Legendary Malaysian rock band Exists has offered a nostalgic glimpse into how journalists and editors once served as guardians for entertainment figures, providing crucial protection against unfounded rumours and damaging controversies. Speaking after their Riuh Pi HAWANA concert at the PICCA PICCA @ Arena Butterworth Convention Centre in Butterworth on June 20, the band's members reflected on a vastly different media landscape from the one artistes navigate today—one characterised by rigorous fact-checking, editorial responsibility, and a collaborative relationship between the press and the entertainment industry.

During the height of the print era, the band explained, mainstream media outlets operated under strict editorial standards that created a natural filter for stories about public figures. Lead guitarist Along described how editors would meticulously review complaints and allegations before deciding whether they warranted publication, a process that shielded artistes from the immediate amplification of unverified claims. Rather than rushing to print, journalists would proactively reach out to the subjects of stories to provide their perspective, ensuring that multiple viewpoints were considered before any narrative reached the public. This approach, rooted in fundamental journalistic principles, created what Along characterised as an "important layer of protection" that prevented misunderstandings from escalating into lasting reputational damage.

The protective function of responsible journalism extended beyond mere fact-checking, according to the band. Along noted that fans could submit their grievances or stories to newspaper editors, but those submissions would undergo careful scrutiny rather than automatic publication. Sensitive matters in particular would be subjected to additional review, with journalists following up directly with artistes to clarify circumstances before any story appeared in print. This deliberate pace and human-centred approach to reporting allowed for nuance and context that prevented private matters from devolving into unfounded gossip. The system inherently recognised the human cost of inaccurate or sensationalised reporting about public figures, building accountability into the very structure of how entertainment news was produced and disseminated.

The contrast with contemporary media consumption could not be starker, the band observed. Today's environment is characterised by immediacy and democratic but unfiltered participation, where any individual can capture images or videos and instantaneously distribute them across social media platforms to audiences numbering in the thousands or millions. Along emphasised that this democratisation of content creation has eliminated the editorial gatekeeping function that once ensured some degree of accuracy and sensitivity. Content spreads with extraordinary speed, often accompanied by comment sections where criticism accumulates rapidly and without moderation. The psychological toll on artistes can be substantial: exposure to a deluge of harsh or abusive commentary, much of it unreasoned or based on incomplete information, creates an emotionally taxing environment that differs fundamentally from the media landscape of previous decades.

Vocalist Mamat highlighted another dimension of the journalist-artiste relationship during the print era: genuine partnership and mutual investment in success. Mamat observed that he has likely been approached by Malaysian journalists more frequently than many of his contemporaries, yet the coverage has consistently maintained a supportive quality even as Exists navigated industry challenges. The relationship transcended transactional reporting; journalists would offer encouragement and advice alongside news coverage, actively contributing to the psychological and professional resilience that enabled the band to endure for more than three decades. This kind of reciprocal relationship fostered loyalty and created a context in which difficult moments could be processed with institutional support rather than public scrutiny.

Bassist Musa recalled a particularly illustrative anecdote from 1997 that encapsulated the depth of connection between artistes and journalists during that era. An entertainment journalist became so immersed in following Exists that he eventually rented a recording studio specifically to experience jamming with band members. Musa and guitarist Ujang accepted the invitation, resulting in an extended collaborative session that lasted nearly two hours. For Musa, this episode demonstrated that professional relationships had evolved into genuine friendships grounded in shared passion and mutual respect. The journalist was not merely gathering material or maintaining professional access; he was actively participating in the creative process, blurring the boundary between observer and participant in a way that would be ethically problematic by modern standards but which reflected a fundamentally different understanding of professional distance and relationship-building.

Musa emphasised that the value of trained, professional journalists extends beyond their individual relationships with artistes. Legitimate journalists undergo formal training that equips them with skills in language precision, cultural sensitivity, and editorial judgment about what constitutes appropriate material for publication. This training is not merely technical; it reflects a broader ethical framework that prioritises accuracy, fairness, and harm prevention. Professional journalists can establish precedent and models for other writers and content creators, demonstrating through their work that responsible journalism is both feasible and necessary. In an age when anyone can claim the title of writer or commentator, the distinction between trained professionals and untrained amateurs becomes increasingly significant.

The current entertainment landscape in Malaysia reflects broader global trends in which traditional media authority has fractured and social media platforms have become primary sources of celebrity news and gossip. While democratisation of content creation has advantages—enabling unfiltered voices and perspectives—it has also eliminated the editorial oversight that once protected public figures from unverified allegations and manufactured scandals. Exists' reflections suggest that the shift represents not merely a change in distribution mechanisms but a fundamental alteration in the relationship between public figures and the institutions that mediate public discourse about them. The supportive function that journalists once provided has largely disappeared, leaving artistes to navigate media scrutiny with fewer institutional protections.

The band's observations carry particular resonance for Malaysian entertainment professionals who emerged during the transition from print-dominated to digital-first media environments. Younger artistes have never experienced the protective mechanisms that Exists describes, operating instead in an environment where any moment can be captured, misinterpreted, and circulated globally within minutes. This has necessitated a different approach to both professional practice and personal resilience. Along suggested that contemporary artistes must cultivate emotional strength and disciplined conduct simply because the cost of missteps is dramatically amplified. The absence of editorial gatekeeping means that good intentions and momentary lapses receive equivalent treatment, and correction or clarification rarely circulates as widely as the initial error.

Musa's final observation about professional journalism's ongoing necessity reflects a broader concern: as traditional media continues to decline, the functions that journalists provided—verification, contextualisation, ethical judgment—remain essential but are increasingly outsourced to unqualified actors. The entertainment industry in Malaysia faces a genuine challenge in this regard. Without sustained investment in professional journalism, cultural institutions lose one form of institutional support that once mitigated the harsher aspects of public scrutiny. The band's nostalgic reflection is not simply a celebration of past practices but an implicit warning about what is lost when professional standards erode. As Musa prepares for the Memento Mori Concert at Unifi Arena on August 1, the band continues to navigate an entertainment ecosystem fundamentally transformed from the one in which they established their career and reputation.