When you think of Ted Terrebonne, enthusiasm is the first word that comes to mind. He started shooting skateboard photos in the early 1970’s deriving inspiration from ‘Skateboarder’ magazine. Ted helped to pioneer some early shooting techniques that are currently being used in skateboard photography today. He experimented with multiple flashes and shutter speed variations bringing a new dimension to what was considered the industry standard at the time. Ted has been shooting skateboarding and music for over 30 years, and if a picture speaks a thousand words, then here are a few thousand from the legendary Ted Terrebonne.


Let’s start at the beginning. When and where were you born?
I was born in El Paso, Texas, on January 31, 1949.

Did you grow up in El Paso?
No, my dad was in the Air Force and we got shuffled around a lot. We just happened to be in El Paso, when I was born. I lived in El Paso for 18 months.

You probably don’t remember much of that?
Not much. Then we moved to Colorado Springs, Colorado, until I was three. Then he got transferred to Reno, Nevada. I stayed there until 1978. I lived in the Carson/Reno area for about 20 years.

When you were a kid, what were some of the first things you did activity wise? Did you play sports?
We played baseball and hide n’ seek and all the normal stuff.

Did you ever see any surfing?
No, I was mostly inland. My first contact with surfing didn’t come until later. I moved from Reno to Carson City, Nevada, in ’61. My first experience with surfing was around ’63. The only reason that I knew about surfing was because this new kid had moved onto our block. His name was Jim Mahan. He was a surfer and skateboarder from Santa Monica, California. He turned us on to how to make a skateboard, and introduced to the surf and skate magazines. That all happened when I was in junior high school.

You remember that pretty clearly.
I definitely remember that because it was a really big deal. My friend Bob and I got to be friends with Jim Mahan. We were the only kids in town skating. All the popular kids made fun of us. They kidded us a lot, but we just kept doing it. Then it started becoming a fad. After a while everyone was doing it. Then the clay wheels started coming out. That was a phenomenal thing. When you used the steel wheels, you could only go straight. You had to be on the sidewalk. Cracks or rocks would kill you. When the clay wheels came out, you could roll over little rocks and you could actually turn on the sidewalk.

What happened next?
I remember my first board was Makaha. We had a skateboarding club going and by then there was six of us. We were all around 16, and some of us had cars. Carson City is up near the mountains, so we’d go up to the old two-lane roads that used to be highways that were still paved. We’d have someone take us to the top and we’d skate all the way down. The clay wheels would vibrate a lot and sometimes it would vibrate the boards apart. We used to go through boards a lot. Then skateboarding kind of died out.

You had to be dedicated to ride a skateboard at that time because no one was manufacturing them and there was no industry at that point.
It was just an isolated thing that some of us did.

Why do you think you continued to do it?
Because I liked it. It was something I could do. I felt comfortable on a skateboard and I enjoyed doing it. It was also a little dangerous and daring. I really liked it. Especially when the urethane wheel came out.

What was it like going from clay to urethane?
Going from clay to urethane wheels was like going from a Model T with no shocks and bare tires to a Ferrari. You could make really sharp turns and not worry about dying. It gave you a rush, because you could go really fast.

So you’re skating and going to school. Did you graduate from high school?
I graduated in 1967.

What were you saying when people asked what you wanted to be when you grew up?
I can’t even remember. I never had an ambition like that when I was young. I would have ambition after I discovered something I enjoyed and I’d set goals to achieve it. For me, that was photography. That was the first thing in my life that gave me purpose. I just remember when I got out of high school, my brother, who has now passed away, looked at me and said, ‘What are you going to do with your life?’ I said, ‘I don’t know.’ So he taught me how to be an offset printer and run a printing press, which I did, and still do now. But back then I’d decided I wanted to be a professional skateboard photographer for ‘Skateboarder’ magazine. That’s what I wanted to be.

When did you pick up a camera for the first time?
It was after ‘Skateboarder’ magazine came back the second time. In the early ’70s, I was managing a print shop. I was skating a lot and there was a guy that worked there that skated and he also had a camera and liked taking pictures. Seeing the camera got me interested in taking pictures. We started looking at the photos in ‘Skateboarder’. I was like, ‘Why don’t I try to do that?’ It just went from there.

Did you borrow his camera?
At first I did. Then I went and bought a camera. I shot a bunch of flowers and random stuff first to learn about light. I worked near a professional photography studio so I asked them how to learn to shoot. They told me to shoot inanimate objects like flowers first to learn about lighting. Then I started taking people pictures. I found that’s what really interested me. People had to be in my photos. Then I started really getting into skateboarding, and it went on from there. I just had a strong ambition to be a skateboard photographer. So I was in Reno, shooting skate photos and sending them to Warren Bolster hoping he’d publish them one day. I must have sent them thousands of slides.

Wow. How did they react?
They didn’t use too much of my work at first. Of course, I was still learning, so they probably weren’t the best photos. The other reason I didn’t get much coverage was that I was shooting unknown skaters in Reno. Most of the photos they ran were of pros in San Diego or somewhere in So Cal. You really had to be connected to get photos in the magazine. Occasionally, they’d give me a shot. I just decided that I had to work for this magazine, so I quit printing and learned to be a professional photographer. I realized that being in Reno, Nevada, wasn’t going to do it because I wasn’t around anyone that was a pro skater, so, in 1978, I moved to the San Francisco Bay area. I’d found out that was the new hotbed of skating. I moved into the Concord/Martinez area, which is 15-20 minutes east of San Francisco. I started checking out the skate scene and I just fell into the right place at the right time. Luckily for me, there were no other big professional photographers shooting skaters at that time in the area. I had good equipment, so I just started shooting.

When did you shoot your first skateboard photo?
It was at this ditch in Reno. We used to shoot a lot of pictures up there. It was a slight S-shaped ditch and it went downhill. Some of my best shots were taken there, including the shot with Robert Chadwick rolling over the lens. That ended up being a ‘subscribe now’ ad for ‘Skateboarder’.

What was your first big break?
It was the Hester Contest at Fremont. I was getting more photos in ‘Skateboarder’ so I was able to get in there to take pictures. Then ‘Wild World of Skateboarding’ approached me while I was there. They promised me a cover of Tony Alva if I got a shot, which I did. That was my first cover. I had another picture of Bobby Valdez doing one of the first inverts in a contest situation, so I got those photos in the magazine. After those photos got published, Cassimus called me up and he was really pissed off that I’d given my photos to ‘Wild World of Skateboarding’. He basically told me that I was working for ‘Skateboarder’ from then on and not to contribute to any other magazines. After I got off the phone, I was stoked. I had finally reached my goal.

What happened next?
At the Fremont contest, Rich Novak and Fausto started seeing my pictures, so they were helping me out and giving me opportunities to work for them, which was really a big help. The rest is history. I have to credit Fausto and Novak for giving me a lot of support. Jim Cassimus was the main guy that pushed for me. It was a cool time.

What was your first camera?
My first camera for skateboarding was a Canon F1 with a fisheye lens. It was all Canon lens. The very first camera that I got used was a Pentax. That’s what I used when I was learning to shoot regular pictures, but that only lasted a few months. I started picking up magazines and reading whatever I could, and I was really impressed with the stuff Canon was putting out. They were like the new kid on the block. Nikon had the market cornered back then, but I just thought the Canon optics were much better. I’ve never really used any other products besides Canon. I still use them today. I’m very impressed with their cameras and optics.

Were you using multiple flashes?
The first time I shot it was with no flash at all. It was just with the fisheye.

Was that when fisheyes were just coming out?
Yeah, definitely. It was a new thing. The problem with no flash is that you get no detail in the shadow area. Depending on what time of day you shot, the shadows were darker. I liked to use the flash, but back then the sync speed was so low that you really couldn’t shoot in the daylight. There was a skatepark in Reno with big mountains around it that has fabulous sunsets, so I had the idea to catch sunsets in the skate photos with low light. That’s when I started using the flash at low light level and going for the sunset. In the ’70s, I was sending in a lot of sunset shots to Warren Bolster long before I started seeing shots like them in ‘Skateboarder’ magazine. I think I was one of the first guys to use a flash. After sending volumes and volumes of my work to ‘Skateboarder’, I started seeing other guys starting to use flashes, too. I could be wrong, but that’s what I feel in my heart.

What happened next?
I moved down to So Cal in ’78, when I started working at the skateparks. I had the idea of using multiple flashes. I’d get 50 feet of wire or I’d use these half-ass slaves. You had one flash wired and one flash with a slave on it. I remember showing up at the skatepark once when Craig Fineman was there with Brad Bowman and some other guys. I hauled out all my equipment with all the flashes and everyone was kind of laughing at me. I was like, ‘Okay.’ It’s funny because now the minimum that people use is three flashes. The big-time photographers use as many as five or six. I hope that I had something to do with people learning about multiple flashes in early ’77. After ’78, it became a staple thing.

Skate photographers have made some big advances through time.
I’d like to credit skate photographers for pioneering a lot in sports photography. If you look back at sports photography, people weren’t using flashes. They weren’t using a super wide-angle lens. They weren’t doing a lot of stuff. Now, it’s a staple for a lot of sports to use multiple flashes. Look how far surf photography has come. Surf photography is phenomenal now. They’re using flashes and stuff in the water. That’s balls. You’ve got to be a real man to be out there in the water with all your equipment and flashes.

Did you ever shoot surf?
No, it was all skate stuff. Surfing interested me, but I never did it because I wasn’t a very good swimmer. I never wanted to drown. When you walked up to the ocean, it has so much power and energy. You’d have to know how to swim to be able to do it.

What’s it like shooting a contest?
It’s one of the biggest thrills of my life. I grew up moving around so much that I was a pretty insecure kid, but after I got into skate photography, I got over that. I was constantly in these situations with famous people. I was inside the circle of exclusive people like pro skaters. Being a photographer at a contest, felt really good. I started feeling proud of what I was doing. You’re in a spot that not many people have access to. You’re at a major competition and you’re inches away from pro skaters doing phenomenal stuff. To me, it was one of the biggest thrills of my life. You had the crowd yelling and screaming and seeing their idols. It really made me feel good.

And you’re getting the photos of it.
That’s what’s amazing. It’s hard to remember everything that happens to you, but you can go back and look at the pictures and go, ‘I was there. I took that photo.’ It’s an extreme honor to be a part of something that was so big to so many people. That’s another thing I didn’t’ realize at the time. In ’82, when skateboarding started dying, I got out of it. I couldn’t make enough money to survive. I disappeared from the skating world from ’82 until ’99.

When you were shooting for ‘Skateboarder’ magazine were you the staff photographer or were you freelance?
I was a contributing photographer until 1979. Then they put me on staff. I was staff photographer until 1981. That’s when I moved back to Nor Cal. I was staff photographer for a year and half or so. That was my ultimate goal. Everyone told me I couldn’t do it. I just think if you set your mind to a positive goal, and you really have ambition, you can do anything. I feel honored to have achieved that. I really thank Jim Cassimus for giving me that opportunity. It took my ability to get me to that point, but it took people like Fausto, Novak and Cassimus to give me the opportunity to get my photos in the magazines.

What did you do in ’81, when you quit?
When I was staff photographer at ‘Skateboarder’ I was making enough money to live. When they switched to ‘Action Now’, they started covering all these other sports, and I was strictly the skate picture guy. My income dropped from something I could survive on to making nothing at all. So I moved back to Nor Cal and went back to offset printing again to survive. When ‘Action Now’ did what they did and skateboarding started dying down, I just quit. I gave it up. To be gone for 20 years, and then come back was another extremely gratifying thing. People from all over the world have let me know that they liked my photos.

You were working at the printer that whole time?
Yeah, and for a few years I partying a lot. It got in my way and I hit a low point. Then in the mid ’80s, I got a steady job at a printer and met the girl I’m married to now and started a family.

When did you get married?

Did you have kids yet?
Yeah, I met a girl in the mid ’80s. Her name is Robin. From the first time I saw her, I knew she was the girl that I’d end up with. I pursued her for a while, but she didn’t see it as soon as I did. After a few years, she did. Then we ended up living together. In ’86, she got pregnant with twins. When the kids were four years old, people were like, ‘When are you going to get married?’ We figured the kids were old enough to be ring bearer and flower girl, so we got married. We’re still together. My twins, Steve and Renee are now in college. I have four wonderful kids. I have a son Paul who is 37. I have a daughter Jennifer that’s 31. I have four kids from three different women.

[Laughs.] You were getting busy when you weren’t skating.
[Laughs.] Occasionally. Just like everyone else.

What got you back into shooting skate photography?
In August of ’99, my father and my sister lived up in Bellingham, Washington. We decided to go visit them for a week. My son was 11. He picked up a ‘Thrasher’ magazine to read on the plane. While we were at my dad’s house I was looking at ‘Thrasher’ and I opened a page and it was a Time Capsule with three of my photos. The caption said, ‘Photos: Ted Terrebonne. Seen him?’ I was so stoked. So I called up Kevin Thatcher. He was like, ‘Where the hell have you been?’ I said, ‘I took a turn and got lost, but now I’m back.’ I got in touch with Rich Novak, and I was talking to him about getting back into skate photography again. He said I should do it. He said I had a good eye and impeccable timing. I went up to see Fausto after that and he agreed. He said, ‘Give it a try.’ So I invested in some new camera equipment and started taking some pictures, but after I checked out more of the ‘Thrasher’ magazines, I realized that all the photos were street skating. It was totally different from what we used to do. The pools and parks weren’t getting covered. So I started going around to the parks and I found out it was all still pretty much underground. It was going on, but no one was covering it. Then this one guy Jeff called and told me I needed to check out ‘Juice Magazine’. I remember the day I called you guys. I said, ‘This is Ted Terrebonne. Do you need a photographer?’

[Laughs.] I remember that day. I was like, ‘Ted who?’ I’m kidding.
[Laughs.] When I called you up, you gave me the assignment of shooting some portrait stuff of Jason Jessee.

When you called it was perfect. You lived close to Jason and we needed photos of Jason.
I remember you wanted some portrait shots because he hadn’t been skating much. He’d been recovering from an ankle injury from a motorcycle accident. You had me meet him at the Milpitas Skatepark. I remember Jason showed up and we did some portrait photos and then I was able to talk him into getting on the board and taking a few photos. So we got a few photos and I sent the photos to you guys and you were happy. Then you called me and said, ‘Do you want to shoot a cover?’ I was like, ‘Hell, yeah!’

We were stoked when we got the photos.
I’d only been shooting skate photos again for two weeks. My first assignment was to shoot Jason Jessee. We were going around trying to find a place to shoot this cover. His ankle was still hurt so all the backyard pools we were going to, he said were too tight. We couldn’t figure out where to get a shot. So I called Bryce Kanights. I was like, ‘Bryce, we need a decent pool where we can get a good shot of Jason.’ He said, ‘Strawberry Lodge.’ So I talked Jason into traveling up to Strawberry and it worked. I wasn’t sure what I was doing, but I just used my instincts. I remember sending you the photos and I remember exactly where I was, when I found out you were going to use the shots. I was at the Ozzfest seeing Black Sabbath. It was right before Black Sabbath was coming on and I went over to call you up. That’s when you told me I got the cover. To me, that was the most phenomenal thing. I was so excited. If you think about it, the Jason Jessee cover and centerfold were my first published pictures in 20 years. I scored the duo. I got the cover and the centerfold. I was like, ‘This is the sign that I should be doing this again.’ So I’m glad to be back.

What a trip, man.
One thing I missed was being that close to that much of a thrill. I mean when a really good skater is pulling off some intricate move right in front of your face and the boards are flying right by you, it’s unreal. When I got back in there, I knew that’s where I was supposed to be. You develop this rapport with the pros and you learn to work with them. It’s a magic thing. There’s nothing like being that close to a board flying by you. What’s more amazing is when you see the photos.

Your photos seem to capture the skater’s style.
It’s a sense of style that I look for. I remember shooting the Tim Brauch contest a few years ago. This kid was doing a rodeo flip. I shot that shot six times, and I caught it perfect every time. He was perfectly upside down. He’s perfectly straight up and down. Perfect style.

I’ve watched how you shoot. Every time I see you shoot I learn new stuff.
You have to think about composition. I studied a lot about photography when I was learning. You have to pay attention to the background of what you’re shooting. I set up a shot before the skater is even in the shot. You have to be able to see what’s behind the picture. Everything has to complement itself. It’s like putting the skater in the middle of all of this other stuff. I’m thinking about the overall shot and not just the trick. You also have to be a friend of the skater. Back in the day, I spent more time skating with the guys and partying with them. I’d hang out and then I’d take the photos. By doing that, people get comfortable. You work together and you get a good photo. I’ve been working with Tom Knox a lot and Tom’s a great guy. It just goes to show that being a friend and learning to work together, you get great work. My advice is get to know your subject. Respect what you’re shooting and get them to respect you as a person. Always be willing to be helpful. You have to be grateful. It’s really all about the pros that I shot. Without them I’d be nothing. They’re the ones that are producing what you’re shooting. I have the most gratitude to them because they made me look good.

When you saw that ‘Thrasher’ magazine with your photos in it, what did your family think?
I didn’t even mention it. My kids had no idea. They were totally floored that I had this history and I didn’t bring it up to them. I never even thought of it. I had no idea that people all over the world idolized what we did back in the ’70s and ’80s.

You just got a digital camera. How do you feel about that? What’s your preference?
I prefer digital now. The main reason I like it that I like to preview my work as I shoot. I don’t even know how we did it back then without it. We never even got to see our work until it was published. Jim Cassimus would give me 20 rolls of film and I would just hand it back in when I’d shot it all. I never even saw the photos. With digital, you can go home right away, put them on the computer and edit them, and get them where they need to go. Right now I have a Canon EOS-20D. I’m perfectly happy with anything I shoot digital now.

They come out great.
The only thing is I don’t have a full frame digital camera, so I don’t have the full frame of the fish eye. I’m losing certain aspects of what I do, but it’s all about using what you have. It just makes it more challenging.

That’s interesting to hear from someone that shot film all his life.
I like the simplicity of digital. It’s a whole new field. To be a good photographer, you should know how to use both. Film is definitely better in some instances. It just depends what you’re doing

Who are you shooting for now?
‘Juice’ and ‘Alternative Press’.

How do you like working with ‘Juice’ magazine?
I think ‘Juice’ is the only magazine that really matters. We cover surf, music, skateboarding and style. It’s punk rock. To me, there is no other magazine. I do look at the other magazines, but only to make sure they’re not using my pictures when they’re not supposed to.

[Laughs.] Oh, no.
I’ll flash through a ‘Thrasher’ and stop on the occasional pool shot, but I’m just looking for people using my photos that aren’t supposed to. Then I throw the magazine away. There are no other magazines that are really covering our scene. Look at what ‘Thrasher’ started out to be. Thrasher started out as the alternative to ‘Skateboarder’ and ‘Transworld’, which everyone didn’t like. Now it seems like ‘Thrasher’ has become what they started out to be against. Of course, they shoot an occasional pool shot, and I know they want to go where the money is with street skating, but they’re not covering what I feel is a real part of skateboarding. I don’t think there are any other real magazines besides ‘Juice’ out there. That’s it. I read ‘Juice’. There’s so much in it. I’m really proud to be part of ‘Juice’. Look at who’s on the staff. You’ve got Steve Olson, Jay Adams, Christian Hosoi… Look at the people you’ve covered in there. You have to be proud to be part of ‘Juice’. I mean, it’s an honor to work with Steve Olson. It’s such an eclectic group of eccentric skateboarders. It’s cool. It’s great to be included with a group of people like Jeff Ho, Murf, Duncan, Dibi, Herbie and O’Mahoney.

Everyone is contributing to the legacy. It’s a big honor to have you involved.
I’m going to be 58 next month. Here I am acting like a damn kid hanging around punk rockers and skaters and taking skate photos and going to punk rock concerts. I was just on stage with Rancid last Saturday night. My daughter is getting TMed from her friends going ‘I saw your dad on stage taking pictures of Rancid!’ How cool is that?

[Laughs.] That’s cool.
I’m still a kid. I quit growing up at 16. I’m never going to grow up. I don’t want to. My kids think I’m a cool dad. That’s good enough for me.

Every time I’ve ever gone shooting with you, like when we went to shoot the cover of Jesse Martinez, you’re always happy and stoked to be there.
If you get to live your childhood dream and you still get to live that all these years later, you’ve really achieved something.

For you to be able to come back and work with the new skaters, new terrain and new technology, the timeless factor of your photos is still there. You’re there early setting up, and you’re the last one to leave.
I don’t want to miss anything.

It’s awesome. You’ve been a big inspiration to a lot of people for a long time with your work. Do you have a favorite image that you’ve shot?
It’s hard to say just one. Getting the Jason Jesse cover of ‘Juice’ was outstanding. That was a real highlight for me. The oldest photo I’ve taken that I like would be the Robert Chadwick ditch shot where he’s rolling over the lens.

I love that photo.
Another one is the frontside handplant of Steve Caballero in ’81. That was a subscribe ad in ‘Action Now’. If you think about what we had to shoot with back then, if someone is doing a frontside handplant you have to stop that motion with the sun behind you and then manage to also catch Steve Caballero. That was the perfect shot. One of my later shots I liked is the Santa Cruz ad of Tom Knox doing the Madonna. One of the shots that made me happiest was the first cover I got for ‘Skateboarder’ magazine was Deano Mueller. It’s not that the shot is great, but I got the cover. There are so many shots. One of my favorite classic shots is the Polar Bear centerfold at the Dog Bowl contest. That photo was in your face. It was such an honor to be there. That was a classic shot.

Are there any photos that other people have taken that you like?
I liked Glen Friedman’s centerfold of Jay Smith. I think that’s a phenomenal shot. It’s at the Marina Skatepark. That’s one of my favorites. My favorite photographer was Craig Fineman. He always inspired me to be better. He taught me a lot about available light in photos. He was the best photographer back then. Jim Cassimus is a great photographer, but he’s more technical. Fineman taught me a lot. He was my favorite. There was a great group of photographers.

What feeling do you get today when you go to shoot at the Pro-Tec Combi contest and there are a million photographers there?
That kind of sucks. I really hate shooting contests when there are two many photographers allowed to be there. It’s more of an inconvenience to me and to the pro skater. For them to not be able to make their moves, because there are too many photographers in the way, that sucks. It should be more limited. It’s not about the photographer. It’s about the skater. The Pro-Tec Party was one of the most phenomenal things I’ve ever been to. The caliber of skating was unbelievable. We thought what we were doing back then was great, but that was nothing compared to seeing what they’re doing now. They’re doing stuff that doesn’t look possible. It’s amazing to be part of something like that.

You get distracted sometimes and just want to watch.
I like to take someone along with a video camera so I can watch it all later.

I hear you. I take both now. Well, you’re getting the gold. You should be proud.
Well, to me, my heart and soul is still in Southern California. I love traveling down to LA and San Diego. I get to see all my old friends. It’s just a whole different scene. The other thing that makes me proud, is that knowing so many of these guys that were outcasts for being skateboarders grew up to be good people. They’re great. They were so looked down on back then and they are all people to be so proud of. You see some of the pros that are 40 years old still skating. That’s cool. You find something you like in life and you stick to it. You see someone like Duane still skating and doing what he can do. He stuck to his guns and he’s still doing it. He’s living his life that way he wants to. That’s something to be proud of. I’m honored to be on staff at ‘Juice Magazine’.

We’re glad to have your help.
It’s the only place I feel real, besides with my family. I can go to a company party for the print shop and feel so out of place. I feel like an outcast. I feel like I don’t belong. When I get around skateboarders, I feel normal. I feel real. I feel good. If I had to choose friends in life, they would have to be skaters or musicians. That’s just the way I am. I come alive around it. It’s an important part of my life.

You bring people to life with your photos. We’re stoked to have you on board. Is there anyone you’d like to thank?
I’d like to thank Terri and you for giving me the opportunity to get back into what I love. Without you guys I don’t think I would have been able to do it. I’d like to thank Fausto. He did a lot for skateboarding and he did a lot for me. I want to thank Rich Novak who did an immense amount of stuff for me, and thanks to Jim Cassimus. Thanks to my family, of course. I’d like to thank Steve Olson for always keeping me in check. He keeps it real. I’d like to thank my good friend Greg Hall. He’s another photographer that’s been really supportive. I hope to see more of his work out in the world soon. I want to thank my wife Robin for putting up with me getting back into skate photography. I love her with all my heart and soul. I also want to thank Duane Peters and Lars Frederiksen for helping me get back into the music industry as a photographer and helping me get work with ‘Alternative Press’ magazine. If I forgot anybody, thank you, too. I thank the world of skateboarding for being so kind and generous and appreciative. I also want to thank Tom Knox. Tom is great. He has been great to work with. If you get a chance, go to my website www.tbonephoto.com. Check out my stuff. Give my props to Murf. He’s always been supportive, too. He’s always been a big inspiration to me when we’re out there doing the work. All of you guys are great. It’s great to be part of such a great group of nice people.

Nice, Ted. Nice.
Thank you.







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