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January 24, 2025

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Japan has an old proverb: “The nail that sticks up gets hammered down.” 

While in China, there is a saying, “The higher the tree, the stronger the wind.”

In a critical lens, both idioms illustrate harmony and unity – a vital essence of Asian culture and heritage. Nevertheless, the proverbs also shed light on a contrasting school of thought: conformity and crab mentality. 

Crab mentality refers to the situation one can explore by placing a crab or a collective of crabs in a bucket. A lone crab can inevitably crawl out of the bucket, however, a peculiar scenario would arise if one situates a group of crabs in a bucket. As a crab tries to crawl out, the other crabs will pull it back down. If it tries again, the others will rip its claws off to ensure it can never do so again. Ultimately, no crabs can go anywhere besides the stew pot you are brewing. 

Crab in a bucket scenario (Image source: Microsoft Designer)

Crab in a bucket scenario (Image source: Microsoft Designer)

It is naivety to assume human beings are a unified collective group. History, wars, and jealous conflicts are testaments to human being’s selfishness. Hence, it is arguable that we are inclined to place ourselves above others, even if it means at the expense of our peers. Despite being a precarious thought, this insight opens new dimensions to understanding crab mentality in the human context. 

“Remember your cousin Timmy in China? He has 15 years of experience. He’s nine!” 

Steven He’s dad (played by Steven He) exclaimed.

Terms like “Asian-level difficulty,” “Tiger Moms,” and “Asian parents” have become widely recognized through memes, movies, and other mainstream media, serving as a lens for global audiences to understand and appreciate aspects of Asian culture. Yet, one community still paints a negative view of the Asian community, even discriminating against its individuals – and the answer is ironically the Asian community itself.

The purpose of this work is not to discriminate or criticize any peculiar group but to foster intellectual discourse and encourage reflection on societal dynamics and individual perspectives. The chosen quote embodies this intention, capturing four intertwined facets.

Understanding the concept of face is crucial when discussing Asian culture and heritage. Face serves as a societal construct that governs social interactions and determines one’s standing within a social hierarchy. It is a dynamic measure that can be given, earned, taken away, or lost, often extending beyond the individual to include family and friends. For those unfamiliar with this concept, here’s a simplified explanation:

  • A wife who earns a promotion gains face for herself in front of her boss, while also bringing face to her husband and parents through her achievement. 
  • Conversely, a student who performs poorly on an exam loses face among peers, and their parents, in turn, lose face within their social and familial circles.

Despite being debatable, visualizing face as a form of currency provides an interesting lens through which to examine crab mentality in Asian communities. Much like any valuable asset, currency must be earned, safeguarded, and strategically utilized. Losses, even those meant for long-term gains, are approached with caution and calculation. Consequently, individuals strive to enhance their reputation while using criticism to diminish the face of others.

The concept of face is deeply tied to education and parenting, playing a role in fostering crab mentality. Asian children are often raised to prioritize self-achievement above personal aspirations, adhering to predetermined paths for the “greater good” of the family. This emphasis on collective reputation often comes at the cost of individual dreams, reinforcing a mindset where personal success is weighed against familial expectations.

Parenting can affect mindsets, a reflection on Tiger Moms (Image source: Mims On The Move)

Parenting can affect mindsets, a reflection on Tiger Moms (Image source: Mims On The Move)

Indeed this is a generalized claim that leaves certain minorities for speculation, but the interplay between face and sacrifice is crucial in understanding the environment Asian children grow up. Literary works like Truyện Kiều (Tales of Kieu), a renowned Vietnamese poem, highlight traditional ideals through terms like cầm-kỳ-thi-họa—the four virtues defining a successful woman. Similarly, the stereotype of Asian children being expected to become doctors or lawyers has become a familiar cultural reference in contemporary discourse.

No parents want their children to grow up as bad people. Hence, it would be injudicious to blame parents and the system for a negative societal mentality. Yet, there are certain repercussions to sacrificing a child’s dream in return for a destined path to greatness. This leads to the third facet of crab mentality in Asian communities: A ramification for every child following the same success path means comparison and competition. 

Let’s revisit Steven He’s joke: Timmy is used as a benchmark for comparison. The only way for Steven to save face is by climbing the same ladder and offering Timmy a similar spiteful insult. This vicious cycle of comparison fuels crab mentality within families, peers, and the broader community. True to reality, Asian students often spend countless hours in extra classes and clubs to meet rigorous expectations. Tiger moms push their children to excel in every class as if their lives depend on it. There is no middle ground—you’re either a winner or a failure.

This brings us to the final facet: the absence of praise and apologies. Ironically, according to BBC and Vocal Media, Asia is home to some of the politest people in the world, with countries like Japan and Thailand leading the way. Despite this, hierarchy plays a pivotal role in relationship dynamics. To save face, many Asian parents rarely offer praise to their children. Astonishingly, when it comes to apologies, parents often go to great lengths to defend their actions rather than acknowledge their mistakes. 

A similar response can be seen in Asian workplaces, where higher-ups are more inclined to criticize and are far out of reach from their team members. Individuals will praise their peers and colleagues in hopes of receiving similar treatment instead of actual commemoration. Workers often segregate themselves into teams of interest to promote one another instead of collaborating as a group. These groups create outcasts who, despite their talents, are looked down upon and have their accomplishments taken or snuffed out by negative criticisms. This reluctance to give praise and apologize reinforces a mindset of self-achievement above all else. At first glance, mentality such as these are not wrong, but they leave cracks for detrimental thoughts of arrogance and selfishness – ultimately sustaining the crab mentality.

While this article explores the crab mentality within the Asian community, it is important to recognize that this negative mindset is not exclusive to any one group—it exists everywhere. The concepts of face, self-achievement, competitiveness, community, and sacrifice are what make Asian heritage unique and beautiful. This work argues that these cultural elements are not the root cause of the crab mentality, but rather, insights into why such a mindset may emerge. 

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29-Year-Old Wedding Guitarist Made A Pandemic Pivot To Real Estate Earns $245K A Year

The best part is that playing weddings “doesn’t even feel like working. We’re just partying.” Moses Lin told CNBC Make It’s Millennial Money series.

Early in Lin’s career in 2016, he played at a coffee shop for three hours and got $3 tips. Today, his work takes him from New York to Hawaii, even to Cancun, and earns $175,000 before tips.

In the last two years, Lin has invested most of his wedding earnings into real estate.

Before becoming a real estate investor, Lin left college with just one semester left to pursue music full-time back in 2017. Several months later, Disney saw his YouTube videos and hired him to play in Disneyland’s hotels and restaurants. He took the job and decided he was never going back to college.

In the same year, Lin played a friend’s wedding as a favor and enjoyed it. He then charged $250 for his first wedding booking. After learning that wedding musician rates are $1200, he doubled his prices. Despite raising his rates, clients kept coming. Now, he charges $4,000 to $6,000 per wedding, depending on when the couple wants him to play. 

Lin became interested in real estate investing in 2014 and bought his first property in May 2020 as a “pandemic pivot” when Covid restrictions slowed his wedding gigs. He found a 4-bedroom house for $120,000 online and put down 20% plus $10,000 to renovate. His wedding earnings helped him buy a $40,000 home in Little Rock, including closing costs.

He rented the house for $1,425 and quickly found a tenant. He liked the process so much that he decided to buy a second property before the end of the year.

Today, Lin owns and rents out four properties in Little Rock. Lin didn’t turn a profit on his rental properties in 2021, but is in it for the long haul.

His goal with real estate is to get to a point where the passive income from his rentals pays all of his bills.

Lin pays a property manager to handle things on the ground, “so I’m able to focus 100% of my attention on weddings [and] on music, and real estate just makes money on the side.” he tells CNBC, “My whole master business plan is make money in weddings, dump it into real estate and let that grow itself.”

CONNECT WITH MOSES LIN

Instagram: instagram.com/moseslinmusic
Website: moseslinmusic.com

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GGV Capital’s Jenny Lee: From Jet Engineer To One Of World’s Best Venture Capitalists

Recognized as one of the world’s top 100 venture capitalists by Forbes for 11 years in a row, Singaporean venture capitalist Jenny Lee stayed in her hometown to raise money for four new funds launched by her firm GGV Capital at the height of the pandemic in 2020. 

For four months, according to Forbes, the veteran VC barely slept as she made 250 zoom calls and remotely raised $2.5 billion from investors around the world. Lee and her team raised the most capital in GGV’s 22-year history, boosting assets by 27% to $9.2 billion. 

Long before she became one of Asia’s most powerful businesswomen, she earned a bachelor’s and master’s in Electrical Engineering at Cornell in 1995. She became an aviation engineer at Singapore’s ST Aerospace, where she modified F-16 fighter planes.

In 2001, the company sent Lee to attend Northwestern University’s Kellogg School of Management where she earned an M.B.A., but she had wanted to be a venture capitalist for a long time, so she quit her job that same year to follow her hidden passion.

Lee paid ST Aerospace $300,000 for not finishing the 11-year scholarship bond that paid for her bachelor’s, master’s, and M.B.A., but she has no regrets. For her, it was the best move.

She got her start as a venture capitalist at Morgan Stanley and Jafco Asia, but she made her name in China after joining GGV to create its office there in 2005. One of Lee’s more successful discoveries was the mobile phone maker Xiaomi before it had sold its first handphone.

Today, Lee is one of GGV’s top-tier managing partners along with Singaporean Jixun Foo, an early Grab investor. Hans Tung, who’s been on the Midas List 11 times. And VCs who have U.S. investment, industrial, and entrepreneurial expertise.

GGV’s 354 firms are balanced between Asia-Pacific and the Americas (GGV claims its investments include more than 85 unicorns). With the U.S. having more investments, at roughly 130, and 77 in China.

The company’s assets under management have expanded more than 50 times since its founding in 2000.

Image Source: Netflix

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Netflix’s Star-studded Series Avatar: The Last Airbender Includes George Takei, Utkarsh Ambudkar, Arden Cho, Danny Pudi

More actors have joined the cast of Netflix’s live-action version of “Avatar: The Last Airbender,” including George Takei, Utkarsh Ambudkar from the sitcom “Ghosts,” Arden Cho from Partner Tracks, and Danny Pudi from the comedy series “Mythic Quest.”

Avatar: The Last Airbender unites the “four nations”: Water Tribe, Earth Kingdom, Fire Nation, and Air Nomads with a diverse representation of Asian and Indigenous talent.

Star Trek’s Takei voices Koh, an ancient predatory spirit. Cho, Ambudkar, and Pudi all portray Earth Kingdom characters, with Cho as June, a vicious bounty hunter; Ambudkar as King Bumi, the elderly and mercurial king of Omashu; and Pudi as the mechanist, an eccentric inventor and engineer raising his kid in a war-torn country.

Cast members include Gordon Cormier as Aang, Kiawentiio as Katara, Ian Ousley as Sokka, Dallas Liu as Zuko, Elizabeth Yu as Azula, Paul Sun-Hyung Lee as Iroh, and Daniel Dae Kim as Fire Lord Ozai.

Executive produced by showrunner Albert Kim, Rideback’s Dan Lin and Lindsey Liberatore, and Michael Goi, “Avatar: The Last Airbender” is a live-action version of the animated Nickelodeon series of the same name. Directors include Goi, co-executive producer Roseanne Liang, Jabbar Raisani, and Jet Wilkinson.

Kim tells Netflix that the live-action adaptation creates “a chance to showcase Asian and Indigenous characters as living, breathing people. Not just in a cartoon, but in a world that truly exists, very similar to the one we live in.”

 

Image Source: CAA

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Constance Wu On Surviving Twitter, Producer’s Sexual Assault On Her New Memoir

Constance Wu is opening up about her time on “Fresh Off the Boat” and saying that a senior producer of the 2015–2020 ABC sitcom sexually harassed her.

She tells The New York Times about a producer’s “controlling behaviors” in her memoir Making a Scene. “Fresh Off the Boat was my first-ever TV show. I was thrown into this world,” she added, “I don’t have parents in the industry. And because I was 30, people thought I knew what I was doing. It made me paranoid and embarrassed.” 

Wu also told The Atlantic she hadn’t spoken about this before out of fear of repercussions. “I kept my mouth shut for a really long time about a lot of sexual harassment and intimidation that I received the first two seasons of the show,” Wu said. 

Once the show got successful after two seasons, she was able to say “no” to the producer’s harassment and intimidation. And, so she thought: ‘You know what? I handled it, nobody has to know, I don’t have to stain this Asian American producer’s reputation. I don’t have to stain the reputation of the show.”

The actress addressed the infamous tweet in spring 2019 when ABC renewed another season of the sitcom. “I was punished for being ungrateful,” she said. Wu publicly apologized, but she received backlash. 

She then sought psychiatric help and quit social media for three years. Wu had started writing a book back in 2016 but had lost momentum.

In the fall of 2019, she went back to work at “Fresh Off the Boat”, the final season, where she apologized to her colleagues in person.

The next year, the world stopped due to the pandemic. And she finished the book she was writing. In her memoir, Wu talks about how she felt alone, how racism affected her career, and how she’s moving on.

“I try not to make myself out to be a hero,” Ms. Wu told NYT. “I try to make myself out to be a pretty normal person who has flaws like everybody else. I’m not really into the actor memoir where it’s like, ‘I overcame the odds, and I’m this person who was humble and just kept working. I was the victim.’ It’s less black and white than simply victim and perpetrator.”