Butterworth—Legendary Malaysian rock band Exists has offered a nostalgic perspective on the relationship between the press and the entertainment industry, crediting journalists and editors with having provided essential protection for artistes during the golden age of print media. Speaking after their Riuh Pi HAWANA concert at the PICCA PICCA @ Arena Butterworth Convention Centre, the band members highlighted how editorial standards and journalistic rigour created a buffer against reputational damage, a safeguard they argue is largely absent in today's digital environment.

During the height of the print era, the band explained, media gatekeeping functioned as a form of quality control that benefited artistes significantly. When fans or sources brought complaints or allegations to publications, editors would subject such material to scrutiny, verification, and contextual review before deciding whether and how to publish. This deliberate filtering process meant that unsubstantiated claims rarely made it into print, and when sensitive matters did warrant coverage, journalists would proactively seek responses and clarifications from the subjects involved, ensuring a more balanced presentation.

Along, the band's lead guitarist, elaborated on this protective mechanism, describing how the editorial process created an invaluable shield against misunderstanding and unfounded gossip. The journalist's role extended beyond simply reporting facts; it included a responsibility to consider the broader implications of publication, particularly for an artiste's private life and public reputation. This approach, he suggested, prevented the rapid amplification of rumour and speculation that characterises contemporary media dynamics.

The contrast with today's media ecosystem could hardly be starker. Along described the speed and democratisation of content creation as fundamentally transformative, noting that individuals now routinely capture photographs and videos with minimal consideration for the subject's privacy or dignity, uploading directly to social media platforms without editorial review or ethical deliberation. What might once have been a passing complaint now becomes permanent digital record, subject to immediate public scrutiny and comment.

The velocity and viral nature of social media discourse creates particular challenges for contemporary entertainers, according to Along. Content circulates before verification or context can be established, and comment sections rapidly fill with diverse opinions, accusations, and criticism that can accumulate into overwhelming negativity. He suggested that sustained exposure to harsh, unfiltered online commentary takes an emotional toll on artistes, necessitating greater psychological resilience and strategic caution about public behaviour and digital exposure.

Matat, the band's vocalist, positioned the relationship with journalists as instrumental to Exists' remarkable longevity and relevance across more than three decades in Malaysia's entertainment industry. He emphasised that journalists had functioned not merely as chroniclers of the band's career milestones, but as consistent supporters during periods of challenge and uncertainty. This dual role—documenting achievements while providing substantive backing during difficulties—created a collaborative relationship that transcended conventional professional boundaries.

Matat reflected on being frequently approached by entertainment journalists throughout his career, noting that despite the inevitable ups and downs of a long tenure in show business, the press had consistently afforded the band space to navigate challenges and progress forward. Beyond factual reporting, he suggested, media coverage of Exists sometimes included editorial commentary offering encouragement and guidance, elements that contributed meaningfully to the band's ability to persevere through industry volatility.

Bassist Musa added a personal anecdote that crystallised the genuine friendships that once developed between artistes and journalists. Around 1997, an entertainment journalist became so invested in the band's musical process that he independently rented a recording studio to participate in a jamming session with Musa and guitarist Ujang, an experience that lasted nearly two hours. For Musa, this episode demonstrated that the relationship between the press and entertainers transcended professional obligation, evolving into authentic personal connection grounded in shared passion and reciprocal respect.

Musa's narrative underscores a broader transformation in industry relationships. The journalist's investment in understanding artistes' creative work at an intimate level—sitting through rehearsals, witnessing the technical and emotional dimensions of performance—created a foundation of knowledge and empathy that likely informed more nuanced, contextually sensitive coverage. The blurring of professional and personal boundaries, in this context, paradoxically enhanced journalistic integrity by deepening understanding.

Contemporary media fragmentation has disrupted these dynamics fundamentally. Musa expressed conviction that formally trained professional journalists remain essential to the entertainment industry's health, possessing skills and ethical frameworks that casual content creators lack. Journalists trained in the craft understand linguistic sensitivity, recognise cultural contexts, and possess judgment about what should remain unpublished—knowledge acquired through professional development rather than merely possessing a camera or social media account.

The disciplinary standards that distinguish professional journalism from amateur commentary extend beyond individual stories, Musa suggested. When professional journalists produce responsible, ethically considered content, they establish benchmarks and exemplify standards that can influence other content creators to adopt more careful, conscientious approaches. In effect, professional journalism functions as an industry normaliser, establishing expectations about how information should be handled and presented.

The band's reflections carry particular resonance for Southeast Asian entertainment sectors grappling with rapid digital transformation. Malaysia's entertainment industry, like those across the region, faces pressures from unmoderated online discourse, changing fan engagement patterns, and the erosion of traditional media's gatekeeping functions. Exists' historical perspective offers contemporary artistes a reminder that professional mediation of public information once served protective functions that remain socially valuable, even as the mechanisms for such protection have substantially weakened.

As the band prepares for the Memento Mori Concert scheduled for August 1 at the Unifi Arena, their observations about media evolution reflect broader generational and technological transitions reshaping how entertainment is reported, discussed, and understood. Whether contemporary platforms will develop new forms of accountability and editorial responsibility remains an open question, but the band's testimony underscores the genuine protections that formal journalism once provided, protections that remain relevant even in a digitally networked age.