to record a solo track with Jones entitled "Switchblade", a track that had originally been intended for a man to record. This track along with another Jones solo, "The Landlord", were included on the Soul Providers debut release Soul Tequila, released circa 1996 on the French label Pure Records (defunct). Lehman and Roth then started a new label in Brooklyn, New York. Desco Records was born taking its name from Desco Vacuum, a vacuum cleaner store in West 41st Street underneath which they utilised the basement as studio space and an office to administer and distribute the label. Sugarman 3 organist Adam Scone just happened to live upstairs in the same building. The Soul Tequila album was then reissued as a vinyl only LP renamed Gimme The Paw. The record, which featured Lehman's pet dog Spike on the cover, only kept one of the Sharon Jones collaborations, "Switchblade", omitting "The Landlord".
Having established a scene in New York of performers, Desco aimed to showcase a stable of artists with revue style shows and concentrated on releasing vinyl 45 records by a number of artists including Sugarman 3, The Daktaris, The Mighty Imperials, Naomi Davis & The Knights of 41st Street, Lee Fields, Joseph Henry and Sharon Jones, who backed by the Soul Providers who had become the Desco house band, released three 45's on the label. Desco Records were gaining intrigue and reputation for quality amongst soul/funk collectors and enthusiasts. Many people who bought the early records were unsure that they were modern recordings as recording dates were deliberately omitted from the labels and were often marketed as being released in the 1970s. Two other Soul Providers albums were released, an instrumental soundtrack to a mysterious Sam Lung Kung-Fu film, The Revenge Of Mr Mopoji, credited to Mike Jackson And The Soul Providers and a Lee Fields solo album Let's Get A Groove On where the Soul Providers provided the backing.
Personnel changes
By this time there were a few personnel changes, as organist Earl Maxton and trumpeter Anda Szilagyi officially became members of Antibalas, a New York based afrobeat band. Whilst Maxton was not replaced on organ, Trumpeter David Guy was recruited on trumpet. Also from the Budos Band, Thomas Brenneck, a second guitarist was added. In 2003 the Daptone Recording Studio, complete with a sixteen track analogue tape machine was open for business. It was originally intended to record two albums back-to-back to speed up the next release process. However during the final sessions of the first of these albums, Gabriel Roth suffered serious eye injuries in a car crash on his way home from the studio. This led to a break in the recording process and ultimately plans to limit the sessions to only one album. Their second LP and CD, Naturally, was then released in 2005. This album was a more broad based album than the first (which almost completely consisted of funk numbers) and included a mix of both soul and funk influences. The sleeve notes, written by Gabriel Roth, provided some insight into the vision behind the music, "Somewhere between banging on logs and the invention of M.I.D.I. technology we have made a terrible wrong turn. We must have ridden right past our stop. We should have stepped down off the train at that moment when rhythm and harmony and technology all culminated to a single Otis Redding whine. That moment of the truest, most genuine expression of what it means to be human." The production and recording values of this album were also noticeably crisper than that of the first - attaining a sound similar to the kind of production standard achieved by James Brown at his height, rather than the slightly duller "scratchy 45" sound of the original album. With, again, international acclaim amongst enthusiasts and a steadily growing base of both fans and now imitators, the band embarked on more extensive international tours and promotion of the album.
Leon Michels left the band soon after the release of Naturally to help start a new label Truth & Soul Records on the back of a solo LP that was originally intended to be released on Daptone, Sounding Out The City, credited to El Michels Affair. The label would also fill the void left when Philip Lehman closed the Soul Fire label and moved to the Bahamas, leaving the scene altogether. The back catalogue of Soul Fire would then be handled by Truth & Soul Records who, along with Soul Fire often used many of the same artists in their stable, such as Lee Fields, Homer Steinweiss and Thomas Brenneck but of whom Leon Michels had been the biggest collaborator. Michels replacement in the Dap-kings came as Ian Hendrickson-Smith, a local saxophone player who has released several jazz albums under his own name.
Collaborations
The Dap-Kings were then hired as session musicians on a number of projects associated with New York based DJ/producer/recording artist Mark Ronson. Most notable of these is their extensive inclusion and somewhat unheralded contribution to Amy Winehouse's album Back to Black (2006). Six of the album's eleven tracks feature various members of the Dap-Kings with two notable hits from the album, "Rehab" and "You Know I'm No Good", extensively featuring the Dap-Kings. A further engineering credit goes to Gabriel Roth and several tracks recorded at Daptone Studios are mis-credited as "Dapking Studios". Again various members of the band feature on Ronson's second album, Version (2007), providing contributions on all but one of the album's fourteen tracks. The Dap-Kings then became the backing band used on Amy Winehouse's first U.S. tour. In 2007 the Dap-Kings worked with British singer Ben Westbeech to record a new version of his song "So Good Today"; it was released to mark the first anniversary of Brownswood recordings, the label Westbeech is signed to in the UK.
Sharon Jones & the Dap-Kings are a funk/soul band. They are signed to Daptone Records, where the Dap-Kings are the house band. They are widely thought to be spearheads of a revivalist movement that aims to capture the essence of funk/soul music as it was at its height in the mid-1960s to mid-1970s. Part of the way this is achieved is to shun modern digital recording methods in favour of using traditional analogue recording equipment. The type of instruments used by the band may also be considered limited to those that would have been available up until the mid seventies.
Daptone: a new label and the birth of the Dap-Kings
In 2000, due to a growing difference of opinion, Lehman and Roth decided to go separate ways and both set up new labels. Philip Lehman set up Soul Fire Records (now defunct, the back catalogue is handled by Truth & Soul Records). Gabriel Roth went on to start Daptone Records with Sugarman 3 saxophonist Neal Sugarman. The Soul Providers split and a new band, the Dap-Kings formed. The band was consisted of label owners Roth AKA Bosco Mann on bass and Neal Sugarman on Saxophone, plus original Soul Providers: guitarist Binky Griptite, organist Earl Maxton, percussionist Fernando Velez and trumpeter Anda Szilagyi. Joining them were original members of the Mighty Imperials whose album, Thunder Chicken, was the last release on the Desco label: tenor saxophonist Leon Michels and drummer Homer Steinwess.
Having secured a summer residency at The Boite, a club in Barcelona, Spain, the band recorded an LP, Dap Dippin' with Sharon Jones and the Dap-Kings in 2001. A few hundred copies were pressed, so that sales during the residency would provide financial backing on what would have otherwise been a financially disastrous trip. With promotional copies reaching notable funk DJs and reviewers, the album gained a significant reputation and was officially released as the first LP and CD on Daptone Records in 2002 to universal acclaim amongst enthusiasts. In their review at the time, quarterly hip-hop and funk magazine Big Daddy (defunct) suggested that it might be the best new funk album ever, credited Roth with being "one of the best analogue producers there is" and stated "this LP is a major triumph and a new standard has been set".
An exhausting schedule of international shows then followed to promote the album and it quickly became clear that promotion of Sharon Jones would be key to the success of the Daptone label. Whilst trying to build upon the revue style stable showcasing and trying to record other groups and artists on the label, other projects have to a certain extent been sidelined in favour of building on the success of Sharon Jones. Expected albums from Lee Fields and Naomi Davis have so far been victim to a lack of time, funds and energy a small independent label has. Neal Sugarman's own band Sugarman 3 who have themselves released several popular albums including one on the Daptone label, Pure Cane Sugar, have also been somewhat sidelined.
Following the album, three 45's of note, not included on the album where also released. "What If We all Stopped Paying Taxes", released in 2002 just ahead of the U.S. Election, was a militant anti-war statement denouncing the Iraq War. "Genuine (parts 1 & 2)" in 2004 was an uncompromisingly hard funk record which firmly kept the interest of enthusiasts and their cover of "Just Dropped In (To See What Condition My Condition Was In)", released in 2005 but which was apparently recorded for a KFC commercial in 2002 but was never used.
Desco: the early years
The original incarnation of the band, the Soul Providers, were formed in the mid nineties by Philip Lehman and Gabriel Roth AKA Bosco Mann. The Soul Providers began recording an album consisting of James Brown inspired instrumentals and vocal collaborations with Deep Funk legend Lee Fields. It was during these sessions that Roth and Lehman discovered vocalist Sharon Jones after she recorded backing vocals for one of the Lee Fields tracks. They were impressed enough to record a solo track with Jones entitled "Switchblade", a track that had originally been intended for a man to record. This track along with another Jones solo, "The Landlord", were included on the Soul Providers debut release Soul Tequila, released circa 1996 on the French label Pure Records (defunct). Lehman and Roth then started a new label in Brooklyn, New York. Desco Records was born taking its name from Desco Vacuum, a vacuum cleaner store in West 41st Street underneath which they utilised the basement as studio space and an office to administer and distribute the label. Sugarman 3 organist Adam Scone just happened to live upstairs in the same building. The Soul Tequila album was then reissued as a vinyl only LP renamed Gimme The Paw. The record, which featured Lehman's pet dog Spike on the cover, only kept one of the Sharon Jones collaborations, "Switchblade", omitting "The Landlord".
Having established a scene in New York of performers, Desco aimed to showcase a stable of artists with revue style shows and concentrated on releasing vinyl 45 records by a number of artists including Sugarman 3, The Daktaris, The Mighty Imperials, Naomi Davis & The Knights of 41st Street, Lee Fields, Joseph Henry and Sharon Jones, who backed by the Soul Providers who had become the Desco house band, released three 45's on the label. Desco Records were gaining intrigue and reputation for quality amongst soul/funk collectors and enthusiasts. Many people who bought the early records were unsure that they were modern recordings as recording dates were deliberately omitted from the labels and were often marketed as being released in the 1970s. Two other Soul Providers albums were released, an instrumental soundtrack to a mysterious Sam Lung Kung-Fu film, The Revenge Of Mr Mopoji, credited to Mike Jackson And The Soul Providers and a Lee Fields solo album Let's Get A Groove On where the Soul Providers provided the backing.
Personnel changes
By this time there were a few personnel changes, as organist Earl Maxton and trumpeter Anda Szilagyi officially became members of Antibalas, a New York based afrobeat band. Whilst Maxton was not replaced on organ, Trumpeter David Guy was recruited on trumpet. Also from the Budos Band, Thomas Brenneck, a second guitarist was added. In 2003 the Daptone Recording Studio, complete with a sixteen track analogue tape machine was open for business. It was originally intended to record two albums back-to-back to speed up the next release process. However during the final sessions of the first of these albums, Gabriel Roth suffered serious eye injuries in a car crash on his way home from the studio. This led to a break in the recording process and ultimately plans to limit the sessions to only one album. Their second LP and CD, Naturally, was then released in 2005. This album was a more broad based album than the first (which almost completely consisted of funk numbers) and included a mix of both soul and funk influences. The sleeve notes, written by Gabriel Roth, provided some insight into the vision behind the music, "Somewhere between banging on logs and the invention of M.I.D.I. technology we have made a terrible wrong turn. We must have ridden right past our stop. We should have stepped down off the train at that moment when rhythm and harmony and technology all culminated to a single Otis Redding whine. That moment of the truest, most genuine expression of what it means to be human." The production and recording values of this album were also noticeably crisper than that of the first - attaining a sound similar to the kind of production standard achieved by James Brown at his height, rather than the slightly duller "scratchy 45" sound of the original album. With, again, international acclaim amongst enthusiasts and a steadily growing base of both fans and now imitators, the band embarked on more extensive international tours and promotion of the album.
Leon Michels left the band soon after the release of Naturally to help start a new label Truth & Soul Records on the back of a solo LP that was originally intended to be released on Daptone, Sounding Out The City, credited to El Michels Affair. The label would also fill the void left when Philip Lehman closed the Soul Fire label and moved to the Bahamas, leaving the scene altogether. The back catalogue of Soul Fire would then be handled by Truth & Soul Records who, along with Soul Fire often used many of the same artists in their stable, such as Lee Fields, Homer Steinweiss and Thomas Brenneck but of whom Leon Michels had been the biggest collaborator. Michels replacement in the Dap-kings came as Ian Hendrickson-Smith, a local saxophone player who has released several jazz albums under his own name.
Collaborations
The Dap-Kings were then hired as session musicians on a number of projects associated with New York based DJ/producer/recording artist Mark Ronson. Most notable of these is their extensive inclusion and somewhat unheralded contribution to Amy Winehouse's album Back to Black (2006). Six of the album's eleven tracks feature various members of the Dap-Kings with two notable hits from the album, "Rehab" and "You Know I'm No Good", extensively featuring the Dap-Kings. A further engineering credit goes to Gabriel Roth and several tracks recorded at Daptone Studios are mis-credited as "Dapking Studios". Again various members of the band feature on Ronson's second album, Version (2007), providing contributions on all but one of the album's fourteen tracks. The Dap-Kings then became the backing band used on Amy Winehouse's first U.S. tour. In 2007 the Dap-Kings worked with British singer Ben Westbeech to record a new version of his song "So Good Today"; it was released to mark the first anniversary of Brownswood recordings, the label Westbeech is signed to in the UK.
Saturday, December 15, 2007
Subscribe to:
Posts (Atom)