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table of contents

Fo rewo rd by E ri c Wa ki n vii

Ackn ow l e d gm e n t s xi

I n t ro d u c t i o n 1

M a ri o n a n d A n n E n te r t h e Pa cif ic 9

Ph o to gra p h e rs i n Fo c u s 19
C y n t h i a Co ppl e 20
A r t Gre e n spo n 26
D o n Hi rst 32
B re n t Pro c te r 38
S e l e c te d Ph o to gra p h s 45

M a n o n t h e S t re e t 193

A b o u t t h e Co n t ri b u to rs 203

Fu r t h e r R ea d i n g 205

N o te s 207

Ph o to R e fe re n ce s 209

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It is with great pleasure that the Hoover through World War I, to the present day. The Over-
Institution Library & Archives presents this volume seas Weekly collection complements the institu-
of photographs from its Overseas Weekly collection, tion’s other significant holdings on Vietnam, from
one of the most significant acquisitions the insti- the papers of Edward Lansdale to the manuscript
tution has made in recent years. Begun in 1950 in of Ron Kovic’s Born on the Fourth of July and the
Frankfurt, Germany, the Overseas Weekly was a records of Sybil Stockdale, coordinator of the
landmark venture in wartime reporting and served National League of Families of American Prison-
as an alternative to US Defense Department papers ers in Southeast Asia and the wife of Vice Admiral
like Stars and Stripes. Its Pacific edition began pub- James Bond Stockdale, who was held as a prisoner
lication in 1966 and covered controversial topics of war in North Vietnam from 1965 to 1973. Since
more intently than the official papers did, including acquiring the Overseas Weekly collection, we have
courts-martial, racial discrimination, drug use, and sought to enhance and encourage access to its con-
opposition to command, while also publishing raw tent. This year, we digitized and made available over
photographs of life in the field and in billets. The nine hundred images from the collection through
photographs in the collection represent some of the our digital collections portal, and in the spring of
most intimate and moving portraits of American 2018 the Herbert Hoover Memorial Exhibit Pavil-
GIs and Vietnamese civilians taken between 1966 ion will feature the exhibition We Shot the War:
and 1972; their specific purpose was to document Overseas Weekly in Vietnam, organized by the
the daily life of individuals caught in what was then curator for Digital Scholarship and Asian Initiatives
the world’s most grueling conflict—one that would Lisa Nguyễn, for which this publication is a com-
ultimately kill over fifty-eight thousand Americans panion volume.
and one million Vietnamese. In addition to the significance of its photo-
The Hoover Institution Library & Archives graphs, the Overseas Weekly has a strong connec-
acquired the collection of over twenty thousand tion to Stanford University. Its publisher, Marion
photographs and two hundred contact sheets in von Rospach, was the former editor in chief of the
2014, understanding that this incredible record Stanford Daily. After graduating from Stanford in
of the political, social, and cultural upheaval of the midst of World War II, von Rospach worked
the Vietnam era would be a significant contribu- briefly for the US military’s official newspaper, Stars
tion to the institution’s mission to document war, and Stripes, leaving after becoming disenchanted
revolution, and peace across the globe. Since its with what she considered the paper’s bias toward
founding in 1919, the Hoover Library & Archives brass hat opinion. Along with her husband (also
has collected, preserved, and made available the a Stanford graduate) and three servicemen, von
most important material on social, economic, and Rospach started the European edition of the Over-
political change from the early twentieth century, seas Weekly with a printing press borrowed from

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Stars and Stripes—and quickly became embroiled great Magnum photographer Robert Capa—who
in controversy when the racy content of the Over- was killed by a land mine in French Indochina in
seas Weekly caused the US State Department to ban 1954, camera in hand—once warned f­ellow jour-
it from newsstands. Marion von Rospach fought nalists, “If your photographs aren’t good enough,
back—her own mother reported to the Stanford you’re not close enough.” The photographs that
Daily, “I know she will give them a bad time. . . . readers find collected in this volume are the incred-
She’s a fighter”—and won. ible work of a group of journaists who indeed
The paper continued to thrive, and when US were “close enough”—dangerously close—to the
involvement in the Vietnam War escalated in the physical, mental, and emotional demands on sol-
1960s, von Rospach decided to expand the paper’s diers and civilians in Vietnam from 1966 to 1972.
circulation by launching a Pacific edition based Unlike photographers working for major media
in Hong Kong and Saigon. The government and outlets, the Overseas Weekly photographers found
mainstream media continued to criticize the tab- that their subject was also their audience: they took
loid they dubbed the Oversexed Weekly. In 1967 photographs that were never intended for a civilian
Time magazine cited the paper as “the least popu- viewership. What divide, then, do we see between
lar publication at the Pentagon”; in 1970 the New photographs taken for the Overseas Weekly and
York Times referred to the Overseas Weekly as the those that appeared on broadcast television or in
“GI’s friend” and therefore one of the US Army’s popular magazines?
“major gadflies”; and in 1971 Rolling Stone dis- The Vietnam War has often been called the
missed it as a “rabble-rousing newspaper for GIs.” first “living room war” due to the proliferation of
Regardless of reproach by the establishment, cir- television sets in American homes in the 1960s
culation of the Pacific edition continued to rise. and 1970s and advances in film and photography,
During the height of the conflict in Vietnam, the which allowed journalists to carry lightweight cam-
Overseas Weekly had a readership of approximately eras through jungles and rice paddies, on helicop-
sixty thousand and had attracted a highly talented ters, and through the streets of Saigon. The term,
staff of photographers and reporters, including Ann however, is somewhat misleading, as it imparts the
Bryan, Art Greenspon, Richard Boyle, Don Hirst, idea of civilians’ intimate and immediate viewing
and Brent Procter, among others. As can be seen of events in Vietnam as somehow yielding more
from the outstanding photographs featured in this honest, uncensored reportage than that which they
book, von Rospach’s fearless tenacity in the face of previously consumed (during World War II and the
authority yielded one of the most historically sig- Korean War, for example) through newspapers and
nificant collections of wartime documentation from newsreels. Mainstream journalists covering the con-
the V­ ietnam era. flict often found that, though they enjoyed advanced
The Overseas Weekly collection, therefore, camera equipment and enhanced access to combat
offers much to researchers on the Vietnam War and zones, the information they received from official
the art and technique of war correspondence. The government outlets was, as in previous wars, often

viii  |   We Shot the War

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hazy or unhelpful. Early in the conflict, mainstream look for the meaning of the conflict in the eyes of
journalists went as far as to dub government news those on all sides who experienced it firsthand.
briefings for official war correspondents the “Five The intimate photographs of the Overseas
O’ Clock Follies” because of their belief that much Weekly have been a part of recent Vietnam related
of the information released by the authorities was projects, reinforcing the fact that the weekly tabloid
inaccurate or purposefully misleading. provided a unique viewpoint of the war and the cul-
As in many previous conflicts, soldiers often ture enveloping the American soldiers fighting in it.
resented the sometimes sanitized news being The scenes and faces found in the Overseas Weekly
reported at home or in officially sanctioned news- photographs stand testament to the wide-ranging
papers, and the Overseas Weekly offered relief from hardships that the conflict brought to soldiers and
bowdlerization and a forum for frank discussion. civilians. Though the origin of the Vietnam War is
In addition to articles and comics, for example, the complex and its legacy still to be determined, these
Overseas Weekly ran a weekly column called “Man photographs help viewers remember that war is not
on the Street,” in which reporters would ask sol- just epic tragedy but a collection of individual expe-
diers’ opinions on such subjects as race, class, and riences—and that the sorrows, joys, fears, and valor
the legitimacy of the war. The photographs and of soldiers must be given voice. Within the pages
responses of the GIs interviewed—many of which of this volume readers will find images of graphic
are reproduced in this volume—provide some of wartime violence beside those of tranquility that
the rawest and rarest glimpses into the lives and emerged from the chaos. As the famous Vietnam
minds of those in service in Vietnam between 1966 photographer Eddie Adams once put it: “You have
and 1972. The fact that the vast majority of the pho- the whole world in the viewfinder.”
tographs featured in this volume have never before
been published will no doubt encourage critical Eric Wakin
inquiry and comparisons between the mainstream Deputy Director, Robert H. Malott Director
and independent, underground media coverage of of Library & Archives, and Research Fellow
Hoover Institution, Stanford University
the conflict in Vietnam.
The historian Stanley Karnow, Pulitzer Prize–
winning author of the landmark work Vietnam:
A History, whose papers are housed at Hoover
Archives, referred to the conflict in Vietnam as “the
war nobody won.” We have seen his sentiment—
that of the unresolved nature of the war’s purpose
and influence—grappled with through increased
public and scholarly interest in the war, resulting in
the production of books, films, and exhibitions that

Foreword  |  ix

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The Vietnam War has been memorialized as Media Corporation, and Ann Bryan, the editor in
a period of dramatic political, social, and cultural chief of the Overseas Weekly’s Saigon office.
upheaval. The harrowing images that emerged from For more than forty years, the elusive photo
this era have shaped public opinion, have left indel- morgue of the Overseas Weekly’s Pacific edition lay
ible imprints on the American psyche, and continue moribund in a Nordic cellar until it was bequeathed
to rivet viewers today. We Shot the War: Overseas to Mark Goldsworthy, a Swedish graphic designer,
Weekly in Vietnam explores the interrelationship by former Overseas Weekly photographer Calle
between artistic technique and journalistic content ­Hesslefors. What resurfaced was an enormous
through the photographs submitted to the Overseas cache of more than twenty thousand photo nega-
Weekly’s Pacific edition, a military tabloid at once tives. Each 35mm film strip was carefully enwrapped
beloved by troops and reviled by the Pentagon for in translucent glassine and weathered green and
its muckraking content. The striking pictures and white envelopes that marked the location where it
personal essays published in this catalog aim to was processed: Photo Perfect at 22 Ngô Đức Kế in
bring viewers behind the viewfinders of photojour- Saigon. The negatives were warped, fusty, and dete-
nalists who covered the conflict in Southeast Asia riorating. Some envelopes contained faded pencil-­
for the Overseas Weekly between 1966 and 1972. written notations and typed dopesheets that yielded
The Overseas Weekly was the bestselling pri- important clues about the photographers, locations,
vately owned newspaper published in Europe and dates, subjects, and purpose for which the images
Asia for members of the US armed forces overseas were taken. A vast majority of the negatives were
between 1950 and 1974. With the tagline “a touch undescribed and unattributed. When the collection
of home away from home,” this publication served arrived at Hoover Institution Library & Archives
up an eclectic farrago of military exposés, pinups, at Stanford University in 2014, preservation and
and comic strips. Its editorial content was con- curatorial staff advanced Goldsworthy’s previous
structively controversial. It readily tackled issues of endeavors to research the historical background of
racial friction and integration, drug abuse, and the the paper, preserve the negatives, and make digital
justice system in the military service. In 1966 the contact sheets and descriptive information available
Wall Street Journal described the Overseas Weekly online. As the collection was cataloged and pro-
as “a journalistic court of last resort for the ordinary cessed, several questions arose: What was this pub-
GI. . . . It publishes hardhitting and accurate exposés lication, and where were the extant copies? Who
of abuses of military authority. . . . When it talks, the was its target audience? Who created content for
brass listens—like it or not. And the GIs snap it up.” the paper, and where are they now?
At the helm of this landmark publication were two At the time, online information about publi-
highly respected women: Stanford-­educated Marion cation was fragmentary so Hoover staff turned to
von Rospach, founder and owner of the Overseas traditional research methods, combing through

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 OW STAFFER microfilm reels of historical newspapers, trac- elimination proved to be a challenging task—there
Ann Bryan.
ing primary sources at peer archival institutions, were far too many exceptional images. The final
1969 | South Vietnam
and connecting to human networks. Elizabeth selection—representing a miniscule percentage of
Engel, senior archivist of the State Historical Soci- the entire corpus—was based on the physical con-
ety of Missouri, where Ann Bryan’s dition of the negatives, visual impact, emotional
papers are housed, played a pivotal resonance, and balanced representation of topical
role in piecing together this intrigu- themes covered by the Overseas Weekly. The cap-
ing puzzle. Vietnam Old Hacks, tions, derived from descriptive text gleaned from
a community of journalists who the dopesheets and photo envelopes, give context to
reported on the war, also provided the visual imagery.
valuable linkages. From these con- We Shot the War: Overseas Weekly in ­Vietnam—a
nections, principal figures whose companion piece to a physical exhibition held at
names appeared in the collection Hoover in 2018—is presented in four parts. Part
were finally brought to light. After one, “Marion and Ann Enter the Pacific,” describes
a series of introductions, emails, the journey and adverse conditions von Rospach
and phone calls, the photographs and Bryan faced while managing operations of this
were reconnected with their cre- roaring publication. For these two journalists, the
ators, who had presumed that their war in Vietnam extended beyond the battlefields
life’s work had been destroyed and and reached into the courtroom, where they fought
permanently lost. The unexpected for the right of women to report in combat zones
reunion elicited varied responses, and argued against media censorship.
from elation to distress. For some, Part two, “Photographers in Focus,” brings
the photographs brought back nos- together the personal recollections of surviving
talgic recollections of their time with photojournalists of the Overseas Weekly’s Saigon
the Overseas Weekly. For others, the bureau: Cynthia Copple, Art Greenspon, Don
images conjured startling memories Hirst, and Brent Procter. These individuals offer
of the war and compelled them to their professional take on combat photography and
confront a painful past they were not recount the circumstances that led them to Vietnam
entirely prepared to face. in the 1960s. Their mission to tell a vital story, from
It soon became apparent that the the GIs’ point of view, led them dangerously and
newly available photographs of the intimately close to the action and people fighting
Overseas Weekly—many of which the war. Copple, a UC–Berkeley English graduate
Negative film envelopes from had never been published—deserved to be seen who had participated in Vietnam teach-ins in 1965,

Photo Perfect, a film processing

by a wider audience. Thousands of pictures were arrived in South Vietnam in 1967 on impulse and
lab in Saigon.
1969 | South Vietnam methodically and subjectively examined for digiti- with a desire to filter the hysterical arguments of
zation, exhibition, and publication. The process of both pro- and anti-war protesters and to seek the

 Introduction  |  3

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truth of war. Hirst, an enlisted Army soldier who
served in Vietnam for two tours of duty in 1964–65
and 1967–68, was trained in combat photography.
He returned to Vietnam and soon became Bryan’s
main reporter and confidant. In addition to combat
reporting, Hirst also covered human-interest stories
like Johnny Cash, June Carter, and Carl ­Perkins’s
1971 performance for exuberant US troops at the
Long Bình military base in Vietnam—an experience
that was later recounted in Cash’s hit song “Singin’
in Vietnam Talkin’ Blues.” Greenspon, perhaps
best known for his photograph “Help from Above,”
which inspired the movie poster for ­Oliver Stone’s
Platoon, captured striking action shots of emo-
tion-laden soldiers during a terrifying Viet Cong
attack in Huế during the spring of 1968, a pivotal
turning point in the war. Procter, a New ­Zealander
who was drafted for the war, found himself sta-
tioned in South Vietnam, not as an army grunt but
as a war correspondent. He later succeeded Bryan
as the Overseas Weekly’s Saigon bureau chief, serv-
ing in that post from 1970 to 1972.
Part three, “Selected Photographs of the Over-
seas Weekly, Pacific Edition,” showcases a provoc-
ative mix of photographs of American soldiers in
Vietnam making the best of an unfamiliar situa-
tion. The Overseas Weekly photojournalists accom-
panied service members on their missions to the
central highlands of Pleiku, the citadels of Huế, the
rice paddies of the Mekong River Delta, the coastal
areas of Đà Nẵng, and the border regions of Laos
and Cambodia. In this section, readers will find

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photographs that capture the many faces, scenes,
and facets of war, from the gritty realism of combat
to the sanguine moments of hope and humanity.
Also portrayed are the Vietnamese, Montagnards,
and Cambodians who suffered immeasurable
sorrow and loss during the protracted war. There
are Boyle’s photographs of North Vietnamese army
defectors like the gold-toothed Trần Văn Hai who,
exhaused from the virulent destruction of war,
desired a peaceful future for his country. There
are Procter’s photographs of unnamed men of the
Army of the Republic of Vietnam (ARVN) prepar-
ing for an unknown future post-Vietnamization.
In one photo, taken during a jump school training
session, the carnival-like environment and light-
hearted expressions of the soldiers appear to con-
tradict the gravity of the situation. And then there
are Hirst’s photographs of smoldering landscapes
and of individuals like Võ Thị Phương and count-
less other anguished mothers, bewildered children,
and terrorized Vietnamese families.
Part four, “Man on the Street,” features close-up
portraits and selected quotations by US soldiers
that form a representative sample of opinion on the
interview topics so often covered by the Overseas
Weekly, such as racial prejudice in the service.
Though Vietnam War’s complex and polariz-
ing history has yet to be reconciled, there are still
lessons to be learned, people to be remembered,
and hearts to be healed. The Overseas Weekly pho-
tograph collection—now publicly accessible at the

 First issue of the Overseas Weekly,

Pacific Edition. October 23, 1966.
Image courtesy of the State
Historical Society of Missouri.

 Introduction  |  5

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Overseas Weekly reporter Richard Boyle conducts

interviews on the drug problem in Vietnam.
August 9, 1969 | South Vietnam

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Hoover Institution Library & Archives, whose mis-
sion is to collect, preserve, and make available the
most important materials about global political,
social, and economic change in the twentieth and
twenty-first centuries—offers a new generation of
researchers an opportunity to reflect on, reexamine,
and remember the grave sacrifices made by soldiers,
journalists, and civilians in pursuit of democracy, a
free press, and peace.

 Don Hirst
Overseas Weekly staff member
Jacqueline Desdame.
August 3, 1969 | South Vietnam

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Brent Procter
Red Cross workers in Cambodia.
1972 | Cambodia


A Vietnamese family flees to escape the gunfire. Plumes of black smoke billow into the sky as displaced
1968 | Huế families seek shelter from bombing attacks.
1967 | Nha Trang

 selected photographs   |  65

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A Vietnamese peasant is questioned
about ammunition found in a haystack.
1967 | South Vietnam

A Vietnamese woman offers a coconut to
Lieutenant Herb Borgman.
April 1, 1967 | Rạch Kiến

 selected photographs   |  71

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First Lieutenant James Cox, platoon leader of
B Company, 3rd Platoon, 3rd Battalion holds a
captured recoilless rifle.
March 22, 1969 | Long Bình

An unidentified soldier anxiously peers
May 3, 1969 | South Vietnam

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Specialist Fourth Class Charles Pike First Lieutenant Pete Runnels radios while
heats up his own recipe of C ration beans holding an M16 rifle equipped with an
and cheese. M148 grenade launcher.
July 26, 1966 | South Vietnam July 26, 1966 | South Vietnam

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Don Hirst

Soul brothers at Landing Zone Evans,
May 11, 1970 | Cambodia

selected photographs   |  123

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ARVN 9th Division ops in Vĩnh Bình province and pilots

of the US 175th Assault Helicopter Company liaise on
troop movements and landing zones with pilots from the
South Vietnamese F-5 fighter planes. Vietnamese Helicopter Squadron.
April 4, 1970 | South Vietnam 1970 | South Vietnam

selected photographs   |  165

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Country-and-western singer Tex Ritter
entertains servicemen with “Boll
Weevil Song.”
December 7, 1968 | South Vietnam

Troops clap, holler, whistle, and stomp
on the ground as Johnny Cash performs
“Folsom Prison Blues.”
March 1, 1969 | Long Bình

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Commedienne Martha Raye
entertains US 1st Division Marines
at Hill 65 near Đà Nẵng.
1968 | South Vietnam

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