The Malaysian rock band Exists has offered a nostalgic perspective on the changing relationship between the entertainment industry and news media, reflecting on how editors and journalists once served as guardians against unfounded scandals during the height of the print era. Speaking after a performance at PICCA PICCA @ Arena Butterworth Convention Centre parking lot, band members highlighted the protective mechanisms that mainstream journalism once provided to artists navigating the complexities of public life.
During an era when fact-checking and editorial oversight formed the foundation of newspaper operations, artists benefited from a crucial filtering system. Lead guitarist Along explained that the discipline of professional journalism meant that complaints or allegations against entertainers underwent rigorous review before seeing publication. This gatekeeping function extended beyond mere editorial caution; it represented a commitment to accuracy and fairness that prioritised the dignity of those under public scrutiny. Rather than amplifying every piece of gossip or unverified claim, editors would contact artists directly for their perspective, ensuring that stories reflected multiple viewpoints and prevented misunderstandings from spiralling into lasting reputational damage.
Along drew a sharp contrast between that carefully managed information ecosystem and the contemporary digital landscape. Today's media environment operates at a velocity that traditional gatekeeping cannot match. Any individual equipped with a smartphone can capture images or footage and instantly distribute them across social media platforms, bypassing any consideration of context, consent, or consequences. The absence of editorial review means that partial narratives, unflattering moments, or outright fabrications can achieve viral status before verification occurs. Comment sections quickly become forums for unmoderated criticism, creating a cacophony of opinion that can psychologically toll on artists accustomed to the more measured media coverage of previous decades.
Vocalist Mamat credited the collaborative relationship between Exists and journalists as instrumental in sustaining the band's relevance across more than three decades. He observed that journalists covered not merely the band's professional milestones but actively championed their work during challenging periods. The relationship transcended transactional newsgathering; it evolved into a form of professional kinship where media practitioners invested in the band's longevity. Mamat noted that coverage often included constructive commentary and encouragement that reinforced the group's determination to persist through industry fluctuations. This symbiotic dynamic meant that artists and journalists were invested in each other's success, creating a collaborative ecosystem quite distinct from the current media landscape where engagement often correlates with controversy rather than constructive support.
Bassist Musa supplied an anecdotal illustration of the depth of connection that once existed between entertainers and media professionals. He recounted an incident from 1997 when an entertainment journalist developed such genuine interest in the band's creative process that he rented a recording studio specifically to experience a jam session with Exists. This spontaneous collaboration—nearly two hours of musicians and journalist creating music together—exemplifies the passion and personal investment that characterised professional relationships in that era. For Musa, such moments revealed that the bond between artists and journalists extended far beyond the confines of professional obligation. Instead, it represented authentic friendships rooted in shared enthusiasm and mutual respect for the craft of music and storytelling.
Musa articulated a considered defence of professional journalism as a stabilising force within the entertainment industry. Trained journalists bring technical competence in language, sensitivity to cultural nuance, and ethical frameworks that guide publishing decisions. They understand which narratives require verification, which details merit anonymity, and which stories might cause unwarranted harm without corresponding public interest. Professional standards provide a framework for responsible reporting that individual social media users typically lack. Furthermore, established journalists serve as exemplars for aspiring writers, demonstrating that credibility and ethical practice represent more enduring values than sensationalism or speed to publication.
The reflection offered by Exists carries particular resonance for the Malaysian entertainment landscape, where social media has fragmented the information environment and diminished the gatekeeping function of traditional media. Many emerging artists now navigate a public sphere where allegations can spread before responses are formulated, where entertainment coverage often prioritises drama over substance, and where the line between journalism and gossip has become dangerously blurred. The band's perspective suggests that something valuable may have been lost in this transition—not merely the protective function of editorial oversight, but also the collaborative spirit that once characterised relationships between creative professionals and those who chronicled their work.
Yet the nostalgia expressed by Exists members also acknowledges contemporary realities that cannot be reversed. Social media's democratisation of content creation means that traditional gatekeeping is now impossible to enforce. Artists must adapt by developing resilience, exercising caution in their public conduct, and recognising that digital permanence means mistakes carry greater consequences. The challenge for professional journalists in this environment is to maintain rigorous standards even as their market share diminishes and economic pressures mount. In Malaysia's context, where media plurality remains constrained and corporate interests influence editorial decisions, the ethical practice that Musa advocates becomes increasingly important.
The discussion also implicitly raises questions about the current state of Malaysian entertainment journalism. Have news organisations maintained the commitment to verification and artist protection that characterised past practice, or have competitive and economic pressures eroded editorial standards? Do journalists still develop the deep relationships with artists that facilitate nuanced, contextual coverage? Or has coverage become transactional, focused on generating clicks rather than serving the broader entertainment ecosystem? Exists's reflections suggest that the industry might benefit from renewed investment in professional journalism that prioritises accuracy and fairness over speed and sensation.
Moving forward, Musa indicated that the band would remain engaged with professional journalists despite industry changes, maintaining the collaborative spirit that has sustained their career. The guitarist's current focus on preparations for the Memento Mori Concert scheduled for August 1 at Unifi Arena reflects a continuing commitment to active engagement with multiple media channels. For Malaysian artists navigating an increasingly complex information landscape, the band's experience offers valuable perspective: while social media cannot be controlled or ignored, the value of legitimate journalism and ethical media practice remains essential for maintaining a healthy entertainment ecosystem that protects artists' dignity while informing the public accurately.
