Legendary Malaysian rock band Exists has offered a nostalgic look at how journalists and media editors once functioned as crucial protectors of entertainers, shielding them from potentially career-damaging controversies through rigorous fact-checking and responsible editorial practices. The band's observations, shared at the Riuh Pi HAWANA concert in Butterworth, highlight a dramatic shift in how information about public figures now circulates, particularly in an era dominated by unvetted social media content and instant online publication.

During the height of the print era, the band's lead guitarist Along explained, mainstream media outlets maintained editorial standards that provided artistes with an essential layer of protection. When fans submitted complaints or allegations, newsrooms would subject these submissions to careful review and verification before deciding whether to publish. Rather than rushing stories into print, journalists would reach out directly to the artistes involved to gather their perspective and clarify facts, a practice that helped prevent misunderstandings and protected performers' reputations from damage caused by inaccurate or incomplete reporting.

This gatekeeping function served a dual purpose: it ensured that only substantiated stories reached the public, while simultaneously safeguarding artistes' private lives from becoming fodder for unfounded speculation and gossip. Along emphasised that this methodical approach created a culture of accountability within newsrooms, where editors took responsibility for the accuracy and fairness of every published story. The existence of such standards meant that artistes could pursue their careers with some confidence that their reputations would not be destroyed by unverified claims or sensationalised narratives designed purely to generate readership.

The media landscape has transformed fundamentally since those days. According to Along, the contemporary environment allows anyone with a smartphone to capture images or videos, often without the knowledge or consent of the subject, and immediately upload this content to social media platforms. What follows is typically a deluge of unfiltered commentary in comment sections, where harsh criticism and potentially hurtful remarks accumulate rapidly. The speed and volume of this online discourse creates psychological pressure on entertainers, who may find themselves overwhelmed by criticism that often lacks context or factual basis.

Along suggested that modern artistes must develop thicker emotional resilience to cope with this new reality. Where journalists once filtered out rumours and unverified stories, entertainers today must navigate a media ecosystem where anyone can publish anything, regardless of accuracy or intent. This shift has forced performers to become more cautious in their personal conduct and more deliberate in managing their public image, since there is no longer a professional editorial layer between them and potentially damaging public discourse.

For Exists vocalist Mamat, the relationship between his band and the Malaysian entertainment press has been fundamental to the group's longevity and continued relevance across more than three decades in the industry. Mamat noted that journalists did not merely document the band's career milestones; they actively supported the group during difficult periods and provided encouragement when circumstances proved challenging. The vocalist described himself as one of Malaysia's most frequently interviewed entertainers, yet despite the inevitable ups and downs that accompany a decades-long career, journalists consistently offered space for the band to move forward and recover from setbacks.

Mamat highlighted that beyond factual reporting, the coverage that journalists produced often included advice and expressions of encouragement that sustained the band emotionally during tough times. This suggests that the relationship between entertainers and serious journalists transcended purely professional or transactional boundaries, evolving into something more akin to a genuine partnership built on shared investment in the health of the local entertainment ecosystem. The journalist's role expanded beyond simply recording events to include mentoring and supporting artistes through career challenges.

Bassist Musa illustrated the depth of these relationships with a particularly illuminating anecdote. Around 1997, an entertainment journalist became so immersed in documenting Exists' work that he rented a recording studio specifically to experience jamming with the band members. Musa and guitarist Ujang agreed to the musician's request, and the three spent nearly two hours making music together. This unusual scenario—a journalist crossing from observer into participant—demonstrates how the boundaries between media professionals and entertainers were far more permeable in that era, grounded in genuine mutual interest and artistic appreciation rather than mere professional obligation.

Musa reflected that such experiences revealed how the artiste-journalist relationship transcended professional duties, developing into authentic friendships cemented by shared passion for music and entertainment. The mutual respect that developed created an environment where both parties could learn from and support one another, strengthening the overall quality and character of coverage within the industry. This personal connection made journalists more invested in artistes' welfare and success, naturally inclining them toward fair and supportive coverage.

Despite the romantic nostalgia embedded in these recollections, Musa acknowledged that professionally trained journalists remain genuinely essential to the entertainment industry's healthy functioning. Proper journalistic training equips reporters with specific skills and ethical frameworks that individual content creators on social media typically lack. Trained journalists understand how to use language carefully, recognise cultural and personal sensitivities that require discretion, and possess the judgment to recognise what should not be published regardless of potential audience interest or engagement metrics.

Musa suggested that professional journalists can and should serve as role models for the broader ecosystem of content creators and commentators, demonstrating through their practice what responsible coverage looks like. By maintaining standards of accuracy, fairness, and ethical consideration, established media outlets can set expectations and examples that might gradually influence how ordinary people publish information online. This is particularly important in Malaysia's context, where the entertainment industry remains culturally significant and where journalistic standards directly influence public discourse about public figures.

The observations from Exists touch on a broader anxiety about information quality and social cohesion in the digital age. While the band members expressed genuine appreciation for the protective function that editorial standards once provided, they simultaneously recognised that the era of gated media has definitively passed. Rather than lamenting this irreversible change, their comments suggest a more nuanced position: that even as the media landscape has fundamentally democratised, the value of professional journalistic practice remains demonstrable and worth supporting. For Malaysian entertainment industry observers, the band's perspective offers both historical context and a contemporary challenge—namely, how to maintain standards of journalistic integrity and ethical responsibility in an environment where anyone can publish anything instantaneously to a global audience.