The legendary Malaysian rock band Exists has offered a nostalgic perspective on how journalists and editors once served as gatekeepers and protectors for artistes navigating the complexities of show business. Speaking at the Riuh Pi HAWANA concert at the PICCA PICCA @ Arena Butterworth Convention Centre parking lot in Butterworth, band members reflected on an era when the mainstream media's commitment to fact-checking and editorial rigour provided artistes with a vital shield against unfounded allegations and reputational damage. This observation comes as the entertainment landscape has fundamentally shifted, creating new vulnerabilities and pressures for contemporary performers in an age of instantaneous digital publishing.

Along, the band's lead guitarist, emphasized how editorial oversight operated as a safeguard during the peak years of print journalism. When fans or readers wished to lodge complaints or share stories about artistes, these submissions would first pass through an editorial review process. Rather than rushing content to publication, responsible journalists would verify claims, examine evidence, and determine whether allegations warranted public disclosure. This methodical approach created a buffer zone that protected artistes from becoming unwitting targets of gossip or malicious falsehoods. Along noted that journalists actively reached out to affected artistes for their perspective and response before any story went to press, ensuring a degree of fairness that is rarely observed in contemporary digital media environments.

The guitarist explained that this protective framework stemmed from a professional culture that valued accuracy and the ethical implications of publication. Editors understood that publishing unverified claims could irreparably damage an artiste's career and personal relationships. Consequently, they exercised discretion when handling sensitive material, scrutinizing sources and weighing public interest against potential harm. This gatekeeping function extended beyond merely filtering negative content—it also helped prevent misunderstandings from escalating into public controversies. By vetting information before publication and allowing artistes the opportunity to address concerns directly, the mainstream media of that era helped preserve both professional reputations and private lives from becoming fodder for sensationalism.

The contrast with today's media ecosystem could hardly be starker, according to Along. The democratization of publishing through social media has empowered individuals to become content creators and distributors without necessarily possessing journalistic training or ethical guidelines. Members of the public routinely capture photographs or videos of public figures and upload them to platforms like Instagram, TikTok, and Facebook with minimal consideration for context, consent, or consequences. These posts rapidly accumulate comments from thousands of users, many of whom lack firsthand knowledge of the situation yet feel emboldened to offer harsh judgments. The velocity and volume of online discourse create an environment where nuance is often lost and reputations can be damaged within hours by waves of negative sentiment.

Along highlighted a particular vulnerability that contemporary artistes face: the psychological toll of constant scrutiny and criticism. When performers read through comment sections filled with disparaging remarks, mockery, and accusations, the cumulative effect can significantly impact their emotional wellbeing and mental health. This reality has forced today's artistes to develop thicker skins and exercise greater caution in their public behaviour, as a single misstep can be amplified and weaponized by online audiences. The guitarist suggested that modern entertainers must remain perpetually vigilant, avoiding situations that could be misconstrued or exploited, a burden that his generation largely escaped during the print-dominated media era.

Mamat, the band's vocalist, approached the subject from a different angle, emphasizing the symbiotic relationship that Exists cultivated with journalists over more than three decades in the industry. He credited consistent media coverage and journalist engagement as fundamental factors enabling the band to remain culturally relevant and commercially viable throughout significant industry shifts. Yet his account revealed something more profound than transactional media relations—it spoke to journalists serving as advocates and supporters during challenging periods. Mamat noted that while he has been frequently approached by journalists seeking stories, these interactions have rarely felt adversarial or exploitative. Instead, journalists have often extended encouragement and space for the band to navigate difficulties and continue evolving creatively.

Mamat observed that the coverage journalists produced about Exists frequently transcended straightforward reporting to include constructive advice and words of affirmation that sustained the band's motivation and resilience. This suggests a media culture in which journalists viewed themselves as stakeholders in the local entertainment industry's health and development, not merely as disinterested observers. Rather than pursuing sensationalism or exploiting controversies for clicks, these journalists seemed genuinely invested in the success and wellbeing of the artistes they covered. This approach fostered deep trust and ongoing relationships that benefited both parties—artistes received fair coverage and support, while journalists gained authentic access and credible sources.

Bassist Musa extended this reflection with a charming anecdote that encapsulated the close personal bonds that once characterized artiste-journalist relationships. He recalled that during the mid-1990s, an entertainment journalist became so invested in following Exists' creative process that the reporter rented a recording studio specifically to experience a jam session with band members. Musa and guitarist Ujang accepted this unusual invitation, spending nearly two hours playing music alongside the journalist. For Musa, this episode exemplified how the relationship between artistes and journalists had evolved beyond professional obligation into genuine friendship rooted in shared passion and mutual respect. The journalist's willingness to invest time and resources to understand the band's creative practice reflected a level of commitment and curiosity that transcends conventional journalism.

Musa interpreted this historical dynamic as evidence that professional journalists possessed—and presumably continue to possess—inherent advantages over amateur content creators and social media commentators. Formally trained journalists undergo structured education in ethics, accuracy, legal liability, and the broader social implications of their reporting. This training instils habits of precision with language, sensitivity to how statements might affect vulnerable subjects, and clear judgment about which information warrants publication. Professional journalists understand that certain revelations can cause disproportionate harm relative to legitimate public interest, guiding them toward restraint and proportionality. By maintaining these standards consistently, professional journalists implicitly set examples that other writers and content creators can emulate, gradually elevating the overall quality and responsibility of public discourse.

Musa articulated a conviction that professional journalism remains indispensable to the entertainment industry's ethical functioning and long-term health. In an era saturated with unvetted information and viral falsehoods, the presence of credentialed journalists who apply rigorous standards offers a counterweight to sensationalism and rumour. These professionals can investigate complex stories, verify claims independently, and present nuanced accounts that reflect reality more accurately than hastily assembled social media posts or comments. The existence of a professional journalism sector also creates accountability—if a journalist publishes false or damaging information, they face professional and sometimes legal consequences, creating powerful incentives for accuracy. Amateur commentators and casual content creators generally face no such accountability, emboldening them to publish claims without serious consideration of consequences.

As Musa prepared for the upcoming Memento Mori Concert scheduled for August 1 at the Unifi Arena, his reflections seemed infused with gratitude for journalists who had supported Exists' longevity in an increasingly challenging industry. His arguments suggest that the relationship between artistes and journalists fundamentally shaped the cultural landscape of Malaysia's entertainment sector, creating mutual dependencies and shared interests that promoted professionalism, accuracy, and ethical behaviour across the industry. The nostalgic tone of these recollections—from all three band members—hints at anxiety about what the entertainment industry loses when professional journalism recedes and is replaced by unmediated social media discourse. While the print era's journalistic gatekeeping occasionally frustrated artistes and restricted information flow, Exists' perspective suggests these restrictions served protective functions that contemporary digital environments have dismantled without developing adequate alternative safeguards.