By Dave Fishwick
The worldwide economy is in problem, bankers are in disrepute and Britain is close to a double-dip recession. Now one guy, uninterested with endless stories of greed and corruption, units out to end up that there's a various means of doing issues - through commencing his personal financial institution to aid inject much-needed existence into neighborhood businesses.
Dave Fishwick is a self-made, straight-talking guy from Burnley who hates the banks. released to tie in with a Channel four sequence of an analogous identify, this can be the tale of his try and manage an easy, no-nonsense financial institution that truly cares approximately its consumers. Dave plans to place millions of kilos of his personal funds into the firm; he'll supply his consumers a much better interest rate than they get at the excessive highway; he'll lend to suffering neighborhood companies that the banks don't need to know approximately; and he goals to convey the financial institution of Dave into revenue inside a hundred and eighty days. If he succeeds, he'll supply no matter what he makes to charity. If he fails, he'll make a poor loss and damage his well-merited popularity as a winning businessman.
Can one guy rather tackle the banking giants and make a true distinction to neighborhood companies and his neighborhood? Dave Fishwick definitely hopes so.
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Extra info for Bank of Dave: How I Took On the Banks
Douglas Canfield points out that while these defiant characters and their perceived threats to the ruling class are usually neutralized at the end of these Restoration comedies, nevertheless these characters serve to reveal defects in the social-class fabric. Canfield argues that the corrective nature of the comedies’ social satire, ending by restoring the traditional order, often appears strained and absurd, which represents the order as socially false and hollow (1–32). Modern comedy of manners playwrights have used the form’s social satire to highlight and expose the social hypocrisies within these closed societies.
The farting, vomiting, and verbal spewing of the South Park boys vividly display such interconnection. Freud distinguishes the obscene joke, with its purpose of exposure, from the hostile joke, which serves the purpose of aggressiveness or defense. Satirical comedy is one form of such aggression, attacking its target from a sense of outrage and with the hope of some reform. Juvenal catalogued the moral corruption of Rome; Molière ridiculed the religious hypocrites, the lying doctors, and the miserly parental tyrants of Louis XIV’s Paris; Pope and Dryden derided the vanity and foppery of London society; Heller, Vonnegut, Kubrick, and other twentieth-century artists have employed absurdist techniques to oppose the stupidities of modern warfare and military culture.
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