
Cheers to 2025
Every New Year holds promise, as though it is any different from the turn of
“If I can’t have it, neither can you.”
By the time the noise settles, nothing has changed except the exhaustion. The shells are still slick. The metal still smells of salt and rust. The rim is still empty.
In the Open Bucket
An open bucket, a restless climb, and the pull from below.
The bucket is wide open to the air.
Its rim is only a few inches above the restless pile, and still not one crab leaves.
At the bottom, they clatter over one another in a wet, scraping churn of shell and claw. Legs click against tin. The metal walls ring with the small hard noise of bodies testing for escape. One crab finds the curve of the bucket, lifts itself, and begins the climb. It moves with a fierce, awkward determination, gripping the rusted side, hauling its weight inch by inch, its shell slick with brine, its claws searching for purchase.
For a moment, it looks almost free.

Its body rises above the others. The pale underside clears the crowd. One claw hooks over the rim. Beyond it is open light, a strip of sky, a different world just beyond the edge.
Then the movement below changes.
The crabs underneath do not scatter. They do not make room. They surge upward. A claw catches a leg. Another grips the shell. Another snags the climber from behind. What had seemed like a ladder becomes a trap of living hooks. The crab jerks, strains, clings. The bucket rattles. Water flicks from the shells. For a second it hangs there, caught between escape and the grasping mass below.
Then it is dragged back.
It falls into the pile with a hard, slippery collapse, swallowed again by the same tangle of claws and backs and shining eyes.
Another tries.
Again the lift, the scramble, the trembling reach toward the rim. Again the sudden grasp from below. Again the pulling, the tugging, the blind refusal to let one body rise above the rest. Every climb disturbs the heap; every nearing of the edge summons a frenzy of claws. No single crab stays high for long. The ones beneath drag at whatever is above them. The one above kicks desperately against those beneath. Upward motion lasts only a moment before it is turned into a struggle, and the struggle into a fall.
The bucket remains open. The way out is there the entire time.
Yet inside it, escape becomes a brief spectacle repeated over and over: one crab reaching, several others fastening on, the whole bucket shuddering, and all of them ending where they began—crowded together at the bottom, moving, climbing, pulling, failing.
A close-up of the hard face inside the scramble.
“If I can’t have it, neither can you.”
By the time the noise settles, nothing has changed except the exhaustion. The shells are still slick
In the Open Bucket
An open bucket, a restless climb, and the pull from below.
The bucket is wide open to the air.
Its rim is only a few inches above the restless pile, and still not one crab leaves.
At the bottom, they clatter over one another in a wet, scraping churn of shell and claw. Legs click against tin. The metal walls ring with the small hard noise of bodies testing for escape. One crab finds the curve of the bucket, lifts itself, and begins the climb. It moves with a fierce, awkward determination, gripping the rusted side, hauling its weight inch by inch, its shell slick with brine, its claws searching for purchase.
For a moment, it looks almost free.
Its body rises above the others. The pale underside clears the crowd. One claw hooks over the rim. Beyond it is open light, a strip of sky, a different world just beyond the edge.
Then the movement below changes.
The crabs underneath do not scatter. They do not make room. They surge upward. A claw catches a leg. Another grips the shell. Another snags the climber from behind. What had seemed like a ladder becomes a trap of living hooks. The crab jerks, strains, clings. The bucket rattles. Water flicks from the shells. For a second it hangs there, caught between escape and the grasping mass below.
Then it is dragged back.
It falls into the pile with a hard, slippery collapse, swallowed again by the same tangle of claws and backs and shining eyes.
Another tries.
Again the lift, the scramble, the trembling reach toward the rim. Again the sudden grasp from below. Again the pulling, the tugging, the blind refusal to let one body rise above the rest. Every climb disturbs the heap; every nearing of the edge summons a frenzy of claws. No single crab stays high for long. The ones beneath drag at whatever is above them. The one above kicks desperately against those beneath. Upward motion lasts only a moment before it is turned into a struggle, and the struggle into a fall.
The bucket remains open. The way out is there the entire time.
Yet inside it, escape becomes a brief spectacle repeated over and over: one crab reaching, several others fastening on, the whole bucket shuddering, and all of them ending where they began—crowded together at the bottom, moving, climbing, pulling, failing.
A close-up of the hard face inside the scramble.
“If I can’t have it, neither can you.”
By the time the noise settles, nothing has changed except the exhaustion. The shells are still slick. The metal still smells of salt and rust. The rim is still empty.
And in the open bucket, with freedom hanging plainly overhead, every crab helps make sure that none gets out.
. The metal still smells of salt and rust. The rim is still empty.
And in the open bucket, with freedom hanging plainly overhead, every crab helps make sure that none gets out.

Every New Year holds promise, as though it is any different from the turn of

There is a category of question that polite intellectual company tends to avoid: the kind that, if you pull the thread long enough, begins to unravel not just a specific mystery but the entire fabric of what we think we know about human history. The Pyramids of Giza are that thread. They have been standing in the Egyptian desert for roughly 4,500 years.

Let me take you somewhere. Not to the bottom of the Atlantic Ocean — at least, not yet. First, to Lagos. Nigeria. Sometime in the late 1980s. A teenager who should probably have been revising for exams is instead sitting cross-legged on the floor of a library, holding a book that is older than most of the furniture around it, reading about a city beneath the sea.

This is my story of discovering a film that challenged everything I thought I knew about the gift of time, every pulsating detail documented to inspire you to leap beyond your limitations and appreciate the beauty of growing old.
This story explores the paradox of immortality and why a movie from 2015 still resonates so deeply with audiences today.
I hope you find it worth your time.

This is my story, every pulsating detail documented to inspire you to question what you know and leap beyond your limitations.
This story is about the audacity of belief, the power of a well-told lie, and the journey to unlearn the things that poisoned my teenage mind.
I hope you find it worth your time.

There is a category of question that polite intellectual company tends to avoid: the kind that, if you pull the thread long enough, begins to unravel not just a specific mystery but the entire fabric of what we think we know about human history. The Pyramids of Giza are that thread. They have been standing in the Egyptian desert for roughly 4,500 years.

There is a peculiar kind of madness that does not arrive with hallucinations or trembling hands. It arrives quietly. At two in the morning. In a small desert town in New Mexico. It sounds like an idling diesel engine somewhere in the distance — except there is no engine. It sounds like a bass note being held by an invisible orchestra — except there is no orchestra.

Let me confess something. Long before LinkedIn articles, podcasts, and leadership keynotes became my world, I was a teenager sneaking to the library

In an era that increasingly demands hyper-specialization, Akin Akingbogun stands out as a refreshing anomaly. He is a man who refuses to be confined to a single box.

There is a particular kind of silence that falls on a man when the phone stops ringing, the proposals go unanswered, and the diary that once groaned under the weight of appointments sits quietly — almost mockingly — open. If you have ever been there, you know it.

Let me tell you something uncomfortable: the most generous person you know — the one who volunteers every weekend, donates quietly, never asks for anything in return — is probably getting something out of it. Not money. Maybe not even recognition. But something.

Adaeze had been awake since 4 a.m.
Not because she was anxious — though she was — but because this trip felt different. After eighteen months of follow-ups, phone calls, and PowerPoint presentations polished to a mirror shine, the deal was finally ready to close. An investor meeting in Abuja. A partnership that would change the trajectory of her small but gutsy consulting firm. She had triple-checked her flight, her documents, her outfit. She had prayed. She was ready.

When he told his father, Dare’s first response was a sigh. Then: “I told you to practice more. I told you months ago. You don’t listen. You never listen.”
There was no “I’m sorry, son.” No pause to let the boy simply feel the loss of the thing he wanted. Just a swift, seamless pivot to what Temi had done wrong — and, by extension, how Temi’s failure was evidence of Temi’s failure to take his father’s wisdom seriously.

I want to tell you something that took me embarrassingly long to learn. Not because the idea is complicated — it is not. But because it cuts against something deeply wired in us, something we are rarely honest enough to admit.
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1 thought on “The Mentality of the Crab”
An interesting depiction of how some people view achieving success