Vietnam 67 (1 Viewer)

jazzeum

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Since the beginning of 2017 the New York Times has been running an excellent series of articles called Vietnam 67 about the War. There is a new article every few days.

Vietnam 67

The most recent article is about the air war, written by a pilot who flew more than 300 missions there.
 
Interesting articles Brad, especially when they are being published/written by the Times. I stopped reading them , they are so slantered one way. I got the same feelings from some of the articles that I got getting off the plane going home in uniform, being jeered at JFK in'68... Nam Combat Vet 67-68
 
I don't see that Andy. I haven't finished going through all of them but the one called "Grunts" isn't biased, and it's well written. They're written from all points of view and none by Times reporters. There are some people will agree with and some they won't.

Did you read the one about Playboy. Thought it was pretty good.
 
Leaving College, Going to War probably needs no introduction.

However, it reminded me of when the lottery was held and I received number 24. I started to think about what I was going to do when I eventually graduated: should I report or head to Canada. I was more inclined to the former, my patents not sure which. Fortunately, I never had to make that choice. By the time I graduated, Nixon had abolished the draft.
 
The Coffee Pot,” by Ron Steinman, former Saigon bureau chief for NBC News :

There were a few necessities that made life palatable for us journalists in South Vietnam. A good cup of Vietnamese coffee was one. An ice-cold beer, preferably German or Japanese, was another. An unfiltered American cigarette, usually Camel, Pall Mall or even Salem, always within reach, that we would smoke to the butt. A sizzling steak on Sunday night.

But this is not about those perishable sometime joys. It is, instead, about the bruised and battered stainless-steel percolator in the NBC bureau in Saigon that made coffee for anyone who had the courage to drink it.

I first saw the coffee pot in 1966. It apparently arrived in the early 60s when the office belonged to the German economic attaché. The bureau had three rooms: one for equipment and maintenance; my office, the center of all activity for the bureau; and what we called the correspondents’ room. That is where the pot resided.

Made of lightweight stainless steel, it stood about nine inches high, was seven inches at its base and about eight inches deep, with a small spout and enough room for eight cups of coffee. I had my first cup of its evil brew in April 1966, and my last sometime in 1972. The pot, battered and bruised, dinged and dented, had generations of coffee gunk solidified at the bottom.

To my knowledge, no one had ever emptied or washed it in all the years of its existence. The office boy and the maid, who cleaned the bureau office every day, though they had orders to wash the pot, stayed away from it as if it had an evil spell cast on it that no incantation could ever dissolve.
When someone made coffee, he (and it was always a he) added more grounds, usually American, sometimes French, to the metal basket, filled the pot with about eight cups of bottled water and turned on the electric ring on which it sat. What odd, strong, strange coffee it made. When ready, and sipped or gulped, the coffee acted on you as if you had just popped your first wheelie on a dirt bike. Reporters and camera crews returning from the field immediately went for the coffee as they composed their copy. I can only assume they hoped for some magic to emerge from the black drink quickly coursing through their veins. A liquid drug that made everyone faster, funnier and harder-working. As bad as the coffee truly was, we all lived to tell the tale of the pot.​
 
Charlie Company and the Small-Unit War - An encounter with the enemy on May 15, 1967 and the death of a member of the 9th Infantry Division.

If you click on the link at the end of the article, it will bring you to a page maintained by a member of the 9th Infantry Division.
 
The below article is by the editor of the Vietnam 67 Section, Clay Risen.

***

My Vietnam

I was born in 1976, a year after the fall of Saigon and three years after the last American combat troops withdrew from Vietnam. I have no memory of the war — but it affected me profoundly.

Above all, I’m the son of a veteran. My father did R.O.T.C. at Georgia Tech, and so he knew, early on, that he would probably get shipped off after graduation. He got lucky and served at a munitions factory in Illinois, but many of his friends went to Vietnam. Some didn’t come back. My dad talked a lot about his service, but he didn’t talk about those friends very much. The men I grew up around — his friends, my teachers, my pastors — didn’t talk about the war either. They just went about their lives, building careers and families, usually with some success.

This was not the way veterans were portrayed on TV or in the movies. There they were broken, or insane; they were baby killers or the victims of gross political mistakes. I’m a child of the 1980s, so I grew up watching movies like “First Blood” and “Jacob’s Ladder,” and TV shows like “Tour of Duty” and “China Beach.” Though thoughtful and well-made, these depictions nevertheless sensationalized the Vietnam war experience, taking its extremes as norms and refashioning veterans as interchangeable stereotypes.

Veterans were marginalized and sensationalized, all at once. It was inevitable: With Reagan’s military buildup and war with the Soviet Union a distinct possibility, America needed to reset its martial expectations. The 1980s gave us a new, romanticized vision of war. My friends and I played with G.I. Joe, toys that glamorized an alternate-universe Army that had never grappled with the ugly realities of war that our fathers knew. We read novels by writers like Tom Clancy, who used the prospects of a global conflict with the Russians to imagine a world in which Vietnam was somehow the exception. Through all this we were taught that, should another war call us to service, as our fathers and grandfathers had been, we could expect a conflict more like Gettysburg or D-Day than Khe Sanh or the hill fights.

In all this, it was the absence of talking about Vietnam — real talk about the real war — that shaped my generation more than any single fact we learned about it. I was too young for the first Iraq War and too old, by a hair, for the second, but I know more than a few people who, like me, had grown up with G.I. Joe and Ronald Reagan and eagerly rushed off to a far-away country, ready to kill, trusting that their political leaders knew what they were doing.

Those of us who have never been in combat will never know what it is like. That can be an invitation to despair or ignorance. But it can also be a path to empathy. We can read the great veteran writers — Karl Marlantes, Tim O’Brien, Philip Caputo. And we can read nonfiction accounts by veterans, several of whom we have featured in this series, including the Marine veteran Michael B. Taft this past weekend.

It is something we, as citizens, desperately need to do. War is sometimes necessary. But we must be cleareyed about why, and ask whether those in charge are being honest. We will never be able to do that if we continue to treat those who have served as mental or charity cases, worthy of our derision or our pity, but not our understanding. Clay Risen

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The author’s father, Marvin Risen, receiving his commission as a second lieutenant after completing reserve officer training in 1966. His mother is attaching his pin to his lapel.
 
When the War Came Home - this is continuation of the story (see above) about Don Peterson, the soldier in Charlie Company killed on May 15, 1967, but told from the perspective of his wife and son following his death.
 
In addition to the above article, the editor of the Vietnam 67 section has written the following.

****

Did the Media Cover Vietnam or Create It?

Don't Look at the Camera


About half an hour into Francis Ford Coppola’s “Apocalypse Now,” Capt. Benjamin Willard, played by Martin Sheen, lands on a beach in Vietnam at the tail end of a battle. He’s looking for his escort, Lt. Col. Bill Kilgore, and as he walks past explosions and fleeing civilians, he passes a film crew. The director, played by Mr. Coppola himself, shouts at Willard, “It’s for television! Don’t look at the camera! Just go by like you’re fighting!”

Nothing in the 1979 film quite captures the absurdity of Vietnam like that brief scene. The crew is filming a report “for television,” but Coppola is directing the action like it’s a movie. It’s as relevant a point today as it was 40 years ago: The media is supposed to report the realities of war, but it sometimes ends up shaping them — at least for viewers back home.

I thought about this scene a lot this Memorial Day weekend. Since starting the series, I’ve heard from dozens of veterans and their families. Many just want to tell their stories, sometimes for publication, sometimes not. And most of them seem angry, even distraught, over how their collective story has been told.

As Chester Pach, a historian at Ohio University, notes in an article for our series today, Vietnam was the first “living room war.” Reporters had covered wars before, but never with the kind of resources and access they had in Vietnam. And never had a war been televised almost instantaneously as it was fought; each night, millions of Americans could watch reports of battles, combat deaths, victories and failures — the war with “all its horrors,” in the words of ABC’s Frank Reynolds.

But is that what Americans actually saw? No doubt Vietnam was a horrifying experience, but there’s a clear line between Reynolds’s promise and Coppola’s spoof. Reporters, especially TV reporters, had an incentive to tell particular kinds of stories that painted a narrative about the war, neatly packaged for the evening news.

I’m not saying the reporters failed; Vietnam produced some of the best war reporting ever written. But even the best couldn’t capture everything; left on the editing room floor were details that might not have mattered to a producer, but mattered to a whole lot of the men doing the fighting and dying.

At one point in Ken Burns and Lynn Novick’s forthcoming documentary “The Vietnam War,” a former helicopter pilot talks about haven been approached by a reporter after coming back from a battle. She asked him what it was like — a fair question — but he exploded with rage. As he recalls, he yelled, “You want to know what it’s like?” and pulled out his gun, pointing it at her. A scene like that was never going to make the evening news, but it probably captured the truth better than any 30-second TV segment could have.

So, an irony: Never before had Americans had so much access, in almost real time, to the intimate, tragic details of a war — and yet never before had the limits of that knowledge been so apparent.

Is it any wonder veterans are frustrated? People at home watched the news, were flooded with raw, violent images and reports, and thought they understood. But what they got was the reported version, the version being filmed by Mr. Coppola’s crew on that beach in “Apocalypse Now.” What they didn’t hear, what they could never hear as long as it was filtered through someone else’s storytelling, were the people who could actually tell what happened.

-- Clay Risen
 
Softball at the DMZ by Jack Walker of the 3rd Marine Division, who served in Vietnam in 1966 to 1967.

Marine first lieutenant, newly appointed as commanding officer of Charlie Company 3rd Recon, attached to the 9th Marines, a regiment of the 3rd Marine Division. We were part of Operation Prairie, battling the North Vietnamese Army divisions pouring in from the North, based in Dong Ha, a few miles south of the DMZ.

It was an active time for my guys, with constant long-range patrolling duties and occasional artillery and rockets coming in from the DMZ, where we couldn’t go because of politics.

One humid evening, I learned that Top Monday had started a softball competition. My former patrol squad was scheduled to play another squad Tuesday morning on the landing zone near the camp hospital. The deal Top made with the hospital people was that when a medevac helicopter brought in casualties, the players would become a stretcher detail. My squad needed a catcher. I volunteered. That was the position I played in high school.

It was overhand softball. I loved it, and so did the guys. I was astonished how good Frenchie Fournier was as a pitcher. Who knew kids played baseball in upper Maine? And Garza, what a strong hitter. Left-handed Lumpkin played first base like a vacuum cleaner. I even got a hit. What a stroke of genius, Top, to organize this. Now if we could only get decent beer and better food.

That morning there was a firefight near Con Thien, and the game was interrupted twice by the slap and rattle of incoming medevac choppers. Pitch, hit, stop everything, clear off, carry stretchers, rake off the blood, resume pitching and hitting.

The first chopper brought in five wounded Marines. Before the second chopper arrived, a messenger handed me a note from Chuck Twomey. I was at bat. The note said that a wounded North Vietnamese officer was on his way in by chopper. My job was to ensure that the officer was cared for and to secure anything in his possession that might yield intelligence.

I stopped the game and told the guys to prepare for stretcher duty. When the chopper landed, I jumped aboard. The North Vietnamese officer was in bad shape. I’ll never forget his square, handsome face, his enormous moist brown eyes, his smooth skin and his plain gold wedding band. He looked so young.

I carried him from the chopper to the emergency tent. He died in my arms — I felt his death, his body’s letting go. I found papers in a pouch around his neck; they turned out to be orders. I plucked the little red star insignia with his regiment designation “8” off his soft hat. Against regulations, I slipped it into my pocket.

All these years later, I still have it, tangled up with my own dog tags. I did not remove the wedding ring.
The ballgame resumed without me. I learned later that we won. Lumpkin hit a home run in the ninth inning.

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