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Fresh new and unexpected twist on story of man who lost £566m in Bitcoin in rubbish dump

Fresh new and unexpected twist on story of man who lost £566m in Bitcoin in rubbish dump

Wales Online30-04-2025

Fresh new and unexpected twist on story of man who lost £566m in Bitcoin in rubbish dump
Would-be Bitcoin multi-millionaire James Howells, who has tried in vain for years to get access to the dump to find his lost treasure, has dubbed it 'a story the world is waiting to see'
James Howells at the Newport landfill site
(Image: WALES NEWS SERVICE )
An American production company has bought the rights to make a TV series about a Welsh dad who lost a fortune at a rubbish dump.
James Howells, from Newport, became one of the first miners of Bitcoin in 2009 after learning about the cryptocurrency from internet forums. The 39-year-old created 8,000 coins, which cost him almost nothing, and stored the access code on a 2.5-inch hard drive in a drawer at his home office. But in 2013 his then-partner mistakenly threw out the hard drive.

Since then, the value of the coins has rocketed to more than £566m and Howells has spent 12 years desperately trying to get the hard drive back from the Docksway landfill site where it is buried.

He recently took Newport council to the High Court in a "last resort" attempt to force an excavation but the claim was thrown out and an appeal failed. For our free daily briefing on the biggest issues facing the nation, sign up to the Wales Matters newsletter here
Los Angeles-based entertainment company Lebul has now acquired rights to develop Mr Howells' story into a "live-action tech thriller" TV series titled The Buried Bitcoin: The Real-Life Treasure Hunt of James Howells.
According to its website Lebul's head of scripted entertainment, Aaron Criswell, played "a key role" in films including The Wolf of Wall Street, Red Riding Hood and The Ides of March.
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The series is set to chronicle Mr Howells' mission to recover the hard drive while facing "numerous practical and bureaucratic obstacles".
"This isn't just content," said Lebul's Reese Van Allen. "It's a live-action tech thriller with nearly a billion dollars on the line, and Lebul is proud to bring it to the world."
Mr Howells said he was proud to confirm the deal with Lebul and described the project as "a story the world is waiting to see".

Earlier this year his court claim was thrown out by Judge Keyser KC, who said it would have "no realistic prospect" of success at trial.
Newport Council refused to allow an excavation on the basis of its environmental permit. It claimed the dig would have "a huge negative environmental impact on the surrounding area".
You can read more about Mr Howells' disastrous loss and his court battle here.
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What we know so far about Glasgow's newest culture hub
What we know so far about Glasgow's newest culture hub

Glasgow Times

time28 minutes ago

  • Glasgow Times

What we know so far about Glasgow's newest culture hub

Clydeside Containers, a food, drink, and culture venue, is set to launch at 61 Broomielaw this summer. The venue aims to become a new Glasgow city centre landmark and anticipates to attract high footfall due to its location next to the Riverboat Casino on the Broomielaw. 3D-renders of Clydeside Containers (Image: Supplied) Read more: Glasgow to host romantic candlelight concert based on hit Netflix show Constructed entirely from modified shipping containers, the venue will include an open-plan bar, six independent food vendors, a breakfast kitchen, and flexible space for public events, performances, and activations. The venue's retractable roof will shelter some of Glasgow's best street food, alongside a curated drinks menu featuring major spirits brands, beer, and affordable classics. Food vendors set to feature at the venue include the Crumbleologist, Pizza Cult, Café XO, Rabbit Food, Greek Street Yeeros, and Sub 126. Meanwhile, the final unit within the hub is set to become a rotating guest pitch, showcasing independent traders and pop-ups. Any operator looking for a chance to highlight their concepts at the venue are encouraged to apply online here: Clydeside Containers is also designed to become a cultural hub with community programming, live podcasts, acoustic sessions, and up to 12 larger live music events planned for every year. The venue has partnered with organisations such as the RNLI to become a Water Safety Ambassador, with more partnerships to be announced. 3D-renders of Clydeside Containers (Image: Supplied) Read more: New park could become 'destination' attraction for Glasgow families The team behind Clydeside Containers is made up of Glasgow-based hospitality operators and cultural creatives with experience in delivering successful venues and community-driven projects. It is led by the team behind venues like Max's Bar, La Cheetah Club, Mikaku, and Room 2. The venue will be open seven days a week, starting with breakfast from 7am on weekdays, with core hours running until 10pm. An official opening date is due to be announced soon, with a full launch expected in late summer.

I spent a night at the luxury hotel where Blake Lively and Ryan Reynolds stay on Wrexham visits
I spent a night at the luxury hotel where Blake Lively and Ryan Reynolds stay on Wrexham visits

Wales Online

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  • Wales Online

I spent a night at the luxury hotel where Blake Lively and Ryan Reynolds stay on Wrexham visits

Our community members are treated to special offers, promotions and adverts from us and our partners. You can check out at any time. More info The minute you drive through the entrance to Carden Park Hotel and Spa you know you're arriving somewhere special. Set in acres of lush grounds, as you wind along the tree-lined driveway with a beautfully manicured golfing green beside you, as well as water features and wildlife (we spotted a swan and her babies), any cares will be relinquished long before you reach the building itself. In fact it's so special that it's a favourite destination for Hollywood A-listers Ryan Reynolds and Blake Lively when they visit the football team he co-owns, Wrexham FC - and they can often be seen entertaining their famous friends there too. And why wouldn't they? 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Bruce Springsteen faces the end of America
Bruce Springsteen faces the end of America

New Statesman​

timean hour ago

  • New Statesman​

Bruce Springsteen faces the end of America

Photo montage by Gaetan Mariage / Alamy When I met Patti Smith soon after Donald Trump's first victory, she said she'd ended up next to him at various New York dinners over the years, back in the Seventies, when he was pitching Trump Towers. 'We were born in the same year, and I have to look at this person and think: all our hopes and dreams from childhood, going through the Sixties, everything we went through – and that's what came out of our generation. Him.' Smith's sing-song voice was in my head at Anfield Stadium in Liverpool on one of the final nights of Bruce Springsteen's Land of Hope and Dreams tour. Springsteen was born three years after Trump and will also have sat at many New York dinners with him. Those with half an eye on the news would be forgiven for thinking that Bruce has been lobbing disses at the president from the stage between his hits, but his latest show is heavier than that: a conscious recasting of two decades of his more politicised music, with a four-minute incitement to revolution in the middle. Here is a bit of what he says: 'The America I love and have sung to you about for so long, a beacon of hope for 250 years, is currently in the hands of a corrupt, incompetent and treasonous administration. Tonight we ask all of you who believe in democracy and the best of our American experiment to rise with us, raise your voices, stand with us against authoritarianism and let freedom ring. In America right now we have to organise at home, at work, peacefully in the street. We thank the British people for their support…' Clearly few in the US are speaking out like this on stage, and Trump has responded by calling Springsteen a 'dried-out prune of a rocker (his skin is all atrophied!)' and threatening some kind of mysterious action upon his return. Springsteen, the heartland rocker, was never exactly part of the counter-culture, though he did avoid Vietnam by doing the 'basic Sixties rag', as he put it, and acting crazy in his army induction. Yet he has become a true protest singer in his final act. He wears tweed and a tie these days, partly because he's 75 and partly, you suspect, to convey a moral seriousness. When I last saw him, two years ago, I thought I saw some of Joe Biden's easy energy. Well, Bruce still has his faculties. The feeling is: listen to the old man, he has something to say. Springsteen's late years have been something to behold. At some point in the last decade he stopped dyeing his hair and started to talk in a stylised, reedy, story-book voice. The image of the America he seemed to represent shifted back from Seventies Pittsburgh to Thirties California: the bare-armed steelworker became the Marlboro Man, and in 2019 there was a Cowboy album, Western Skies, with an accompanying film in which he was seen on horseback. His autobiography Born to Run revealed recent battles with depression. And it is depression you see tonight in Liverpool – in the wince, the twisted mouth, the accusing index finger; in his entreaty to Liverpool's fans to 'indulge' his sermon against the American administration, delivered night after night, to scatterings of applause. It is a depression I recognise in older American friends who fear they're going to the grave with everything they knew and loved about their country disappearing. But depression is also the stuff of life, of energy. Springsteen has been particularly angry since the early Noughties, since the second Bush administration, but this is his moment somehow, and his song of greedy bankers – 'Death to My Hometown' – is spat out with new meaning in 2025, an ominous abstraction. The father-to-son speech in 'Long Walk Home' feels different in this politically charged world: 'Your flag flying over the courthouse means certain things are set in stone/Who we are, what we'll do and what we won't'). A furious version of 'Rainmaker' ('Sometimes folks need to believe in something so bad, so bad, they'll hire a rainmaker') is dedicated to 'our dear leader'. As much as I admire Springsteen and seem to have followed him around and written about him for years, the Land of Hope and Dreams tour made me realise I hadn't fully known what he was for. When I saw him in Hyde Park in 2023, the first 200 yards of the crowd were given over to media wankers like me, with the paying fans at the back: every single person I had ever met in London was there, mildly pissed up and whirling about with looks of mutual congratulation. Springsteen had become, to the middle classes and above, a global symbol of right-thinking, summed up by his long stint on Broadway at $800 a ticket. His dull podcast with Barack Obama was the American version of The Rest Is Politics with Rory Stewart and Alastair Campbell: men saying stuff you want them to say, to confirm what you already think about stuff (Obama was in awe of Bruce). Subscribe to The New Statesman today from only £8.99 per month Subscribe Politics was easy for Springsteen when politics consisted of external events happening to innocent people, rather than something taking place on the level of psychology, in a movement of masses towards a demagogue. The job he adopted, back in the Seventies, was to set a particular kind of American life in its political and historical context: to tell people who they were, and why they mattered. His appeal as a rock star always lay less in his words than in how sincerely he embodied them: his extraordinary outward energy, his mirroring of his audience, his apparent concern with others over himself. After 9/11, someone apparently rolled down a window and told him, 'We need you now,' so he wrote his song 'The Rising' from the viewpoint of a doomed New York fireman ascending the tower. A recent BBC documentary revealed he'd donated £20,000 to the Northumberland and Durham Miners Support Group during the strikes of 1984 – rather as he donated ten grand to unemployed steelworkers in Pittsburgh the previous year. His self-made success and songs about freedom were the Republican dream, but when Reagan tapped him up for endorsements it was a right of passage for Springsteen as a Democrat rocker to rebuff them (I'm pretty sure they tried to play 'Born in the USA' at Trump rallies too). He is quoted as saying that the working-class American was facing a spiritual crisis, years ago: 'It's like he has nothing left to tie him into society any more. He's isolated from the government. Isolated from his job. Isolated from his family… to the point where nothing makes sense.' Now, Trump has taken Springsteen's people (the Republicans were doing so long before Trump), and the interior life of the working man that Springsteen made it his job to portray has been exploited by someone else. 'For 50 years, I've been an ambassador for this country and let me tell you that the America I was singing about is real,' he says, possessively, on stage. Springsteen, like Jon Bon Jovi, sees his fans as workers. The distances travelled, the money spent, the babysitters paid for: that's what the three-hour gigs are all about. It is part of the psyche of a certain generation of working-class American musician to consider themselves in a contract with the people who buy their records. It is not a particularly British thing – though time and again I am impressed by the commitment required to see these big shows, especially when so many punters are of an age where they would not longer, say, sleep in a tent: £250 a night for a hotel, no taxis to the stadium, a huge Ticketmaster crash that leaves hundreds of fans outside the venue fiddling with their QR codes while Bruce can be heard inside singing the opening lines of 'My Love Will Not Let You Down'. Yet the relationship between a rock star and his fan is not a co-dependency: the fan is having a night out, but the rock star needs the fan to survive. It is hard to underestimate the psychological shift Springsteen might be undergoing, in seeing the working men and women of America moving to a politics that is repellent to him. He has not played on American soil since Trump's re-election and it is likely that this kind of political commentary there will turn the 'Bruuuuuce' into the boo. A Springsteen tribute act in his native New Jersey was recently cancelled (the band offered to play other songs, and the venue said no). Last week, a young American band told me they won't speak out about the administration on stage because they're not all white and they're afraid of getting deported. It is the job of the powerful to do the protesting, and, like Pope Leo, Springsteen's previous good works will mean nothing if he doesn't call out the big nude emperor now. The Maga crowd will still come to see him, of course, and yell the 'woah' in 'Born to Run' just as loud as everyone else does – perhaps because music is bigger than politics, or perhaps because politics is now bigger than Bruce. Though his political speeches in Liverpool (it's UK 'heartland' only this tour: no London gigs) feel slightly out of step with a city that has its own problems, it seems fair enough for Springsteen to be telling the truth about America to a crowd who's enjoyed their romantic visions of the country via his music for 50 years. But their own personal communion is suspended tonight, and the song 'My City of Ruins' has nothing to do with 9/11 any more: 'Come on… rise up…' In the crowd, a very old man is sitting on someone's shoulders. Bruce Springsteen and the E Street Band play Anfield stadium, Liverpool, on 7 June 2025 [See also: Wes Anderson's sense of an ending] Related

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