Note: The C-130J-30 is a proposed stretched
version of the C-130J.
After the War
After the 1991 Gulf War, and the dissolution of TAC and MAC,
the new Air Combat Command assumed the theater lift portfolio,
based on wartime experience and the necessity of fitting tactical
lift into a theater air tasking order. Subsequently, the need
for a unified chain of command for training, program management,
logistics, and operations mandated yet another change, and the
C-130 fleet joined Air Mobility Command in April 1997.
The transfer isn't complete, even today. Because of the unique
day-to-day requirements of moving cargo around overseas, not
all theater lift assets belong to AMC. Pacific Air Forces and
US Air Forces in Europe each "own" a squadron of 12-16
C-130s, to be used for the command's own short-haul lift needs.
McNabb noted that "we work that very closely to make sure
the overall airlift [system] is seamless, indeed."
Just as ACC manages the supply, repair, equipage, and upgrade
of fighters "belonging" to PACAF and USAFE, AMC does
the same for the C-130s under those commands.
The C-130s go into action when requested by regional commanders
in chief. A number of squadrons may be dispatched, depending
on the nature of the contingency; as few as a dozen airplanes
or as many as a dozen squadrons will deploy. In the Gulf War,
149 C-130s were sent to that region.
"Straw man" plans covering theater lift needs and
deployment are already in place for most world trouble spots,
and a particular unit or group of units are usually designated
in the plan as the first to go. Advance teams go to the designated
operating sites and determine what must be brought and what can
be left behind.
Once units receive the "go" order, they virtually
self-deploy to the theater, taking along most of the equipment
and some of the personnel they will need to operate from forward
bases. Contrary to some popular notions, they do not transport
any warfighting equipment-such as Army troops or vehicles-from
the continental US to a theater of operations.
"We don't bring anything to the theater except ourselves,"
one pilot pointed out.
Moreover, moving a C-130 unit to a contingency will require
some backup lift of C-141s, C-5s, or C-17s to carry additional
personnel and gear to the forward operating location.
"Think of it as deploying a fighter squadron," one
C-130 pilot suggested. "You need some help to get over and
set up."
C-130s will not typically set up shop at a major airport receiving
large strategic transport airplanes from CONUS. Ramp space at
these facilities is usually at a premium and must be given over
to the "heavies." Theater lift forces will set up somewhere
nearby--usually within two hours' flying time--and only come
in when off-loaded cargo is ready to be transshipped to its next,
and usually final, destination. Crews and maintainers will often
be located at an austere site where the C-130, but few other
airlifters, can operate.
In the Gulf War, C-130s operated out of Oman, Saudi Arabia,
United Arab Emirates, and other Gulf sites, flying into the Saudi
port city of Dhahran for pickups and carrying the materiel to
wherever it was needed in the region.
The cargo is varied.
"We carry food, artillery shells, missiles, Army troops,
trucks, medical supplies, the mail-you name it," said one
C-130 pilot. With its rough-field capability, the C-130 can carry
its cargo directly to the front lines. While that is usually
avoided in the heat of battle, C-130s can and sometimes will
fly directly into a live-fire situation if the need is great
enough.
Blue and Green
The Air Force's theater airlift force dedicates much of its
capability to the Army, which needs the airplanes to move soldiers
or drop paratroops and to haul lighter vehicles and all the gear
and consumables necessary for quick movement in the war zone.
Army Gen. H. Norman Schwarzkopf's famous "left hook"
maneuver in the Gulf War was made possible in large part by C-130s
shuttling troops from initial garrisons to their invasion start
points. These were, often as not, roads or mere dirt landing
strips.
"I sometimes think we speak 'Army' better than we speak
'Air Force,' " one C-130 veteran observed. "We have
to know how to talk to those guys so we can understand what they
need from us."
The main example of the C-130-and-Army cooperation can be
seen at Pope AFB, N.C., where Air Force units constantly provide
airplanes to train the paratroopers at the Army's nearby Ft.
Bragg.
During the Gulf War, theater lift forces not only brought
items to forward areas but also carried back many things--broken
airplane parts, sick and injured troops, and, of course, the
mail. During the Gulf War, a common load item was helicopter
rotor blades; blowing desert sand tended to delaminate their
edges, and the Army ran through new rotors for their forward-based
attack, scout, and utility helicopters at a high rate.
Wartime theater airlift is the primary mission of the "slick"
C-130, meaning the cargo version. Airplanes are "chopped"
to the Joint Task Force commander in the event of war. In turn,
the JTF commander's air boss--the role filled by then-Lt. Gen.
Charles A. Horner in the Gulf War--gives the C-130s their orders.
"We never belong to AMC during a war," a C-130 programmer
noted. In situations such as Southern Watch, where there is no
fighting but hostilities are always imminent, deployed slicks
belong to the theater commander in chief.
Busy Crews
Like their fighter counterparts, C-130 crews are busy, and
every effort is being made to share the burden with considerable
Air National Guard and Air Force Reserve Command capability in
theater lift. Some Guard and Reserve units, which have a higher
percentage of "full-time" participants, may volunteer
for such deployments. Other units, where the number of full-time
participants is not so large, will not be called for such duty
unless certain certifications are made by the President that
the nation is indeed at war or imminently going to war.
In Bosnian operations, which alone could consume all the capacity
of USAFE's C-130 squadrons, stateside units are rotated into
the theater for deployments of about 45 to 65 days and during
that time are chopped to USAFE.
Such assignments, based as they are on volunteerism, are planned
well in advance.
"We practice this on a regular basis," a C-130 pilot
noted. "We can get out of town in 24 to 48 hours, depending
on the warning time."
When deploying to an area as far away as the Gulf, the C-130s
will make numerous hops, since they lack the capability for aerial
refueling. Some crews will have flown ahead, gotten their requisite
crew rest, and are ready to take the controls at an interim field
when the airplane is refueled and checked out. Sometimes, extra,
or augmented crews will fly on a single airplane and trade off
the flying as crew rest demands.
Once in theater, the airplanes are to be ready for operations
within a few hours of landing and unloading their gear.
Though deploying C-130s always chop to the theater commander,
longer-legged C-141s or C-5s involved in theater lift operations
do not. They may perform missions for a theater commander, but
they still are "owned" by AMC and "on loan"
for specific missions.
The C-17 Globemaster III played an important intratheater
lift role in Bosnia where, early in the Army deployment in late
1995, it was able to move outsize equipment rapidly to small
airfields. In fact, the C-17 is "writing a new page"
in the theater lift manual, said the AMC programmer, but it is
still too soon to tell if it will be given more than an ad hoc
role in the theater mission. While it has been suggested that
some C-17s be purchased specifically for intratheater duties,
no such plan has been approved, he said.
Although the transition from ACC to AMC has been largely trouble-free,
an AMC official said that there are still some "command-and-control
problems." He explained, "We still have some gaps in
who commands what. It's a never-ending, constantly shifting process"
of determining ownership of airplanes and missions alike.
"We need better representation on a CINC's staff,"
he said. "Army guys and fighter guys don't understand theater
lift" well enough to plan their operations, and there are
usually too few knowledgeable officers available "to run
what is a 24-hour-a-day operation" of tactical lifters moving
around the theater.
AMC officials are developing a system to deploy liaison people
to help plan operations at the start of a contingency. In addition,
AMC is trying out some new ideas on how to manage theater lift
and is succeeding in paring away loose ends. The command learned
a great deal from Desert Storm and is still finding ways to apply
those lessons. Exercises like Red Flag and the joint Blue Flag
also help point up deficiencies, which AMC is trying to swiftly
correct.
Enter the C-130J
One of the most controversial aspects of the intratheater
lift force concerns how the nation has gone about equipping it,
particularly in the 1990s. The Air Force owns about 510 C-130E
and C-130H slicks, in about five different configurations. These
airplanes-bought in lots as small as eight a year on up to 27
a year since the 1960s-for the most part are in good shape and
have many thousands of hours of service life left. Only about
25 C-130s will need to retire in the next 10 years.
In the early 1990s, Lockheed Martin, the C-130 producer, unveiled
a new model known as C-130J. It offered an all-digital flight
control system, new materials, a new engine and propeller system,
a glass cockpit flight deck, a two-person crew (vs. three on
previous models), and improvements in climb rate, speed, and
range.
The Air Force was not yet ready to start replacing its C-130s,
but it agreed to request two examples of the new airplane per
year to "get the ball rolling," a senior Air Force
official said. By the time the airplane was certified and tested,
the Air Force reasoned, it would be time to start ordering new
airplanes to replace the oldest C-130Es in the inventory. Moreover,
Lockheed Martin offered the airplane as a commercial buy, underwriting
with its own funds the C-130J's development and presumably saving
USAF money.
Congress has taken a strong interest in the new program, adding
C-130Js to the Air Force's budget in each of the last five years
and touting its enhanced performance and lower projected cost
of ownership compared to currently serving types. Moreover, the
program has top political support. Until his retirement in 1997,
Sen. Sam Nunn, the Georgia Democrat, exerted great influence
on military affairs on Capitol Hill. The district of House Speaker
Newt Gingrich (R-Ga.) lies close to the Marietta, Ga., facility
that produces the C-130Js.
Not everyone in Congress supports these purchases. The addition
of the C-130Js to the USAF budget at a time when higher-priority
programs are getting shortchanged "defies logic," said
Sen. John McCain (R-Ariz.), a member of the Senate Armed Services
Committee and leading critic. The C-130 ranks 15th on AMC's list
of funding priorities.
In addition, Congress has tended to provide money to buy these
new airplanes without adequately supplying the spares and support
capabilities necessary for their proper operation. When it comes
to supporting the new aircraft, the old C-130 equipment won't
do. Gen. Walter Kross, AMC commander, noted that the C-130J is
"70 percent a new airplane" by virtue of sophisticated
new systems and engines, requiring new support gear as well as
simulators and training aids. The General Accounting Office,
for its part, estimates that USAF will be short $302 million
in C-130J support funds by 2003.
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