By Hayley Michael Hasik
Editorial Note: During 2019, From Balloons to Drones is running a series of articles looking at various aspects of the air war over Vietnam from the French-Indochina War through to the end of the Vietnam War. In this article, Hayley Michael Hasik discusses the cultural legacy of American helicopters during the Vietnam War. If you would like to contribute to the series then please email our editor, Dr Ross Mahoney, at email@example.com or via our contact page here. The official call for papers is here.
The scene opens with a squadron of helicopters sweeping across the landscape flying in formation over the open rice paddies of Vietnam. The whap-whap-whap of the Huey rotors quickly fades into the background becoming part of the soundtrack of the scene. Gunfire echoes in the background as the helicopters move into the landing zone encountering anti-aircraft fire from nearby North Vietnamese forces. The enemy remains hidden by the dense ground cover; their position betrayed only by the muzzle flashes of their weapons. The Huey slicks touch down, and soldiers quickly disembark and scatter before the Hueys take off just as quickly as they landed. Troops fan out across the open paddies, slogging through high water on alert looking for any sign of the enemy. The whole process seems to happen in slow motion, taking several minutes, but takes mere seconds; the longer these helicopters are on the ground, the more susceptible they are to enemy fire. Or so the narrator declared.
The scene above is not taken from a Hollywood blockbuster, but rather archived footage used in the Bell Helicopter-sponsored 2005 documentary entitled Huey in a Helicopter War, produced as part of the series, Heart of Darkness: Vietnam War Chronicles. This was not the first instance where Bell, responsible for the development and manufacture of the iconic UH-1 Huey helicopter, helped shape the public image of the Huey in the Vietnam War. Bell was just one of many corporations involved in helping to construct the symbolism of helicopters both during and well after the war. Corporations like Bell, Sikorsky, Hughes Helicopter, and AVCO Lycoming Division participated in and directed the creation of the helicopter mythology and iconography during the Vietnam War. Corporate advertisements and sponsorships in Army Aviation magazine reveal an intimate connection between the legacy of helicopters and these corporations.
As Army Aviation developed into a distinct entity within the U.S. Army in the 1950s and early 1960s, a separate culture also began to develop. Part of this culture included periodicals like Army Aviation, whose readership included ‘civilians, military in every grade from NCO to general officer, and a handful of loyal industry supporters’ with connections to companies such as the helicopter manufacturer Sikorsky and the AVCO Lycoming Division, which produced Lycoming engine used to power many of these helicopters. The Department of Air Training Artillery School at Fort Sill, Oklahoma published the first edition in 1952 as a newsletter, The Army Aviator. This newsletter kept readers apprised of events in army aviation. Examples include the construction of airfields, updates and changes to flight safety, various aspects of training, and plans and projects slated for the future of army aviation. There were no images, and certainly no sponsorships, within these yellowed pages. In 1953, the Artillery School became the Army Aviation School at Fort Sill before moving to Camp Rucker, Alabama (now Fort Rucker) in late 1954. Coinciding with this restructuring and increasing professionalisation of Army Aviation, in May 1954, The Army Aviator became the Army Aviation Magazine:
[a]n unofficial, all-component monthly publication financially & editorially supported by voluntary subscriber/correspondents […] No implication must be made that ‘Army Aviation’ is an authorized Army publication.’
In 1957, the Army Aviation Association of America (Quad-A) was founded as a ‘not-for-profit organization dedicated to representing the broad interests of Army Aviation.’ The Quad-A took over publication of the magazine, providing ‘an essential public forum for the current and future leaders’ in the field of army aviation. This professionalisation coincided with the introduction of corporate sponsors and advertising and contributed further to the developing culture of army aviation.
Corporate Sponsorship and Advertisements
Focusing specifically on the corporate sponsorships and accompanying advertisements published in Army Aviation during the early years of the Vietnam War helps to uncover how the iconography of helicopters developed during the war. Much credit for the imagery of helicopters is given to the media during the war and popular culture after the war. These corporate sponsorships also illustrate how the military-industrial complex was both an economic and cultural phenomenon. The imagery, rhetoric, and symbolism used in the magazine are similar to the images and rhetoric later used in films, on book covers, and recounted in histories of the war. The sponsorships fit into three broad categories. First, advertisements relied on old technology to reinforce the newness and progress of the new technology. Second, the language used in these ads worked alongside the imagery to highlight the toughness and durability of these fragile aircraft. Finally, corporations co-opted actual events in Vietnam, specifically the Battles of Ap Bac and Ia Drang, to portray helicopters as the future of warfare. Focusing on the early years of the war allows one to understand better how helicopters were introduced to the Army and how they were contemporarily incorporated into the narrative of the Vietnam War. How did machines that were fragile, difficult to fly, and, as Jim Willbanks once noted in lecture, could be punctured with an icepick, eventually become the sight and sound of the Vietnam War.
The efforts to draw specific connections between helicopters (the new technology) and tanks or other Second World War machines/weapons (the old technology) is a recurring theme in corporate efforts to promote helicopters as the epitome of technological progress. The most striking visual representations of this phenomenon are the Sikorsky Aircraft advertisements from February 1963 and December 1965. Sikorsky blatantly placed this technology side-by-side to illustrate how this new technology had subsumed old technology, making it hard to ignore the portrayal of helicopters as a sign of military progress. The 1963 advertisement showed a Skycrane effortlessly lifting a tank over a tree line. The symbolism of this photograph is palpable. The new technology (helicopter) reduces the old technology (tank) to cargo. The new technology (helicopter) makes the old technology (tank) obsolete. Not only can this helicopter transport the tank, but, in many instances, the helicopter can go where the tank cannot, rendering the tank incapable of the same role it played in the Second World War and even Korea. The description that accompanied the advertisement explained how these helicopters were in their final testing phase, meaning they had not yet been used in Vietnam, but that did not stop the corporations from marketing them.
This symbolism continued at the end of 1965 with a two-page advertisement highlighting the workhorse capabilities of the Skycrane, which was described as capable of carrying ‘over 10 tons of almost anything […] or 67 combat-equipped troops.’ Not only was the Skycrane capable of carrying a tank, as demonstrated nearly three years earlier, but the advertisement showed the Skycrane hovering over a bulldozer, truck, 105-millimetre howitzer, a small aeroplane, and a detachable van capable of holding 67 combat-equipped troops. This new technology subsumed the old technology of the tank and replaced multiple other forms of technology, like the truck and jeep, or made these machines and weapons accessible where they might not have been due to an inability to handle the rugged terrain or dense jungles of Vietnam.
These comparisons between the Second World War and the Vietnam War provided vivid visual images that people could relate to and put the helicopter into terms of America’s most recent large-scale military victory. General John Tolson asserted that the ‘versatility and uniqueness’ of helicopters made them the ‘keystone to airmobility,’ and, ‘The simple fact is that no other machine could have possibly accomplished the job of the helicopter.’ In reality, compared to tanks and other armoured vehicles, helicopters of the Vietnam era were vulnerable, easily breakable, and just not that tough. Helicopters were portrayed as more powerful than the technology that helped the US win the Second World War, so they must be powerful enough to win in Vietnam. Or so these ads suggested.
The use of targeted language provided a corporate answer to understanding why helicopters were such a prominent symbol of the Vietnam War. Not only were the advertisements visually promoting the concept of military progress but the phrasing and word choice throughout these sponsorships throughout the Vietnam War reinforced these visual images. AVCO Lycoming Division described the Huey as ‘one of the world’s toughest, most durable helicopters’ and the Lycoming engine that made it fly was ‘the world’s toughest, most durable helicopter engine.’ Not only were these helicopters tough and durable, but the missions they carried out were described as ‘demanding’ and ‘rough.’ They were, as Hughes Helicopter pointed out, a ‘tough machine for a tough war.’ ‘Helicopters with demanding missions are powered by General Electric,’ was General Electric’s motto. AVCO portrayed the Huey as the ultimate hero. ‘Out here, when things get rough they call in Huey,’ is nothing short of a Superman reference made by AVCO. Hueys were called in for everything from reinforcements and fire power to evacuations and rescues; they were showcased as being capable of any mission. On top of that, one advertisement alluded to helicopter engines, and by association helicopters, as bulletproof. The chosen descriptors worked alongside well-chosen photographs to reinforce certain conceptions of the helicopter. As Alasdair Spark noted in his social history of helicopters, ‘the helicopter became the American touchstone, symbolizing a transcendent American power incarnate in metal.’ Society began to see the helicopter as a tough and rugged and exceptional piece of technology.
General Electric, AVCO, and Hughes Helicopter all used this type of terminology to emphasise the toughness and ruggedness of these fragile, or at the very least complicated, machines. Veteran pilots like Warrant Officer James Scott recounted the real-life difficulties of flying helicopters stating, ‘Helicopters are not meant to fly […] They’re an anomaly – they fly, but they’re not supposed to.’ Philip Chinnery echoed this sentiment stating:
It is said that flying a helicopter requires great faith and that becoming an old helicopter pilot requires constant suspicion. When one considers how a helicopter flies through the air, we can understand how helicopter pilots grow old before their time […] To fly a helicopter, the pilot requires both hands and both feet and most of his fingers too.
That fragility and extreme diligence and skill needed to operate these machines were not evident in these advertisements. Indeed, further research is required to understand why toughness, rather than speed, manoeuvrability, or versatility was the characteristic most heavily used throughout these advertisements.
Helicopters, Advertisements and the Future of Warfare
Finally, these advertisements co-opted events in Vietnam to further develop perceptions of helicopters as the future of warfare. Both Ap Bac and Ia Drang were the focus of these sponsorships. Generally, these advertisements appeared a few months after the event. In March 1963, a Bell Helicopter ad declared, ‘Combat Proven.’ The ad goes on to say, ‘throughout the engagement, the five Iroquois provided steady fire support.’ The image is hard to make out, but it is clearly a Huey flying over what appears to be some dense jungle. The Battle of Ap Bac in January 1963 is generally viewed as the first significant test of US helicopters in combat. American helicopters supported and inserted roughly 1,500 Army of the Republic of Vietnam troops. However, Bell spun the events of Ap Bac. Fourteen of the 15 American helicopters used in the battle were damaged, and five were destroyed. Ap Bac was far from the successful inauguration the Army had hoped for. The helicopters might have been combat tested, but it is hard to call them combat proven.
The second event that corporations appropriated was the Battle of Ia Drang. In the January 1966 issue of Army Aviation, there are references to Ia Drang on the cover and the advertisements inside. This cover had a set of images featuring the Chinook helicopter. The first image was a Chinook in flight against a plain white backdrop and immediately below it was a second image of two Chinooks on the ground being loaded with troops for transport. The headline reads: ‘This is a horse. (It must be a horse. The First Cavalry rides it.)’ Before even opening the issue, AVCO presented the reader with powerful imagery referencing the 1st Cavalry Division, which had been recently battle-tested in the Battle of Ia Drang. Although Ia Drang proved more successful than Ap Bac, it was still a great test for helicopters, which suffered heavy damage. Commander of the 1st Cavalry Division General John Tolson noted that throughout the 35-day campaign, 59 American helicopters were hit by enemy fire, three while on the ground. The North Vietnamese shot down four helicopters, of which the U.S. Army recovered three. Despite these losses, helicopters proved their worth by providing over 5,000 tons of cargo to troops in the field, transporting whole infantry battalions and artillery batteries, and transporting 2,700 refugees. Bell and Lycoming were quick to capitalise on this ‘success.’ Whether or not these corporations were trying to sell actual helicopters or an idea the helicopter symbolised is something deserving further exploration.
It is worth noting the profit motive of corporations like Bell. A document found at the Texas Tech Archives entitled, ‘Bell Helicopter Highlights’ offers a timeline of Bell helicopter contracts, key production developments, and record achievements published by Bell Helicopter Textron. The U.S. military contracts with Bell from 1961 through 1973 total over one trillion dollars. This total is just the contracts listed within this single document and warrants further inquiry to verify exact numbers. Nevertheless, these preliminary figures allude to the stake that corporations like Bell had in both the technological development and public perception of army aviation during the Vietnam War.
Through both images and language, these magazines presented the idea of military progress by way of helicopters. All these images and the accompanying descriptive language served to create and reinforce the helicopter as a symbol of technological progress. These helicopters were the latest and greatest accomplishment from the military-industrial complex and as such were capable of not only carrying out the tasks of outdated and obsolete equipment, like the tank but should be capable of winning the war in Vietnam. There were no true obstacles these machines could not overcome. This imagery reinforced Alasdair Spark’s assertion that ‘in technology and mobility this was the ideal American way of war, and appropriately evoked the mythic American style of war.’ The problem with these advertisements was that in some cases, they used actual events to help craft their imagery. By grounding their advertisements in perceived reality, these corporate sponsors perpetuated the notion that helicopters were ubiquitous and only capable of success. These images failed to examine or display the failures of helicopters.
Chris Bishop summed it up best when he said:
The Huey became an icon of the Vietnam War. It was a star of primetime news reports, its distinctive shape and the sound of its twin-bladed rotor becoming more familiar to the world at large than any other aircraft of the time.
Although the Huey is arguably the most recognisable helicopter, it was not the only one to come of age during the Vietnam War. The iconic status of Hueys and other helicopters was not merely a post-war phenomenon and cannot be credited only to the media. From advertisements in Army Aviation to documentaries and film, helicopters became a prominent sight and sound of the Vietnam War during the war. In many ways, ‘the helicopter, like the soldier, is a veteran of Vietnam’ and it is time we understand how the helicopter developed from combat to cultural icon.
Hayley Michael Hasik is currently a third-year doctoral student at the University of Southern Mississippi working on a degree in U.S. history with an emphasis on cultural history, war and society, the Vietnam War, helicopters, and veterans’ experiences. Hayley’s current research focuses on examining the legacy of the ‘Helicopter War’ in Vietnam. Her project seeks to uncover how and why helicopters became such an integral part of Vietnam War history and memory. Hayley has extensive oral history experience and co-founded the East Texas War and Memory Project in 2012.
Header Image: U.S. Army Bell UH-1D helicopters airlift members of the 2nd Battalion, 14th Infantry Regiment from the Filhol Rubber Plantation area to a new staging area, during Operation ‘Wahiawa,’ a search and destroy mission conducted by the 25th Infantry Division, northeast of Cu Chi, South Vietnam, 1966. (Source: Wikimedia)
 Heart of Darkness: Vietnam War Chronicles, Huey in a Helicopter War, directed by Bill G. Buck (Entertainment One Ltd., 2005).
 James R. Bullinger (ed.), Army Aviation Association of America: 50th Anniversary, 1957-2007 (Monroe, CT: Army Aviation Publications, 2007), p. 19.
 Sikorsky Aircraft, ‘Sikorsky’s Skycrane can carry over 10 tons of almost anything,’ Army Aviation, AAAA, December 1965, pp. 24-5.
 John J. Tolson, Vietnam Studies: Airmobility, 1961-1971 (Washington, DC: Department of the Army, 1973), p. 104.
 General Electric, ‘Helicopters with demanding missions are powered by General Electric,’ Army Aviation, AAAA, 20 August 1966, pp. 18-19.
 AVO Lycoming Division, ‘Out here, when things get rough they call in Huey,’ Army Aviation, AAAA, 22 December 1966.
 Alasdair Spark, ‘Flight Controls: The Social History of the Helicopter as a Symbol of Vietnam’ in Jeffrey Walsh and James Aulich (eds.), Vietnam Images: War and Representation (New York: St. Martin’s Press, 1989), p. 89.
 Texas A&M University-Commerce, Archives and Special Collections, James G. Gee Library, East Texas War and Memory Project, Interview with James Scott, OH 1001.1, interviewed by Hayley Hasik, 6 May 2013.
 Philip D. Chinnery, Vietnam: The Helicopter War (Annapolis: Naval Institute Press, 1991).
 James R. Chiles, The God Machine: From Boomerangs to Black Hawks: The Story of the Helicopter (New York: Bantam Books, 2007), p. 165.
 Tolson, Airmobility, p. 83.
 Ibid., pp. 82-3.
 Texas Tech University, The Vietnam Center and Archive, Dominick Cirincione Collection, Box 04, Folder 03, 4020403002, ‘Bell Helicopter Highlights,’ (ND). Figures calculated by the author; Walter Boyne, How the Helicopter Changed Modern Warfare (Gretna, LA: Pelican Publishing Company, 2011), pp. 90-4.
 Spark, ‘Flight Controls,’ p. 89.
 Chris Bishop, Bell UH-1 Huey “Slicks” 1962–75 (Oxford: Osprey Publishing, 2003), p. 15.
 Spark, ‘Flight Controls,’ p. 102.