archive

Mogadishu, Somalia – Thousands of reel-to-reel tapes sit in an air-conditioned room in the archive of Somalia’s public radio, Radio Mogadishu, stacked on steel shelves and lined up like old manuscripts beneath a thick layer of dust.

Each reel contains a small fragment of Somalia’s 20th-century history, from news bulletins to speeches, music and voices that were once beamed out across the nation’s airwaves, some dating back to the early 1950s.

Abdiqadir Geedi Robleh, an archivist at Radio Mogadishu, threads a reel onto an old tape machine, connects it to a computer, and records the contents of each tape. A tape with a love song by Mohamed Mooge Liban, a prominent singer fills the room, and Robleh is transported, he says, to his youth.

He is working with a small team to digitise and methodically order approximately 400,000 hours of broadcasts, officials here say, before the magnetic tape deteriorates beyond recovery, taking with it a crucial record of the country’s past.

“This is the world’s largest store of Somali language music, culture, dramas and everything else, and at the moment it is locked away from the public in a kind of prison,” Robleh tells Al Jazeera. “We’re working to preserve it but also open it up in future to the public.”

Founded in 1951 during the Italian colonial era, Radio Mogadishu would grow into Somalia’s largest and most important public broadcaster. It initially broadcast in Italian and Somali before introducing foreign language services, including everything from Swahili and Oromo to English and Arabic.

In its heyday, it was among the most influential and distinctive voices in East African media, reaching audiences as far afield as Tanzania, Ethiopia, and the Middle East with a style of radical pan-African broadcasting reminiscent of Radio Cairo in the Nasser years.

With the exception of a brief hiatus in the 1990s, when it fell under the control of a warlord, it has served not only as a key source of news for Somalis and audiences across the region, but also as a vital repository of the country’s collective memory.

The effort to preserve its archives has gathered new momentum this year.

In early June, Somalia’s information ministry and the UNESCO regional office for Eastern Africa – the UN’s heritage agency – brought archivists from across the country to a workshop in Mogadishu, aimed at eventually registering its contents with UNESCO’s Memory of the World programme, which catalogues archives of important historical value.

“Protecting this knowledge isn’t just relevant for Somalia, but it is relevant for everyone,” said Guilherme Canela, a senior UNESCO official who is overseeing the project.

An expert assessment carried out in April counted roughly 45,000 tapes and reels, representing an estimated 400,000 hours of material recorded since the station’s founding. More than 85 percent remain playable, but around one in 10 has deteriorated with age, and more than 5 percent has been destroyed or severely damaged, according to UNESCO.

Radio Mogadishu’s collection was recognised both for its size and because so much of what it holds exists nowhere else.

Some were damaged in an electrical fire in 2018, Robleh says, while others were lost during fighting in 1992, when US forces battled Somali militias in the streets of Mogadishu.

During the worst of the civil war, police colonel Abshir Hashi Ali risked his life to prevent the contents of the archives from being looted. When fighting engulfed Mogadishu following the 1990 collapse of the government, he said he ran back “with the aim of conveying to Somalis the wealth that is stored here”.

Abdi Jeite, the station’s director, says the digitisation drive began as early as 2012, but has been held back for years by a lack of resources. By his estimate, only approximately 10 percent of the archive has so far been converted.

“We’ve got some new tools, and more training for our archivists, but there is still a lot of support needed,” he says.

To understand why the archive matters so much, it helps to understand what radio once meant in Somali life.

“Radio Mogadishu was arguably the preeminent media institution in post-independence Somalia,” Iman Mohamed, an assistant professor at the University of Minnesota and historian of Somalia, tells Al Jazeera.

“In a society that prizes orality above the written word, radio was uniquely effective at creating a common public sphere through which ordinary people could feel bonded to one another and to a shared sense of nationhood,” Mohamed adds.

Though Somali audiences could also access BBC Somali, Radio Hargeisa, and opposition stations when the government began to deteriorate in the latter part of the 20th century, it was Radio Mogadishu that dominated the “soundscape of urban Somalia”, Mohamed said.

That dominance made Radio Mogadishu a national factory of talent. “If you were a musician, poet, playwright or producer, Radio Mogadishu was the platform you wanted to appear on,” Robleh, the archivist, said. “It made Somalia’s stars.”

Robleh, the archivist, added that many BBC Somali journalists who went on to have distinguished careers first cut their teeth at Radio Mogadishu, which became an important pipeline for Somali-language talent to the BBC.

Hassan Dahir, a former journalist at the station, was one of many Somali children who grew up dreaming of working there. For years, he recalled, Radio Mogadishu was virtually the only source of news for millions, “the eyes and ears of the community”, he told Al Jazeera.

“Its reach was so extensive that even nomadic herders followed events as far afield as the Vietnam War and the American Civil Rights Movement,” Dahir said.

Under Siad Barre, the military officer who seized power in a 1969 coup and ran Somalia for two decades under a self-styled socialist, revolutionary government, the station became an instrument of state ideology, mixing news, drama and religious programming with nationalist and anti-colonial content.

The station beamed pan-African songs Oh Africa, still asleep by Halimo Khalif Magool, which spurred the continent’s inhabitants to awaken and take charge of their own destinies. Mahamud Abdullahi Sangub’s Reject the Color of Imperialism was another popular song of the era in this same tradition of politically charged music, with lyrics like: “Africans listen to each other, reject the colour of imperialism, reject it, reject it, reject it!”

Many of those songs have been covered, sampled or repurposed since, and younger Somalis often encounter them with no idea who performed the originals, or the politics that shaped them, say Mohamed.

Its news coverage focused on anti-colonial wars in places such as Mozambique against Portugal, the struggle against apartheid in Rhodesia and South Africa and the Civil Rights Movement in the US. It covered everything from colonial battles in Guinea-Bissau to the arrest of African American political activist and author Angela Davis.

“We were telling the stories of people resisting their oppressors”, said Dahir.

The station was a “mouthpiece of the government”, cautions Mohamed, but took on a crucial role of inculcating “a patriotic and revolutionary ideological orientation in the Somali people”.

One of the most important projects the radio supported was the Somali mass literacy campaign, when the government sent students to rural Somalia in 1972 to teach the newly developed Somali script. The campaign led to a dramatic increase in literacy across the country.

It also became deeply entangled with Somalia’s regional foreign policy, as the government spent much of the 20th century at loggerheads with Ethiopia before eventually invading in 1977.

That rivalry led Radio Mogadishu to dedicate airtime to Ethiopia’s marginalised ethnic communities, as well as armed rebel movements, particularly those from Eritrea. Among its most notable initiatives were broadcasts in Oromo and Sidama.

Dahir, the former Radio Mogadishu journalist who covered Ethiopia, told Al Jazeera that these were the first-ever radio programmes in either language, both of which had been suppressed for many years in Ethiopia under policies that privileged Amharic, the language of the country’s elite.

The station itself has taken on a far smaller role in Somali life since.

The collapse of the central government in 1991 broke the state’s grip on broadcasting, opening space for private radio, television and online outlets, which have proven popular with the Somali public.

It has lost most of its foreign-language programming, and with it, much of its revolutionary edge. The Somali state also continues to be constrained by limited resources as it rebuilds after decades of conflict.

In November 2021, the al-Qaida-affiliated armed group al-Shabab, which has waged a long rebellion against Somalia’s government, assassinated the station’s then-director, Abdiaziz Mohamud Guled, in a suicide bombing in Mogadishu.

Iman Mohamed, the historian, says that with the civil war in the country, now in its third decade, preserving the archive for posterity has become more urgent.

“The destruction of archives during the civil war has left an enormous gap in Somalia’s documentary record, which means that anyone researching the country’s history is almost entirely reliant on foreign archives or oral history,” Mohamed said.

“That is especially problematic for young people,” she adds. “Recovering what we can matters for the youth who will never have known the world that Radio Mogadishu broadcast in its heyday.”

Ted Danson is apologizing for roasting onetime paramour Whoopi Goldberg while wearing blackface.

It was the fall of 1993 at the Friars Club in Manhattan, and the occasion was a roast of the “Sister Act” star, who at the time called Danson her “best friend.” Danson, fresh off the heels of an 11-season run on “Cheers,” and Goldberg, who was at the height of her film career, had been tangled up in a not-so-secret love affair that sprang up while filming “Made in America.” Danson was freshly split from his second wife, producer Cassandra Coates, who served him divorce papers after the tabloids outed his fling with Goldberg earlier that year.

To make matters messier, Danson and Goldberg’s romance was cooling off and the two actually tried to get out of the Friars roast, but the club said the tickets had been sold and the show must go on.

According to The Times’ archives, Goldberg said she wrote the racial-slur-laden monologue that Danson delivered wearing black minstrel makeup with exaggerated lips in white. On the podcast, Danson said he’d been preparing for the skit for months, sure he was going to nail it. “Within 20 seconds I was like, I stuck my finger in a light socket,” Danson told W. Kamau Bell on the “Who’s With Me?” podcast.

At least two among the more than 2,000 guests at the roast protested. TV talk show host Montel Williams walked out, and New York City Mayor David Dinkins left the event early.

“My brain was going: Here is one of the most outrageous, funny Black women in the world, and I’m supposed to be roasting her, and I’m not a stand-up. I can’t run with the bulls. I’m an actor; if the material is funny, I can be funny,” Danson said.

“And then I thought, well, I can do performance theater. I looked at all these tapes, and it’s like, well if I were Black, I could say all these outrageous things, I’m not. Then my mind went, well, I will do it in blackface.”

Danson prefaced discussing the incident by saying that if he stammered throughout it was because it was uncomfortable talking about an affair he had when he was married, and that he’s been married to his third wife, Mary Steenburgen, for 32 years.

As for the blackface incident, “I have no problem talking about [it],” he said, adding that he wants to apologize for the rest of his life for the major flub. Although the incident happened more than three decades ago, internet fodder lasts forever, and Danson said he wanted to address it because somebody today can happen upon the incident online and think, “What the f—?”

Danson continued, “That this white guy could have something valuable to say about race and race relations was so stupid and entitled.”

He said he thought: “I know it’s bold, but I can pull this off, and that was so arrogant and stupid on my part. So off I go using all this horrendous language describing our love affair, while also in blackface. And I’d run it past Whoopi, and maybe she just didn’t want to squelch my creativity. … I worked for months, by the way, months.”

Earlier in the conversation, Bell told Danson that he wanted to give him his flowers for knowing how to apologize in public. “How to say ‘oops.’”

Claudine Longet, the French-born star and ex-wife of crooner Andy Williams who became notorious for the fatal shooting of Olympic skier Vladimir “Spider” Sabich, has died. She was 84.

Her death was confirmed by her nephew, Bryan Longet, who posted a social media tribute on Thursday. Translated from French by The Times, he wrote, “You have been a true inspiration in my life and you will always be. … Another star in the sky. Thank you for everything, my aunt.”

Born in Paris on Jan. 29, 1942, Longet was the daughter of a doctor and an X-ray manufacturer. From a young age, she showed a knack for singing and dancing and envisioned her name on the marquee. In 1960, when she turned 18, American impresario Lou Walters (father of Barbara Walters) saw Longet dancing on French television and hired the ingénue to join the Tropicana casino’s flashy new production. She bid Paris adieu and sashayed to Las Vegas, where she starred in the Folies Bergère revue.

While working as a showgirl in Sin City, Longet met then-fellow Vegas performer Andy Williams one evening when her car broke down on the side of the road. Williams happened to be passing by as the young dancer was pushing her car down the highway with a friend, and Williams along with his manager stopped to help and was quickly charmed. The two were married on Christmas Day the following year, in 1961.

In 1962, Williams released “Moon River,” and the crooner’s career took off. The newlyweds left Las Vegas and moved into an oceanfront mansion in Malibu where they started a family, and over the next several years welcomed daughter Noelle and sons Christian and Robert, or “Bobby,” who was named after the couple’s close friend Robert F. Kennedy. Also in 1962, Williams’ eponymous variety show debuted and quickly became a hit. Longet was a regular on the show, and the family-oriented Christmas TV specials, often featuring the entire Williams clan, were a ratings juggernaut.

In addition to her regular appearances on “The Andy Williams Show,” Longet acted in television and film. Notably, the chanteuse captivated audiences singing Henry Mancini and Don Black’s “Nothing to Lose” in the 1968 comedy “The Party,” in which she played an aspiring actress. From 1967 to 1972, she released seven studio albums, five with A&M Records, including her debut single and album titled “Claudine,” and two with Barnaby Records. Her music was known for its breathy, lounge-pop quality, and she sang in both English and French.

By 1970, Williams and Longet’s marriage was on the rocks, and the pair separated. They officially divorced in 1975. The Emmy-winning host chalked it up to the pair growing apart. He told CBS’ “This Morning” during a 2009 appearance that he was never home. “It was all my fault, and I just didn’t take care of my marriage,” he said, noting that he regretted the split. The two stayed friendly afterward, and Williams stood by Longet when tragedy and scandal struck a year later, in 1976.

Longet met Olympian skier Sabich in Bear Valley at a celebrity skiing exhibition in 1972. There was an instant attraction between the two, and Longet relocated to Aspen, Colo., and ultimately moved into the pro skier’s ritzy Starwood chalet around 1975. On March 21, 1976, Longet shot Sabich in the abdomen with an imitation World War II .22-caliber German‐made pistol. Her daughter, Noelle, who was in the house at the time, testified that she heard Sabich yell out, “Claudine! Claudine!”

According to The Times’ archives, Longet told authorities that she found the handgun and asked Sabich how to use it. During Longet’s trial, Aspen Det. David Garms testified that Longet insisted the shooting was an accident. Garms said that Longet told him she’d pointed the gun at Sabich and then “jokingly said ‘bang, bang.’” She told investigators she thought the safety was on, and a ballistics expert said the safety did not work.

Longet was with Sabich in the ambulance when he died en route to the Aspen hospital. The “Love Is Blue” singer was subsequently questioned by investigators and charged with felony reckless manslaughter weeks later. She initially faced up to 10 years in prison. But in January 1977, after four days of testimony and 3½ hours of deliberations, Longet was acquitted of the felony charge and convicted of a misdemeanor charge of negligent homicide.

Ex-husband Williams accompanied Longet to her trial and told “This Morning” years later that he supported his ex-wife because he believed in her innocence.

“I did because I thought it was unfair,” he said. “I thought she was innocent. I thought it was an accident.”

During the trial, she testified in her signature French accent that she and Sabich were the “best of friends.”

“There were times over the four years that we would disagree. … [T]here would be times he would be a little bit offended by the attention I got and I would be a little bit offended by the attention he got, but we were the best of friends and we loved each other very much,” she told the court, per The Times’ archives.

Longet was sentenced to serve 30 days in jail “at a time of her own choosing.”

“There is not really much to say,” she told reporters outside the courtroom, per The Times’ archives. “Only that I have too much respect for living things to do that. I’m not guilty.”

The parents of Sabich filed a $1.3-million civil suit against Longet later the same year, but the case was settled out of court two years later. Longet was reportedly forbidden from speaking or writing about the shooting. As for her career in show business, she was finished.

The Sabich case became an absolute sensation in the media, not just in America but also globally, and Longet was internationally labeled Aspen’s femme fatale. Pop culture had its way with the incident as well. The Rolling Stones’ song “Claudine” was withheld from their 1978 album, “Some Girls,” because of legal considerations but was featured on the 2011 reissue of the album.

“You’re the prettiest girl I ever seen / I want to see you on the movie screen / I hope you never try to make a sacrifice of me, Claudine,” belted Mick Jagger in what may have been considered a diss track or a tribute, depending on whom you ask. “Nah ah / Don’t get, don’t get trigger happy with me, Claudine.”

In an April 1976 episode, “Saturday Night Live” also took aim at the deadly affair with a sketch titled “The Claudine Longet Invitational,” in which Chevy Chase and Jane Curtin play sports commentators who offer a play-by-play of a competition in which male skiers are “accidentally” shot by Longet as they race down the slopes.

The producers read an apology on air the following week.

Aspen attorney Ron Austin, who was on Longet’s defense team, left his wife shortly after the trial concluded to be with the embattled starlet. The two married in 1985 and remained in Aspen afterLonget’s conviction but also spent time at their second home in Hawaii. In 2023, the pair listed her $60-million Red Mountain Ranch estate, according to Robb Report.

Longet’s last known public appearance was in 2003 on the A&E channel’s Andy Williams “Biography” documentary, in which she recorded only voice-over. “To this day people stop me in the street and say how much they loved the Christmas show.”