African American Troops in VietnamBiblio.com
330 résultats
1973185751973. Cooper Howard L. Vietnam War photographs and promotion letter circa 1970s document African American noncommissioned officer service within an integrated U.S. Army and the formal evaluation structures governing advancement during and immediately after the conflict. The material centers on Sergeant Cooper's presence within a deployed unit in Vietnam alongside fellow soldiers and local civilians and extends into the postwar administrative process through a typed recommendation for promotion dated 1973. Together the photographs and letter situate the archive within the broader context of African American military participation during a period marked by both expanded combat roles and documented racial disparities in discipline assignment and promotion within the armed forces.<br /> <br /> Archive of 20 vernacular photographs and one typed letter. Vietnam and United States circa 1970s. Photographs include 15 color Kodak snapshots measuring approximately 5 x 3.5 inches or smaller depicting Sergeant Cooper and fellow soldiers primarily in uniform in Vietnam. Four black and white Agfa snapshots measuring approximately 5.5 x 3.5 inches show Cooper other servicemen and Vietnamese children. One Polaroid photograph includes two African American men standing beside Cooper with handwritten captions. Additional images depict base life and group interactions within the unit. Accompanying the photographs is a typed letter recommending Sergeant Howard L. Cooper for promotion signed by Transportation Supervisor Alice J. Griffin Fort Ord California dated 14 November 1973 one page measuring approximately 8 x 10 3/8 inches.<br /> <br /> African American soldiers served in large numbers during the Vietnam War with many attaining noncommissioned officer roles that required both leadership within units and navigation of institutional structures that did not always provide equitable advancement. The inclusion of a formal recommendation letter alongside the photographs connects personal service to bureaucratic recognition documenting how military authority evaluated performance in the postwar period. The combined visual and documentary record offers material for examining race leadership and military administration in the Vietnam era. Photographs show light wear; letter with pinholes discoloration and minor ink smear at upper edge; overall very good condition. unknown
1970185581970. Vandergriff Sergeant. Vietnam War photographs 1970 to 1971 document integrated U.S. Army service during a period when African American troops were serving in substantial numbers in combat units and negotiating both military duty and racial dynamics within the ranks. The images record a tour of duty from basic training through the final days before return home placing the archive within the later phase of the Vietnam War when troop morale racial tension and antiwar sentiment were all intensifying within the U.S. military. The presence of a visibly multiracial unit with many African American soldiers situates the photographs within the post-desegregation military structure established after World War II offering direct visual evidence of daily life interpersonal relationships and combat readiness in an officially integrated force.<br /> <br /> Archive of 68 color Polaroid photographs. Vietnam 1970 to 1971. Images measure approximately 3.5 x 3.5 inches to 3.5 x 4.5 inches with approximately one quarter mounted to black board and the remainder loose. Several loose photographs include handwritten captions and soldiers' names on verso. The sequence follows Sergeant Vandergriff's service from training through deployment with scenes including soldiers smoking drinking and posing with standard-issue M16 rifles and M1911 sidearms. Additional images show helicopter interiors and aerial views a destroyed grounded helicopter tanks aircraft drill formations and encampments. Photographs also depict Vietnamese villages and local civilians including two children bathing in a river. Unit identification is not explicitly stated in the archive. Other photos depict aircraft drill marches tanks weaponry villages and locals including two Vietnamese children bathing in a river. It is not clear which unit these troops belong to. It is possible they are in the 101st Airborne which was prominent at both Birmingham and Evans.<br /> <br /> During the Vietnam War African American soldiers served in disproportionately high numbers in combat roles particularly in airborne and front-line units at a time when the U.S. military was confronting internal racial conflict alongside external war. This archive documents the lived experience of a multiracial unit operating within that structure showing informal social interaction alongside military activity and equipment. The combination of candid personal imagery and operational context provides material for examining race military culture and everyday life in a late-stage U.S. combat theater. Some photographs show minor staining and image degradation; overall very good condition. unknown
1960232781960. Black U.S. Army soldier's photo album documenting home and military life between Virginia and Vietnam in the late 1960s and early 1970s. Black servicemen moved through the formally desegregated Army during the first major U.S. war fought after official military integration. Centered a young black enlisted man the album tracks the life of service through photos at camp soldiers in formation military equipment helicopters and with portraits alongside other soldiers. Though the Korean War was the first U.S. war that was formally desegregated the units still saw unequal integration and opportunity while the Vietnam War marks an era in which a desegregated military was already well established. <br /> <br /> Photo archive of 92 color and black and white photographs ranging from 3.5" x 3.5" to 3.5" x 5" Virginia and Vietnam late 1960s to early 1970s. Mounted in a 10" x 14" spiral bound album. Many images show the compiler in uniform and civilian dress some of the earlier home scenes have handwritten inscriptions en verso. Other images show helicopter scenes in flight and at camp; tent lines wooden barracks; soldiers standing in formation gathering in small groups and posing beside military vehicles and equipment. A Virginia license plate anchors the soldier's home state and the use of quippy captions gives this soldier a voice identifying some individuals by their first name and one particular youthful photo of himself captioned "Dunn will be leaving on January the 1st army But you know he is trying to get out of it said he was going to school. Ha! Ha! Uncle Sam's school" giving a glimpse into the prior aspirations of young Black man right before being drafted.<br /> <br /> Black soldiers entered the Vietnam era military in large numbers at the same time that civil rights struggles Black Power politics and mounting criticism of the war reshaped the meaning of service for African American men. This album gives weight to that history with repeated presence of black men within camps and comradeship with white soldiers. Adhesive residue to corners and backs of some images edgewear to album and leaves and expected handling wear; photographs generally clear and legible. Overall very good condition. This album shows the ground level of Black military experience in the early post segregation Army. unknown
1942193041942. Coon Clarence; Coon Michael. Coons family Air Force service archive 1942-1944 and 1968-1969 documents two generations of American military experience across World War II and the Vietnam War offering direct evidence of shifting military culture wartime attitudes and generational identity within a single family. Clarence Coon's New York World War II service as an engineer gunner in the Fifteenth Air Force in Italy situates the archive within the Allied air campaign over Europe while his son Michael Coon's deployment to South Vietnam places the later material within the context of a deeply contested and culturally transformative conflict. Clarence's letters and scrapbook entries foreground a disciplined and duty-oriented perspective shaped by mid-century wartime expectations while Michael's photographic record presents a markedly different tone capturing leisure irreverence and camaraderie among soldiers during the Vietnam era. The archive preserves Clarence's written voice including lines such as "Another card to let you know that I don't do all my writing to women" and his commentary on the 1942 New York gubernatorial election "The radio just announced Bennet's Defeat. To bad. Well we will see what Dewey can do. I wish him luck" as well as his observations during stateside training "Well as far as I'm concerned they can give Tenn. back to the Indians. We are walking around in a sea of mud. Its all day rains every 5 min. I wouldn't live in the South for anything." Together these materials establish a continuous family narrative linking wartime service political awareness and personal expression across two major twentieth-century conflicts.<br /> <br /> Coons family Air Force archive. United States and Vietnam 1942-1944 and 1968-1969. Group consists of two photograph albums from Vietnam War service and one World War II scrapbook accompanied by a quantity of associated ephemera including patches medals registration cards business cards a ring and a dog tag. Archive contains approximately 123 photographs across the albums and scrapbook along with numerous postcards including 26 with manuscript correspondence on the verso and three pages of a letter incorporated into the scrapbook. Scrapbook also includes newspaper clippings documenting Clarence Coon's training and service progression including flight training in Westover Massachusetts; Nashville and Smyrna Tennessee; technical training in Gulfport Mississippi; and gunnery and pistol range distinction at Tyndall Field Florida. Vietnam-era albums depict Michael Coon and fellow servicemen in informal and candid settings including scenes of drinking recreational outings helicopter transport weapons handling and interactions with entertainment venues.<br /> <br /> The juxtaposition of World War II and Vietnam War materials within this archive provides a concentrated record of evolving American military life particularly the transition from the structured collective ethos associated with the Second World War to the more individualized and culturally expressive environment of Vietnam-era service. Clarence Coon's combat role aboard B-24 Liberator bombers during missions over Italy aligns the archive with the strategic bombing campaigns of the European theater while his writings document both military routine and domestic political awareness. In contrast Michael Coon's photographs capture the lived experience of American soldiers in Vietnam beyond formal operations including leisure dissenting humor and the visual language of 1960s youth culture within the military. Light wear from handling throughout with typical album and scrapbook aging and ephemera showing minor creasing; overall very good condition. unknown
1968220901968. PropagandaCounterculture Ты / Uncle Sam Wants You! New York: International Poster Corp. 1968. Offset lithographic poster in red black and cream tones measuring 21 x 29 inches. A striking Cold War-era visual pastiche that fuses Soviet revolutionary imagery with American military propaganda this poster was issued during a peak moment of political unrest in the U.S. amid the Vietnam War and domestic resistance movements.<br /> <br /> This design is a bold recontextualization of the iconic 1920 Soviet recruitment poster "Ты запиÑалÑÑ Ð´Ð¾Ð±Ñ€Ð¾Ð²Ð¾Ð»ÑŒÑ†ÐµÐ¼" "Did you volunteer" by Dmitry Moor repurposed here with the English slogan "Uncle Sam Wants You!" emblazoned below in tall confrontational type. The juxtaposition of Soviet iconography-complete with red army uniform factory smokestacks and Cyrillic lettering-with a phrase universally associated with U.S. enlistment efforts delivers a searing critique of militarism nationalism and ideological doublespeak on both sides of the Cold War divide. Produced by the International Poster Corp. a commercial publisher in the late 1960s known for distributing countercultural and revolutionary imagery this poster was marketed to radical bookstores and student groups across North America. It exemplifies the era's politically charged appropriation of state propaganda styles as a vehicle for anti-war New Left and student movement critiques. The figure's accusatory point lifted directly from Moor's original underscores a shared visual vocabulary of coercion that transcended ideological boundaries. Very good condition with strong color retention and no visible tears small surface abrasion on recto not affecting images. Printed copyright and publishing line along bottom margin. An evocative artifact of 1960s countercultural print culture merging international iconographies of enlistment and resistance. unknown
1969222221969. Archive of Two Anti-Vietnam War Pamphlets Critiquing Nixon-Era Policy 1969-1972. Birmingham AL and Cambridge MA / Los Angeles CA: Birmingham Moratorium Committee and Indochina Peace Campaign. Two pamphlets totaling 8 pages. A stark and emotionally charged pair of pamphlets confronting the human and economic cost of the Vietnam War particularly under the administration of Richard Nixon and his South Vietnamese ally Nguyễn Văn Thiệu. Both documents highlight the structural violence wrought by U.S. imperialism through quotes infographics and personal testimonies. One pamphlet issued by the Birmingham Moratorium Committee presents a Marxist-inflected indictment of American capitalism's complicity in the war; the other by the Indochina Peace Campaign anchors its critique in the grief of a widow counterposing Nixon's broken promises with devastating images of Vietnamese civilians and political prisoners.<br /> <br /> 1 Birmingham Moratorium Committee. "Viet Nam - LOVE IT or LEAVE IT!" Birmingham AL: 1969. A four-page pamphlet structured around working-class economic critique. On the front page black-and-white line art depicts a U.S. military cargo loader moving a casket-shaped crate labeled with stars beneath the caption "U.S. troops continue to be withdrawn from South Vietnam." It features a collage juxtaposing the Chase Manhattan logo with the silhouette of a prone soldier in Saigon. Alongside damning pull quotes from McNamara Gen. Harkins and Nixon ".this may have been one of America's finest hours." it lists the GI toll from 1961 to 1966: "killed: 38969; wounded & maimed: 254947." The interior spread lays out the economic beneficiaries of the war-"Who Profits"-stating "only big business. corporate profits after taxes rose 91%." One cartoon labeled "The Free Enterprise System" depicts a caricatured Nixon shaking down an American taxpayer for the wealth-hoarding "Corporations and Upper Income Earners". The final page calls for a debate and mass rally on November 13-14 involving Alabama's senators and representatives and denounces the war as a tool to "pay Vietnamese women 31¢ a day to make transistors as they do now in South Korea." The overall tone centers class exploitation with a particularly Southern regional organizing base.<br /> <br /> 2 Indochina Peace Campaign. "Peace or Four More Years of War" Cambridge MA / Los Angeles CA: 1972. Four-page pamphlet likely distributed in the lead-up to the 1972 election. The cover image-captioned "NBC-TV Dec. 12 1972"-depicts a Vietnamese woman and barefoot child walking past a bombed-out village. Beneath it is a widow's testimony: "If they had gone ahead and signed the treaty as promised my husband would be alive today with me and my children." The interior is a detailed exposé of the Nixon administration's duplicity in peace negotiations asserting that "After two years of negotiations all that remained was to settle one percent of a peace settlement." The Indochina Peace Campaign asserts that the U.S. deliberately sabotaged the Nine-Point Agreement by refusing to recognize the Provisional Revolutionary Government PRG despite "warnings by Congressmen and Senators" and international outrage over the Christmas bombings. The pamphlet cites major media: "The U.S. supported regime in Saigon have ruled by suppressing all their opposition" Pentagon Papers Gravel Edition Vol. 1 p. 256 and includes documentation of 40994 political assassinations under the Phoenix Program. A chilling image of children behind bars in Chanh Hung Prison accompanies these facts. The final call to action reads: "We have this choice: either we allow our government to prolong the rule of General Thieu or we pressure it to sign the Agreement."<br /> <br /> An ideologically diverse but thematically united pair of anti-war publications: one focused on working-class Southern economic outrage the other on moral urgency and state-sponsored atrocity. Together they demonstrate the breadth of opposition to the Vietnam War and the emotional political and class-based appeals that animated grassroots resistance across the U.S. Overall very good condition. unknown
1964222171964. Counterculture Vietnam War This pair of mimeographed documents issued in 1964 and 1969 respectively capture the shifting rhetorical and political frameworks of U.S. justification and policy aims in Vietnam offering rare comparative insight into both the Lyndon B. Johnson and Richard Nixon administrations' public positions. 1 Some Questions on Vietnam. Washington: Friends Committee on National Legislation June 3 1964. 2 Mr. Nixon's Points. N.p October 14 1969. Two double-sided mimeographed typescripts measuring 8.5" x 11" each. Together they trace the continuity and contradictions in American official thinking from the earliest stages of direct military intervention to the early attempts at managed withdrawal. The 1969 document is particularly notable for its side-by-side presentation of Nixon's proposed peace terms with those of the National Liberation Front NLF the political wing of the Viet Cong.<br /> 1 The first document dated June 3 1964 and issued by the Friends Committee on National Legislation in Washington D.C. is titled Some Questions on Vietnam. Framed as a briefing tool for concerned citizens it outlines the U.S. position in the early escalation phase of the war and provides extensive excerpts from contemporary sources including President Johnson's June 2 press conference and articles from The Washington Post and New York Times. Johnson is quoted stating that the U.S. is "bound by solemn commitments to help defend this area against Communist encroachment" reaffirming the domino theory logic underpinning American involvement. <br /> <br /> The handout catalogs U.S. military strategies then being deployed including the "Strategic Hamlet Program" in which "thousands of peasants were uprooted at gunpoint and moved into defensive village-clusters far removed from ancestral lands." Other methods included the use of lie detectors on suspected Viet Cong and defoliation tactics that the Washington Post acknowledged raised "questions of the wisdom of using such agents at all in this kind of war. where the consequences are visited upon a civilian population we are trying to defend." The leaflet also raises doubt about South Vietnamese support for the war: "the Saigon government has the allegiance of probably no more than 30 per cent of the people." Statistics from the Pentagon note that by May 25 1964 1130 American servicemen had been killed wounded or listed as missing since 1961. Senator Wayne Morse is quoted: "We have already poured into that sink-hole over $5½ billion." The final sections argue that economic aid cannot be separated from military goals and propose alternatives such as United Nations mediation. Notably the sheet warns that mail to the White House on Vietnam had been averaging fewer than 150 letters per week urging citizens to "make their views known to the President and your Congressmen."<br /> <br /> 2 The second document dated October 14 1969 presents President Nixon's public negotiating stance during the early phase of his "Vietnamization" strategy. Titled Mr. Nixon's 8 Points the yellow sheet begins with a justification of U.S. sacrifices: "The United States has suffered over a million casualties in four wars in this century. We are proud of this record and we bring the same attitude in our search for a settlement in Vietnam." Nixon outlines eight specific principles most notably: "We seek no bases in Vietnam. We insist on no military ties. We are willing to agree to neutrality for South Vietnam if that is what the South Vietnamese people freely choose." He continues "We have no intention of imposing any form of government upon the people of South Vietnam nor will we be a party to such coercion." The points include phased withdrawal over twelve months the establishment of an international supervisory body elections under international supervision release of prisoners of war and mutual agreement to observe the 1954 Geneva Accords. Nixon concludes with a reaffirmation that U.S. presence would end entirely once these measures were fulfilled.<br /> <br /> The reverse of the Nixon flyer contains The NLF's 10 Points the Viet Cong's counter-position which sharply contradicts Nixon's framing. Point 2 is categorical: "The U.S. Government must withdraw from South Vietnam all U.S. troops military personnel arms and war materiel. and liquidate all U.S. military bases in South Vietnam." Point 4 emphasizes sovereignty: "The people of South Vietnam shall settle themselves their own affairs without foreign interference." Throughout the NLF stresses full political participation neutral diplomatic relations and reunification of Vietnam as "a peaceful process. without foreign interference." Notably Point 9 demands that the U.S. government "must bear full responsibility for the losses and devastations it has caused to the Vietnamese people in both zones."<br /> <br /> Juxtaposing these two documents reveals a significant divergence between U.S. public rhetoric and Vietnamese revolutionary demands. While Nixon framed U.S. intentions as altruistic and limited the NLF viewed the war as colonial in nature and demanded unconditional withdrawal. This side-by-side format would have been a powerful tool for peace activists and educators in 1969 especially as public trust in government narratives about Vietnam eroded in the wake of the Tet Offensive and ongoing domestic protest. Very good condition overall. unknown
1969148329Milan: c.1969. Striking pop art-influenced suite of anti-imperialist propaganda posters published in Milan by the Comitato Vietnam - self-described in their literature as the "sezione italiana del tribunale Russell". The work of a collective comprised of six prominent Italian artists the images carry the theme 'Rebellion is right rebellion is possible' into various theatres of anti-imperialist struggle. Baratella b. 1935 Mariani b. 1936 and Spadari 1938-97 were long-term collaborators and members of the Nuova Figurazione art movement. Amadori 1945- 2015 won the Joan Miró prize in 1972. Spadari's contribution draws on the "solarised" image of Castro in the Cuban Revolution from his work "26 de julio" while in an anti-Vietnam War themed poster similarly treated repeated images of a Vietnamese women are overlain by a Lichtensteinian US fighter jet wheeling away from an explosion from which emerges a Coca-Cola bottle cap with the slogan 'Nixon boia' - Nixon executioner also the title of a song by popular singer-story teller Franco Trincale - and the partially obscured text 'Coca-Cola merda'. Nixon also features on a poster featuring his cartoonish portrait wearing a star-spangled neck-tie while being choked out by several nooses above him a ferociously snarling Black Panther head; while "Africa Rossa/Africa Nera" centres on a photographic image of the clenched first Black Power salute. Baratella based his poster around his painting "Benito Mussolini Storia del fascismo" where "Il Duce's" face morphs into a skull here with the lower part is superimposed with six small portraits of current political leaders including de Gaulle Pompidou Khrushchev and LBJ. The last in the group dramatises the Arab-Israeli conflict with a repeated image of a woman PFLP fighter - Leila Khaled - in keffiyeh and camo fatigues carrying a AK-47 above her a map of Jerusalem. No other set of these traced a couple of examples of individual posters noted institutionally; an excellent evocation of the artistic-political synergies of the period. Six large black and white photomontage posters 700 x 500 mm printed on coated paper each with the repeated slogan 'ribellarsi è giusto ribellarsi è possibile' in red; in the original tan slub-weave linen textured light card portfolio printed in red title to the front panel superimposed on a red five-pointed star. The portfolio a little rubbed and soiled pale damp spots at the spine-fold where there are a few short splits posters show light handling but overall very good. unknown
195435722Saigon: Édition du Service cartographique des F.T.E.O. 1954. First edition large square 4to pp. 117; photographic illustrations throughout; some wear a few short splits in the wrapper extremities else very good in original brown wrappers printed in black on the upper cover. At head of title: Forces terrestres du Nord Vietnam. 2. Bureau. Issued during the final battle for France in Vietnam at Dien Bien Phu. Cornell and Arizona only in OCLC. Édition du Service cartographique des F.T.E.O. unknown
1966728908PN. New. 1966. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
1964724846PN. New. 1964. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
1963722937PN. New. 1963. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
1963721952PN. New. 1963. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
1965725912PN. New. 1965. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
1963721265PN. New. 1963. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
1966728497PN. New. 1966. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
1963722935PN. New. 1963. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
1966730951PN. New. 1966. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
1965726082PN. New. 1965. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
1963721264PN. New. 1963. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
1963720442PN. New. 1963. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
1966728912PN. New. 1966. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
1963719049PN. New. 1963. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
19631340834PN. New. 1963. Soft Cover. md . PN paperback
1963719556PN. New. 1963. Soft Cover. Date is original print. This is a reprint edition. . PN paperback
