Don't Kill the Messenger: Vietnam War Reporting in Context
HENRY G. GOLE
© 1996 Henry G. Gole
What follows is a soldier's appreciation of how journalism evolved in the 1960s and 1970s, and how the craft affected attitudes of professional soldiers about the media. It is specifically directed at media critics, particularly the veteran of combat in Vietnam who is prepared say: "OK, it's been a long time. Show me that the media wasn't and isn't a pack of lyin', flag-hatin', pinko SOBs." It is written by an old sweat who, despite his aversion to the worst aspects of journalism--back-fence gossip and hyperbole posing as protection of our first amendment rights--recognizes the need for an independent media, even an imperfect media. Somebody has to watch the guys with the weapons, those with fingers in the till, and those who make rules for the rest of us. Even a flawed tool is necessary to perform those vital functions. This essay offers observations about published reflections by journalists who have something interesting to say about the craft and about Vietnam reporting, and an insight into the attitudes of Army War College students of the 1980s regarding the reporting of the American war in Vietnam.
Journalists on the War
It might have helped, but probably not much, had soldiers appreciated the hypercritical predisposition journalists bring to their observations of the universe, including their own craft. They are quick to praise and to damn. Morley Safer, in one paragraph of his Flashbacks: On Returning to Vietnam (1990), calls his employers "the comintern that ran CBS" and praises colleague Charles Collingwood as one of Murrow's Boys: "He was a scholar when broadcasting no longer wanted one, amused more than appalled by the contract-crazed chorus girls and boys who've taken over the podium."
Safer's admiration of Collingwood might be dismissed as a lamentation for the passing of the good old days by one himself growing long in the tooth, but he is not alone in recognizing that Vietnam was the first television war. "First television war" rolls off the tongue too easily today, reflecting the sophistication of viewers who have had wars and peace operations with their evening cocktails for more than a quarter century. It is hard to recall how profoundly--as well as how quickly--the new medium affected both its subjects and the journalism it produced. At one point in Dispatches (1977)--the hip, psychedelic, surrealistic reporting of the war that is the next-best thing to having been there--Michael Herr cites a comment by a Marine in a skirmish line assaulting a dike from a rice paddy in (almost) these words: "I don't like this flick at all."
The American public saw scenes from a war on TV. It also saw its soldier-actors seeing themselves in scenes from a war on TV. Some soldiers saw promotions, or fame, or both. In The Camera Never Blinks (1977), Dan Rather describes a Colonel whose "eyes lit up like the jackpot on a pinball machine. He said with a kind of gasp, `Television!'" when he spotted Rather and his cameraman. "He liked reporters and he knew the value of a tough reputation." The Colonel, a regimental commander, seemed fully prepared to stage a shoot'em-up, showing his brave troops zapping bad guys, the combat analog of "leaking." Whenever a media representative reports a close-hold government policy that some noble soldier, appointee, or civil servant has leaked, no doubt for some enlightened reason, censure of the reporter is not unusual. Isn't it remotely possible that the leaker had a dog in the fight?
Unfortunately the actual combat film obtained at risk of life and limb by brave or crazy photojournalists, while authentic, often distorts and misleads. Tim Page's Page After Page (1989) suggests that he might fall into that latter group of journalists; Frenchman Alex Bauer, on the other hand, who was both brave and combat-smart, is credited by Dan Rather with keeping them both alive despite hairy adventures in the bush. According to Peter Braestrup's Big Story (abridged edition, 1978), which offers a comprehensive account of the press coverage and an objective interpretation of the 1968 Tet offensive, what usually got on the air was "US GIs in combat." That's what "New York" wanted. Little reporting was done on the ARVN, so "the general cumulative impression given was that it was an American war." Braestrup adds that the function of the TV network correspondents in Vietnam--and around the world--differed radically from that of their colleagues in the print media. He demonstrates that while it is true that the camera doesn't blink and action footage was the hot stuff desired by the three networks, what generally happened was that 48-hour-old footage was married to a few sentences stitched together in New York by a busy network editor whose text was in fact the latest AP and UPI dispatches from Saigon. The "nightly news" was a cut-and-paste job of two-day old film and new stuff from the wire services that did not really wrap up that day's news. Avuncular Walter Cronkite's authoritative sign-off, "And that's the way it is," wasn't quite the way it was.
Braestrup, a veteran journalist (Time, The New York Times) and chief of The Washington Post's Saigon bureau during Tet, concludes that the network approach was not to produce news in the sense of fact-finding and interviewing. The film vignettes were used in one-to-two-minute "snippets" (his word) with commentary that, given the TV format, purported to be representative, typical, or a microcosm. In fact, what the cameraman got was a dramatic part of some larger situation that the network producer sandwiched into a tight 24-minute program. Out of context, there was no way to know if what viewers saw was in fact unique or typical. Braestrup opines that the process produced material more personal and conclusive than anything permitted newspapermen or wire-service reporters.
An appreciation of what makes a big-time journalist tick and how a successful media career is made can be gained from a few books written with flair, charm, and insight by three well-known media professionals, two of them print journalists, one a TV reporter who subsequently became a celebrity network anchorman. Russell Baker of The New York Times provides a warm and likable account of his journey from blue collar newsboy in Baltimore to bureau chief in London, to White House correspondent, to Times columnist in two engaging books: Growing Up (1982) and The Good Times (1989). Ben Bradlee's A Good Life (1995), a witty, honest, and crisply written autobiography, takes the reader with Bradlee from prep school, Boston, and Harvard to World War II service as a junior officer on a destroyer in the Pacific and ultimately to the top of the journalistic heap as managing editor, from 1966 to 1991, of The Washington Post. His part in the publishing of the Pentagon Papers, in the Watergate affair, and in other big stories puts the reader in the shoes of a newspaperman conscious that he is writing "the first draft of history." Rounding out the short list is Rather's The Camera Never Blinks because of the sense of the subtitle, Adventures of a TV Journalist, and because it is an honest book. Rather, younger than Baker and Bradlee, grew up with TV and brings a perspective flavored by modest Texas roots, an undistinguished college, and local TV station experience before making it to the big time in The Big Apple and eventually ascending to the throne vacated by Walter Cronkite.
Turn now to another short list: Vietnam books by journalists who offended a generation of American soldiers. Neil Sheehan, David Halberstam, and Peter Arnett brought unambiguously bad news to their readers early in the American war in Vietnam, even before the commitment of large American formations to the war. Their message had in common a variety of themes:
* Political leadership in Hanoi promised sacrifice, unification, and the ejection of the imperialists, while Saigon promised corruption, palace coups, and endless muddle.
* North Vietnamese army troops and Viet Cong auxiliaries were skilled and prepared to die for their cause, while the Army of the Republic of Vietnam was inept, unwilling, and unlikely to improve.
* Neither the American Embassy nor top US military leadership in Saigon had a clue about the war in the boondocks (because they did not get out of Saigon), while competent US advisers in the boondocks had to bribe reluctant Vietnamese officers to conduct operations with poorly motivated and poorly trained troops.
* The enemy's willingness to endure the uncongenial physical and psychological environment of close combat contrasted sharply with a wish--by Saigon and American senior advisers--for a deus ex machina: helicopters, armored personnel carriers, people sniffers, electronic gadgets.
In brief, energetic young journalists went on combat operations with the advisers they admired, made their observations, and then heard accounts of those operations from Saigon warriors whose information had been sanitized to make good news of bad news as it was passed up the chain of command. Halberstam, fresh from combat reporting in the Congo, noted the acrimonious relationship between the press and the military immediately upon his arrival in Vietnam in 1962. The message that the war was being lost did not endear the callow messengers to the responsible graybeards running the war from Saigon and Washington.
The 1963 battle at Ap Bac at once illustrates and characterizes the chasm separating the press and military, one that was not bridged in the course of the war, and that would eventually find almost all soldiers on one side and the media on the other in confrontational stances. Neil Sheehan, in A Bright Shining Lie (1988), calls the battle of Ap Bac a "climactic humiliation of the Saigon side." David Halberstam, in The Making of a Quagmire (1964), emphasizes in describing the battle that despite superior numbers and firepower, a combination of tactical and helicopter air support, and the mobility afforded by the M-113 armored personnel carriers, a demoralized ARVN lacked leadership and the will to fight while the enemy demonstrated determination, skill, and great courage. In Live from the Battlefield (1994) Peter Arnett says of the Battle at Ap Bac that it was the biggest story he had covered in his then-six months in Vietnam because "It convinced the Saigon press corps that either the authorities were unaware of the full dimensions of the insurgency, or the discrepancies were being concealed from us." The Americans got the set-piece battle they had always wanted with an elusive foe. That foe performed much better than expected, ARVN was a disgrace, and official America in Saigon reported success.
Another event--a series of events, really--only added to the growing discord between soldiers and the media. Analysts generally regard the Tet offensive of 1968 as an operational failure for the Viet Cong and the NVA--even a disaster--because the Viet Cong infrastructure, so long in the making, was destroyed in the fighting. But the same analysts saw the event as a strategic success for the enemy. Their seeming omnipresence--South Vietnam lit up like a pinball machine, and the enemy was in the American Embassy--caused America to lose its stomach for the war. America's professional soldiers blamed the media for stressing the enemy's Tet successes while overlooking the loss of infrastructure that had taken generations to build. Ergo, bad media, true to form, undermined the noble efforts of American soldiers and Marines.
But Peter Braestrup's erudite Big Story, dedicated to the memory of 43 named foreign journalists who died in Indochina in 1961-75, blames President Johnson and General Westmoreland for the Tet debacle. He asserts that Johnson and Westmoreland knew from intelligence sources throughout South Vietnam that the enemy planned a big show, but for reasons still unclear, they failed to prepare the American people for what was about to happen. One assumes they were confident. Happy news was reported, and unhappy news was suppressed. The American public had every reason to believe that all was going well in 1968 when the bottom seemed to fall out. Both the press and the American people were shocked at the intensity and duration of enemy activity. Before Tet there had been a sense that the tide had turned, that America was on a course to victory. After Tet there was a general sense that the best course of action was to get out. Leadership, not the media, had failed to prepare the nation.
Attitudes of Army War College Students in the 1980s
As one who had served tours in Vietnam in elite units in the salad days of 1966 and in the generally unhappy days of 1970-71, your current writer closely observed Army War College students of 1980-84 and 1986-88 as a faculty member. Those students knew that they were the first generation of American officers to lose a war. The lost war produced a profound demoralization within their ranks--a demoralization that was generally unappreciated by the public. A Chief of Staff of the Army even declared that our Army was "hollow." Among themselves the officers lashed out with uncharacteristic passion at everything external to the brotherhood.
These officers were typically 42-year-old lieutenant colonels or newly minted colonels, still in competition for stars; they had at least 20 years in uniform, and had served in Vietnam once or twice as junior officers in the 1960s and early '70s. And they were angry. They almost unanimously despised journalists and made no effort to conceal their attitude. Those students held Congress and civilian leadership in low regard and resented the apathy and ignorance of the American public about national security and matters martial. But they reserved a special venomous attitude for "the media," a term more sneered than spoken.
Despite efforts of commandants and faculty to inform class after class of the proper role of the media as a safeguard against tyranny, the need for an informed electorate in a democracy, the high standards of the best journalists, and the competitive culture of the craft, successive classes remained adamant in their aversion to journalists. In 1988 a distinguished journalist for a prestigious newspaper privately observed that he was fed up. After fighting the good fight by regularly participating in the annual "media days" that brought the craft's best practitioners to Carlisle Barracks for discussions with the students, he suspected that a generation of soldiers would go to their graves hating all journalists for the Vietnam reporting of some. He was right. Some 20 years after their experience in Vietnam, student attitudes toward the media were overwhelmingly negative and seemingly permanent, at least in that generation of embittered officers.
Conclusions
Perhaps the war in Vietnam attracted a wider range of journalistic talent than had earlier wars. It has been alleged that the price of an airline ticket to Vietnam allowed adventurers lacking training, experience, maturity, and judgment to catch on with the Saigon press corps as go-fers, stringers, or freelance photographers. Some later even got bylines. But a similar lament was heard among professional soldiers about the range of talent in the US Army. It has been suggested that Lieutenant Calley of My Lai infamy was commissioned because the Army had to dip to the bottom of the barrel. Few Ivy Leaguers were storming the recruiter's office, and repeated tours in Vietnam exhausted the supply of junior leaders, especially infantry officers and NCOs and helicopter pilots. OCS churned out second lieutenants; "shake and bake" leadership courses produced instant sergeants without the benefit of the traditional five to 15 years of experience with troops; and young men in their late 'teens and early 20s, whose older brothers in the 1950s had buzzed around the town square in hot rods, found themselves piloting helicopters over the jungles of Vietnam. While huffing and puffing about those who ducked military service during that war, old soldiers will recall that many a career NCO extended his tour in Vietnam to get out of a rifle company and into some rear area job. Some gung-ho officers of the peacetime Army bailed out when it became obvious that regulars would serve repeated tours in Vietnam. Talent, courage, and a deep sense of professionalism were unevenly distributed in both the media and the military during the war in Vietnam.
TV can be charged with some distortion of events as it went through growing pains while reporting war in a new medium, but did the United States need TV to make a mess of it at the policy, operational, and tactical levels? At the policy level we conducted a limited war while the foe, apparently prepared to fight to the last man, engaged in total war; at the operational level, "search and destroy" became the equivalent of mosquito-hunting with a sledge hammer; at the tactical level we sent amateurs to fight pros because our military personnel system supported the war with peacetime habits. Apprentice US privates had to learn their trade the hard way, as we sent bush-wise journeymen home at the end of a year, just when they had learned their deadly business. (S. L. A. Marshall, in The River and the Gauntlet [1953], offers the same lesson from the war in Korea.) And the criteria by which the military personnel system assigned commanders in Vietnam did not include: "This officer has demonstrated great skill at effectively commanding in combat at this level, and he is very good at accomplishing missions while keeping his soldiers alive."
The Department of Defense and our Army have come to grips with media-military relations by adopting a policy of openness limited only by operational security and individual rights to privacy. Journalists now can get the story out by the technical means available to them; they can get to all but the most remote corners of the earth unaided; they will be on the scene in ever-increasing numbers, sometimes before our deploying troops arrive, and censorship will not be the US policy toward the media. Media representatives have participated in training for peace operations, and journalists destined for Bosnia had the opportunity to prepare themselves for mines, cold weather, and survival skills by training alongside US troops in Germany and subsequently deploying with them. One suspects that a reporter enduring a cold wind in his face while standing ankle-deep in mud rapidly becoming ice could be kindly disposed--perhaps to the point of admiration--toward blue-fingered engineers slopping in a river day and night to assemble a bridge. Openness characterizes the media policy of the 1990s.
Is it not, at last, time for the true believers of the 1960s to admit that the media generally had it right about Vietnam, and that we crew-cut, spit-shined, flag-lovin', professional soldiers were on a fool's errand?
BIBLIOGRAPHY
Arnett, Peter. Live from the Battlefield: From Vietnam to Baghdad, 35 Years in the World's War Zones. New York: Simon & Schuster, 1994.
Baker, Russell. Growing Up. New York: Congdon & Weed, dist. by St. Martin's Press, 1982.
________. The Good Times. New York: Morrow, 1989.
Bradlee, Benjamin. A Good Life: Newspapering and Other Adventures. New York: Simon & Schuster, 1995.
Braestrup, Peter. Big Story: How the American Press and Television Reported and Interpreted the Crisis of Tet 1968 in Vietnam and Washington. Abridged ed.; Garden City, N.Y.: Anchor Press, 1978.
Halberstam, David. The Making of a Quagmire. New York: Random House, 1965.
Herr, Michael. Dispatches. New York: Knopf, 1977.
Page, Tim. Page After Page. New York: Athenaeum, 1989.
Rather, Dan, with Mickey Herskowitz. The Camera Never Blinks: Adventures of a TV Journalist. New York: W. Morrow, 1977.
Safer, Morley. Flashbacks: On Returning to Vietnam. New York: Random House, 1990.
Sheehan, Neil. A Bright Shining Lie: John Paul Vann and America in Vietnam. New York: Random House, 1988.
The Reviewer: Colonel Henry G. Gole, USA Ret., served two tours in Vietnam with the 5th Special Forces Group, one of them with MACVSOG, and was an enlisted infantry soldier in Korea during the Korean War. He later taught at the US Military Academy and the US Army War College. He is a graduate of Hofstra University; holds master's degrees from Hofstra, the Fletcher School of Law and Diplomacy at Tufts University, and Stanford University; and earned a Ph.D. at Temple University.
HENRY G. GOLE
© 1996 Henry G. Gole
What follows is a soldier's appreciation of how journalism evolved in the 1960s and 1970s, and how the craft affected attitudes of professional soldiers about the media. It is specifically directed at media critics, particularly the veteran of combat in Vietnam who is prepared say: "OK, it's been a long time. Show me that the media wasn't and isn't a pack of lyin', flag-hatin', pinko SOBs." It is written by an old sweat who, despite his aversion to the worst aspects of journalism--back-fence gossip and hyperbole posing as protection of our first amendment rights--recognizes the need for an independent media, even an imperfect media. Somebody has to watch the guys with the weapons, those with fingers in the till, and those who make rules for the rest of us. Even a flawed tool is necessary to perform those vital functions. This essay offers observations about published reflections by journalists who have something interesting to say about the craft and about Vietnam reporting, and an insight into the attitudes of Army War College students of the 1980s regarding the reporting of the American war in Vietnam.
Journalists on the War
It might have helped, but probably not much, had soldiers appreciated the hypercritical predisposition journalists bring to their observations of the universe, including their own craft. They are quick to praise and to damn. Morley Safer, in one paragraph of his Flashbacks: On Returning to Vietnam (1990), calls his employers "the comintern that ran CBS" and praises colleague Charles Collingwood as one of Murrow's Boys: "He was a scholar when broadcasting no longer wanted one, amused more than appalled by the contract-crazed chorus girls and boys who've taken over the podium."
Safer's admiration of Collingwood might be dismissed as a lamentation for the passing of the good old days by one himself growing long in the tooth, but he is not alone in recognizing that Vietnam was the first television war. "First television war" rolls off the tongue too easily today, reflecting the sophistication of viewers who have had wars and peace operations with their evening cocktails for more than a quarter century. It is hard to recall how profoundly--as well as how quickly--the new medium affected both its subjects and the journalism it produced. At one point in Dispatches (1977)--the hip, psychedelic, surrealistic reporting of the war that is the next-best thing to having been there--Michael Herr cites a comment by a Marine in a skirmish line assaulting a dike from a rice paddy in (almost) these words: "I don't like this flick at all."
The American public saw scenes from a war on TV. It also saw its soldier-actors seeing themselves in scenes from a war on TV. Some soldiers saw promotions, or fame, or both. In The Camera Never Blinks (1977), Dan Rather describes a Colonel whose "eyes lit up like the jackpot on a pinball machine. He said with a kind of gasp, `Television!'" when he spotted Rather and his cameraman. "He liked reporters and he knew the value of a tough reputation." The Colonel, a regimental commander, seemed fully prepared to stage a shoot'em-up, showing his brave troops zapping bad guys, the combat analog of "leaking." Whenever a media representative reports a close-hold government policy that some noble soldier, appointee, or civil servant has leaked, no doubt for some enlightened reason, censure of the reporter is not unusual. Isn't it remotely possible that the leaker had a dog in the fight?
Unfortunately the actual combat film obtained at risk of life and limb by brave or crazy photojournalists, while authentic, often distorts and misleads. Tim Page's Page After Page (1989) suggests that he might fall into that latter group of journalists; Frenchman Alex Bauer, on the other hand, who was both brave and combat-smart, is credited by Dan Rather with keeping them both alive despite hairy adventures in the bush. According to Peter Braestrup's Big Story (abridged edition, 1978), which offers a comprehensive account of the press coverage and an objective interpretation of the 1968 Tet offensive, what usually got on the air was "US GIs in combat." That's what "New York" wanted. Little reporting was done on the ARVN, so "the general cumulative impression given was that it was an American war." Braestrup adds that the function of the TV network correspondents in Vietnam--and around the world--differed radically from that of their colleagues in the print media. He demonstrates that while it is true that the camera doesn't blink and action footage was the hot stuff desired by the three networks, what generally happened was that 48-hour-old footage was married to a few sentences stitched together in New York by a busy network editor whose text was in fact the latest AP and UPI dispatches from Saigon. The "nightly news" was a cut-and-paste job of two-day old film and new stuff from the wire services that did not really wrap up that day's news. Avuncular Walter Cronkite's authoritative sign-off, "And that's the way it is," wasn't quite the way it was.
Braestrup, a veteran journalist (Time, The New York Times) and chief of The Washington Post's Saigon bureau during Tet, concludes that the network approach was not to produce news in the sense of fact-finding and interviewing. The film vignettes were used in one-to-two-minute "snippets" (his word) with commentary that, given the TV format, purported to be representative, typical, or a microcosm. In fact, what the cameraman got was a dramatic part of some larger situation that the network producer sandwiched into a tight 24-minute program. Out of context, there was no way to know if what viewers saw was in fact unique or typical. Braestrup opines that the process produced material more personal and conclusive than anything permitted newspapermen or wire-service reporters.
An appreciation of what makes a big-time journalist tick and how a successful media career is made can be gained from a few books written with flair, charm, and insight by three well-known media professionals, two of them print journalists, one a TV reporter who subsequently became a celebrity network anchorman. Russell Baker of The New York Times provides a warm and likable account of his journey from blue collar newsboy in Baltimore to bureau chief in London, to White House correspondent, to Times columnist in two engaging books: Growing Up (1982) and The Good Times (1989). Ben Bradlee's A Good Life (1995), a witty, honest, and crisply written autobiography, takes the reader with Bradlee from prep school, Boston, and Harvard to World War II service as a junior officer on a destroyer in the Pacific and ultimately to the top of the journalistic heap as managing editor, from 1966 to 1991, of The Washington Post. His part in the publishing of the Pentagon Papers, in the Watergate affair, and in other big stories puts the reader in the shoes of a newspaperman conscious that he is writing "the first draft of history." Rounding out the short list is Rather's The Camera Never Blinks because of the sense of the subtitle, Adventures of a TV Journalist, and because it is an honest book. Rather, younger than Baker and Bradlee, grew up with TV and brings a perspective flavored by modest Texas roots, an undistinguished college, and local TV station experience before making it to the big time in The Big Apple and eventually ascending to the throne vacated by Walter Cronkite.
Turn now to another short list: Vietnam books by journalists who offended a generation of American soldiers. Neil Sheehan, David Halberstam, and Peter Arnett brought unambiguously bad news to their readers early in the American war in Vietnam, even before the commitment of large American formations to the war. Their message had in common a variety of themes:
* Political leadership in Hanoi promised sacrifice, unification, and the ejection of the imperialists, while Saigon promised corruption, palace coups, and endless muddle.
* North Vietnamese army troops and Viet Cong auxiliaries were skilled and prepared to die for their cause, while the Army of the Republic of Vietnam was inept, unwilling, and unlikely to improve.
* Neither the American Embassy nor top US military leadership in Saigon had a clue about the war in the boondocks (because they did not get out of Saigon), while competent US advisers in the boondocks had to bribe reluctant Vietnamese officers to conduct operations with poorly motivated and poorly trained troops.
* The enemy's willingness to endure the uncongenial physical and psychological environment of close combat contrasted sharply with a wish--by Saigon and American senior advisers--for a deus ex machina: helicopters, armored personnel carriers, people sniffers, electronic gadgets.
In brief, energetic young journalists went on combat operations with the advisers they admired, made their observations, and then heard accounts of those operations from Saigon warriors whose information had been sanitized to make good news of bad news as it was passed up the chain of command. Halberstam, fresh from combat reporting in the Congo, noted the acrimonious relationship between the press and the military immediately upon his arrival in Vietnam in 1962. The message that the war was being lost did not endear the callow messengers to the responsible graybeards running the war from Saigon and Washington.
The 1963 battle at Ap Bac at once illustrates and characterizes the chasm separating the press and military, one that was not bridged in the course of the war, and that would eventually find almost all soldiers on one side and the media on the other in confrontational stances. Neil Sheehan, in A Bright Shining Lie (1988), calls the battle of Ap Bac a "climactic humiliation of the Saigon side." David Halberstam, in The Making of a Quagmire (1964), emphasizes in describing the battle that despite superior numbers and firepower, a combination of tactical and helicopter air support, and the mobility afforded by the M-113 armored personnel carriers, a demoralized ARVN lacked leadership and the will to fight while the enemy demonstrated determination, skill, and great courage. In Live from the Battlefield (1994) Peter Arnett says of the Battle at Ap Bac that it was the biggest story he had covered in his then-six months in Vietnam because "It convinced the Saigon press corps that either the authorities were unaware of the full dimensions of the insurgency, or the discrepancies were being concealed from us." The Americans got the set-piece battle they had always wanted with an elusive foe. That foe performed much better than expected, ARVN was a disgrace, and official America in Saigon reported success.
Another event--a series of events, really--only added to the growing discord between soldiers and the media. Analysts generally regard the Tet offensive of 1968 as an operational failure for the Viet Cong and the NVA--even a disaster--because the Viet Cong infrastructure, so long in the making, was destroyed in the fighting. But the same analysts saw the event as a strategic success for the enemy. Their seeming omnipresence--South Vietnam lit up like a pinball machine, and the enemy was in the American Embassy--caused America to lose its stomach for the war. America's professional soldiers blamed the media for stressing the enemy's Tet successes while overlooking the loss of infrastructure that had taken generations to build. Ergo, bad media, true to form, undermined the noble efforts of American soldiers and Marines.
But Peter Braestrup's erudite Big Story, dedicated to the memory of 43 named foreign journalists who died in Indochina in 1961-75, blames President Johnson and General Westmoreland for the Tet debacle. He asserts that Johnson and Westmoreland knew from intelligence sources throughout South Vietnam that the enemy planned a big show, but for reasons still unclear, they failed to prepare the American people for what was about to happen. One assumes they were confident. Happy news was reported, and unhappy news was suppressed. The American public had every reason to believe that all was going well in 1968 when the bottom seemed to fall out. Both the press and the American people were shocked at the intensity and duration of enemy activity. Before Tet there had been a sense that the tide had turned, that America was on a course to victory. After Tet there was a general sense that the best course of action was to get out. Leadership, not the media, had failed to prepare the nation.
Attitudes of Army War College Students in the 1980s
As one who had served tours in Vietnam in elite units in the salad days of 1966 and in the generally unhappy days of 1970-71, your current writer closely observed Army War College students of 1980-84 and 1986-88 as a faculty member. Those students knew that they were the first generation of American officers to lose a war. The lost war produced a profound demoralization within their ranks--a demoralization that was generally unappreciated by the public. A Chief of Staff of the Army even declared that our Army was "hollow." Among themselves the officers lashed out with uncharacteristic passion at everything external to the brotherhood.
These officers were typically 42-year-old lieutenant colonels or newly minted colonels, still in competition for stars; they had at least 20 years in uniform, and had served in Vietnam once or twice as junior officers in the 1960s and early '70s. And they were angry. They almost unanimously despised journalists and made no effort to conceal their attitude. Those students held Congress and civilian leadership in low regard and resented the apathy and ignorance of the American public about national security and matters martial. But they reserved a special venomous attitude for "the media," a term more sneered than spoken.
Despite efforts of commandants and faculty to inform class after class of the proper role of the media as a safeguard against tyranny, the need for an informed electorate in a democracy, the high standards of the best journalists, and the competitive culture of the craft, successive classes remained adamant in their aversion to journalists. In 1988 a distinguished journalist for a prestigious newspaper privately observed that he was fed up. After fighting the good fight by regularly participating in the annual "media days" that brought the craft's best practitioners to Carlisle Barracks for discussions with the students, he suspected that a generation of soldiers would go to their graves hating all journalists for the Vietnam reporting of some. He was right. Some 20 years after their experience in Vietnam, student attitudes toward the media were overwhelmingly negative and seemingly permanent, at least in that generation of embittered officers.
Conclusions
Perhaps the war in Vietnam attracted a wider range of journalistic talent than had earlier wars. It has been alleged that the price of an airline ticket to Vietnam allowed adventurers lacking training, experience, maturity, and judgment to catch on with the Saigon press corps as go-fers, stringers, or freelance photographers. Some later even got bylines. But a similar lament was heard among professional soldiers about the range of talent in the US Army. It has been suggested that Lieutenant Calley of My Lai infamy was commissioned because the Army had to dip to the bottom of the barrel. Few Ivy Leaguers were storming the recruiter's office, and repeated tours in Vietnam exhausted the supply of junior leaders, especially infantry officers and NCOs and helicopter pilots. OCS churned out second lieutenants; "shake and bake" leadership courses produced instant sergeants without the benefit of the traditional five to 15 years of experience with troops; and young men in their late 'teens and early 20s, whose older brothers in the 1950s had buzzed around the town square in hot rods, found themselves piloting helicopters over the jungles of Vietnam. While huffing and puffing about those who ducked military service during that war, old soldiers will recall that many a career NCO extended his tour in Vietnam to get out of a rifle company and into some rear area job. Some gung-ho officers of the peacetime Army bailed out when it became obvious that regulars would serve repeated tours in Vietnam. Talent, courage, and a deep sense of professionalism were unevenly distributed in both the media and the military during the war in Vietnam.
TV can be charged with some distortion of events as it went through growing pains while reporting war in a new medium, but did the United States need TV to make a mess of it at the policy, operational, and tactical levels? At the policy level we conducted a limited war while the foe, apparently prepared to fight to the last man, engaged in total war; at the operational level, "search and destroy" became the equivalent of mosquito-hunting with a sledge hammer; at the tactical level we sent amateurs to fight pros because our military personnel system supported the war with peacetime habits. Apprentice US privates had to learn their trade the hard way, as we sent bush-wise journeymen home at the end of a year, just when they had learned their deadly business. (S. L. A. Marshall, in The River and the Gauntlet [1953], offers the same lesson from the war in Korea.) And the criteria by which the military personnel system assigned commanders in Vietnam did not include: "This officer has demonstrated great skill at effectively commanding in combat at this level, and he is very good at accomplishing missions while keeping his soldiers alive."
The Department of Defense and our Army have come to grips with media-military relations by adopting a policy of openness limited only by operational security and individual rights to privacy. Journalists now can get the story out by the technical means available to them; they can get to all but the most remote corners of the earth unaided; they will be on the scene in ever-increasing numbers, sometimes before our deploying troops arrive, and censorship will not be the US policy toward the media. Media representatives have participated in training for peace operations, and journalists destined for Bosnia had the opportunity to prepare themselves for mines, cold weather, and survival skills by training alongside US troops in Germany and subsequently deploying with them. One suspects that a reporter enduring a cold wind in his face while standing ankle-deep in mud rapidly becoming ice could be kindly disposed--perhaps to the point of admiration--toward blue-fingered engineers slopping in a river day and night to assemble a bridge. Openness characterizes the media policy of the 1990s.
Is it not, at last, time for the true believers of the 1960s to admit that the media generally had it right about Vietnam, and that we crew-cut, spit-shined, flag-lovin', professional soldiers were on a fool's errand?
BIBLIOGRAPHY
Arnett, Peter. Live from the Battlefield: From Vietnam to Baghdad, 35 Years in the World's War Zones. New York: Simon & Schuster, 1994.
Baker, Russell. Growing Up. New York: Congdon & Weed, dist. by St. Martin's Press, 1982.
________. The Good Times. New York: Morrow, 1989.
Bradlee, Benjamin. A Good Life: Newspapering and Other Adventures. New York: Simon & Schuster, 1995.
Braestrup, Peter. Big Story: How the American Press and Television Reported and Interpreted the Crisis of Tet 1968 in Vietnam and Washington. Abridged ed.; Garden City, N.Y.: Anchor Press, 1978.
Halberstam, David. The Making of a Quagmire. New York: Random House, 1965.
Herr, Michael. Dispatches. New York: Knopf, 1977.
Page, Tim. Page After Page. New York: Athenaeum, 1989.
Rather, Dan, with Mickey Herskowitz. The Camera Never Blinks: Adventures of a TV Journalist. New York: W. Morrow, 1977.
Safer, Morley. Flashbacks: On Returning to Vietnam. New York: Random House, 1990.
Sheehan, Neil. A Bright Shining Lie: John Paul Vann and America in Vietnam. New York: Random House, 1988.
The Reviewer: Colonel Henry G. Gole, USA Ret., served two tours in Vietnam with the 5th Special Forces Group, one of them with MACVSOG, and was an enlisted infantry soldier in Korea during the Korean War. He later taught at the US Military Academy and the US Army War College. He is a graduate of Hofstra University; holds master's degrees from Hofstra, the Fletcher School of Law and Diplomacy at Tufts University, and Stanford University; and earned a Ph.D. at Temple University.