The legendary Malaysian rock band Exists has offered a nostalgic perspective on the evolving relationship between the media and the entertainment industry, highlighting how responsible journalism once served as a crucial safeguard for artists navigating the complexities of public life. Speaking at the Riuh Pi HAWANA concert at PICCA PICCA @ Arena Butterworth Convention Centre, the band members shared candid insights about the protective infrastructure that existed during the golden age of print media, a system that has largely dissolved in the digital era.

According to lead guitarist Along, the editorial standards of earlier decades created a meaningful buffer between artists and the potentially destructive force of unverified claims. Editors functioned as deliberate gatekeepers, carefully examining every complaint or allegation directed at performers before deciding whether publication served the public interest. This methodical approach meant that sensitive matters received proper scrutiny rather than automatic amplification. When fans submitted complaints or stories, these narratives didn't automatically translate into headlines; instead, they entered a vetting process designed to distinguish between legitimate concerns and baseless gossip. Along explained that journalists would actively seek clarification from the artists in question, ensuring that multiple perspectives informed the final published account. This commitment to verification created a protective layer that allowed performers to maintain a degree of privacy and dignity even when controversies emerged.

The contrast with contemporary media dynamics is stark and troubling from the artists' perspective. In today's environment, anyone with a smartphone can capture images or video footage and distribute it instantly across social media platforms without pausing to consider the consequences for the subject of their documentation. The absence of editorial oversight means that context often disappears, nuance dissolves, and emotional impact becomes secondary to viral potential. Along observed that the speed of modern information dissemination creates particular challenges for performers, who find themselves confronted with an avalanche of commentary before they can even respond to allegations or clarify misunderstandings. The comment sections that accumulate beneath such posts become repositories of unfiltered criticism, speculation, and cruelty that can take genuine psychological tolls on sensitive individuals. Along suggested that today's artists must develop thicker emotional skin and exercise heightened caution in their public conduct, understanding that minor missteps can spiral into overwhelming digital discourse before any meaningful dialogue becomes possible.

Vocalist Mamat emphasized the profound influence that consistent media relationships have exerted on Exists' remarkable longevity in Malaysia's competitive entertainment landscape. The band's sustained relevance across decades reflects not merely the quality of their music but also the crucial support they received from journalists who documented their evolution and stood by them during difficult periods. Mamat noted that his own frequency of media engagement—he described himself as perhaps one of Malaysia's most frequently interviewed artists—has contributed meaningfully to the band's ability to remain visible and culturally significant. The relationship transcended typical professional boundaries; journalists didn't simply report on Exists' career developments but actively encouraged the group during challenging seasons. Mamat recalled how news coverage often included supportive commentary and encouragement that sustained the band emotionally during periods of uncertainty. This combination of visibility and genuine support proved invaluable for artistic survival and growth, demonstrating that the relationship between serious media outlets and musicians involved dimensions that transcended simple transactional reporting.

Bassist Musa contributed a particularly revealing anecdote that illustrated the depth of relationships that once characterized artist-journalist interactions in Malaysia's entertainment world. Around 1997, an entertainment journalist demonstrated such genuine passion for Exists' music that he rented a recording studio specifically to experience the joy of jamming with the band. Musa and guitarist Ujang accepted the invitation, and the three musicians spent nearly two hours creating music together in an atmosphere of mutual enthusiasm and respect. For Musa, this incident exemplified how professional media relationships had evolved beyond purely informational exchanges into genuine friendships rooted in shared artistic appreciation. The journalist's willingness to invest personal resources into understanding the band's creative process from an insider's perspective indicated a level of commitment that contemporary digital media rarely demonstrates. Such interactions created bonds of loyalty that naturally inclined journalists toward fair representation and protective advocacy when the band faced criticism or controversy.

Musa's reflection on the value of professional journalism in the entertainment sphere carries particular weight given the current media landscape's fragmentation and the rise of unaccountable commentary from untrained observers. Trained journalists possess specific competencies that casual content creators lack: they understand language nuance, recognize cultural sensitivities, appreciate which information deserves publication and which crosses ethical boundaries, and operate within professional frameworks designed to protect both subjects and audiences. These skills represent genuine expertise that cannot be casually replicated by individuals motivated primarily by engagement metrics or viral potential. Furthermore, established journalists set standards that influence broader content creation practices; when professional outlets maintain high ethical standards, they implicitly establish expectations that other voices may eventually emulate. Musa suggested that the gradual erosion of professional journalism's dominance has created an information ecosystem where anyone can claim authority and responsibility becomes nearly impossible to enforce.

The band's reflections underscore a broader transformation occurring across Southeast Asian entertainment industries as digital platforms disrupt traditional media hierarchies. Malaysia's music scene, like those throughout the region, faces a genuine dilemma: how to maintain artists' fundamental right to privacy and protection from unfounded harm while simultaneously embracing the democratizing potential of digital communication. The nostalgia that Exists expresses for the print era's editorial standards reflects a legitimate loss, yet contemporary alternatives and new protective strategies continue to emerge. Some artists have developed sophisticated personal brand management that leverages social media while maintaining boundaries, others have cultivated directly engaged fan communities that function as counterbalances to hostile commentary, and some have simply accepted the permanence of public scrutiny as an unavoidable cost of artistic visibility.

The band's call for stronger, more emotionally resilient contemporary artists represents a pragmatic adaptation to unchangeable circumstances rather than an endorsement of the current system's ethics. Yet their advocacy for the continued importance of professional journalists in the industry addresses a genuine need that persists regardless of technological change. As Malaysian entertainment continues to evolve and adapt to regional competition from larger Asian entertainment industries, the presence of local journalists maintaining professional standards becomes increasingly valuable. These media practitioners serve as custodians of the industry's integrity, documenting its evolution while maintaining accountability standards that protect both artists and audiences. The conversation initiated by Exists at the Butterworth concert venue thus extends beyond nostalgic reflection; it raises substantive questions about media responsibility, artistic vulnerability, and the structures necessary for sustainable cultural development.