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Home»Cryptocurrency & Free Speech Finance»Bitcoin (BTC) faces an ‘identity crisis’ and DeFi devs need to stop acting like tech bros
Cryptocurrency & Free Speech Finance

Bitcoin (BTC) faces an ‘identity crisis’ and DeFi devs need to stop acting like tech bros

News RoomBy News Room3 months agoNo Comments3 Mins Read3 Views
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Bitcoin (BTC) faces an ‘identity crisis’ and DeFi devs need to stop acting like tech bros
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The cryptocurrency market is enduring a sharp narrative shift, but the real growth is happening away from the spotlight, according to the co-founder of Solana-native yield protocol Solstice Labs.

Ben Nadareski argued that the industry’s biggest asset is experiencing structural confusion in an interview with CoinDesk onvTuesday.

“Bitcoin BTC$67,641.17 is going through a bit of an identity crisis right now,” Nadareski said. “It’s not the store of value, like gold, to the masses. It’s also not the speculative investment vehicle that everybody was really attracted to. While bitcoin and the core assets go through their identity crisis, quiet players in the DeFi industry are growing rapidly.”

Decentralized finance’s “silent” growth is heavily challenged by ongoing exploits, according to Nadareski, a flaw he blamed on developers frequently building innovative code while completely ignoring the core responsibilities of managing capital.

“They don’t quite realize you’re now also a financial asset manager if you’re working in DeFi,” Nadareski stated. “That doesn’t mean you’re in tech. That means you’re building tech in financing, which adds two aspects of risk to the market.”

OpenZeppelin co-founder and former CTO Manuel Aráoz said “DeFi is not safe anymore” last month noting that AI coding agents have made smart contracts fatally vulnerable.

Drift Protocol and Kelp Dao were hacked by North Korean cybercriminals in April in two exploits that drained nearly $600 million from the two lending crypto pools. In February 2025, Bybit suffered a $1.46 billion attack, described as the biggest hack of all time.

Nadareski said that to bridge this trust gap, DeFi platforms must hold themselves to traditional banking standards, implementing real-time proof of reserves and automated multi-signature time locks rather than relying on unproven code layers.

DeFi principles

The entry of legacy banking giants does not mean crypto natives have lost the space, Nadareski said. Instead, he pointed to market structure where Wall Street uses faster digital rails for its operational back offices, while decentralized platforms preserve direct user access.

“The convergence is already among us. The institutions have been coming for years and now they are here,” he highlighted.

Winning platforms will be those that accommodate large financial entities while maintaining low fees and equal access for everyday retail users. Since its launch, Solstice has scaled past $500 million in total value locked (TVL) from over 40 institutional allocators, including Galaxy Digital and Susquehanna.

Solstice has also unveiled a strategic partnership with big-data analytics platform ApexE3, which is backed by Consensys and Tensorix.

Treating decentralized networks as a financial utility rather than a tech playground is the only path forward, according to Nasareski.

“Expect more out of DeFi than you do TradFi,” he concluded. “The average retail end-user anywhere in the world should expect 10 times more of an output of transparency, trust, and optimization of their capital.”

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In 1964 it found a home in London’s Covent Garden – the Catholic church purchased an old tomato warehouse on King Street and gifted it “to the people of Africa in perpetuity”. When my parents emigrated to the United Kingdom in the mid-1960s, The Africa Centre was one of the very few places where people like them could find space to negotiate the cultural and social differences between them and the unfamiliar wider world. This process of cultural pollination process worked both ways, mind. Intellectuals, activists and dissidents from across the continent spoke at King Street about the political challenges faced by post-colonial African countries, educating curious audiences who wanted to learn more about a part of the world that for many was at best a construct of the imagination, if even that. For two days last June, the London Archives presented to the public a cross-section of documents, photographs and ephemera from its Africa Centre Collection. The archives were a revealing and at times startling record of political and social openness and curiosity. On one table, a poster from 1968 announced a talk about The Future of the Portuguese Territories – long before Angola and Mozambique became proxy battlegrounds for the Cold War between the Soviets and the West. From 1970, an invitation to a talk by Mrs Lydia Osiyemi, “sociology student and mother”, about The African mother and child in Britain. Judging from the poster (left), I fancy that Mrs Osiyemi’s talk was proposing African solutions to a dilemma that remains very real today – to London’s new arrivals and veterans alike. And then, from the early 1990s, in the centre’s guest book (below right), a tribute from a vanguard of democracy. “I pay tribute to those who founded this institution, and those who run it,” the scrawly script read. “This is …  a major cultural shop-window for Africa of which every African should be proud.” The author: “M.K.O. Abiola of Africa.” The Nigeria I grew up in the 1980s and 1990s, after my parents moved back there for a while, was defined by the ever-present cloud of military dictatorship. I can say that now, in hindsight; it’s strange how one normalises the abnormal when we have nothing to compare it against. When Abiola, a business magnate and politician, ran for president in Nigeria in 1993 for a short while it seemed that the country would escape its history of ethnic strife. But then the military snatched victory from him and imprisoned him, extending their malign grip on the country for another half decade. The BAFTA-winning My Father’s Son is set against the backdrop of that very period. A generation before this, the Africa at the Pictures film festival curated by the centre had offered London similar context to political and social concerns across the continent. Abiola’s entry reminded me that it was in the London, on King Street, that I first began to think more clearly about the right to free expression and what happens when this is curtailed. When Chinua Achebe’s Anthills of the Savannah, an acerbic observation on life under military dictatorship in a fictional west African country, was shortlisted for the Booker in 1987 it couldn’t be bought in Nigeria. I got hold of my copy in London – in the Africa Centre’s cramped and musty bookshop, stuffed with books on and from the continent. It wasn’t all high-minded intellectualism on King Street. The Africa Centre was home to one of the few restaurants in London featuring cuisine from here and there across the continent – Mauritian lamb curry, Algerian couscous, fried plantain and boiled yam. Cost? Dishes were, according to a caption, “between 20p and £3”. Happy days. (An early menu is shown below left). In 2012, the Africa Centre left Covent Garden. Maintaining the Grade II-listed building proved too expensive, some said. Perhaps more to the point, it was no longer a good fit for the commercialised ambience that had sprung up around Covent Garden. The historic building on King Street was sold, and with the support of the Mayor of London and the Arts Council, the Centre relocated itself across the river in 2022, to new premises in Southwark. The last time I was there, in the summer of 2023, was to see a fascinating multi-floor exhibition about Nigeria’s Fuji music. Once again, I was surprised and delighted to learn in the Africa Centre something new about my childhood home, so very far away from it. London of the 1980s and 1990s was nothing like the crucible of cultures that it is today. While migrant communities were not quite silenced, they certainly did not have the right to a voice in the public sphere such as they do today. 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