The legendary Malaysian rock band Exists has offered a nostalgic perspective on how the entertainment industry operated during the height of traditional print journalism, highlighting the protective mechanisms that once existed to safeguard artists from reputational harm. Speaking at the Riuh Pi HAWANA concert at PICCA PICCA @ Arena Butterworth Convention Centre, the veteran musicians underscored how editorial gatekeeping and professional journalistic standards served as a vital buffer between public figures and potentially damaging misinformation, a contrast that resonates deeply as the industry grapples with the speed and unaccountability of digital publishing.

During the print media era, the vetting process for stories concerning entertainers operated fundamentally differently from today's instantaneous digital landscape. According to Exists lead guitarist Along, editors maintained rigorous quality control over content, treating allegations and complaints against artists with appropriate scepticism rather than publishing them wholesale. This editorial diligence meant that sensitive matters underwent thorough examination before reaching publication, protecting both the accuracy of reporting and the dignity of those being covered. Such practices reflected a time when journalists understood their gatekeeping function not merely as an obstacle to news flow but as a professional responsibility inherent to their craft.

The verification procedures that characterised mainstream media during its heyday extended beyond simple fact-checking. Along emphasized that journalists would actively seek clarification from the artists involved, offering them the opportunity to respond to allegations before stories were published. This two-sided approach created a more balanced narrative and significantly reduced the prevalence of unsubstantiated rumours masquerading as news. The protective effect was substantial: by ensuring that complaints underwent editorial review and that involved parties received advance notice and opportunity for rebuttal, the system prevented many personal misunderstandings from escalating into public scandals or permanent reputational damage.

The transformation of media consumption and production in recent years has fundamentally altered the dynamics that once protected entertainment industry figures. Along described the contemporary environment as one where individuals can discreetly record photographs or videos and instantaneously distribute them across social media platforms without pausing to consider the consequences for those depicted. This democratisation of publishing power, while offering benefits in terms of direct communication and accountability, has stripped away the editorial oversight that once prevented unverified claims and sensationalism from reaching mass audiences. The speed of digital distribution means that content spreads far more rapidly than corrections or clarifications can ever hope to catch up.

The psychological toll of this shift weighs heavily on modern entertainers navigating an ecosystem of unfiltered commentary and criticism. Along observed that the comment sections beneath social media posts frequently overflow with harsh judgments and unsubstantiated attacks, and that frequent exposure to such negativity can profoundly affect an artist's emotional wellbeing. This represents a significant departure from the more curated information flow of the print era, where editorial decisions about what merited publication also implicitly limited the volume of criticism any individual entertainer might encounter. Along's advice to contemporary artists reflects this reality: they must cultivate greater emotional resilience and exercise heightened caution in their personal conduct, essentially internalising the protective function that institutions once provided.

Vocalist Mamat credited journalists with instrumental contributions to Exists' longevity as a recording and performing unit across more than three decades. Beyond merely reporting on the band's career developments and tour dates, journalists maintained supportive relationships with the group through difficult periods and transitions. Mamat noted that he has been among the most frequently approached artists by Malaysian journalists, yet even amid the industry's numerous upheavals, the press has consistently provided the band with meaningful space to manoeuvre and evolve artistically. This ongoing professional regard has been interspersed with genuine encouragement, with published articles occasionally offering advice and words of solidarity that strengthened the band's resolve during challenging chapters.

The depth of those historical relationships between entertainers and journalists sometimes extended far beyond professional boundaries into genuine personal connections rooted in shared passion. Bassist Musa recounted a remarkable anecdote from approximately 1997, when an entertainment journalist became so immersed in covering Exists that he independently rented recording studio time specifically to experience the sensation of jamming alongside the band members. Musa and guitarist Ujang agreed to the unconventional request, and the three spent nearly two hours playing music together in the studio. For Musa, this episode exemplified how the relationship between artists and journalists during that era transcended the transactional nature of professional reporting, evolving instead into authentic friendships grounded in mutual artistic appreciation and personal respect.

Despite the evident nostalgia for past arrangements, Musa underscored that professionally trained journalists remain indispensable to the contemporary entertainment ecosystem. Legitimate journalists possess formal training that equips them to handle language with precision, navigate cultural sensitivities with awareness, and exercise sound editorial judgment about what should and should not reach publication. Their disciplined approach to information gathering and dissemination establishes standards that can influence broader media behaviour, encouraging other content creators to aspire toward greater accuracy and ethical responsibility. In an era when anyone with a smartphone can present themselves as a media outlet, the distinction between trained journalists and casual publishers becomes increasingly consequential for the quality and reliability of information circulating about public figures.

The contrast between institutional journalism and unmoderated social media reflects broader questions about information credibility and public discourse that extend beyond the entertainment sector. Musa's assertion that real journalists are trained and intentional in their methods acknowledges that professional standards cannot simply be replicated through good intentions or earnest effort. The knowledge required to report ethically—understanding which questions to ask, which sources to verify, which potential harms to anticipate—develops through experience and professional culture. As Musa noted, this expertise positions trained journalists to serve as exemplars, demonstrating through consistent practice how responsible content production should function and potentially inspiring emulation among less formally trained communicators.

The broader implications of the media environment shift extend to how Malaysian entertainment industry participants conceptualise their public presence and personal privacy. The absence of editorial gatekeeping means that artists must now assume responsibility for managing their own visibility and reputation in ways that were previously distributed between their own discretion and journalistic judgment. This redistribution of burden corresponds with increased pressure on entertainers to maintain near-perfect public comportment, as any misstep risks immediate, widespread, and permanent digital documentation. The irony is that while the print era's editorial protections sometimes frustrated journalists' desires for comprehensive reporting, they simultaneously created space for artists to maintain a degree of privacy and to recover from mistakes without permanent digital stigma.

As Musa prepares for the forthcoming Memento Mori Concert scheduled for August 1 at the Unifi Arena, the reflection on journalism's evolving role contextualises the challenges facing veteran artists in contemporary Malaysia. Exists' perspective, grounded in more than thirty years of industry experience, offers valuable testimony about the mechanisms that once sustained artistic careers through inevitable difficulties and controversies. Their commentary suggests that while traditional institutional journalism faces declining influence, the loss of its protective function creates genuine vulnerabilities for entertainers that digital-native communication tools have not adequately replaced. The band's nostalgia carries an implicit question about what guardrails and institutional supports should characterise a healthy media ecosystem for the entertainment industry moving forward.