History of Terry I - History

Terry I

Terry I(Torpedo Boat Destroyer No. 25: dp. 887 (full); 1. 293'10", b. 26'1" (wl.), dr. 10'11" (aft), s. 30.24k. (tl.); cpl. 89; a. 5 3", 2 .30-car. mg., 6 18" tt.; cl.Poe)The first Terry (Torpedo Boat Destroyer No. 25) was laid down on 8 February 1909 at Newpo~t News, Va., by the Newport News Shipbuilding Co., launched on 21 August 1909; sponsored by Mrs. George Henry Rock; and commissioned on 18 October 1910, Lt. Comdr. Martin E. Trench in command.Following trials off the east coast, Terry joined the Atlantic Fleet Torpedo Flotilla in winter operations in Cuban waters. She conducted both torpedo exercises with the flotilla and general maneuvers with the Fleet as a whole. The routine of winter maneuvers in the Caribbean alternated with spring and summer operations along the New England coast continued until November 1913, when the torpedo boat destroyer arrived at Charleston, S.C., for overhaulSoon after entering the navy yard there, Terry was placed in reserve. Though still in reserve after her overhaul was completed, Terry continued to be active. During 1914, she cruised the coast of Florida; and, by February 1915, she was back in Cuban waters for winter maneuvers. That summer, Terry steamed as far north as Newport, R.I., to conduct another round of torpedo exercises. Upon completion of the mission, she returned to her base at Charleston.By 1 January 1916, the torpedo boat destroyer was operating with a reduced complement destroyer division. On the 31st, she cruised with units of the Atlantic Fleet to Key West, Fla. In May, she steamed from there to Santo Domingo. On 10 June, while maneuvering in the inner harbor at Puerto Plata, she struck a reef and settled until the greater part of the main deck was submerged. On the 13th, under the supervision of the commanding officer of Sacramento ( Gunboat No. 19), Terry's officers and men joined the staff of a wrecking company in salvage operations. The warship was refloated on 26 July, temporarily repaired by 7 July and returned to the Charleston Navy Yard on 15 July.America's entry into World War I saw Terry undergoing extensive repairs at Charleston. Upon completion of the yard work, she began duty patrolling along the Atlantic coast and escorting merchantmen bound for Europe. In January 1918, Terry put to sea for operations with the destroyer force based at Queenstown, Ireland. There, she escorted convoys through the submarine-infested waters surrounding the British Isles. Her tour of duty at Queenstown was a relatively peaceful, though rigorous, one. While' she never sighted a German U-boat nor engaged in combat operations, on one voyage she escorted a convoy which lost one ship to a submarine. On another occasion, on 19 March 1918, she assisted Manley (Destroyer No. 74) with casualties after that destroyer was damaged by an accidental depth charge explosion.In December 1918, Terry returned to the United States; and, after 11 months of extremely limited service, she was decommissioned at the Philadelphia Navy Yard on 13 November 1919. She remained there until she was transferred to the Coast Guard on 7 June 1924. She served in the Coast Guard until 18 October 1930, when she was returned to the Navy and restored on the Navy list in a decommissioned status, listed as a "vessel to be disposed of by sale or salvage." On 2 May 1934, Terry was sold for scrapping. Her name was struck from the Navy list on 28 June 1934.

Our History

Terry-Durin was founded and incorporated in the state of Iowa in 1908 by Mr. J.B. Terry. In 1910, Mr. A.E. Durin bought stock in the Company and became Mr. Terry’s business partner. In the photograph below, you can see Alfred Durin (far left) and J. B. Terry (third from the left) in the early days. The Durin family bought Mr. Terry’s interest in the business in the early 1950’s and has subsequently owned and operated the business. The Company is located at 409 Seventh Avenue SE in Cedar Rapids, Iowa, which serves as a central location for the Company’s operations. The Company originally had two divisions, small appliance and electrical supplies.

The Company has specialized in utility electrical supplies for the past 50 years. Terry-Durin is on its third generation of Durin family management of the business. At the present, the Durin family owns 100% of the business. In 1995, the Company became recognized as a minority-owned business due to Josefina Durin being the majority stockholder and Chairman of the Board.

The Company does not have one designated market area, but most of its sales are made to companies in Iowa, southern Minnesota and western Illinois. Although the Company tries not to limit its potential market geographically, it must consider freight costs when determining which accounts to pursue. When feasible, the Company will direct-ship from the manufacturer which has increased the Company’s ability to obtain business outside its traditional market area.

The Company’s sales can be differentiated into four primary market segments which are utilities, industrials and electrical contractors. Utilities include the major utility companies in Terry-Durin’s marketing area, as well as municipalities and rural electrical cooperatives. This market represents approximately 40% of the Company’s volume. Industrial customers represent approximately 35% of the Company’s business. The remainder of the Company’s revenue is comprised primarily of sales to electrical contractors, and Telecommunications.

Terry-Durin’s customers have been very loyal in the past but management knows they need to continue to provide quality products and services at competitive prices in order to maintain customer relationships.

Management feels its competitive strengths are derived from its outstanding service, quality products and experience in the industry. The Company is sound financially, giving it the ability to withstand temporary declines in demand. The size of Terry-Durin is ideal, we are large enough to supply all the products that are required, yet small enough to respond to your needs. We believe our size is a distinct advantage over our competitors. Our management team is available immediately to respond to decisions on a “spur of the moment” situation.

Terry Coach Industries has a long history of producing popular travel trailers and fifth wheels, dating back to the 1950s. This recreational vehicle company was acquired by Fleetwood in 1964, which led to the development of our Throwback Thursday Vintage RV, the Fleetwood Terry 20T.

Although production of Terry trailers ended after 2009, these travel trailers are still a great vehicle for vacations and camping excursions. The Fleetwood Terry 20T comes with a full kitchen area and stove, dining area, seating and more. Plenty of window space and storage keep this unit feeling open and airy. The unit pictured above was on sale on for less than $4,000.

How to Do Oral History

Oral history is a technique for generating and preserving original, historically interesting information – primary source material – from personal recollections through planned recorded interviews. Below are suggestions for anyone looking to start recording oral histories based on best practices used in the Smithsonian Oral History Program at the Smithsonian Institution Archives.

Click here for a printout of our How to Do Oral History Guide.

What is Oral History?

Oral history is a technique for generating and preserving original, historically interesting information – primary source material – from personal recollections through planned recorded interviews. This method of interviewing is used to preserve the voices, memories and perspectives of people in history. It’s a tool we can all use to engage with and learn from family members, friends, and the people we share space with in an interview that captures their unique history and perspective in their own words. Oral history stems from the tradition of passing information of importance to the family or tribe from one generation to the next. In the United States, the Oral History Association connects oral historians and provides a broad range of information on oral history.

Technique: The methodology of oral history can be adapted to many different types of projects from family history to academic research projects in many different disciplines. The interviews should usually be conducted in a one-on-one situation, although group interviews can also be effective.

Sharing: In collaboration with a well-prepared and empathetic interviewer, the narrator may be able to share information that they do not realize they recall and to make associations and draw conclusions about their experience that they would not be able to produce without the interviewer.

Preserving: Recording preserves the interview, in sound or video and later in transcript for use by others removed in time and/or distance from the interviewee. Oral history also preserves the ENTIRE interview, in its original form, rather than the interviewer’s interpretation of what was said.

Original historically important information: The well-prepared interviewer will know what information is already in documents and will use the oral history interview to seek new information, clarification, or new interpretation of a historical event.

Personal recollections: The interviewer should ask the narrator for first-person information. These are memories that the narrator can provide on a reliable basis, e.g., events in which they participated or witnessed or decisions in which they took part. Oral history interviews can convey personality, explain motivation, and reveal inner thoughts and perceptions.

Martha Ross: The Six R's of Oral History Interviewing

The oral history interviewer should strive to create a situation in which the interviewee is able to reflect widely, to recall fully, and to associate freely on the subject of the interview, and to maintain an atmosphere in which they are willing to articulate fully those recollections.

The following six considerations are basic to good oral history practice.

1. RESEARCH: Thorough preparation enables the interviewer to know what questions to ask and is essential to establishing rapport with the interviewee. Research pays off during the interview, when the interviewer’s knowledge of names, dates, and places may jog the interviewee’s memory.

2. RAPPORT: Good rapport is established with the interviewee by approaching them properly, informing them of the purpose of the project, and advising them of their role and their rights. A pre-interview call or visit to get acquainted and discuss procedures is recommended.

3. RESTRAINT: The experienced interviewer maintains rapport by following good interview techniques: being efficient but unobtrusive with equipment, starting at the beginning and proceeding chronologically, asking open-ended questions, listening closely without interrupting, following up on details or unexpected avenues of information, challenging questionable information in a non-threatening way, and generally maintaining an atmosphere in which the interviewee feels able to respond fully and truthfully.

4. RETREAT: Close each interview session by asking a “deflationary” question, such as an assessment of the experiences just discussed. All sessions should be planned and scheduled so that they conclude before the interviewee becomes fatigued.

5. REVIEW: Interviewers should listen to their interviews soon afterwards to analyze their interviewing techniques and to pick up details to follow up on in subsequent sessions.

6. RESPECT: Respect underlies every aspect of oral history – respect for the interviewee as an individual, their experience, for the way they remember that experience, and for the way they are able and willing to articulate those recollections. Maintaining respect toward the individual interviewee and toward the practice of oral history interviewing is essential to success as an interviewer.

NOTE: Martha Ross is the “mother” of oral history in the mid-Atlantic region and taught at the University of Maryland in the 1970s and 1980s.

Preparing for Oral History Interviews

2. Ask the interviewee if they are interested.

3. If interviewee is interested, set up a time and place for the interview. Also request any background information the interviewee might want to provide. Check about the best place – somewhere quiet where you won’t be disturbed. Request at least two hours for the interview session.

4. Write a follow-up email confirming plans for the interview that discusses the goals, legal rights, and how the interviews will be handled. Provide a very general list of topic areas and ask them to think about topics they would like to cover.

5. Conduct basic biographical research on your interviewee. Conduct internet searches. Read publications and profiles. Ask others about topics you should cover, stories they should tell.

6. Develop a chronology of the important events in their life. Develop lists of personal names and terms important in their life, such as geographic names where they traveled, names of important family or community members. Compile a folder of photographs of the interviewee and their world. These will prove invaluable in the interview when the interviewee gets confused or forgets names.

7. Rework the question outline, making it relevant to this interviewee, deleting topics that don’t pertain to them, and adding areas, such as organizations they were involved in, etc.

8. With the equipment, PRACTICE, PRACTICE, PRACTICE until you can use it in your sleep. Practice interviewing family members and friends. Then delete all the files you’ve created, so the recorder is at full capacity. Make sure all the settings match the instruction sheet. Make sure that you have all the necessary pieces of equipment, such as the recorder power cord and an extension cord.

9. The day before the interview, confirm time and place.

10. Bring with you: equipment, extension cord, cell phone (in case of equipment problems), question outline, chronology, terms, photos, etc., legal forms, extra paper for notes and a pen. Also bring throat lozenges or hard candy, in case throats get dry. If possible, bring a camera and take photograph of the interviewee at the interview.

11. When you arrive, assess room for sound. Turn off equipment, close doors, and rearrange furniture into a comfortable arrangement facing each other close enough to hand photos but not too close. Set up equipment so you can monitor it constantly and discretely, without turning away from the interviewee.

12. Go over the list of topic areas again and permissions again.

13. Ask about any scrapbooks, news clippings, awards, etc., that they might want to bring out.

How to Ask Questions in Oral History Interviews

1. Find a quiet place to conduct the interview where you won't be bothered by telephones, family members, pets, traffic noise, etc. Get two glasses of water. Take a photograph. Turn off cell phones, etc.

2. Explain to your interviewee what you are doing.

Explain their legal rights.

Explain how interview is likely to be used.

Explain that they can choose what questions to answer and that the recorder can be turned off at any time.

3. Ask your interviewee to sign the deed of gift and cosign it yourself if you have one.

4. Use an outline of topics you wish to cover, with follow-up questions, that you have prepared in advance. Also bring photographs and a personal name and term list, and chronology.

5. Start with easy questions, such as their name, where and when born, names of family members.

6. Allow the interviewee to do the talking.

7. Ask "open-ended" questions, such as, tell me about, describe, etc., what do you remember about?

If the interviewee responds with just a yes or no, ask how, why, when, where, who.

What the interviewee chooses to tell you and how they choose to tell it is just as informative/revealing as the actual answers they give.

8. Avoid “closed-ended” questions that can end in a yes or not, or single fact.

Examples, were you there? What was date of that? Did you like that?

If you get a short answer, follow up with tell me more, who, what, when, where, how and why.

9. Do not ask leading questions – was it this or that? Or I thought that the most important thing was…..These have been demonstrated to affect interviewee’s answer and will taint your interview.

10. Ask one question at a time and try to ask simple questions.

11. Try to ask follow-up questions – tell me more, who, what, where.

12. To stimulate their memory, use “statement questions” such as, “In 1956, you traveled to Tibet to conduct research. How did that trip come about?”

13. Focus on recording their personal experiences, rather than stories about others or that they have heard. If you’re getting general stories, say tell me about your role, describe how you felt that day or dealt with that crisis, etc.

14. Don't worry about silences. Let the interviewee think and take time before they answer. Look at your outline and check off topics if the interviewee needs time to think.

15. Note what types of questions your interviewee responds best to and try to adapt your style to what works best with them.

16. Let the interviewee suggest topics to you that you might not have thought of.

17. Allow the interviewee to drift off to topics not on your outline. These can be the best part of your interview.

18. After an hour or less, ask interviewee if they would like to take a break. Write down the last words as you turn the recorder off.

19. Provide the interviewee with feedback by nodding, smiling, listening attentively. Try to avoid too many verbal responses that will record over the interviewee, such as “Really!’ or “Uh-huh, uh-huh.”

20. Don’t be afraid to politely question information that might be incorrect – ask for a clarification, or say something to the effect, “Oh, I’m confused, I thought that Mrs. X was involved in that.”

21. Reword questions that the interviewee does not answer – they may not have heard what you thought you asked. But they have the right to not answer if they don’t want to.

22. Do allow the interviewee to tell “THE STORY.” Most interviews have a favorite story. They will fit it in somehow, so let it happen! Allow some repetition since additional details may emerge with a second version, but don’t allow your interviewee to keep telling the same story over and over.

23. Bring visuals, if possible, to stimulate memory or ask to bring out photo albums of trips or family events, etc. Invite the interviewee to bring visuals to the interview.

24. Let the interviewee do the talking. Try to avoid telling your own stories, “Yes! When I was there….” or offering your own opinions. If asked for an opinion, explain that the interview is designed to record their point of view, not yours.

25. An interview usually does not last much longer than 1 1/2 to 2 hours. After that both interviewer and interviewee get tired and lose their concentration.

26. End interview gracefully, asking them to assess their lives and the topics you have discussed.

27. Ask your interviewee to spell any names or places you did not understand.

28. Clean up. Make sure you have all pieces of equipment.

29. As you depart, keep options open to return for an additional interview.

Suggestions for Recording Oral History Interviews

1. There are many recorder options that will record an uncompressed preservation quality audio file. If you do not have access to a recorder, most smartphones have recording software that will record an MP3 audio file.

2. If possible, record an uncompressed WAV audio file at 24 bit.

3. Use external microphones if possible.

4. Check room for extraneous noise such as motors, fans, pets, traffic, etc.

5. Test the recorder to check the volume of the interviewer and interviewee and to see if it is picking up any static or surrounding noise.

6. Begin with an introduction that identifies who is being interviewed, who is conducting the interview, where, when, and the purpose of the interview.

7. Ask if you have permission to record the interview.

8. Avoid speaking while your interviewee is sharing. Instead, try to use physical cues that you’re listening like nodding and taking notes instead of affirming “mhmms.”

9. Upload the files from the recorder to your computer, external hard drive and/or the cloud to ensure you don’t lose the file.

10. Name the file in a way you can identify it later. Ex: LastnameFirstname_Date_Interview#_File#

11. Make copies of your digital file. Save a copy to an external hard drive and/or the cloud.

Suggested Topics/Questions for Oral History Interviews

2. Do I have permission to record this interview?

3. Where and when were you born?

4. Who else was in your family?

What were your parents’ names?

Are there any traditional first names in your family?

What type of work did they do?

5. Did other family members live nearby?

Tell me about them.

How did they meet?

What did they do for a living?

When did you get to see them?

6. What did your community look like outside of your family?

How did you meet them?

What types of activities would you do together?

Tell me about your neighborhood.

7. Where did your ancestors come from?

When did they come to the United States?

Where did they first settle?

Did your family name change when your family immigrated to the United States?

Are any of their traditions still carried on today?

What language did your parents and grandparents speak?

8. What games did you play when you were young?

What toys did you have?

Who did you play with?

Where did you play?

Did you have any hobbies?

Have your hobbies and interests changed over time?

Did you collect anything? Baseball cards, dolls, etc.

9. Tell me about your grammar and high school education?

Describe your grammar school/high school.

What subjects did you study?

Tell me about your interests in your school days.

Did you have any influential teachers?

Any leadership roles in organizations/classes?

What were your hobbies and interests as a child?

Did you read much, if so, what topics?

Did you belong to any influential clubs or organizations?

Did you have any goals/dreams for when you grew up?

How did gender roles affect you during K-12 education?

10. What holidays did your family celebrate?

How did you celebrate them?

What was your favorite part of the holidays?

11. Tell me about the house you grew up in.

How was it furnished?

Did you have your own room?

Where did you spend most of your time?

Did you move to another home while you were growing up?

Tell me about the new home.

How did your community change?

12. What were mealtimes like in your family?

What foods did you eat?

Who cooked the food?

Who cleaned up after meals?

13. Did you have any pets? Describe them.

14. What type of clothes did you wear?

Where did you get them/who made them?

When did you get new clothes?

15. How did your family get around?

Did you have a car? Did you use public transportation?

If you had a car, when did you get it? Who drove it?

Did you go on vacations in it?

When did you learn to drive? Describe your first car.

What kind of public transportation was available?

16. What sort of entertainment did you like?

What did you listen to growing up?

Did you watch TV growing up? What did you watch?

What large moments do you remember watching on TV?

17. Who was your family doctor? Describe them.

Do you remember any epidemics or diseases?

Did your family have any home remedies? If so, describe.

18. What was your first job?

Describe a typical work day.

How much money did you earn?

How long did you have that job?

What lessons did you learn?

Additional jobs and details – trace career path, changes

Tell me about any influential mentors.

What were the most memorable aspects of that position?

19. Did you attend college?

Tell me about your college years.

What school? How did you decide to go there?

What was your major?

Any influential mentors?

Did you do a semester abroad?

Describe your major interests?

What were successes/accomplishments and challenges/frustrations?

Tell me about any gender challenges you encountered in college.

20. How have historic events, such as 9/11, hurricanes, the Great Depression, world wars, natural disasters, strikes, and now Covid-19 etc., affected you?

Did these events impact your community?

After the Oral History Interview

1. Download interview files onto your computer, following the instructions provided.

2. On your computer, rename each file by right clicking on file and selecting rename. Rename it in this format: LastnameFirstname_Date_Interview#_File#, for example, JonesSandra_04-30-2020_1.

3. Click on file to be sure it plays properly.

4. Do not erase files from your computer until you have made duplicates.

5. Erase files from recorder, so the recorder will be empty for next interview.

6. Write a one paragraph summary of what the interview is about, providing technical details. Also list a dozen or so name and subject terms for indexing. This will be used to identify the interview for future use.

7. Prepare a longer list of all names, terms, etc. to use for transcription.

8. Prepare an introduction for the transcript that provides an overview of the interview for the reader and helps them understand what they are about to read. The introduction should include an opening paragraph that states why the individual was selected, i.e., the special significance or accomplishments of the individual information as to the place and particular conditions of the interviews, e.g., the interviewee’s home or office research the interviewer did to prepare for the interview, i.e., books read or scrapbooks reviewed, and any prior relationship of special affinity between the interviewer and interviewee, e.g., friends for 25 years, grandchild or child. The interviewer should also prepare a biography of one or two paragraphs about themselves, including background and experiences of the interviewer related to the conduct of this particular interview.

9. Photocopy or scan the signed legal form, your question outline, chronology, etc.

10. Write a follow-up note to the interviewee, thanking them for their time and reminiscences.

Readings and Online Resources

Abrams, Lynn. Oral History Theory, second edition. New York: Routledge, 2016.

Boyd, Douglas A. Oral history and digital humanities: voice, access, and engagement. Springer, 2014.

Frisch, Michael. A Shared Authority: Essays on the Craft and Meaning of Oral and Public History. Albany: State University of New York Press, 1990.

Gluck, Sherna Berger, and Daphne Patai, eds. Women's words: The feminist practice of oral history. Routledge, 2016.

Murphy, Kevin P., Jennifer L. Pierce, and Jason Ruiz. "What Makes Queer Oral History Different." The Oral History Review 43, no. 1 (2016): 1-24.

Neuenschwander, John A. A guide to oral history and the law. Oxford University Press, USA, 2014.

Perks, Robert and Alistair Thomson, The Oral History Reader, third edition. New York: Routledge, 2016.

Ritchie, Donald A. Doing oral history. Oxford University Press, 2014.

Thompson, Paul. The voice of the past: Oral history. Oxford university press, 2017.

Terry Pratchett and history

A recurring theme in several of Terry Pratchett's Discworld books is the idea that stories have their own power, and that, good or evil, there are stories floating around in the universe seeking people's lives in order to play out their existence. It frequently falls on the shoulders of the magic wielding protagonist, Granny Weatherwax in several novels, to protect innocent characters from rogue stories attempting to take over their lives.

Once in a while I seem to notice a similar phenomenon creeping into historical discussions here, where the idea of a story that "should have" happened, or decisions that people "would have" made seems to overpower the conversation from out of the background.

I am curious if any of you might think of any examples of history as it was written having been co-opted, or hijacked, by a story that "must have been"?


No. because we don't live in fantasy universe where abstract concepts have agency?

The closest that comes to it is people writing history having a preconceived notion of what a good story is, and massaging the recprd real events to fit the narrative. And there are, of course, always megalomaniacs who think that they are some great hero out of mythology and act to copy what they have read. But neither of those comes even vaguely course to the idea that a story has a will of its own, or that a story being fulfilled is some sort of teleological destiny for people's action. When people say "should/would have" they generally mean "would have had a better outcome if", not suggesting that there is a self aware story waiting to burst through.

I need some help with Terry Bass Boat history..please?

Not sure if this is the right place for this, but, here goes.
When the rubrail gets here, my Terry bass boat resto will be complete.
It was a Rags to Riches resto.
That was the boat, my wallet did just the opposite.
I look at the finished product and proudly think to myself. "Self, thats a good looking boat, and youranidiot for spending money on it".

So, now I need some help from some of ya'll (that's "you guys" for those near a lake more than 4ft deep).

Anybody know any history about what became of Terry Boats? If they sold out, who to, what, when, where?
Hasn't been that long since you could buy the Cobra hull molds on ebay.
I recently saw an 85 Skeeter and had it not had Skeeter on the side, I would have sworn it was the same boat as this Terry. (windshield, console, compartments, livewell, topcap, hull. all looked just like this Terry.
Anybody gots any info they can share?
Thanks in advance.



Re: I need some help with Terry Bass Boat history..please?

in looking for my own terry i found out that Delhi Manufacturing comp.(made terry boats ) is out of business other than that i dont know . I have a 16 ft fiberglass runabout that i think is a terry the only writing is terry tourney on the side i have no year or model if you have any info i appreciate it if you posted it


Honorary Moderator Emeritus

Re: I need some help with Terry Bass Boat history..please?

they made a great boat. had a 72 14footer. i don't think they could keep up with competition.



Re: I need some help with Terry Bass Boat history..please?

i think mine is a 1975 terry tourneylXL75 but not sure without pic for comparison



Re: I need some help with Terry Bass Boat history..please?

i just bought a terry 14' in 1974 vintage. can you tell me what the hp. rating is, and the wt. capacity , and any other info you might have, thanks


Honorary Moderator Emeritus

Re: I need some help with Terry Bass Boat history..please?


Vice Admiral

Re: I need some help with Terry Bass Boat history..please?

they made a great boat. had a 72 14footer. i don't think they could keep up with competition.



Re: I need some help with Terry Bass Boat history..please?

My name is "JC" and I was a District Sales Manager for Delhi Mfg., makers of Terry Bass Boats from 1975 thru 1980. I'll post one of my old business cards after I figure out how to respond to this format. I just found it.

Judging from some of the questions, I feel I can be of assistance to some of you with questions about Terry Boats or Delhi in general.

I just signed up with this group and haven't filled out the profile form but will tomorrow, I hope. Please forgive me if I screw up trying to answer questions, but as I said, I'm just learning how to operate this PC.

Thanks and bring on the questions!


Petty Officer 1st Class

Re: I need some help with Terry Bass Boat history..please?

I have a ton of questions, Choctawone . what happened to delhi? did they sell out or go out of business and why? do you have any brochures,owners manual, or pictures of the terry boats and the manufacturing plant, maybee how they were assembled? I have a 1976 Terry abf I am re-doing right now. not going to a resto to original but will look nice when done. Thanks



Re: I need some help with Terry Bass Boat history..please?

Howdy Spence:
This morning I typed a whole page trying to give ya some answers. When I was finished I hit the "Submit" button and the whole letter disappeared into cyber-space! I'll try again to answer your questions in some kind of order.

"What happened to Delhi?":
In the last quarter of '77 we were the #2 bass boat company in the nation. second only to Forest Wood's Ranger Boats, made in Arkansas. To the best of my recollection, we were the only two companies with dealerships all over the U.S.

Things started going sour. We made a better boat than Ranger, and it cost more, but hardly any company was meeting sales objectives by mid-'78. In the summer of '78 Terry/Delhi management met with **** Woolworth, head of the Woolworth's Department Stores and parent company to Terry/Delhi. Because our sales were booming nationally we needed more manufacturing facilities, and a bigger plant overall. **** had come down to discuss the possibility of Woolworth's loaning some major bucks to it's boat company.

At the time, gas had gone up to .79 cents per gallon and predictions were it would go to a dollar or more. This is bad for boat retailers and manufacturers. Jimmy Carter had allowed prime interest rates to go to well above 13% to 14%. At one point it hit 16%, as I recall. When a manufacturer sells a load of boats to a dealer, the dealer borrows the money to pay off the loan on a short note. His interest is most commonly based on the prime rate that the government charges banks and lenders, plus another 6% to 8% (at the time). As you can see dealers were having to pay from 18% to 24% to the IRS for the "privilige of doing business". High interest rates plus the "high" cost of gas were combining to make the cost of a high end bass boat out of reach for the average angler like me. At that meeting in Hot Springs, Ark. I told Woolworth that if prime interest stayed up, and the banks continued forcing another whammy on retail customers by charging the highest interest rates on consumer loans in decades, that the industry was doomed, and I estimated Terry could survive another 2 years.
Also, IRS had taken away the people's tax deduction on interest for car and boat loans. As I recall, we closed up shop 22 months later. However, we continued manufacturing aluminum boats and put other company's names on them. For instance, Bass Tracker, Sears, and several others.

I left the company. It was a real shame, but 35% of America's boat mfg. companies went out of business over that 2 year period. When Terry/Delhi cut back it wiped out the little town of Delhi, La., pop. about 1700, many of which were employed at our plant.



Re: I need some help with Terry Bass Boat history..please?

this is a good bit of information i have a 14' alum with TERRY on the side of it was a really nice boat at one time till somebody decided to redo the transome with fiberglass and what looked like leftover pallet wood now i have about 200 holes from all the screws to patch up and get right again. any recomendations on patching a Bunch of screw holes on the transome


Petty Officer 1st Class

Re: I need some help with Terry Bass Boat history..please?

Thanks for the reply. Great info. I have a question. on my abf, the front casting deck is "notched" for lack of a better word-I was wondering why. Any ideas?



Re: I need some help with Terry Bass Boat history..please?

Ok, Spence here we go with some more answers to your original posting:

Did Terry/Delhi go out of business, or what?
As mentioned in my previous post, they did go out of business per-say. Woolworth's, the parent company, stopped the fiberglass line. For your info Woolworth's also owned a company called "Woodstream". They were/are the makers of Victor Mouse traps plus the world's largest line of fur and big animal traps sold world wide.

As for seeing hulls that looked like Terry's, this is quite possible or maybe even probable. Many smaller bass boat companies got into business by "splashing" (copying) another company's hull. This saved thousands of dollars in design and tooling and I never heard of anyone getting proscecuted for it. I know of at least 2 companies who splashed our hulls. If you take them to court they immediately file bankruptcy and are gone. Only to pop up later under another company name. The state of Louisiana is full of "garage" boat companies who make one at a time and are often without Coast Guard or BIA certification, OR manufacturer's liability insurance.

Our aluminum boats were the biggest sellers nationally and as I said earlier, their production was continued. We made aluminum boats for Bass Pro Shops, Bass Tracker, Sears, Montgomery Wards, and several other companies. Our aluminum boats were amongst the best "store chainline" boats ever built. The aluminum we used was thicker than anyone else's. As in our high end glass boats quality was our goal. In the glass boats we did things like put an .004 thick extra coat of clear gel to protect the paint and metal flake from UHV (fading), small scratches, and make the boat easier to clean and keep clean. We were very proud of our hatch and live well door hinges. If you noticed, they were chrome plated and held in place by bolts with self locking nuts. Ranger, and the rest used those cheap, stamped "piano" hinges that were hard to tighten and harder to replace. We used a better grade of pumps in our live wells and bilges, and much more. We even sprayed over the exposed fiberglass in the fuel compartment with clear gel.

Your ABF, probably a '76 model had the strongest hull in the business. It was also the fastest though the Coast Guard limited it to about 120hp, as I recall. My '76 ABF demo sported a 115 horse Evilrude that had been reworked by Gene Wallentiny. I was putting out somewhere around 180 hp and I couldn't tear the transom out of it, and I tried!

In '75 we hired Gar Wood Jr. as our hull designer. Gar's dad worked with England's Sir Malcom Campbell on the "Bluebird" which held the world's water speed record for quite some time. Gar did a magnificent job on all his boats, but the '76 ABF was the strongest, heaviest, yet fastest given the proper horsepower that it was designed for. To our chagrin the Coast Guard wouldn't let us hang a bigger engine simply because of their length and width formula for determining maximum "safe" horsepower. But, in the 9 months I drove that demo (with the tricked 115 for show) it was never outrun. I sold a lot of boats in California when word got out that the ABF had outrun Ranger's 17'5" pad boat equipped with the then new 200hp Evilrude. It even ran away and hid from Monark's little 15' tunnel hull with a 150 Merc on it.

I used to customize Evinrude's SST propellers by reforming the blades over a trailer ball with a hammer and a lot of patience, giving them a deeper cup along the spine and tips of the blades. These props were usually good for another 5mph or so. I got the idea from my good friend Woody Everett who was a Ranger dealer in Phoenix. He had retired and began playing with boats when he sold his company and invention. the Everett Ditch Witch. He was an old cowboy type, sharp as a razor, and humble as could be. You'd never know he had 2 cents to rub together. one of the last of a dying breed of men and a true friend.

Your next question:
Any brochures, manuals, pictures remaining?
There may be. somewhere, but I have none. A while back I ran across a '77 brochure in an old briefcase. '77 was the year we switched to measuring with the metric system. The 17 1/2' boat was named the "5.3" meter. the high performance 15 1/2' became the "4.7" meter boat. These were all called "Pad Boats". The term was derived from the fact that if properly powered, propped, engine height set correctly, and the weight distributed as far aft as possible, at full speed the boat would rise from the water and actually ride on the pad which was a small area midline at the transom, appx. 14" or so wide, and depending on the setup only the rear couple of feet of the pad remained in the water. As you can imagine this eleminated a bunch of drag in the water because very little boat was in the water. The results were some awsome speeds! The ABF demo I told you about would run between 65 and 70 mph at about 500' above sea level, which is another speed variable.

In '78 we introduced the 6.2 meter boat (almost 21'). To me this was the epitome of bass boats. It sounds too big, but it's size never caused me a problem. It wasn't as fast as the smaller pad boats but with an Evinrude 225 it would hit about 62mph with one of my customized SST props. But it was so comfortable and dry. A great boat for lakes Powell or Mead. or for going after yellow tail near San Diego. It would take big water like a cork.

Well, Spence, on perusing your questions I think I've tried to address each one. If you or anyone has more just email me or post them here.
I've enjoyed being here.
JC Dillard

Poet Clint Smith Reflects On How We Reckon — Or Fail To Reckon — With The Legacy Of Slavery

A Poet Reflects On How We Reckon — Or Fail To Reckon — With The Legacy Of Slavery

My grandfather, born in 1930 Jim Crow apartheid Mississippi. My grandmother, born in 1939 Jim Crow apartheid Florida. This history — the history that we are made to feel happened in the Jurassic Age almost — is something that they lived through. And when I spoke to my grandmother, she had this refrain, when I asked her about our trip to the museum, she was just like, "I lived it. I lived it. I lived it." Like, she was looking around and realizing that so much of what she was seeing, she lived through it and experienced it directly. And I had spent these years working on this book, interviewing strangers and going into the archives and thinking about primary source documents and asking people I just met their life story and what their relationship to the history of slavery was — and I realized I had never been as intentional in doing so with my own family. And so I sat down and had this series of conversations with my grandparents and just learned so much about them and their history and their own lineage, which is my own in ways that I never would have known otherwise.

On the reality that slavery wasn't that long ago

There are people still alive today who loved who were raised by, who knew, who were in community with people who had been born into chattel slavery. And I think when you realize our proximity to that, you gain a different understanding of how the idea that what our society and what our country looks like today would not be impacted by that is both morally and intellectually disingenuous.

The woman [Ruth Odom Bonner] who opened the National Museum of African American History and Culture alongside the Obama family in 2016, who rang the bell to sort of signal the opening of this museum, was the daughter of an enslaved person — not the granddaughter, not the great-great-granddaughter, but the daughter of someone who had been born and into slavery. And this is in 2016. And so it's a reminder that there are people still alive today who loved, who were raised by, who knew, who were in community with people who had been born into chattel slavery. And I think when you realize our proximity to that, you gain a different understanding of how the idea that what our society and what our country looks like today would not be impacted by that is both morally and intellectually disingenuous.

Sam Briger and Thea Chaloner produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.

Modern toothbrushes and how to choose the right toothbrush

Today, both manual and electric toothbrushes come in many shapes and sizes. They are typically made of plastic molded handles and nylon bristles. Now dentists and dentistry researchers can test what kinds of toothbrushes are the best for oral health. The most recent toothbrush models include handles that are straight, angled, curved, and contoured with grips and soft rubber areas to make them easier to hold and use.

  • The American Dental Association (ADA)recommends soft-bristle brushes
  • Smaller head toothbrushes can better reach all areas of the mouth, including hard-to-reach back teeth, but that may depend on the size of your mouth
  • The best toothbrush grips are ones that are the most comfortable for you to hold
  • Replace your toothbrush every three months or when it starts to show some wear, whichever comes first

Besides the materials, the basic design has not changed since the times of the Egyptians and Babylonians. All toothbrushes include a handle and a bristle-like head to clean the teeth. The toothbrush has evolved over its long history to become a scientifically designed tool using modern ergonomic designs and safe and hygienic materials that benefit us all.

Back Up Terry Is The Biggest First Ballot Hall Of Famer In The History Of Hall Of Fames

Massive week at Barstool Chicago and I’m not talking about the new office. I’m talking about the landmark snake draft about viral videos. Arguably the best vertical on the internet and this is arguably its best offering.

Hits every time. Literally every single time it’s a perfect video. I can’t even begin to explain the genius behind the vocal range. Those octaves. From back it up to WHAT IS YOU DOING . Celine Dion admires the work.

I must admit tho that I owe everyone an apology. The sixth round is purely unacceptable. I should’ve double up in the 2nd on it but alas I lucked out. One of the biggest late round steals in snake draft history. I could watch this video for hours and not get sick of it.

As for the criticism of my 3rd round pick, make up your fucking minds. You know what I’m talking about.

Go subscribe to barstool Chicago on YouTube. Closing in on 20k and that’s a big fucking deal to me. All gas.

History of the American Flag & American Flag Facts

“Old Glory, Stars and Stripes, the Star Spangled Banner” - From its inception, the American flag has been an important part of our nation’s history. Surviving over 200 years, the flag has both physically and symbolically grown and developed in times of both achievement and crisis.

The American flag is a symbol known worldwide. It has been the inspiration for holidays, songs, poems, books, artwork and so much more. The flag has been used to display our nationalism, as well as our rebellion, and everything else in between. The flag is so important that its history tells the story of America itself.
It represents the freedom, dignity, and true meaning of being an American. It has been with us through our war times, our sad times, but also in times of our greatest joys and triumphs. The flag went through many variations before becoming the flag we all know and love.
In fact, it took from January 1, 1776 to August 21, 1960.

It has also been shrouded in legend and mystery for many years. Did Betsy Ross truly design the first flag? Do the colors really stand for something significant? We will explore this and other myths.

Hello, I’m Terry Ruggles, join me as we recount the History of the American Flag.

When we think of the American Revolution, we think of it in terms of its final form, as independence from Britain, but the American Revolution was a “work in progress”. It did not start out as a movement for independence, but a movement to gain seats in Parliament. It evolved from a protest, to a full blown revolution into a move for independence…and Our flag reflected the various stages of this.

So let’s take a look at the components that make up our current US Flag. We have what’s known as the canton or blue field, the stars, and of course, the stripes.
So where did these designs come from?

The earliest use of stripes in flags in what was to become America is from the “Sons of Liberty” Flag. The Son’s of Liberty were the original “Tea Party” members These are the guys that threw the chests of tea overboard into the Boston Harbour.

Starting after the stamp act in 1765. The Sons of Liberty began their protesting. They came up with a flag that looked similar to this only with less stripes. The pattern however was the same and it could be displayed either horizontally or vertically. This may have been the pattern that contributed for the stripes on our flag.

In 1775, at the Beginning of the Revolution, Independence had not yet been declared. The Continental Congress was meeting in Philadelphia when a somewhat obscure militia Colonel from Virginia came forward in his uniform and volunteered to take command of the troops outside of Boston overlooking Boston Heights. That Colonel was George Washington.

When he left Philadelphia, he took with him two flags. The Grand Union or The Continental as it was called was the first flag under which continental soldiers fought. It uses the alternating red and white stripe pattern similar to the Sons of Liberty Flag only there are 13 stripes signifying the 13 colonies. However, notice that instead of stars on a blue field, we have the “Kings Colors” also known as the “Union Jack”. This flag had a very specific meaning. It meant that we were fighting as 13 united colonies but under British Rule. Remember, at this time we had not yet declared our Independence.

The other flag that Washington took with him is known as the Washington’s Headquarters Flag. Look familiar? As you can see, the entire field is BLUE. There are 13 stars arranged in a pattern known as the 3-2-3-2-3 pattern. 5 rows of alternating stars of 3 stars, 2 stars, 3 stars, 2 stars, 3 stars. However, you will also notice that they are 6 pointed stars. A slight difference from the 5 pointed star on the current flag. This would be the first use of the star pattern on an American flag and today you can see a copy of this flag hanging in front of Washington’s Headquarters at Valley Forge.

A year later, on July 4, 1776, congress declared its independence from Great Britain. From that moment on, we were fighting for our independence. Yet the continental congress still did not design a new American flag. That flag came about on June 14, 1777 when congress passed the first of three major flag acts . The first act stated that “the flag of the US shall consist of 13 alternating stripes of red on white with 13 white stars on a blue field forming a new constellation. What it left out was the following:

  • Were those stripes to be vertical or horizontal?
  • Where was the blue field to be placed?
  • What was the star pattern to be used?
  • And how many points were to be on the star?

So who designed the flag? In 1776 you couldn’t go into a store and buy a flag off the rack. Back then, flags were made in one of two ways. Since most Flags had a naval use, you could go to a ships chandlery - a store that outfitted ships - and the chandler would contract with a sail maker or in many cases an upholsterer to make the flag. An upholster in colonial times had more functions that what we typically think of today. Besides working on furniture, they also made flags and other military equipment. This is where the legend of Betsy Ross comes in to play.

We know that Betsy Ross was an upholsterer who made flags for the Pennsylvania Navy. What we don’t know is did she really design the first flag? There is a great deal of controversy about this.

In 1870, Betty Ross’ Grandson was addressing an Historic society in Philadelphia and said that his grandmother told him that she met with George Washington and others and she designed the flag. But did she design it or did Francis Hopkinson design it?

Francis Hopkinson was one of the signers of the Declaration of Independence from the state of New Jersey. The only evidence of who made the flag is a bill that was submitted to congress by Francis Hopkinson that said for designing the flag, you owe me two casks of ale. What we don’t have is a picture of that flag, a written description of the flag, or even a sketch of the flag. So, the mystery remains.

Regardless of these facts, the legend lives on and the first flag of the Revolutionary Period is referred to as “The Betsy Ross” flag…the pattern of stars on the blue field is known by three names, The Betsy Ross Pattern, The Philadelphia Pattern, or The Single Wreath Pattern. The blue field on the flag also goes by three names - the field, the union, or the canton. Because congress did not set the specifics of where the field would be or how the star pattern should look like, or how many points the star would have, during this period, and up until 1912, the stars could be arranged in any manner that a flag maker would choose.

When congress put together the notion of the flag, they blended the already established design of alternating stripes of red on white signifying the united colonies and a blue field with 13 stars (just like the Washington’s Headquarters flag). Many people believe this may have been the flag that Francis Hopkins designed, but once again this is only speculation.

This pattern is known as the Cowpens pattern. Another well-known flag during this time was the Easton Flag. Interesting design right? But remember, Congress did not specify where all of the elements should be placed. After the Revolutionary War ended, our country wrights a new constitution. We elect Geo Washington president and in 1792 we bring in two new states – Vermont and Kentucky. This begs the question, what do we do with the flag?

Because the original flag act called for 13 stripes and 13 stars to represent the 13 colonies, what do we do to signify the adding of two new states to the Union? At this time, Congress passes the 2nd flag act and it states that from now on we would add one stripe and one star for each new state. This new 15 star and 15 stripe flag is known as The Star Spangled Banner. It is this flag that flew over Fort McHenry and inspired Francis Scott Key to write our national anthem. After the War of 1812 we were adding more states again and as we incorporated more stars and stripes into the design, our flag was starting to look a little funny.
So in 1818, Congress passed the 3rd of the three major flag acts. It stated that the design was to go back to the original configuration of 13 alternating stripes of red on white, representing the 13 original colonies, but that we would add one star for each new state. However, once again, it did not specify what pattern the stars should be arranged in or the amount of points that were to be on the star. So we had many variations of flag design during this time.

Finally, in 1912 President Taft established the pattern of stars that we know today. The 48 star, 49 star and 50 star flag all conform to this pattern.

Our flag is an inspiring symbol that unites us all as American citizens. The unique history of the American flag follows the history of our country and reminds us of the triumphant beginning of the United States. The 13 stripes: a symbol of the first 13 colonies. The stars: a symbol of our country's 50 United States. As our country grew and developed, so did our flag. It has followed the fate of the country itself and, in the future, our flag may even change again.

Today, our flag remains a vibrant symbol of the American principles of democracy, justice, and freedom, and of course the everlasting memory of those who have sacrificed their lives defending these intrinsic principles of the United States of America.

Over two hundred years ago, the Second Continental Congress officially made the Stars and Stripes the symbol of America, going so far as to declare that the 13 stars gracing the original flag represented "a new constellation" with the ideal that America embodied a bright new hope and light for mankind. Today, our flag continues to carry the inspirational and fundamental convictions of our great nation, and will continue to do so for many years to come.

Watch the video: HISTORY OF. History of Terry Fox (January 2022).