Introducing Trust Fund and Bubble Voting

Brennan's character: Fabian's trust fund is 20,000,000 with a release plan of 5,000 a month.

20,000,000/5,000= 4000 months

4000 months= 333 years

Half-elves live "over 180 years," and he's already done 10% of that. This trust is frugal af in comparison.

honestly after my dc movie run yesterday, I can safely say my favorite scene was in family matters after Bruce tells the family he sold the company dick is like "BUT WHAT ABOUT MY TRUST FUND BRUCE. EXCUSE ME. THE TRUST FUND BRUCE. AHEM."

Milan you have my heart

Welcome to all the new Concord university/ Bluefield State cucs bringing daddies money with them 🥰

so fucking rich I wake up to this every morning

06/10/2023 - Show Announcement

Saturday, June 10, 2023 at 7pm @ the Democracy Center in Cambridge

American Poetry Club (NY)

Long Neck (NJ)

Trust Fund (UK)

Puppy Problems

All ages, no booze/drugs, masks required $10-15 Sliding Scale, NOTAFLOF, partial benefit for Stop Cop City/ATL Solidarity Fund

#40: Trust Fund/Joanna Gruesome - Split 12" EP

Released - Sep 22, 2014

Highest UK chart position - Did not chart

First heard - Forums, 2014

If I make a little tally chart of when I discovered all of these songs, 2014 accounts for a full 20% of them. The reason for this is not so mysterious: after over a decade of being able to do next to nothing, I found myself suddenly able to do slightly more than next to nothing and so the era of buying less than half a dozen CDs a year suddenly fell away. I looked around music blogs and forums, I found people with (what my girlfriend calls) “cousin eardrums” on the internet and I started to build a relationship with a world outside my head for the first time in years. This EP was at the centre of what I loved about DiY indie at that time, primarily because it was the first Trust Fund record that I heard and Trust Fund remain for me the best of those bands. My capacity to talk about them has already been tested to worrying levels (there’s a very long essay I wrote about them somewhere on the internet that was referred to as my dissertation by friends), but I appreciate that my audience here is more of the “who dat?” variety, so I shall try and keep this fairly brief.

Tho the 10s are largely regarded as a musical backwater for indie, I’m tempted to think of them as a Golden Age for DiY guitar pop. Being what it was, it broke little new ground, but there was a strong sense of character in the music that made its identity feel distinct to me - maybe that’s just the zeal of the newcomer, idk. Trust Fund themselves sound a lot like American slacker rock pushed thru a UK indiepop blender: you could hear the chunky Weezer style powerchords and the more angular Pavement-type elements, but within that, there’s also Ellis Jones’s faltering, high pitched whine of a voice singing about his two favourite subjects, awkward friendship and dishonesty. At one of these two poles is “No Pressure”, an alt country daze where Jones offers a girlfriend a safe space for some sort of emotional recovery. This leads to some of his best lines - “this is not your house and you do not cut the grass” in particular captures all the care and solicitousness of making sure someone feels welcome in a difficult situation - and the song itself becomes a sombre but comforting refuge from the worst that the world has to offer. At the other is the razor sharp power pop of Scared, an absolute rush of a song but one where pace and melody tend to mask the sheer desperation of Ellis’s vocal. Lead track Reading The Wrappers is great too - (ed. makes “wind it up” gestures) - yeah, alright… (for fucks sake - ed.)

The other side of this 12” single is occupied by Joanna Gruesome, a better band than their name suggests but who are not on top form here: only the elegiac shimmer and melancholy of Coffee Implosion matches up to any of the Trust Fund tunes. That doesn’t really matter tho - four of these six songs are among the very best of their kind. While it’s a record that still stands on its merits, it’s become a time capsule for me too, a moment where I was excited by music for the first time in years and feeling like my life was, for once, heading somewhere other than indefinite illness. The illness thing didn’t pan out: I got worse again, improved more, had a breakdown somewhere in the middle and finally understood that being able to go for a walk and make my own dinner was about as good as it was likely to get. But the music is still important to me, both on this record and all the others that I discovered from 2013/14 onwards. I can’t say much has ever happened in my life - it’s largely been based around long periods of nothing at all - but this was a time when I again became a person that related to the outside world as something other than a sick body and those records were my conduit for that. Whatever it is that I’ve become now, it began with these songs.

Unfortunately I inherited my parents IQs and not their trust fund money.

“'U' FUND PROBE TO BE REOPENED HERE MONDAY,” Winnipeg Tribune. November 18, 1932. Page 1. --- Hon. Mr. Justice Turgeon To Return From West First of Week --- The sessions of the university investigating commission, interrupted for two weeks by a sitting of the Saskatchewan Court of Appeal, which required attendance of Hon. Mr. Justice W. F. A Turgeon, are to be resumed Monday at 10.30 a.m. 

Counsel for the commission, R. F McWilliams, K.C., and J. T. Thor non, K.C., announced today that Isaac Pitblado, K.C., chairman of the university board of governor from 1917 to the time he resigned in 1924, will be the first witness. Mr. Pitblado, In a previous two-day examination, told of the administration of the university trusts during his seven years in office and until he was succeeded by J. A. Machray.

More WitnessesOther members or former members of the board of governors, who have not given evidence, will follow Mr. Pitblado. These include R. R Riley, F. W. Ransom, T. J. Murray K.C., and Norman Lambert. Mr. Lambert is in Ottawa during the special session of parliament and if he has not returned by the time Mr. Murray's examination is completed, he will be called later.

This list of witnesses will be followed by members of the land board, who have not already been in the box. These include His Grace Archbishop Matheson, Edwin Loftus, K.C., Rev. Dr. A. B. Baird and Dr. W. A. McIntyre, principal of the Winnipeg Normal school.

Auditors To Be Called The order of examination subsequent to this will be J. R. Major, auditing accountant of the comptroller-general's department, who was in charge of the checking of the university trust account books; R. G. Murray, auditor of revenue; Dr. J. A. MacLean, president of the university, and Hon. R. A. Hoey, minister of education. 

Counsel expect all evidence to be placed before the commission by the adjournment for the Christmas holiday. About half of it is already on the record.

A thief makes a disturbing discovery in the house where he breaks in. Later, when he returns to the same house with his partner in crime, things are no longer how he expected. Credits: TheMovieDb. Film Cast: Cale Erendreich: David Tennant Sean Falco: Robert Sheehan Katie: Kerry Condon Derek Sandoval: Carlito Olivero Riley Seabrook: Jacqueline Byers FBI Agent Olivia Fuller: Tracey Heggins Don Falco: Rob Nagle Patti Falco: Lorraine Bahr Rowan Falco: Jacob Resnikoff Nino: David Meyers Detective Wayne Banyon: Tony Doupe Helen Leyton: Lisa Brenner Jocelyn: Sofia Hasmik Officer Aguilar: Delpaneaux Wills Sabine: Hannah Barefoot Mitchell: Danny Bruno Young Cale: Austin Leo FBI Agent: Jared Q. Miller FBI Agent Driver: Lydia Reim FBI Supervisor: Brandon Boyce Female Cop: Dana Millican Girlfriend #1: Emily Kimball Horse Trainer: Sam Bangs Newscaster: Brenda Braxton Uniform Cop: David S. Hogan Valet: Alex Donnolo FBI Agent: Tim Bennett Umbrella Ped: Chris Ihlenfeldt Film Crew: Producer: Dean Devlin Original Music Composer: Joseph LoDuca Sound Re-Recording Mixer: Greg P. Russell Second Unit Director: Carsten H.W. Lorenz Property Master: John Pearson-Denning Makeup Artist: Eva Lohse Director of Photography: David Connell Art Direction: Michelle Jones Screenplay: Brandon Boyce Editor: Brian Gonosey Production Design: Nate Jones Extras Casting: Susan Funk Producer: Marc Roskin Costume Design: Critter Pierce Gaffer: Neil Holcomb Steadicam Operator: Gary L. Camp Extras Casting: Bill Marinella Second Unit Director of Photography: Matthew Moriarty Foley Artist: Jörg Klinkenberg Makeup Department Head: Christina Kortum Stunt Double: Tim Bennett Construction Coordinator: Dean G. Roberts Scenic Artist: Ellen Lepinski First Assistant Director: Gregory J. Pawlik Jr. Sound Editor: James Gallivan Dialect Coach: Mary McDonald-Lewis Script Supervisor: Andy Spletzer Co-Producer: Mark Franco Special Effects Coordinator: William Boggs Assistant Editor: Lana Wolverton Focus Puller: Bob Webeck Stunt Double: Daniel Locicero Stunt Double: Kym Stys Still Photographer: James N. Clark Key Grip: Art Bartels Assistant Production Coordinator: Naomi Yospe Casting Associate: Marin Hope Makeup Artist: Stephanie June Johnson Unit Production Manager: Brandon Lambdin First Assistant “C” Camera: Ronnie Dennis Assistant Property Master: Sean Fong Producer: Rachel Olschan Set Decoration: Benjamin Hayden Stunt Coordinator: Kent W. Luttrell Assistant Editor: Rick Chapman Sound Designer: Mark Hailstone Dolly Grip: Todd England Nicodemus Location Manager: Robert Warberg Boom Operator: Heidi DuBose Stunt Driver: Michelle Damis Utility Stunts: Lex Damis First Assistant “A” Camera: Kyril Cvetkov Hair Department Head: Autumn Sanders Production Accountant: Colleen Emry Hairstylist: Dusti Leon Stunt Driver: Ken Clark Second Assistant Director: Devan Linforth Script Coordinator: Kerry Glover Stunt Double: Anthony Oh Makeup Artist: Tammy Brant Second Second Assistant Director: Jesse Bellis Second Second Assistant Director: James McCoy Leadman: Jason Beveridge Construction Foreman: Jarred Decker Greensman: Rick Lepinski Set Designer: Jason Raines Foley Mixer: Jean-Marie Gilles Stunt Driver: Tommy Goodwin Stunt Double: James A. Smith Second Assistant Camera: Michael Crockett Second Assistant Camera: Madison Rowley Best Boy Grip: Brian Shotzbarger Best Boy Electrician: Jeremiah Skender Costume Supervisor: Alison Carlos Set Medic: Michael Fine Set Medic: Taylor Saxon Producer: Tony Malzone Movie Reviews: offscreenbabble: I did not enjoy the movie. The trailer looked really interesting and I really like David Tennant.The movie had some strange editing choices. It’s unintentionally funny but not a movie thats so bad its fun. To give you a quick spoiler free review it’s about a valet who tries to rob David Tennant’s place. When he is about to leave he sees a woman tied up. The rest of the movie is him trying to notify the police but it becomes a “Cat and Mouse” game between the valet and David Tennant. But increasingly gets silly and overall the stuff that is s...

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I went somewhere……

Social Security truth telling.

RBM I's 1950 will as a "source of social history"

In April 2014, Yvone Seale, a "historian of women and the social history of religion in the European Middle Ages," wrote about wills in Ireland in the 15th century, wrote that "using wills as a source of social history is not, of course, a new one for historians...There are of course problems with using wills as sources: they’re mostly made by men, and by men who had enough property to make drawing up a will worthwhile; the executors might not have carried out the dying person’s wishes; they record the bequests and donations made at the moment of death, not throughout a person’s life, and so on. And yet they are some of the best written evidence we have for how middle-class Dubliners went about their daily lives towards the end of the medieval period...This is a brief selection of primary and secondary sources which show the kinds of histories you can do using wills as a source—everything from economic history, to labour history, to the history of material culture." She added to this by mentioned varied sources, including a link from the British History Catalogue.

This brings us to a simple question: We already have the biography of RBM I in 1912, but what about a will?

It turns out that RBM I's probate in 1950 is easily available. Using the online search feature of the Hamilton County Probate Court for estates, was able to find the following page:

Estate, Trust, and Guardianship Docket (1852-1984) - Volume 170, p 284.

The next page mentions his son, RBM II, at his death in 1956:

The mention of RBM II has been put in a yellow box. Estate, Trust, and Guardianship Docket (1852-1984) - Volume 170,  p 285.

This is a just a quick overview, requiring one to delve deeper.

Let's start with RBM I's will, presented for record on July 25, 1950:

Will Record (1791-1973) - Volume 305, p 262.

This post was originally published on WordPress in November 2018.

It shows that RBM I didn't forget that RBM II was adopted, even calling him "Robert B. Packard, sometimes known as Robert B. Mills." He doesn't lay out his expenses here at all! He gives his two watches and roll top desk to RBM II, with one of these watches given to RBM III. He also gives RBM III all of his silverware, while giving Margaret Brown, a daughter of Dora (and Cyrus), all his remaining clothing, furniture, and other personal possessions. This shows that RBM I remembered the past and knew what had happened up to 1950, in terms of family relations. This begs the question: did RBM I correspond with Cyrus? If so, that would make an interesting story.

But that's only page 1! Page 2 shows that RBM I gave RBM II $1,000 at his death, but $2,500 to Margaret Brown. Furthermore, he even set up a $40,000 trust fund for RBM II to continue until RBM II was 65 years old, which would have been 1956, interestingly enough, with the money, if he dies before he is 65, going to his heirs.

Will Record (1791-1973) - Volume 305, p 263.

The next pages just specified more about the trust and how it would work:

Will Record (1791-1973) - Volume 305, p 264.

Will Record (1791-1973) - Volume 305, p 265

The above page, however, is worth commenting on further. It further notes RBM I's connection to his past, his marriage (and wife Hattie), his late son Stanley, and his friends John Willy of Michigan State College (now called Michigan State University), Ralph Hitz of Cornell University. [1] It also shows seemed to care, on a philanthropic level about orphans and children, although it is hard to know if this manifested itself personally. It also shows him as a Christian man, likely a Protestant Episcopalian.

His other grants seem to show he cares about education, his grandchildren (Elizabeth Chalmers, Ida Spindle, Edward E. Mills, Hollis Spindle, and Robert Spindle). I honestly never heard of any of those people before this! Connecting this page to the previous page, it says that John Mills, his father was a member of the Protestant Episcopal Church of Pottersville for many years as "a member of the Vestry of the said church"!

Will Record (1791-1973) - Volume 305, p 266

It goes on. He lists some other children of Edward E. Mills, and "Robert Packard, Jr" whom we would call, more accurately, RBM III. He also calls RBM II "Robert Packard" as well. Interestingly, he calls RBM III's children "Carol Packard" and "Helen Packard" even though they actually have the surname of Mills. There's a number of others mentioned like Mrs B. Billman, Joyce Cunningham, Bessie Cunningham, Aneta Pasco, Charles Packard (son of Dora and Cyrus), and Margaret Brown (daughter of Dora and Cyrus):

Will Record (1791-1973) - Volume 305, p 267

On the next page, he goes onto name Mary Church (daughter of his sister Hattie), Clarence A. Hammond, Jr., Mrs. R.H. Hoggins, Mrs. Marion Robbins, John Packard (son of Dora and Cyrus), Marion Deane (daughter of Dora and Cyrus), and Mabel Whitley Landstrom (daughter of Dora and Cyrus). He then outlines more how the shares will work.

Will Record (1791-1973) - Volume 305, p 268

The last page of the will shows that it was written October 14, 1949 but was not enacted until July 17, 1950, one month and three days after his death, with none of his family members listed as executors:

Will Record (1791-1973) - Volume 305, p 269

Two pages later, it is there the will ends, noting that Robert Packard is the same as Robert B. Mills, Jr., or whom we know as RBM II:

Will Record (1791-1973) - Volume 305, p 271

And that's it. This provides a strong starting point for other articles on the will of RBM I and RBM II, with related documents, to say the least! It also provides a place to look for John Mills as well, which is great.

© 2018-2023 Burkely Hermann. All rights reserved.

Notes

[1] Michigan State University had a school involving hotel management, and there is a room at the University dedicated to him. As noted in then-college publication (The Record) in 1951, "the John Willy Memorial reading room is dedicated to the late John Willy, former editor of the Hotel Monthly trade magazine and recipient of an honorary doctorate from Michigan State in 1937." Evidence of this can further be found here, here, and here, showing he is a native Chicagoan.