'I learnt my lesson': Jackson Wang recounts losing '30% to 40%' of income after lending money to someone, Entertainment News
But it seems that his good nature has also resulted in him losing a large sum of money.
Speaking on YouTube talk show Figuring Out with Raj Shamani released on Tuesday (July 1), the 31-year-old Hong Kong-born pop star, who was in Mumbai in June to promote his upcoming album Magic Man 2, revealed to the Indian entrepreneur-influencer about his predicament.
Jackson, who is a member of South Korean boyband Got7, was asked how he spent his money, to which he responded: "I just put it in the [bank] account and probably more than half of that I just give to my mum."
He added that he spends most of his money on production work rather than splurging on luxuries.
When asked what was the most expensive item he had bought for himself, he told Raj that money he lent someone was "the most expensive thing" compared to anything he had bought.
Jackson then explained he had once loaned money to someone whose name he didn't reveal, and the money "vanished".
"The relation's f***ed up and the money is gone, so I learnt my lesson," he said.
He recounted: "I lent someone [money] for their family... I can't really say here, I got to respect that, whatever it is, and it turns out it's not for family. It was at the time, like, 30 to 40 per cent of my income."
Forbes reported in 2024 that Jackson generated approximately US$115 million (S$146 million) in revenue in 2023 from businesses that he backs, including performances and design.
Jackson added during the talk show that he had since learnt that "it's life" and he had "accepted everything and moved on".
He was also asked if he would still lend money to a friend in the future.
"It depends on the level of trust I have in this person but usually I don't suggest. I would say 'Yes, I would lend you [money], but I think our relationship might end here so let's not hurt each other'," Jackson shared.
He also said that he had considered lending money without expecting it to be returned and to continue having a friendship with the person, but he believed it would be "awkward". A song written for his parents in upcoming album
Jackson also got candid about his parents during the show, where he revealed that they are his biggest idols in life.
He said: "I am not from a middle-class family. When my mum first moved from Shanghai to Hong Kong, and my dad moved from Guangzhou to Hong Kong to become the head coach of Team Hong Kong (Fencing), they didn't have s***.
"I saw my mum and dad doing shifts, especially my mum. I saw she did a lot of shifts every day, for three to four different jobs and she would come home, sleep for a few hours... She would provide all the stuff for us, but she wouldn't take anything for herself. She would let us eat first and eat the leftovers, but as a kid, what did I know?"
Jackson also recounted how his mum would come home every day from work and laid on the floor before getting up to take care of him and his elder brother's daily needs, because his father was mostly travelling for work.
He added: "She wanted to save up everything so that my brother and I [could] live in a healthy environment because she also knows that [if we live in] a healthy environment, we will also have healthy friends. Even later on, my mum thought that even if we were very bad at studying, we could still have some place to live with her.
"She saved up 30 years of her salary to get a house for my brother and I, thinking that in case we failed in our life, [and] she is not going to be here forever... at least we still have this house to live in."
He shared that he only found this out from his parents in recently and his mum would always get "so emotional" when talking about it.
"That's why I'm a mama's boy. It's like we always lived under their wing, but now I feel like our wings have the capacity and I can work now, so I want to always protect them."
Jackson also revealed he wrote a song for his parents in his album, believed to be the track named Sophie Ricky, after his parents' names.
Magic Man 2 is set to release on July 18.
[[nid:719518]]
yeo.shuhui@asiaone.com
No part of this article can be reproduced without permission from AsiaOne.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Asia News Network
a day ago
- Asia News Network
‘The Jakarta Salon': Remembering a home that nurtured Indonesian maestros
July 4, 2025 JAKARTA – Today, Indonesian maestros such as Affandi, Ahmad Sadali, Hendra Gunawan and Srihadi Soedarsono are celebrated as forefathers of Indonesian modernism, their works revered both at home and on the global stage. But once, they were struggling young artists, striving to make their mark in the newly independent Indonesia. In those formative years, many found themselves drawn to Jl. Pasuruan No. 3 in Menteng, Central Jakarta, the home of Alexander and Caecilia Papadimitriou, where they would sip coffee, tea or whiskey, nibble on pisang goreng, exchange ideas and develop their artistic paths. There, they found not just friendship, but genuine support; the kind that helped them grow, persevere and realize their full potential. These precious, yet little-known stories are now revealed in the newly published coffee-table book The Jakarta Salon: The Patronage of the Papadimitrious – Shaping Modern Art in Indonesia. Authored by Hong Kong-based art specialist Rishika Assomull, the 293-page volume was launched at the very place where it all began: the Papadimitrious residence. A house that made history 'Alexander and Caecilia Papadimitriou's home was not merely a place to house themselves and their five children,' Assomull said during a special interview with The Jakarta Post at the book launch on June 16. 'During the second half of the 20th century, this was the nucleus of the Indonesian art world, a space that helped transform overlooked, hungering artists into globally revered modern masters.' Assomull was first introduced to Caecilia Papadimitriou during a visit to Jakarta in 2014 by her colleagues at Sotheby's Singapore. She was immediately drawn in, not only by the depth of the family's private art collection, but also by Caecilia's vivid recollections of her late husband's friendships with some of Indonesia's most celebrated artists. Two years later, their paths crossed again at an art fair in Singapore, where Assomull casually remarked that someone ought to write a book about Alexander Papadimitriou's role in shaping Indonesian modern art. 'Alex has already passed away, and now these memories are all in your mind,' she told Caecilia. 'They're not written out. It's a chapter in Indonesian art history that's just missing. And it's an important chapter.' To her surprise, Caecilia immediately replied: 'Why don't you write my book?' Traces of history: Rishika Assomull poses with her new book, The Jakarta Salon: The Patronage of the Papadimitrious – Shaping Modern Art in Indonesia, during its launch on June 16 at the Papadimitriou family residence on Jl. Pasuruan in Menteng, Jakarta. JP/Sylviana Hamdani (JP/Sylviana Hamdani) A nine-year labor of love Assomull took on the task, beginning a nine-year journey of unfolding memories, intimate conversations and careful archival work. She spoke with Caecilia, the Papadimitriou children, family friends and artists whose lives had touched theirs. The result is a deeply personal and finely layered volume, a testament to a couple whose quiet conviction and discerning eye helped shape the trajectory of Indonesian modernism. Assomull, now senior director at Villepin Art in Hong Kong, was definitely the right person to write the book. Having grown up in Jakarta and spent over a decade at Sotheby's in New York and Singapore, she brings a deep understanding of the Southeast Asian, and particularly Indonesian, art scene. She also writes evocatively, especially in the section that traces the family lineages of Alexander and Caecilia. What could have been a dry and complex genealogy unfolds instead with the ease and intrigue of an adventure novel. The narrative opens with a vivid scene: Alexander's mother going into early labor deep in the forests of Pulau Rimau, South Sumatra. From there, the story gradually expands, weaving in details about his father, the family's circumstances and the broader historical landscape of the time. These background narratives, though far-reaching at first glance, ultimately shed light on Alexander's character and later endeavors. Black-and-white photographs further enrich these passages, bringing both the stories and the era to life. Where art and life intertwined Assomull's rich, evocative diction adds texture throughout the book. Her portrayal of Alexander and Caecilia's first meeting is especially charming, leaving readers smiling and perhaps recalling their own romantic memories. Their contrasting personalities, as revealed in the book, complemented each other perfectly and formed the foundation of a resilient partnership that endured nearly five decades. In the following chapters, The Jakarta Salon traces the Papadimitrious' enduring friendships with Indonesian artists and their unwavering support. Alexander's connection to many of Indonesia's modern masters began in the early 1950s, while he was working at the Indonesian Embassy in Rio de Janeiro. Assigned to curate the country's presentation at the second Bienal Internacional de São Paulo (Dec. 13, 1953-Feb. 26, 1954), he hosted several Indonesian artists, including Affandi, at his home, forging bonds that would last a lifetime. After settling in Jakarta with Caecilia, their home on Jl. Pasuruan became a gathering place for artists, collectors and curious visitors. As the book recalls, Caecilia always cooked more than enough for their family of seven, knowing guests would likely arrive unannounced. 'Artists of all ages came by,' recalled Constantin Papadimitriou, the couple's third child, during the book launch. 'His friends would visit, too. The flow of guests was truly nonstop.' Alexander, quiet and generous, often bought works from artist friends, especially when they needed help covering children's school fees, medical bills or simply getting by. He also invited collectors into the home, nudging their interest toward Indonesian modern art and helping to grow the market. 'What moved me most about the book were the deeply personal things Papi did for the artists,' said filmmaker Nia Dinata, wife of Constantin. 'He stood by them, believed in them and helped them through some of the hardest moments in their lives.' The book recalls how Alexander encouraged Srihadi Soedarsono to keep painting and continue teaching at the Bandung Institute of Technology (ITB), even as he faced intense criticism in the 1960s. It also tells the story of Hendra Gunawan, who, after his release from prison, turned to Alexander for guidance. In response, Alexander organized a solo exhibition in Jakarta in 1980, where all of Hendra's paintings were sold. The proceeds enabled the artist to move to Bali and live out his final years in peace. Friend in me: A section of the book is devoted to the friendship between Indonesian maestro Affandi and Alexander Papadimitriou. Featured on these pages are a photograph of the two friends, a handwritten letter from Affandi to Papadimitriou dated Aug. 7, 1965, and a catalogue from Affandi's 1966 exhibition in Rio de Janeiro. JP/Sylviana Hamdani (JP/Sylviana Hamdani) A final gift The book is beautifully illustrated with photographs of exquisite artworks by Indonesian maestros. It also includes impromptu sketches left by artists in the Papadimitrious' guest book. 'It's definitely Mami,' said Nia Dinata. 'Every single day, she would spend one or two hours talking about [the book], specifying which paintings and artwork would be in it. She knew our entire collection by heart.' Sadly, Caecilia passed away in 2022, before the book was completed. Her steadfast dedication, however, is felt on every page. The book is bilingual, with the Indonesian translation completed by Ioannis Ilham Papadimitriou, Nia and Constantin's eldest son, who passed away in October last year. The first edition is limited to 1,000 copies, available at Gramedia bookstores across Indonesia for Rp 1,500,000 (US$92.36). Bakti Budaya Djarum Foundation and Yayasan Cinta Anak Bangsa (YCAB) have purchased 250 copies, which will be distributed to universities and art schools across the country. More than just a beautifully produced volume, The Jakarta Salon is a tender portrait of a couple whose quiet generosity left a lasting imprint on Indonesian art history. Intimate yet expansive, this is a story of love; for art, for community and for Indonesia's creative spirit.
Straits Times
2 days ago
- Straits Times
Ju Hak-nyeon, formerly of The Boyz, cleared of charges over alleged prostitution activities
Sign up now: Get ST's newsletters delivered to your inbox South Korean singer Ju Hak-nyeon, formerly of K-pop boy band The Boyz, will not face charges after he was accused of being involved in prostitution activities. The 26-year-old was embroiled in a controversy in June when the South Korean media reported that his then agency, One Hundred Label, had received an enquiry from Japanese tabloid Shukan Bunshun about his personal meeting with Kirara Asuka, a Japanese adult film actress-turned-influencer, in Tokyo in late May. A South Korean media outlet then claimed that he had allegedly paid for sex with the 36-year-old woman. The Gangnam Police Station in Seoul then received a complaint from a netizen requesting an investigation into Ju. On July 2, South Korean media outlet Sports Kyunghyang reported that the police had decided on June 25 not to prosecute Ju, as the complaint was based on an internet article and that there were insufficient specific reasons or circumstances to initiate an investigation. Ju had admitted on June 19 in a letter of apology on Instagram Stories to meeting Asuka, but denied rumours of being involved in prostitution activities. The apology came after he was booted from The Boyz on June 18. He wrote another post on Instagram on June 20, threatening to take legal action against media outlets which continued to spread false information about him. He also said that he was removed from The Boyz with no valid reasons and that his contract termination was done unilaterally by One Hundred Label. Top stories Swipe. Select. Stay informed. Singapore $500 in Child LifeSG credits, Edusave, Post-Sec Education Account top-ups to be disbursed in July Singapore PAP questions Pritam's interview with Malaysian podcast, says politics should stop at water's edge World Liverpool's Portuguese forward Diogo Jota dies in car crash in Spain Sport Liverpool star Diogo Jota dead at 28: What you need to know about the footballer Business 60 S'pore firms to get AI boost from Tata Consultancy as it launches a new innovation centre here Singapore Scoot launches flights to Da Nang, Kota Bharu and Nha Trang; boosts frequency to other destinations Singapore Electrician who bit off part of coworker's ear during fight gets 6 months' jail Asia 4 dead, 30 missing after ferry sinks on way to Indonesia's Bali The company defended its decision on the same day, saying that he was suspended as the controversy had affected The Boyz's activities and that it provided grounds for contract termination. One Hundred Label warned that it would take legal action against Ju if he continued to repeat the distorted claims. Asuka broke her silence on social media platform X on June 21, saying that she had never accepted money for private sexual services, including during the encounter with Ju. The singer then took to social media on June 22, denying the prostitution allegation again and detailing the sequence of events leading to his sacking from The Boyz. South Korean newspaper The Korea Herald said that a court ruling is expected to determine whether the contract termination is lawful.
Straits Times
2 days ago
- Straits Times
Want to be the next Anna Wintour? Famed editor role at US Vogue now up for grabs on LinkedIn
Sign up now: Get ST's newsletters delivered to your inbox While some netizens were excited about the prospect of becoming the magazine's new head, others were more sceptical. Ever dreamt of becoming the next Anna Wintour? You can now have a shot at snagging her highly coveted role at US Vogue, as advertised on LinkedIn by the magazine's parent company on July 2. A week after British-born Wintour shocked the fashion world with news that she was stepping down as editor-in-chief , Conde Nast took to LinkedIn to call for applicants for the position, now renamed as Head of Editorial Content at US Vogue. In its post, the global media firm shared a collage of pink couture dresses and simply said: 'We are hiring.' Those interested were asked to send in their resumes to a leadership consulting firm. The post has since garnered significant traction on social media with over 4,000 reactions on LinkedIn, and several reactions from TikTok and X users. While some netizens were excited about the prospect of becoming the magazine's new head, others were more sceptical. Some were also at odds about the hiring process. One LinkedIn user said that the company's move was an indication of a 'cultural reset', while another joked if candidates who 'don't rock a bob and sunglasses indoors' would be considered. However, one X user quipped: 'What if all of this is just marketing for The Devil Wears Prada 2?' Known for her iconic bob haircut and black sunglasses, Wintour, 75, is among the most influential figures in fashion journalism, having held the position as US Vogue editor for 37 years. She was widely believed to be the inspiration behind the lead character in The Devil Wears Prada, played by Meryl Streep. The sequel to the 2006 film, The Devil Wears Prada 2, was announced on June 30, just days after Wintour announced her departure at a staff meeting. Wintour has said that she would remain as Conde Nast's global chief content officer and editorial director at Vogue. It is not known if Conde Nast has reached out to any applicants. While some media outlets have speculated that the company could look for a replacement internally, there have been no official announcements yet.
