The legendary Malaysian rock band Exists has offered a nostalgic perspective on the relationship between journalists and entertainment industry figures, highlighting how media professionals once served as guardians against unfounded claims and premature publication of sensitive stories. Speaking at the Riuh Pi HAWANA concert held at the PICCA PICCA @ Arena Butterworth Convention Centre, members of the iconic group reflected on an era when editorial standards and journalistic ethics provided artists with crucial protection from reputational damage.

Lead guitarist Along emphasised how the structural practices of mainstream print journalism created multiple safeguards for performers. Rather than rushing stories into publication, editors would rigorously scrutinise complaints and allegations directed at artists, subjecting them to verification processes before they reached readers. This gatekeeping function was particularly important during an age when misinformation could still be contained within reasonable bounds. Along explained that when fans had grievances or stories they wished to share, the standard procedure involved submitting these through formal channels to newspaper editors, who would evaluate their merit and sensitivity before determining whether publication was appropriate.

A critical aspect of this protective framework was the professional obligation for journalists to contact the affected artists for their perspective and response. This two-sided reporting approach meant that artists had meaningful opportunities to address accusations or misunderstandings before any story went to print. The resulting publication would typically reflect both viewpoints, allowing readers to form judgments based on more complete information. Along credited this methodology with preventing numerous misunderstandings that might otherwise have spiralled into unfounded gossip or damaged artists' personal and professional reputations.

The contemporary media environment presents a starkly different landscape, one that deeply concerns the band members. In today's digital age, any individual can instantly capture images or videos of artists, whether in public or private moments, and disseminate them across social media platforms without pausing to consider potential consequences. The speed and permanence of this distribution system means that unverified content can achieve massive reach within minutes, before any fact-checking or editorial review can occur. Along observed that this fundamental shift in information dissemination has removed the protective buffer that once existed between artists and public scrutiny.

The aftermath of rapid social media posting creates compounding problems, as comment sections quickly accumulate diverse reactions ranging from supportive to viciously critical. Artists who monitor online responses to content about themselves face a barrage of often unfiltered opinions, some constructive but many deliberately hurtful or based on incomplete understanding. Along suggested that this emotional toll requires contemporary artists to develop psychological resilience and maintain vigilance about their public conduct, as the margin for error has virtually disappeared. The pressure to avoid controversy altogether, rather than relying on journalistic discretion to manage it, has fundamentally altered the conditions under which modern entertainers operate.

Vocalist Mamat attributed much of Exists' sustained relevance and longevity in Malaysia's entertainment industry to the supportive relationships the band cultivated with journalists throughout its career spanning more than three decades. He characterised the band's interactions with media professionals as extending far beyond transactional reporting relationships, suggesting instead that journalists became genuine stakeholders in the group's continued success. Mamat noted with appreciation that despite the inevitable ups and downs accompanying any long career in entertainment, journalists consistently afforded the band space to navigate challenges and recover from setbacks.

What distinguishes Mamat's experience, he contended, is that media coverage often transcended mere documentation of events to include substantive encouragement and constructive advice. Stories about Exists frequently contained editorial commentary offering guidance or expressing confidence in the band's ability to overcome difficulties. This combination of visibility and supportive messaging provided psychological reinforcement during challenging periods, helping maintain momentum and morale. Mamat suggested that his relative accessibility to journalists, leading to frequent media inquiries, paradoxically generated positive outcomes because the underlying relationship was characterised by mutual respect rather than adversarial scrutiny.

Bassist Musa contributed a particular anecdote that captured the depth of relationships between artists and journalists during the mid-1990s. Around 1997, an entertainment journalist covering Exists developed such genuine interest in the band's creative process that he independently rented a recording studio to participate in a jam session with Musa and another band member. This gesture went beyond professional obligation or even typical fan enthusiasm; it represented a journalist investing personal resources to deepen understanding of the artists he covered. The resulting two-hour session exemplified how professional interest could evolve into authentic friendship built on shared passion for music and mutual respect.

Musa framed this historical relationship as fundamentally different from contemporary interactions mediated by digital platforms and professional distance. The willingness of journalists to invest time and resources in understanding artists' work demonstrated commitment extending beyond gathering quotes for publication. Such relationships naturally encouraged journalists to approach their coverage with protective instincts, aware that negative or careless reporting might damage people they genuinely respected. This human dimension of journalism created incentives for responsible reporting that transcended formal ethical codes.

Despite acknowledging changes in the media landscape, Musa articulated strong conviction that professionally trained journalists remain essential to the entertainment industry's health. Journalists equipped with formal training possess skills in language precision, cultural sensitivity, and ethical judgment that distinguish their work from amateur online commentary or user-generated content. They understand which information merits publication and which should remain private, recognising nuances that untrained observers might miss. Their commitment to accuracy and their willingness to invest time in verification create reporting with substantive value absent from hastily posted social media content.

Musa further suggested that professional journalists can serve an exemplary function within the broader information ecosystem. When credible media outlets consistently demonstrate responsible reporting practices, they establish standards that can influence other writers and content creators to elevate their own work. This leadership role becomes particularly important in an era when misinformation spreads rapidly and when many individuals believe they possess sufficient expertise to publish without training or restraint. Experienced journalists modelling ethical practices contribute to raising the overall quality of public discourse about entertainment figures.

At present, Musa is directing his energy toward preparations for the Memento Mori Concert, scheduled for August 1 at the Unifi Arena, indicating that Exists continues to maintain active presence in Malaysia's entertainment scene. The band's continued touring and performance schedule, spanning decades, testifies to the enduring relationship with audiences that supportive media coverage helped sustain. The band members' reflections on journalism's historical role thus carry particular weight, coming from artists who have directly experienced how media relationships influence career longevity and public perception.

The broader implications of Exists' perspective extend beyond nostalgia for an earlier media era. Their observations highlight genuine losses accompanying the transition from print-dominated to digital-mediated information systems. While digital platforms offer artists direct communication channels that earlier generations lacked, they simultaneously eliminate the editorial protection and thoughtful gatekeeping that once characterised professional journalism. The challenge for contemporary artists involves navigating this fundamentally altered landscape while maintaining careers and protecting personal wellbeing. For Malaysian entertainment industry observers, the band's testimony serves as reminder of journalism's once-significant protective function and raises questions about what safeguards might adequately substitute for it in today's environment.