For those unfamiliar with it, M*A*S*H was a hit comedy-drama television series that aired on CBS from 1972 to 1983. Following a team of doctors and support staff from the 4077th Mobile Army Surgical Hospital, the show takes place during the Korean War. During the war, the helicopter was a revolutionary platform that allowed for more rapid evacuation of wounded personnel from the battlefield. As such, the H-13 Sioux, known affectionately as the flying fishbowl, played a prominent role in the show. The Bell 47, the civilian model of the H-13, that was used most often in the show is now up for sale.
Bell 47 D1 s/n 263 was built in July 1951 at the Bell Aircraft Assembly Plant in Niagara, New York. The helicopter was assigned to the U.S. Navy where it was used as a training platform. During its naval career, s/n 263 was once shipped from NAS Alameda, California to a Navy base in Japan and flown with floats installed. The helicopter was eventually shipped back to NAS Alameda and surplussed out of the Navy in 1958. It was purchased by the San Bernardino Valley Junior College Aeronautical Division for use as a training aid.
In 1972, the aircraft was put up for sale again. This time, she was purchased by Adrian Grieve, the owner and operator of Pathfinder Helicopters at Flabob Airport in Riverside, California. S/n 263 was completely disassembled and rebuilt to Bell Helicopters specifications. The next year, it received a Standard Airworthiness Certificate from the FAA as Bell 47 D1, N5167V.
Flyable once more, N5167V served as a student trainer, aerial photography platform, aerial surveyor, banner tower, and fruit frost control aircraft. However, the helicopter’s claim to fame is its starring role in M*A*S*H.
In the opening scenes of the show, two helicopters fly together in close formation; N5167V is the ship closest to the camera in the shot. In the second scene, N5167V is the second helicopter on approach to the landing pads. During the ten years of filming, the helicopter was used numerous times both as a set piece and in flying scenes. The helicopter’s last on-screen appearance was during the final departure scene of the show’s series finale, one of the most-watched TV episodes of all time.
In 1981, N5167V was sold to a South Dakota farmer who used the helicopter on his ranch for counting and herding cattle and crop dusting. N5167V was eventually sold to its current owner who restored it to original its M*A*S*H configuration. During over 5,800 flight hours, the helicopter never sustained any damage. Bell 47 D-1 s/n 263 N5167V is up for sale by Platinum Fighter Sales. The company specializes in warbird and classic aircraft brokerage. A poke around their website will reveal plenty of interesting aircraft for sale like a 1959 McDonnell F4H-1F Phantom II, a 1943 Curtiss Wright P-40N-1 Kittyhawk, and even a rare 1944 North American XP-82 Twin Mustang. The M*A*S*H helicopter has no price listed, but offers can be made online. Given the aircraft’s history, it’s expected to sell for a pretty penny.
On April 2, 2019, tickets for Avengers: Endgame went on sale online, and in perhaps the least surprising news of the year, Marvel fans overwhelmed ticketing sites across the internet, including Fandango, AMC, and Atom Tickets. All those sites crashed, but now, it seems, they’re back. Which means, if you want to go see this movie with your kids on the opening weekend, you better buy those tickets now.
Fandango reported that Endgame set a first-day presale record, besting numbers from Star Wars: The Force Awakens after just six hours. Customers who used the service were placed in virtual lines for tickets at specific theaters, which seemed to at least keep the site up and running.
Other sites weren’t as resilient. AMC tweeted that their servers were “in Thanos’ snap” after many complaints from frustrated fans, who likely weren’t all that amused by the reference.
Atom Tickets told CNN that three times as many tickets for Endgame sold in the first hour compared to Infinity War, which was released in 2018. For its part, Regal Cinemas reported that Endgame sold twice as many tickets in its first eight hours on sale as Infinity War did.
Marvel Studios’ Avengers: Endgame – Official Trailer
Theaters can sell this many tickets because, despite the film’s three-plus hour runtime, they’ve absolutely packed their schedules with screenings.
At the Arclight in Hollywood, there are a whopping 15 showings on the film on April 25, 2019, the day before its official release date. The first is at 6:00 p.m. and the final is at 3:00 a.m., which means it should end about an hour and a half before the first screening Friday morning, which begins at 7:30 in the morning.
A quick scan of ticketing sites shows that the vast majority of prime seats — evening shows on Thursday or Friday — have already been reserved at theatres in cities around the country, with seats reserved for disabled patrons and those closest to the screen forming most of the remaining inventory.
So if you want to see Endgame with your family on the opening weekend, plan on finding a limited selection of seats, likely closer to the screen, for less desirable screening times in the morning or afternoon. And for the love of Stan Lee, book your tickets now while there are still some available and the ticketing sites aren’t broken. You don’t want to go to work (or send your kids to school) on Monday just to have someone spoil it, do you?
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
Making Alita, the humanoid main character in “Alita: Battle Angel,” work next to live-action characters onscreen was the biggest challenge for the visual effects team to bring to life in the film.
You may not have realized it, but a lot of work went into making the character’s big, bright brown eyes look just right, especially after the film’s first trailer.
“We had our original design, all based on the original artwork and [producer] Jim [Cameron]’s artwork and [director] Robert [Rodriguez]’s artwork, and even after the first trailer that came out, we got some criticism online about, ‘Hey, the eyes are too big. They don’t look right. Uncanny valley,'” visual effects supervisor Eric Saindon told Insider during a visual effects press day for the film at the Walt Disney Studios lot.
Here’s how Alita looks in the first trailer released for the film.
(20th Century Fox)
Based on the Japanese manga series “Gunnm,” the film follows a female cyborg, Alita, who has trouble remembering her past.
Saindon said the visual effects team spoke with Cameron and Rodriguez after the trailer came out in December 2017 to see what they thought of the criticism and whether or not they should change Alita’s look at all as a result.
“‘Do we want to shrink the eyes?'” Saindon said. “They came back and both said, ‘Absolutely not, we’re going to go bigger on the eyes.'”
“We didn’t actually go bigger on the eyes, but we did enlarge the iris,” Saindon continued. “We reduced the amount of sclera, the white around the eyes, and it sort of just popped everything back together. It popped her to be that manga character, but to be able to sit next to a live-action character. You never questioned it.”
You can see how Alita changed from that first trailer to the final film here. It’s a subtle change you may not have noticed:
Alita’s face is also softened a bit more in the final film. The lighting in this scene is a bit brighter on her face now.
(20th Century Fox)
Why Alita’s eyes were the most important to get just right
For the team, it was important to get the eyes right because not only is that the first thing you see when you meet Alita, but they believed that was going to be one of the main things that helped sell the believability of the character to audiences.
“Eyes are really critical in an actor’s performance,” said animation supervisor, Mike Cozens. “That’s why, you know, as shots get more intimate, we cut in closer and closer… Eyes are sort of what are telling you what’s going on inside the head, keeping that performance alive in the eyes, beyond the design and into performance was really critical, a critical part of the storytelling.”
Here’s how Alita looks when she opens her eyes for the first time in the films first trailer versus the final film.
(20th Century Fox)
“Truly, the eye size shouldn’t matter,” added visual effects supervisor for Lightstorm Entertainment, Richard Baneham. “Ultimately, when we look at a screen, I think it’s point-four of a second for us to read whether there are eyes onscreen or not. We immediately, as humans, go to that, because we want to understand how somebody is emotionally, what their state is. It’s what we do when we meet people, it’s how we read the room.”
Baneham said that regardless of the eye size, you can usually tell a person’s emotional state almost instantly through posture and their facial expression. That’s why it was important to get Alita’s eyes just right.
“So long as you communicate properly the emotional state of the character, the eye size, not that it’s irrelevant, it shouldn’t be the thing that’s in the way,” added Baneham. “We often say on our side, you don’t smile with your face, you don’t smile with your mouth, you smile with your eyes… As soon as you, you can cut to a pair of eyes and tell whether somebody’s smiling.”
If you covered up everything but Alita’s eyes in this image, you would be able to tell she’s smiling.
(20th Century Fox)
This isn’t the first time a trailer’s criticism has resulted in changes to a film.
After the release of the first trailer for the Sonic the Hedgehog film in April 2019, the video game character’s design sparked criticism and jokes online.
The image on the left shows Sonic’s original design. The image on the right shows how Sonic looks after the redesign.
How does the “Alita” visual effects team feel about receiving audience criticism right away after a trailer’s release?
“I didn’t mind hearing input from the outside world. It really solidified us, though,” said Saindon of reactions to the first trailer. “It kind of got everybody together and the real choices that were made beforehand kind of held. There was hardly any change, if you will, because I remember having, we had various different sizes and stuff out there and we were pretty big on the trailer, and it just kind of stayed there. It just made everybody reconsider what they were doing.”
“Whether she had big eyes or not, towards the end, I think all of us realized it was worthwhile worrying about it, and certainly it’s all about this expression that’s getting through or not getting through and worrying about that.”
Most of Alita’s design comes directly from the performance of actress Rosa Salazar who embodies the character.
(20th Century Fox)
Baneham added that it’s about making sure the audience invests in the character and comes along for the journey.
“That’s what you care about first and foremost, is making sure when the audience watch the movie, they’re not thinking about the technical aspects of the movie in any way, sort or form. They go on this, hopefully, immersive journey with the character,” said Baneham of what he wants viewers to get out of watching “Alita.”
“All the changes that happened afterward were not about, you know, pandering to the noise in any way. It was about bettering the character,” Baneham added.
“Alita: Battle Angel” is one of 10 finalists in the visual effects category at the 92nd Academy Awards. The Oscar nominations will be announced Monday morning.
This article originally appeared on Insider. Follow @thisisinsider on Twitter.
Back in 2008, Samuel L. Jackson’s Nick Fury emerged from the shadows to talk to Tony Stark (Robert Downey Jr.) about “the Avengers initiative.” Now, 11 years and more than 20 films later, Marvel has released an alternate version of that famous post-credits scene, and it’s pretty surprising. Not only is the scene a bit longer than the 2008 release, but it also somehow teases both Spider-Man and the X-Men, even though neither was anywhere close to the MCU at that point in time.
On Sept. 14, 2019, at the Saturn Awards, Marvel boss Kevin Feige screened an alternate version of the famous Nick Fury post-credits scene. You can watch it right here.
In the scene, Nick Fury complains about “assorted mutants” and “radioactive bug bites” obvious references to both Spider-Man and the X-Men. At the time, in 2008, Iron Man was distributed by Paramount Pictures, and the umbrella term of “Marvel Studios” and the idea of the Marvel Cinematic Universe was still fairly new. Obviously, the rights issues to the X-Men were still owned by Fox at that point, and Spider-Man was still with Sony. Still, it seems like this scene cleverly got around those issues by not outright naming Spider-Man or the X-Men, specifically. (Though, it’s conceivable that the term “mutants” was maybe too far, in terms of legality at the time.)
The interesting thing is, that now, of course, Spider-Man has been a part of the MCU, and the X-Men are set to be incorporated into the new Marvel canon at some point in the future. But now, it’s almost like Marvel Studios is retroactively saying that the X-Men were always a part of these movies because, in a sense, Tony Stark and Nick Fury already had a conversation about them. We just didn’t see that conversation the first time around.
At this time, there’s been no official announcement about reboot X-Men films in the MCU. But, that could change any day now.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
So check out these military myths that Hollywood has taught us to believe are true:
1. Michael Bay explosions
Michael Bay is widely known for his amazing camera moves and is hands down one of the best action directors out there. He has mastered the ability to move audiences through the battle space while providing them with an intense adrenaline rush…
…but he needs to work explosions because they look like fireworks.
Here’s a real man’s explosion:
Okay, so this one is a nuke explosion — but you get the point. (Source: Wikipedia Commons)
2. Cleaning bathrooms with toothbrushes
After speaking to a few Annapolis graduates and other military veterans, no one can recall seeing a Midshipman cleaning the bathroom using a toothbrush. It could have happened a long time ago, but not in the last few decades.
3. Taking off on your own
War is very dangerous. Leaving your squad to go run down the enemy by yourself through a sea of maze-like structures for a little extra payback is highly improbable.
Hollywood has a tendency to mess up uniforms, customs, and tactical thinking when it comes to military movies.
But they sure know how to give us quote-worthy characters. From the masterful intro speech of “Patton” to the character of Hoot in “Black Hawk Down,” these are the films that we remember for having characters with great dialogue.
We picked out some of our favorite quotes from classic military films. Here they are.
Did we miss your favorite? Let us know in the comments!
After Action Report | World of Tanks from WATM on Vimeo.
World of Tanks” has a simple premise: Get into a tank and go kill stuff. And yes, it’s as fun as it sounds.
The game starts off with a tutorial level that gives the absolute basics of tank driving in World of Tanks before allowing players to fight bots for practice. After that, players are thrown into the deep end with other players.
And that’s when it gets really fun. After all, “World of Tanks” is a multiplayer game, and the best parts happen when fighting in the massive 15-on-15 tank battles. Playing in random groups gives you the chance to drop right into the action. But players can set up platoons with friends so that they can go into the battle and fight as a team.
Fighting as a team is very valuable considering the game has 120 million players worldwide, some of whom have been gaining experience since the game launched five years ago.
These teams are built around a mix of tank types. Players can drive light, medium, and heavy tanks as well as tank destroyers and self-propelled guns.
No matter which tank type you try driving, you get the feeling that you’re moving out in a true, multi-ton weapon of war, driving over trees and through buildings in battle.
But, you learn that the enemy is just as strong as you the first time a medium or heavy tank starts pounding on your hull with anti-tank rounds or an SPG hits you with artillery through your soft top armor.
Each kind of tank has its own strengths and weaknesses, and “World of Tanks” does a good job making them feel unique while teaching players how to tactically use each tank on its own and in a platoon.
Tactics are very important in “World of Tanks.” The game’s physics discourage firing from slopes down onto the enemy, a big no-no in real tank combat as well.
Each vehicle has specific weak points that players learn to protect. Players also have to quickly learn to fire from behind cover and to use concealment when maneuvering.
Juggling all of this can be hectic but is exciting in matches, especially when the enemy missteps and you’re able to blast them away with a shot in the rear armor.
To make your mission a little easier, the game lets you recruit and train crew members, allowing for faster reloads or better tank handling in combat. Players can also upgrade their tanks. Researching a new gun may give a semi-automatic capability or buying a new engine will get a tank around the battlefield faster. The eight research trees are split by nationality and each country’s armor strategy feels unique.
With all eight tech trees combined, the game features 450 tanks complete with their own handling, armor, and weapons characteristics as well as notes about their history and development.
Historical accuracy is important to “World of Tanks,” and the tanks and weapons are carefully created to match their real-world counterparts. The game does take some liberties with the historical accuracy, though, tweaking some weapons and stats to keep the game balanced and fun.
Basically, everything is kept true to history unless one tank starts being able to run roughshod over everyone else. When that happens, the designers make a few small changes to rebalance the game.
While 15-on-15 tank battles are the default, the game does have other modes like Clan Stronghold or Global Map, where clans of tankers fight each other for resources.
Wargaming.net is even bringing Football Mode back for a short time to celebrate Euro 2016. Basically, it’s soccer with tanks:
The game is free to play, but the premium version allows players to more quickly upgrade their tanks. Players can also opt to buy awesome, premium tanks in one-time transactions.
America’s favorite Gunny Sergeant, R. Lee Ermey was famous for his portrayal of Senior Drill Instructor Gunnery Sergeant Hartman in Full Metal Jacket. Ermey also went on to host a History Channel show called Mail Call, where he answered viewer questions about weapons, equipment, and military culture.
Lucky for us, the bloopers from Mail Call are available to watch — and they’re amazing. In Ermey’s own words,
“Now a SNAFU [Situation Normal: All F***ed Up] can come at any time at any size and at any shape and when things get screwed up, well, the Gunny just can’t hold his tongue… and that’s why you’re never gonna see this stuff during prime time!”
Check out this video to catch some incredible bloopers, in which Ermey somehow manages to make the f-bomb as wholesome as it is hilarious:
One of my favorite moments is at 2:20 when Ermey says, “Well, John, the answer to your damn, stupid-ass f***in’ question here…” before he dissolves into laughter.
The best thing about blooper reels is how they show the real personality of the actor — in this case, we get to see that Ermey had a great sense of humor in addition to abundant intelligence and a good nature. The video feels like hanging out with an old friend. Every time Ermey cracks up, I crack up.
At 17:35, he tackles a malfunctioning Browning Automatic Rifle and it’s glorious — he’s not even phased. “A little malfunction. Pull. Push. Aim.” The gun goes off and he cackles victoriously.
The man knew what he was talking about, and he had fun doing it.
Watching the video, I had fun, too. It’s a must see, so raise a toast to Ermey and enjoy.
(U.S. Marine Corps photo by Cpl. Patrick M. Johnson-Campbell)
“Almost overwhelming, the urge to say jack s***, you know? Isn’t it?”
When actor Kyle Schmid landed a role playing one of America’s most elite commandos in the HISTORY drama “SIX,” he knew critics would be looking for every flaw in his portrayal — no matter how small.
Seriously? It was the elite operators from SEAL Team 6 that executed the daring raid that killed terror mastermind Osama bin Laden. And a Canadian-born actor who’d never played a role like this was supposed to pull off a convincing performance of one of the world’s best warriors?
It was a daunting task, but one Schmid took very seriously.
“The entire reason we did this show, and why we all wanted to do it so badly, is we wanted to do something that had integrity at the end of the day,” Schmid said in an exclusive interview with We Are The Mighty. “It’s incredibly important to get all those little things right.”
“We’ll be under the microscope of anyone that’s been in the military who served and is going to pick out the little things that we do wrong — that’s just going to happen,” he added. “But we tried our damnedest to do everything right as we possibly could; we spent a lot of time and energy doing that.”
“SIX” is a new drama series produced by the HISTORY cable channel that takes a deep look into what it’s like to be a member of one of the world’s most elite military units. The show goes well beyond a shoot-em-up (though there’s plenty of door kicking and explosive entries to satisfy any action junky) and explores the toll the high OPTEMPO job of a DevGru operator takes on personal relationships.
What’s more, “SIX” tackles some of the ethical issues these commandos face on each and every mission, and explores how the elite team members deal with lapses of judgement and tactics among themselves.
Schmid plays SEAL Team 6 operator Alex Caulder, a seemingly free-spirit sailor who’d rather be chasing skirts and riding tubes than jumping out of airplanes and shooting bad guys. But under the hedonistic exterior, the unit’s “point man” is warrior philosopher, acting as his team’s conscience when ops go bad.
“I’ve always been a morally driven and ethical person as a human being,” Schmid said, adding he used the help of military consultants and his own personality to “get in Caulder’s head.”
“It’s all about the choices you make in your life and whether you’re able to stand behind them with the integrity that you want to,” Schmid said.
“There’s a joke the guys were saying on set: ‘You’re too Caulder for Caulder,’ ” Schmid added.
Schmid rocks the MP7 like he was born with one in his hand. (Photo courtesy HISTORY)
But Caulder is more than a thinker — he’s one of the SEAL team‘s best assaulters, flowing through rooms and popping up on tangos like he was born to it. And it’s no accident that the action looks so good on the screen.
Working with tactical trainer and former SEAL Mitch Hall of Trident Focus, the actors on “SIX” spent two weeks learning how to shoot and move like real-world operators.
Schmid recalled that in one of the fight scenes in the first episode, “as point man, I’m pieing these corners and I’ve got my feet wrong and I’m still trying to gauge the depth with my MP7 around the corner so I’m not sticking my head out and getting it blown off and I asked Mitch, ‘let’s do it again to get it right.’ “
It was an intensive course that Schmid took seriously, even taking days off to work at the range and practice his tactics. And when the filming was done for HISTORY’s “SIX,” the actor emerged a changed man.
“This [role] really allowed me to look at life from a different perspective. I learned to turn down my dial — to realize what was important and what was worth worrying about,” Schmid says. “On the other side … I’m much more aware of my surroundings, constantly living in the ‘yellow’ — and I gotta tell you, it’s a pretty good way to be living.”
Two seasons of HISTORY’s “SIX” is available to watch on Hulu.
He was injured while serving as an Infantry Officer during Vietnam, and after months of surgeries and recovery, he extended his commitment to teach counterinsurgency tactics before finally separating.
Deep down, Smallwood is a soulful artist. An actor, writer, singer, and musician, he has made a career for himself in theater and on-screen, but it’s his writing and his music that really makes him stand out.
We Are The Mighty sat down with him to talk about his relationship with music.
“I can hear some music and know the setting behind it, and it just goes straight to my part that feels.”
He couldn’t speak when he woke up in the hospital in Vietnam, but rest assured, his voice healed and transformed into something rich and soothing.
Check out his video, not only for the Battle Mix that makes him think of his time in service, but for a performance with his acoustic guitar that will leave you wanting more:
It would be incredibly impressive if you somehow managed to exist in 2019 without hearing about Game of Thrones; specifically, about the show’s controversial finale. People were, um, displeased about the way creators decided to bring the series to end, and it got pretty intense. Fans were so upset that over a million of them signed a petition on Change.org to convince HBO to remake the final season. Now, the network is finally addressing the plea.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
The movie “12 Strong” arrives in theaters this Friday, and tells the harrowing story of the first U.S. special forces mission in Afghanistan following the Sept. 11 terrorist attacks. The following is the second part of an Army.mil exclusive three-part feature recounts the events of the Green Berets’ first mission in Afghanistan, as they sought to destroy the Taliban regime and deny Al-Qaida sanctuary in that country.
ON THE GROUND
Special operations forces have a famously tight bond. As the Green Berets stepped off the SOAR’s highly modified MH-47 Chinooks into Afghanistan, they stepped back in time, to a time of dirt roads and horses. They stepped into another world, one of arid deserts and towering peaks, of “rugged, isolated, beautiful, different colored stones and geographical formations, different shades of red in the morning as the sun came up,” said Maj. Mark Nutsch, then the commander of ODA 595, one of the first two 12-man teams to arrive in Afghanistan. The world was one of all-but-impassable trails, of “a canyon with very dominating, several-hundred-feet cliffs.” It was a world of freezing nights, where intelligence was slim, women were invisible, and friend and foe looked the same.
They arrived in the middle of the night, of course, to the sort of pitch blackness that can only be found miles from electricity and civilization, at the mercy of the men waiting for them. “We weren’t sure how friendly the link up was going to be,” said Nutsch. “We were prepared for a possible hot insertion. … We were surrounded by — on the LZ there were armed militia factions. … We had just set a helicopter down in that. … It was tense, but … the link up went smoothly.”
The various special forces teams that were in Afghanistan split into smaller three-man and six-man cells to cover more ground. Some of them quickly found themselves on borrowed horses, in saddles meant for Afghans who were much lighter and shorter than American Green Berets. Most of the Soldiers had never ridden before, and they learned by immediately riding for hours, forced to keep up with skilled Afghan horsemen, on steeds that constantly wanted to fight each other.
But that’s what Green Berets do: they adapt and overcome. “The guys did a phenomenal job learning how to ride that rugged terrain,” said Nutsch, who worked on a cattle ranch and participated in rodeos in college. Even so, riding requires muscles most Americans don’t use every day, and after a long day in the saddle, the Soldiers were in excruciating pain, especially as the stirrups were far too short. They had to start jerry-rigging the stirrups with parachute cord.
“Initially you had a different horse for every move … and you’d have a different one, different gait or just willingness to follow the commands of the rider,” Nutsch remembered. “A lot of them didn’t have a bit or it was a very crude bit. The guys had to work through all of that and use less than optimal gear. … Eventually we got the same pool of horses we were using regularly.”
Nutsch had always been a history buff, and he had carefully studied Civil War cavalry charges and tactics, but he had never expected to ride horses into battle. In fact, it was the first time American Soldiers rode to war on horseback since World War II, and this ancient form of warfare was now considered unconventional.
“We’re blending, basically, 19th-century tactics with 20th-century weapons and 21st-century technology in the form of GPS, satellite communications, American air power,” Nutsch pointed out.
And there were military tactics involved. Even the timing of the attacks was crucial. Nutsch remembers wondering why the Northern Alliance wanted to go after the Taliban midafternoon instead of in the morning, but it accounted for their slower speed on horseback, while still leaving time to consolidate any gains before darkness fell. (They didn’t have night vision goggles.)
Supported by the Green Berets, Northern Alliance fighters directly confronted the Taliban over and over again. Some factions, like Nutsch’s, relied on horses for that first month. Others had pickup trucks or other vehicles, but they usually charged into battle armed with little more than AK-47s, machine guns, grenades and a few handfuls of ammunition. Meanwhile, the Taliban had tanks and armored personnel carriers and antiaircraft guns they used as cannons, all left behind by the Soviets when they evacuated Afghanistan in the 1980s.
It took a lot of heart, a lot of courage. “We heard a loud roar coming from the west,” said Master Sgt. Keith Gamble, then a weapons sergeant on ODA 585, as he remembered one firefight. “We had no clue what it was until we saw about 500 to 1,000 NA soldiers charging up the ridge line. I called it a ‘Brave Heart’ charge. What the NA didn’t realize was that the route leading up the ridgeline was heavily mined. The NA did not fare too well, as they received numerous injuries and had to retreat. We continued to pound the ridge line with bombs until the NA took it that evening.”
“They weren’t suicidal,” Nutsch, who worked with different ethnic groups, agreed, “but they did have the courage to get up and quickly close that distance on those vehicles so they could eliminate that vehicle or that crew. We witnessed their bravery on several occasions where they charged down our flank (to attack) these armored vehicles or these air defense guns that are being used in a direct fire role, and kill the crew and capture that gun for our own use.”