Author: rb809rb

  • Music Industry Moves: Megan Thee Stallion Announces Partnership With Interscope Records

    Music Industry Moves: Megan Thee Stallion Announces Partnership With Interscope Records

    Megan Thee Stallion has announced a new partnership with Interscope Records, which will handle the global distribution of her music, among other strategic support.

    As part of the newly inked deal, the rapper will continue on as an independent artist in complete control and ownership of her masters and publishing. Interscope will provide global distribution and strategic support for her upcoming releases through her own entertainment shingle, Hot Girl Productions.

    “I’ve always wanted to create music on my terms while building a legacy that extends beyond the industry,” said Megan in a statement. “This distribution partnership with Interscope allows me to stay true to my creative vision while also increasing my global reach. I’m excited for this next chapter of growth and the expansion of my Hot Girl Productions empire.”

    “From the moment Megan emerged, it was clear she was a singular artist with an unmistakable voice and an extraordinary ability to shape culture on her own terms,” adds Steve Berman, vice chairman of Interscope Capitol. “She has consistently redefined what it means to be a global superstar—combining creative excellence, entrepreneurial vision and an uncompromising authenticity. We’re honored to welcome Megan to the Interscope family and excited to partner with Roc Nation as we support her next chapter.”

    “Megan has always approached her career with a focus on ownership, creative freedom and long-term impact,” says Roc Nation CEO Desiree Perez. “The ability to maintain her independence and own her masters is a testament to the vision that has guided her career from the beginning. We look forward to working together with Interscope’s team and tapping into their global resources to further elevate this new era of her career.”

    Megan had previously signed a deal with Warner Music Group in February 2024 to release music through her Hot Girl Productions shingle. Much like her agreement with Interscope, the Warner deal allowed for her to remain an indie artist while being able to access the company’s promotional resources.

    + 1916 Enterprises has signed Grammy-nominated artist-songwriter-producer MNEK for management, the company has announced. The partnership comes in advance of MNEK forthcoming album “Bulldozer!!,” due September 18, and a headline U.K. and European tour this fall. He also recently inked a new publishing deal with Sony Music.

    Over the past decade MNEK (born Uzoechi Emenike) has developed a formidable catalog as a hit songwriter, with tracks for Beyoncé (“Hold Up” and “Sorry”), Dua Lipa (“IDGAF”), Selena Gomez (“A Sweeter Place”) and Zara Larsson (“Never Forget You” and “Ain’t My Fault”). 

    “We’re so excited to welcome MNEK to 1916,” said Ruchir Mohan, Partner at 1916 Enterprises. “He’s a creative force whose influence on pop music is undeniable, but what really excites us is where he’s headed next. We truly believe this next era has the potential to be his biggest yet and we’re honored to be part of that journey.”

    + The independent distribution platform UnitedMasters, which has enjoyed hits with Brent Faiyaz, BigXthaPlug, FloyyMenor and more, has appointed Todd L. Perry II as VP and head of artist and label marketing, Luca Zanello as head of brand & sync, Goldie Harris as head of commerce and Jason Peerless as VP of artist & label operations.

    Perry II joins from Warner Records, where he served as VP / head of artist and label marketing; Zanello was previously with the Orchard, Roc Nation, and MSM Group; Peerless joins after 12 years at Universal Music Group, including 10 years at Def Jam Recordings.

    “We’re excited to welcome this exceptional group to UnitedMasters as we continue redefining what independence looks like,” said CEO Steve Stoute. “These hires reflect our continued investment in the infrastructure, partnerships, and talent needed to help artists build sustainable careers on their own terms, especially this year as we are achieving milestones within the global music sector of the business.”

    + Seeker Music, the creator-led music rights, publishing and record company led by songwriter-executive Evan Bogart, is relaunching its record label imprint Music Is Fun as what it describes as the industry’s first-ever label built entirely around catalog flips. Its inaugural release, “Vacation” by Flo Rida featuring Sage the Gemini, is out today. The new track reimagines the Go-Go’s classic of the same name co-written by Charlotte Caffey, whose catalog is represented by Seeker, as are songs by Joan Jett, Christopher Cross, Run the Jewels, Jay Sean, Jon Bellion, and more.

    “The label will bring together contemporary artists, songwriters and producers to sample, interpolate, remix and reinvent songs across the portfolio, with Seeker identifying concepts, assembling collaborators and releasing the resulting music from start to finish,” the announcement states.

    Bogart said: “At Seeker, we believe celebrating great music isn’t just about preserving legacy. It’s about extending it by introducing the songs we love to new generations. In the six years since we formed the company, we’ve shown through hits with Shaboozey, Pop Smoke, Coco Jones, Drake, and more, that we know how to successfully take an incredible song and re-invent it.”

    + AEG Presents has entered into a strategic partnership with Creativeman Productions, a leading Japanese concert promotion and live events company. The two companies will work together to create new opportunities for artists to connect with audiences throughout Japan. In addition, this partnership provides a platform for expansion across the region for AXS, AEG Presents’ ticketing company.

    Founded in 1990, Creativeman Productions promotes concerts, tours, and destination events under the leadership of CEO Naoki Shimizu. In addition to concert promotion, Creativeman owns and operates a diverse portfolio of festivals that span multiple genres, including its signature festival Summer Sonic, which launched in 2000 and has featured Radiohead, Oasis, Metallica, Linkin Park, Daft Punk, and the Red Hot Chili Peppers along with top Japanese acts.

    “Over the past 37 years, Creativeman has grown from a company with just 2 staff members to become the largest independent music promoter in Asia,” commented Shimizu. “This strategic partnership with AEG Presents will propel our growth as we expand our festivals and artists from Japan to Asia and the rest of the world.”

    Shawn Trell, Executive Vice President and Chief Operating Officer of AEG Presents, added, “Creativeman is an important presence in Japan and across the region. The company’s vision and business strategy align perfectly with ours, and we’re thrilled to be entering into this partnership together.”

    + Warner Chappell Music has signed Kurdish rapper Fat Papi and New Zealand-born producer Prodshushy to worldwide publishing deals. The two agreements will encompass the two artists’ entire catalogue and future works, including their hit “Fraked Out.”

    Fat Papi shares: “I’m excited to join Warner Chappell Music, home to so many legends and icons. I’m also really proud to represent both my Kurdish and New Zealand people with my music on the international stage”. prodshushy continues: “It’s a privilege and an honour to be represented by Warner Chappell Music for publishing. I’m looking forward to working with the team and building connections with their fantastic roster of writers.”

    Warner Chappell’s Nashville division has also partnered with Twelve6 Entertainment for a global publishing deal with rising singer-songwriter Lucas Ball. The signing comes on the heels of his breakout single, “You Only Call When It’s Raining.”

    Ball shared: “I’m so happy to be a part of the fantastic Warner Chappell and Twelve6 teams. I never thought I’d be in this position in life. Everyone has been so welcoming to me, and I’m excited to see where this road leads. God Bless Country Music.”

    + Influence Media Partners has announced a strategic investment supporting the launch of IPNation as the first investment platform dedicated exclusively to Arabic music catalogs and entertainment intellectual property. With a target investment size of $100 million, IPNation will focus on acquiring, developing and growing iconic music and entertainment intellectual property across the Middle East and North Africa (MENA) region.

    The company was founded by Eddy Maroun, co-founder of Anghami, and Jose Maria Dot, former Chief Investment Officer of Multiply Group (now 2PointZero) and Managing Director at FTI Capital Advisors. Backed by Influence Media Partners, IPNation aims to build and grow a portfolio of iconic Arabic music and entertainment IP.

    Headquartered in the UAE, IPNation invests in music masters and publishing rights, artist brands, Name, Image and Likeness, and entertainment intellectual property originating from the Arab world. Beyond acquisitions, the company will actively develop acquired intellectual property into multi-format entertainment franchises spanning immersive experiences, live shows, film, documentaries, merchandise, gaming, licensing, AI-powered derivatives, and next-generation fan engagement.

    + Make Wake Artists has announced a partnership with One Twenty One Management, founded by Adam Hale and home to Muscadine Bloodline, Ben Chapman and Josh Weathers. Joining Hale in the partnership is Ivan “Churro” Haro, who serves as Day-To-Day manager for Muscadine Bloodline, Josh Weathers and Ben Chapman.

    “Kappy and I first met years ago in the UK while I was tour managing Kip Moore and he was helping build Luke Combs’ career,” Hale says. “I’ve admired how he’s grown Make Wake with a fan-first mindset, and I believe that philosophy pairs naturally with my artist-first approach built on integrity, communication and execution. On top of that, Jarrod Holley has been one of my closest friends for more than 20 years. We talk every single day, bouncing ideas off each other and helping each other navigate this business, so at some point it just made sense to be working under the same roof.”

    “I’ve always believed that the best partnerships are built on shared values before shared success,” adds Chris Kappy, Founder of Make Wake Artists. “Adam Hale and the Muscadine Bloodline team have built something authentic by staying true to who they are, and that’s exactly the kind of artist and people we want to be in business with.”

    + Virgin Music Group has appointed Syaheed MSBI to the position of Vice President of the AMEA region at the company. Syaheed will oversee the company’s activities in Africa, Middle East, and Asia (AMEA). He joins Virgin after more than 13 years at Believe, where he was most recently Global Artist Success & International Director. He was also instrumental in building out the company’s team and offices in Singapore and Malaysia. He got his start by establishing his own independent music company, Bedsty, in 2002.

    “Syaheed has built his reputation as a fierce advocate for artists first as a founder of his own independent music company and later as a seasoned exec building a robust business in support of independent labels and artists,” said Michael Roe, Virgin Music Group’s Managing Director of AMEA. “With his deep connections on the ground across AMEA, we’re looking forward to having him come in to lead and inspire our great team.”

    + Merlin, the global digital music licensing partner for the world’s leading independent labels and distributors, has named Jon Glass as General Counsel.

    Based in New York, Glass joins Merlin following nearly two decades in senior business & legal affairs leadership roles across the global recorded music business, most recently serving as Senior Vice President, Head of Digital Legal Affairs at Warner Music Group. Prior to Warner, he worked in digital business & legal affairs at Sony Music Entertainment and practiced law at several firms, including Morrison & Foerster LLP.

    Glass will report to Merlin CEO Charlie Lexton and will lead Merlin’s Business & Legal Affairs function while also assuming responsibility for the organization’s partnerships team.

    Lexton said, “Jon is one of the most respected legal executives in the digital music business. He brings an exceptional combination of legal expertise and commercial judgement with a highly developed understanding of the opportunities and complexities facing Merlin. As the digital playing field continues to evolve, we need to ensure we are coordinated in the way we think about the relationships we build with our partners. Bringing our Business & Legal Affairs and Partnerships teams together under Jon’s leadership is designed to do exactly that and will help us deliver even greater value for our members.”

    + Independent publishing company Tape Room Music has promoted Caroline Hodson to vice president of A&R. A graduate of Belmont University, Hodson joined Tape Room as an intern in 2020 and has advanced through the company’s A&R department.

    “Caroline is one of the best young executives in our business,” shares Tape Room Music COO and President, Business Affairs Blain Rhodes. “She is a fierce champion of songwriters and the ultimate teammate. She has been vital in the success of our writers and entirely deserving of this promotion.”

  • France Tax Data Leak Could Fuel Scams, Attacks Targeting Bitcoin Holders

    France Tax Data Leak Could Fuel Scams, Attacks Targeting Bitcoin Holders

    In brief

    • A reported breach of France’s tax authority exposed data tied to 678,437 people and businesses.
    • The records allegedly include income figures, addresses, tax identifiers, and family information.
    • The data could help criminals craft targeted scams against wealthy taxpayers and Bitcoin holders.

    A hacker is selling a trove of French tax records that could expose more than 678,000 people and businesses, including Bitcoin holders, to phishing, identity theft, and targeted attacks.

    According to a report by French cybersecurity outlet FrenchBreaches, a hacker is selling records allegedly stolen from France’s tax authority, the DGFiP, during a June breach for several thousand euros.

    Myriad: Bitcoin's next move? Click to make your prediction.
    Myriad: Bitcoin’s next move? Click to make your prediction.

    “More bad news for Bitcoiners living in the leading country for wrench attacks,” Chief Security Officer at Bitcoin security platform Casa Jameson Loop wrote on X. “The French tax authority has been hacked, and 678K records leaked.”

    FrenchBreaches said the database contains records on 392,867 individuals and 285,570 professionals, including 26,805 people with reference tax income of at least $116,000, 386 above $1.16 million, and eight above $11.6 million; the hacker is reportedly offering the file for several thousand dollars.

    FrenchBreaches said a sample of the leaked data included names, birth details, home and email addresses, phone numbers, income figures, withholding tax rates, family status, dependents, and tax-share information.

    “There DGFiP officially confirms the intrusion in its information system,” FrenchBreaches wrote in an update. Stolen credentials were used in late June to access and extract taxpayer data, and the number of people affected remains under investigation, the firm added.

    According to FrenchBreaches, the attacker used stolen VPN credentials and an internal search tool to extract names, contact details, tax identifiers, income figures, withholding rates, and family information before officials cut off access.

    “A scammer with real tax information and knowing of the existence of an old approach to the DGFiP could, for example, construct a fraudulent message that is much more credible than a simple fake generic email,” FrenchBreaches wrote.

    While the FrenchBreaches report focused on the data leak, it comes amid a rise in wrench attacks, in which criminals use violence or threats to steal cryptocurrency.

    In July, CertiK reported 52 attacks worldwide during the first half of 2026, including 33 in France. Earlier this month, Chainalysis reported 46 attacks through June, including 30 in France, with more than $30 million stolen.

    “Criminals have recognized that crypto holders are high-value targets because they possess wealth in an instantly and irreversibly transferable form,” Chainalysis wrote.

    Daily Debrief Newsletter

    Start every day with the top news stories right now, plus original features, a podcast, videos and more.

  • Ian Crafford, Editor of ‘Hope and Glory,’ ‘Field of Dreams,’ Dies at 82

    Ian Crafford, Editor of ‘Hope and Glory,’ ‘Field of Dreams,’ Dies at 82

    Ian Crafford, who edited notable films including John Boorman’s “Hope and Glory” and “Field of Dreams,” died July 22 of cancer at his home in Brazil. He was 82.

    Born in Hemel Hempstead, U.K., Crafford started working at Elstree Studios at the age of 17 and enjoyed it so much he never returned to school, according to his son Scott.

    He went on to become the youngest first assistant editor in England, working with editors such as the renowned Ann Coates. He worked in several departments including sound, ADR (Sophia Loren requested him to do her ADR, his son noted), and worked on sound effects for “Monty Python’s Holy Grail” in 1975.

    One of his first credits as editor was working with Richard Burton on “Medusa Touch.” He went on to serve as editor for the James Bond film “Never Say Never Again,” directed by Irvin Kershner, in 1983. In 1985, he traveled with Boorman to Brazil for the production of “Emerald Forest,” and fell in love with the country to which he later retired.

    Crafford received a BAFTA nomination for editing Boorman’s next film “Hope and Glory,” about a young boy living in London during the WWII bombings. He moved to America, where he edited the Kevin Costner-starring “Field of Dreams,” for which he received an ACE Eddie nomination, the book adaptation “The Indian in the Cupboard,” “Thunderheart” and “Class Action.”

    His last film was the 2012 comedy “The Hot Potato.”

    He is survived by his wife Antonia and his four children Scott, Roberta, Monyka and Paul.

  • Germany’s Crypto Holding Period: Two Tax Models Are on the Table, and €21,100 Separates Them

    Germany’s Crypto Holding Period: Two Tax Models Are on the Table, and €21,100 Separates Them

    The information provided in this article is for informational purposes only and does not constitute financial advice. Cryptocurrency investments carry a high degree of risk.

    Germany’s one-year rule is the best-known crypto tax rule in Europe: hold a coin for more than twelve months, sell it, owe nothing. Since the German cabinet’s 2027 budget decision, one sentence has appeared in almost every report about its future: crypto gains will be taxed like stock gains. That sentence is wrong twice over, and both errors can be checked against documents anyone can download.

    It is wrong first because, as of 12 August 2026, there is no law and not even a ministry draft on crypto taxation. It is wrong second, and this matters far more, because two entirely different models are circulating. On a €100,000 gain held for more than twelve months, the two models are €21,100 apart. Which one ends up in the statute book is genuinely open, so anyone talking about “the” German reform is talking about nothing in particular.

    Key facts at a glance

    • As of 12 August 2026 there is no law and no ministry draft on crypto taxation. The working draft of Germany’s Annual Tax Act 2026, published on 13 July 2026, contains no crypto provision at all.
    • Two models are in circulation: moving crypto into capital income under section 20 of the Income Tax Act (cabinet decision of 6 July 2026), and keeping it in section 23 but deleting the one-year rule (bill 21/5752 of 5 May 2026).
    • On a €100,000 gain that is €26,375 versus up to €47,475, a difference of €21,100.
    • The bill was rejected in the finance committee on 20 May 2026. Only Die Linke voted for it; the conservatives, the AfD and the Social Democrats voted against.
    • Under that bill, gold, antiques, artworks, historic vehicles and foreign currency keep the one-year rule explicitly. Exactly one asset class is carved out.
    • Revenue estimates range from roughly €300 million to €11.4 billion a year. That is a factor of 38.

    How the German rule works today

    Under section 23 of the German Income Tax Act, crypto assets count as “other economic goods”. A private sale is taxable only if fewer than twelve months passed between purchase and disposal. Sell earlier and the gain is added to your ordinary income at rates up to 45% plus the solidarity surcharge. Sell later and the gain is not taxed at all.

    One detail matters for the debate that follows: this is not a preferential crypto regime that someone invented for Bitcoin. It is the general rule for privately held assets such as physical gold or a classic car, and Germany’s Federal Fiscal Court confirmed in February 2023 that crypto falls under it (case IX R 3/22).

    Nothing about that has changed. Whatever comes next, the documentation burden lands on the taxpayer, which is why acquisition records are the practical bottleneck in every scenario. Tools that produce a German-compliant tax report are listed in our crypto tax software comparison.

    Model 1: capital income under section 20

    This is the finance ministry’s line. Crypto would be lifted out of private disposals and treated like interest, dividends and stock gains, at the flat withholding rate of 25% plus the 5.5% solidarity surcharge on that tax, giving 26.375%. Add church tax and the burden lands near 28%, depending on the federal state.

    No legal text exists for this model. Not a draft, not a paragraph. Everything written about it rests on a budget document and on the finance minister’s public statements. That leaves open exactly the questions that decide the real burden: whether the €1,000 saver’s allowance would apply, how losses could be offset, and whether crypto exchanges would become paying agents that withhold tax at source.

    Model 2: staying in section 23, without the deadline

    This model has one advantage over the first: it exists as finished statutory language. The bill from the Green parliamentary group carries the number 21/5752, is dated 5 May 2026, and is titled, in translation, a bill “to close a fairness gap in the taxation of crypto assets”.

    Article 1 number 1 inserts a new sentence into section 23:

    “The one-year deadline in sentence 1 does not apply to disposals of crypto assets.”

    Crypto would remain an “other economic good”. The explanatory memorandum states the consequence plainly: gains would be taxed “regardless of the holding period, on disposal, at the personal income tax rate”. Depending on other income, that is up to 45% plus the solidarity surcharge.

    The bill was rejected in the finance committee on 20 May 2026. Only Die Linke supported it. The Social Democrats, who share the goal, voted against it because they wanted to wait for their own finance minister’s proposal. That makes the text dead as a vehicle but very much alive as a blueprint: it is the only fully drafted statutory language anyone has produced on this question.

    The comparison: €21,100 on the same gain

    The following assumes a sale with a €100,000 gain after more than twelve months, no church tax, and no other private disposals in the same year.

    The gap between the ministry’s model and the drafted bill at the top rate is therefore €21,100 on an identical gain.

    One detail almost every summary omits: the solidarity surcharge behaves differently in the two models. On the flat withholding tax it is levied without any threshold. On assessed income tax it only kicks in above a threshold that most taxpayers no longer cross. At the 42% and 45% marginal rates assumed above the threshold is comfortably exceeded, so the surcharge applies. On smaller gains and lower other income the arithmetic changes, which is precisely why the blanket claim “crypto is about to get more expensive” is worth so little.

    Three ways the bill is worse than stock taxation, not equal to it

    The rate. Stock gains face 25% plus surcharge. The bill applies personal rates up to 45% plus surcharge. That is not parity; it is a penalty of up to 21.1 percentage points.

    Loss offsetting. Losses from private disposals under section 23 may only be netted against gains from other private disposals. They sit in their own narrow bucket and cannot be set against interest or dividends. Under the section 20 model, crypto losses would join the much wider capital-income bucket.

    Withholding. Section 23 has no withholding mechanism by design. Every single disposal has to be declared, with acquisition date, cost basis and proceeds. The section 20 model could in principle withhold at source, but only through a domestic paying agent. How that would work for exchanges based elsewhere in the EU appears in neither document.

    Gold, art and classic cars keep the one-year rule

    The most revealing passage of the bill is not in the statutory text but in the reasoning, where the drafters explain why singling out crypto is justified:

    “The provision is appropriate because other economic goods such as physical gold, antiques, artworks, historic vehicles or foreign currencies are used for speculative gains to a considerably lesser extent.”

    So the bill does not clean up the system. It removes one asset class and justifies that with an assumption about how investors behave. That is where the constitutional exposure sits: Germany’s Article 3 equality clause requires an objective reason for unequal treatment, and whether a behavioural assumption qualifies would be for the courts to decide. The same section states that crypto assets have “not proven themselves as a digital equivalent to gold and other precious metals”.

    The reasoning also contains a claim that does not survive checking. It says Germany is “almost the only country within the European Union” that exempts gains after a short holding period. Portugal exempts after 365 days and taxes shorter holdings at 28%. Czechia has exempted disposals after three years since the 2025 tax year. Luxembourg applies a six-month speculative period. Holding-period exemptions are not the German anomaly the bill describes.

    The cut-off date is already in the past

    The bill’s application clause turns solely on when an asset was acquired. The new rules would first apply to disposals of assets “acquired or created after 31 December 2025”.

    The bill is dated 5 May 2026. The cut-off was therefore more than four months in the past when the text was introduced, and the reasoning says so openly: the new rules apply to crypto acquired from 1 January 2026, because for those assets “the one-year holding period existing until the law enters into force has not yet expired”. The drafters lean on a 2010 ruling of the Federal Constitutional Court, which held that the “mere possibility of collecting gains tax-free at a later date” creates no legally protected position.

    There is also a gap the bill simply does not address. Under the finance ministry’s circular of 6 March 2025, holding periods for identical crypto assets are determined asset by asset where possible and otherwise first-in-first-out, wallet by wallet. The bill writes that consumption order into law only for foreign currency amounts, not for crypto. With an acquisition-based cut-off, the protected older holdings would in case of doubt be consumed first. How that interacts with the political promises of grandfathering is a story of its own, and we will take it apart separately.

    The reform paradox: day traders would pay less

    The argument that turns the debate on its head comes from the conservative side. On 31 July 2026, CDU member of parliament Olav Gutting spelled out what the ministry’s model does to short-term sellers: today, someone selling inside the one-year window pays their personal rate of up to 45%. Under the section 20 model it would be a flat 25% plus surcharge.

    The reform would therefore relieve the high-earning day trader and burden the long-term holder who could previously sell tax-free after twelve months. That is the opposite of the stated intention, and it holds whatever you think of the holding period itself.

    Nobody knows what this raises: estimates differ by a factor of 38

    The distance between the lowest and the highest figure is a factor of 38. That is no longer estimation uncertainty; it means nobody knows the order of magnitude.

    Two qualifications, both important. The Austrian figure first: the Austrian finance ministry reports around €33.84 million of capital gains tax from crypto for 2024, and that is the total collected since service providers began withholding on 1 January 2024. It is not the isolated yield of Austria’s 2022 abolition of its holding period, so it functions as a ceiling on that yield rather than a measurement of it. Scaled to Germany by population it gives the €300 million above, and that stays a ceiling too. Austria also shows what grandfathering looks like in practice, because holdings bought before March 2021 stayed outside the new regime, as we set out in our piece on Austrian pre-2021 holdings.

    Second, the €11.4 billion. On 15 March 2026 the Bitcoin Bundesverband published an open letter with 15 questions about the €11.4 billion estimate, addressed to Blockpit and to the study’s author Co-Pierre Georg, covering data provenance, sample representativeness, extrapolation method and the absence of error margins. Its core line: the greater the political impact of a number, the higher the standard of transparency it has to meet. To our knowledge the questions remain unanswered.

    The path that number travelled is instructive. In the finance committee session of 20 May 2026 the Greens cited the study and its €11.4 billion, then halved the amount in their own calculation and wrote “at least about €5 billion” into the bill. The bill gives no reason for the halving.

    Why this is not only a German story

    Two threads reach beyond Germany. The bill’s own reasoning points to the European Parliament’s proposal for the 2028 to 2034 budget framework, which includes a levy based on a uniform rate on capital gains from crypto assets as a possible new EU own resource. Germany’s domestic argument is being made with one eye on Brussels.

    The second thread is data. Under DAC8, centralised crypto service providers in the EU have been collecting reportable information since 1 January 2026, with the first exchange of data scheduled for September 2027, as we set out in our piece on automatic crypto tax reporting in Germany. Whatever rate a country lands on, the visibility question is already settled, and self-custodied holdings sit outside that reporting net rather than outside the tax law.

    What this means in practice

    None of this produces an instruction, and anyone handing you one knows the statutory text no better than everyone else does. Three sober points remain.

    Acquisition records are the bottleneck in every scenario. If the deadline survives, they prove the exemption. If it goes, they establish the gain. If grandfathering arrives, the acquisition date decides the treatment of every single lot. Export the transaction histories from your trading venues while the accounts are open and store them off the platform; Germany’s filing deadlines do not wait for the political process, as our note on the German crypto tax deadline showed. The tax-report capabilities of each venue are listed in our exchange comparison, and holdings on a hardware wallet need their address mapping documented by you.

    Selling as a precaution is a bet on an unknown rule. Selling today to get ahead of a cut-off date nobody has defined can trigger a tax that holding would never have caused. That is an observation, not a recommendation in the other direction.

    Watch the wording, not the headline. The two models differ on rate, on loss offsetting, on withholding and on the cut-off date. Any report that does not say which model it is describing is not telling you what you need to know.

    Our managing director Dennis Weidner has worked through the primary documents, the arithmetic and the European comparison in his statement on the crypto holding period and the finance committee’s reply. Individual tax questions belong with a qualified tax adviser; this article does not replace one.

    FAQ

    Has Germany abolished the crypto holding period? No. As of 12 August 2026, section 23 of the Income Tax Act applies unchanged: after more than twelve months of holding, the gain is untaxed. There is no adopted law and no finance ministry draft on crypto taxation. The working draft of the Annual Tax Act 2026 of 13 July 2026 contains nothing on the subject, though a provision could still be added before the cabinet stage or later in the parliamentary process.

    What is the difference between the two models? Under the section 20 model, crypto becomes capital income taxed at a flat 25% plus solidarity surcharge, giving 26.375%. Under the section 23 model it stays an “other economic good” but loses the one-year deadline and is taxed at the personal income tax rate of up to 45% plus surcharge.

    How much tax would €100,000 of gains attract? Today, after twelve months, nothing. Under the section 20 model, €26,375. Under the section 23 model, €44,310 at a 42% marginal rate and €47,475 at the 45% top rate, in each case before church tax.

    Would new rules apply to coins I already hold? The only fully drafted bill, 21/5752, turns on the acquisition date and captures everything acquired after 31 December 2025. No text exists for the ministry’s model. The conservatives have promised protection for existing holdings, while Die Linke explicitly rejects any transition period. The state of that debate is in our piece on petition 201716.

    Does physical gold stay tax-free after a year? Under the Green bill, yes. It removes only crypto assets from the one-year rule and names gold, antiques, artworks, historic vehicles and foreign currencies as goods that keep it.

    Does this affect me if I am not a German tax resident? Generally no; these rules govern German income tax. The reason to follow it anyway is that Germany’s one-year exemption is the reference point other European debates measure themselves against, and the same bill points to an EU-level levy on crypto capital gains as a possible own resource from 2028.

    When could a new rule take effect? 1 January 2027 is the announced date. That would require a ministry draft, an association consultation, three readings in the Bundestag and the federal council to be completed by December 2026. None of those dates is confirmed.


    None of this is settled: the ministry draft is still outstanding, the consultation of associations follows, a first reading is pencilled in for 7 to 11 September and the federal council for 18 December. Each of those steps can change which of the two models applies and which cut-off date sits inside it. We read every new text against the primary sources and summarise weekly what actually changed in the wording, in English and in German. Stay with it on cryptoticker.io.

    Sources

    • German Bundestag: Bill 21/5752, on closing a fairness gap in the taxation of crypto assets (PDF in German, statutory text and reasoning, 5 May 2026)
    • German Bundestag, heute im bundestag: Greens fail with their push on crypto asset taxation (finance committee vote, 20 May 2026)
    • Federal Ministry of Finance: Individual questions on the income tax treatment of certain crypto assets (PDF in German, circular of 6 March 2025, replacing the 10 May 2022 circular)
    • Section 23 of the German Income Tax Act as currently in force
    • Federal Constitutional Court: decision of 7 July 2010, 2 BvL 14/02 and others (paragraph 64, relied on in the bill’s reasoning)
    • Bitcoin Bundesverband: The €11.4 billion question (open letter with 15 questions, 15 March 2026)
    • Dennis Weidner: The crypto holding period and the finance committee’s reply (model comparison, revenue range, holding periods in Europe, 12 August 2026)
    • Austrian Federal Ministry of Finance, capital gains tax collected on cryptocurrencies in 2024 (€33,839,499.66 in total, withholding by service providers since 1 January 2024)

    Note on AI use: AI tools were used for this article – in research and drafting, and for the header image, which is AI-generated and does not depict a real event. All figures, claims and sources are editorially checked before publication.

  • Trump-backed World Liberty wins conditional bank charter from federal regulator

    Trump-backed World Liberty wins conditional bank charter from federal regulator

    A federal bank regulator has granted World Liberty Trust Co. a conditional bank charter, it announced Friday.

    The Office of the Comptroller of the Currency, the U.S. banking agency that grants federal charters, said in a letter posted to its website that World Liberty could operate fiduciary and other trust company-related activities as a national trust bank.

    “This preliminary conditional approval is granted based on a thorough evaluation of all information available to the OCC, including the representations and commitments made in the application and by the Bank’s representatives,” the letter said.

    Final approval won’t be granted until the company meets additional “preopening requirements,” the letter said.

    According to the letter, World Liberty Trust Company will focus on services tied to World Liberty Financial’s $USD1 stablecoin.

    “The bank plans to issue $USD1, a fiat currency-backed stablecoin, to institutional clients on a nationwide basis, assuming this role from BitGo Bank & Trust, National Association (BitGo), the current exclusive issuer and custodian for $USD1,” the letter said. “The bank plans to provide its digital asset custody services as a fiduciary, primarily to $USD1 customers and other institutional clients.”

  • ChatGPT Can Now Track Your Mac Activity, Take Actions Based on a Saved Timeline

    ChatGPT Can Now Track Your Mac Activity, Take Actions Based on a Saved Timeline

    OpenAI’s latest feature for ChatGPT’s macOS app allows the AI tool to create a timeline of your Mac activity and use that information to respond to queries or automate tasks.

    Computer History is available for ChatGPT Pro, Business, and Enterprise users at launch. You can use it to “ask natural questions about recent work, pick up where you left off, understand patterns in how you work, and turn repeated workflows into skills or automations,” OpenAI says.

    Computer History is disabled by default; users must enable Computer History and Memories from app settings for it to work. Pro users can turn them on manually by going to Settings > Integrations > Computer History. Business and Enterprise users can follow the same steps, provided their administrator has approved the feature.

    How Does ChatGPT’s Computer History Work?

    To record your Mac activity, Computer History tracks your clicks, typing, app switches, and other movements across allowed apps and websites. It then organizes the information into Memory files and daily summaries, which ChatGPT can tap when prompted.

    Samples prompts shared by OpenAI include: “Give me a list of tasks I’ve worked on today and their status,” “Prepare a summary of what I did yesterday for standup,” or “Where can I find the proposal document I was looking for earlier today?”

    Temporary Memory files created by Computer History will be retained for 48 hours, while all other details will be retained until you manually delete them. Once enabled, you can manage all operations related to the feature from Settings > Computer History.

    As OpenAI notes, “Computer History replaces the earlier Chronicle research preview,” which used screenshots (similar to Microsoft Recall). “Computer History records interaction events and does not capture your screen or audio.”

    Recommended by Our Editors

    OpenAI warns that the data collected by the feature isn’t encrypted, and other apps and websites running on your Mac may be able to access it. “Protect your Mac account and exclude sources you do not want included,” it says.

    The feature is already available to Pro, Business, and Enterprise subscribers in the US and most other regions worldwide. Access in the EEA, UK, and Switzerland will follow in the coming weeks, OpenAI said in an X post.

    Disclosure: Ziff Davis, PCMag’s parent company, filed a lawsuit against OpenAI in April 2025, alleging it infringed Ziff Davis copyrights in training and operating its AI systems.

    About Our Expert

  • Christine Vachon Jokes She Likes Pedro Pascal Better Than Joaquin Phoenix in Todd Haynes’ ‘De Noche’

    Christine Vachon Jokes She Likes Pedro Pascal Better Than Joaquin Phoenix in Todd Haynes’ ‘De Noche’

    Christine Vachon, the prolific independent producer whose Killer Films has backed Happiness, Boys Don’t Cry, Carol and more recently Past Lives, May December and Materialists, said at the Edinburgh Film Festival on Friday that Pedro Pascal is “a revelation” in Todd Haynes’ re-worked gay romance movie.

    De Noche, currently in post-production with no release date announced yet, was set to star Joaquin Phoenix before he abruptly pulled out before the shoot began. Vachon previously called the situation “a tragedy” and explained in an industry talk at Edinburgh how she and her long-time collaborator Haynes managed to rebuild the project after Phoenix’s exit.

    Host Wendy Mitchell joked: “I actually like [Pascal] better than Joaquin Phoenix anyway,” to which Vachon responded: “I kind of do too!” The tightly-packed crowd at Edinburgh’s Central Hall laughed with them.

    Vachon continued: “It wasn’t an easy situation. And as I also stated, it was devastating that Todd didn’t get to make a movie again that year. If you take the […] glass half-full version, and ‘everything happens for a reason’ [perspective], maybe the reason was that this was a role that Pedro was born to play. He is certainly extraordinary in the film, and by the way, so is Danny [Ramirez]. I mean, both of them are a revelation.”

    Getting a “do-over” allowed them to find a better shoot location, said Vachon, which showed her everything worked out for the best. Pascal was brought on board via her work with him on Celine Song’s Materialists. “People always say to me, ‘Is he as nice as he seems?’ […] He is. People are so invested. They love him.”

    As a titan of independent film production, Vachon — in Edinburgh with her latest film Pretty Babies, directed by Tyler-Marie Evans, who spoke to THR in depth about winning over Vachon just this week — was also probed on the box office success of Obsession and Backrooms this year, two movies that have challenged the status quo in Hollywood. “I do,” she said when asked if she likes the energy coming out of YouTube. “But when we were making movies like Poison [and] Go Fish, we also identified an audience… Back in those days, the LGBTQ audience could go to bars. There were parts of town [where you] could take your leaflets and just go specific places where people gathered and say, ‘Look! We made this! It’s for you.’ That’s just moved online.”

    Vachon is extremely buoyed by the current theater-going demographic being made up, predominantly, of people aged under 30. She cannot deny, however, that “we’re at a time of great disruption,” and the queer film landscape is a little rocky with so much division in the U.S. at the moment. “It’s a conundrum right now. We have something like Heated Rivalry which couldn’t be a bigger hit, and we still have politicians campaigning on who gets to use what bathroom. And it’s happening [in the U.K.] too. It’s not like we have the monopoly on [marginalizing] LGBTQ people.”

    “I remember when I would go see screenings of Poison or Swoon, which were boy queer [films] and [the theater] would be filled with lesbians because they were like, ‘I guess I’ll go see this.’ But now there is more choice,” she continued. “And the power of narrative to actually change people’s perspectives is stronger than it’s ever been.”

    On the toss-up of a box office hit or flop, Vachon confessed she can’t predict the commercial outcome of her movies. She’s actually pleased streaming services can get movies to wider audiences nowadays. “When Todd Haynes’ Safe came out, it didn’t do anything at the box office. People weren’t interested in seeing it. The reviews were a little head-scratchy, like, ‘Not quite sure what he was going for here.’ But in the mid-late ’90s, I can’t remember exactly when, a newspaper [called] the Village Voice, which was incredibly influential at the time, did a survey of every single movie critic in America. What was the best movie in the ’90s? Safe was number one.”

    “Sometimes the answer is that people just didn’t want to see it. They just didn’t, and you can’t really put your finger on why it didn’t hit the zeitgeist in that way. Who knows why? It was either too late or too soon. And now, the good thing in my mind [is] we have access to things and [movies] can find their way later. People can discover movies [from] another time.”

    Mitchell asked Vachon at the end of the session: “Do you use AI?”

    Vachon replied: “Yes,” explaining that she often uses it for synopses — to spare a busy intern from doing the job — or getting restaurant recommendations, such as when she was at the “very expensive” Venice Film Festival with last year’s Late Fame and needed a cheap, nearby spot.

    The 2026 Edinburgh International Film Festival runs Aug. 13-19.

  • Qualcomm Snapdragon C Could Unlock the $300 Laptop. Here Are the Specs

    Qualcomm Snapdragon C Could Unlock the $300 Laptop. Here Are the Specs

    Budget electronics aren’t easy to find in 2026, but Qualcomm’s Snapdragon C might just make $300 laptops possible again with a mix of capable performance and strong efficiency. These new chips offer eight low-power cores, ample memory support, and strong connectivity features, which could make even the MacBook Neo look expensive.

    Qualcomm first hinted at the Snapdragon C’s potential in May, and we got our first hands-on time with a Snapdragon C laptop in June. Now we have more details about what the chip at the heart of this design can do.

    The Snapdragon C SoC includes a Qualcomm Kryo CPU with eight Arm cores. It has a single-core max boost frequency of 3GHz and an all-core boost clock of 2GHz. These are significantly lower than most modern processors, which often reach north of 5GHz, but this is a low-power, entry-level chip for similarly entry-level machines. Lower clock speeds also help maintain strong battery life.

    I Just Got My First Look at a Snapdragon C Laptop

    PCMag Logo

    I Just Got My First Look at a Snapdragon C Laptop

    Alongside the CPU cores, the Snapdragon C chip has an integrated Adreno GPU with a 900MHz boost clock; no core counts were listed. It also has a Qualcomm Hexagon NPU for lightweight AI workloads, though no TOPS figures have been provided, making it tricky to compare it to its contemporaries.

    To help cut costs and keep power consumption low, this chip is designed to work with LPDDR4X and LPDDR5X and up to 4,200 MT/s and 6,400 MT/s, respectively. That gives manufacturers a few options for memory, which will make up a large portion of any resulting device’s bill of materials. It can support up to 16GB, which is uncommon in these kinds of low-cost designs. If we do see $300 Snapdragon C laptops, expect 4-8GB of RAM at most, and likely 128GB or 256GB of storage.

    Snapdragon C vs Intel N250

    (Credit: Qualcomm)

    Indeed, the storage may well be UFS rather than NVMe SSD, too. Although the Snapdragon C does support PCIe 3 SSDs, it also supports UFS 2.2 and 3.1, which may be better suited to ultra-low-cost designs.

    Connectivity may be strong, though, with the Snapdragon C chip sporting native support for Wi-Fi 6 and 6E, Bluetooth 6.0, and USB 3.1 over both USB-C and USB-A. Indeed, the early laptops we saw came with a decent selection of USB ports, as well as a 3.5mm audio jack, HDMI output, SIM card slot, and microSD card reader.

    Recommended by Our Editors

    Qualcomm also released performance and efficiency numbers comparing the Snapdragon C to Intel’s N250, a similarly low-cost CPU with four cores and a 3.8GHz boost clock. They’re first-party numbers, so we’d like to test this ourselves before confirming, but Qualcomm claims a 24% advantage in multi-core workloads on GeekBench, and up to 44% faster in single-core workloads. It also claims to be more than twice as efficient, potentially unlocking some impressive battery life figures.

    All of this will depend on how the chip is implemented in eventual laptops, but we’re going to get designs from Asus, Acer, HP, and Lenovo in due time. Watch this space.

    About Our Expert

  • Gamers Are Building Steam Machines From Repurposed PS5 APUs

    Gamers Are Building Steam Machines From Repurposed PS5 APUs

    Gamers have found a novel way to build their own custom Steam Machines: Repurposed crypto-mining hardware based on the PS5 APU. The BC-250 board includes everything you need to get a gaming system up and running, and with SteamOS and a few tweaks, you can get Steam-Machine-like performance for a lot less, as Tom’s Hardware reports.

    The BC-250 is a slightly cut-down PS5 APU, with six Zen 2 cores (two of the original eight are disabled), and a 24 CU RDNA 2 graphics chip (16 of the original 40 are disabled), 16GB of shared GDDR5 memory, and support for a single NVMe PCIe 2 SSD. It has a DisplayPort 1.4 out (a real boon for an old mining rig), Gigabit Ethernet, and even a few USB-A ports for peripherals.

    Gamers have been hooking these things up to old SSDs and installing Linux on them, and the performance is pretty solid. Not like a Steam Machine out of the box, but very playable across a range of games at 1080p.

    The real fun, though, comes in tweaking the system to unlock its full potential. Modders have been able to unlock the two additional CPU cores, bringing the total to eight and massively improving overall performance. They’ve also managed to get the GPU’s full 40 CUs working, leading to a big increase in gaming performance.

    In Tom’s Hardware’s testing, with the full GPU available (though not the additional CPU cores), they were able to get performance very close to that of the real Steam Machine. And that system costs over $1,000 even when it’s in stock.

    BC-250 APUs on ebay.

    (Credit: eBay)

    In comparison, you can buy the BC-250 board by itself for around $300 on eBay, and there are even kits assembled with 3D-printed cases and compatible power supplies. You’ll usually need to provide your storage, which isn’t cheap in 2026, but an old PCIe 2.0 SSD isn’t going to be crazy money either.

    Recommended by Our Editors

    The whole thing is very much a DIY project build, as is making a Steam Machine in general. But this has a few extra wrinkles because, as a mining rig, it wasn’t designed for gaming, even if the underlying APU was. It’s likely that even with everything in place, you might run into compatibility issues with certain games, weird performance quirks, and potentially long load times due to poor storage.

    But if you like tweaking things, and especially if you want to build a very low-cost gaming PC in 2026, this might be one of the best ways to do it. Especially since you have a choice of SteamOS, Bazzite, or CatchyOS, offering a range of Linux platforms for affordable gaming.

    About Our Expert

  • Cinema Guild Takes North American Rights on Éric Baudelaire’s ‘For the Moon’ Ahead of New York Film Festival Launch (EXCLUSIVE)

    Cinema Guild Takes North American Rights on Éric Baudelaire’s ‘For the Moon’ Ahead of New York Film Festival Launch (EXCLUSIVE)

    Indie distributor Cinema Guild has acquired North American distribution rights for documentary “For The Moon” (“Car la Lune”), directed by Éric Baudelaire, that will premiere in the Currents section of the upcoming New York Film Festival.

    The film is a collaborative work created with five visually impaired students at the National Institute for the Young Blind in Paris. 

    Shot at the institute, “For the Moon” “moves between observational cinema and collective invention, questioning the very notion of the gaze and the construction of images when our perception of the world relies on senses other than sight,” according to the synopsis.

    The doc, created in collaboration with Mèï Jendoubi, Jade Ebara Ossebi, Iris Fontanella, Crystal Lau Chang, and Kadiatou Diakite, “gradually unfolds an expanded experience of perception and redefines the idea of the visible through those who do not ‘see,’ yet teach us how to see anew,” the synopsis points out. 

    U.S.-born Éric Baudelaire is an artist and filmmaker based in Paris whose previous features comprise “The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years Without Images” (2011);  “Letters to Max” (2014); and “A Flower in the Mouth” (2022). His works have circulated widely on the film festival circuit including at Locarno, Toronto, New York, and Rotterdam. 

    “Eric and his collaborators once again beautifully capture the joy of filmmaking in all its forms,” said Cinema Guild President Peter Kelly, in a statement. “We are honored to bring this work to theaters and beyond.” 

    Cinema Guild’s upcoming releases include Hong Sangsoo’s “The Day She Returns” and “Nowhere to Lay My Eyes.” Recent releases include several Otar Iosseliani restorations, Kamal Aljafari’s “With Hasan in Gaza,” and Aleksandre Koberidze’s “Dry Leaf.”