The legendary Malaysian rock band Exists has offered a nostalgic but sobering perspective on how the relationship between entertainment journalists and artists has fundamentally transformed over three decades. Speaking after performing at the Riuh Pi HAWANA concert at the PICCA PICCA @ Arena Butterworth Convention Centre parking lot, band members reflected on an earlier era when professional gatekeeping and editorial responsibility formed a crucial shield against potentially career-damaging misinformation and premature public judgment.

Lead guitarist Along highlighted the rigorous editorial standards that once governed entertainment journalism in Malaysia's mainstream press. During the heyday of print media, journalists and editors functioned as intermediaries who carefully vetted complaints, allegations, and story submissions before they reached public print. Rather than immediately publishing every piece of fan correspondence or accusation, editors would assess the veracity and sensitivity of claims, often reaching out to the artists themselves for comment and clarification. This methodical approach meant that gossip and unfounded allegations were filtered out before they could damage reputations, and misunderstandings were frequently resolved through direct dialogue rather than public accusation.

Along stressed that this editorial discipline served artists well during an era when public perception was shaped primarily through newspapers, magazines, and broadcast media. The gatekeeper function of professional journalists created what he described as an essential layer of protection—one that prevented minor disputes, personal matters, or out-of-context incidents from spiraling into career-threatening scandals. Artists could pursue their careers with some assurance that responsible media outlets would not participate in spreading unverified claims or sensationalized narratives designed purely to generate readership.

The guitarist's observations underscore a broader shift in how information circulates in the Malaysian entertainment ecosystem. He noted that the current media landscape operates under fundamentally different rules, where ordinary individuals wielding smartphones can capture images or footage of public figures and instantaneously distribute them across social media platforms without consideration for context, accuracy, or the subject's privacy and wellbeing. The speed and reach of digital dissemination mean that a momentary lapse in judgment, an unflattering photograph, or a misunderstood comment can be amplified to thousands or millions of people within minutes, often accompanied by commentary that ranges from critical to viciously personal.

This transformation has created psychological pressures that artists of earlier generations rarely encountered. Along acknowledged that modern performers must develop considerable emotional resilience, as the comment sections beneath social media posts often overflow with harsh criticism, uncharitable interpretations, and attacks that have nothing to do with the artist's actual work or conduct. The cumulative effect of constant negative feedback from strangers can wear on mental health and creative confidence. Along's advice to younger artists reflects a pragmatic acceptance of this new reality: they must be exceptionally careful about their public behavior, remain mentally strong in the face of criticism, and avoid situations that could generate negative attention in the first place.

Vocalist Mamat provided a contrasting perspective by emphasizing the constructive relationship that journalists have maintained with Exists throughout the band's long career. He characterized himself as one of Malaysia's most frequently interviewed artists, yet expressed gratitude that despite the inevitable ups and downs of three decades in the industry, journalists have continued to provide the group with both coverage and encouragement. Beyond merely reporting on concert dates and album releases, journalists covering Exists have offered editorial support during difficult periods, providing advice and words of encouragement that helped sustain the band's morale and commitment to their craft. This ongoing relationship suggests that despite broader industry shifts, a subset of professional entertainment journalists continue to view their role as encompassing more than transactional reporting.

Bassist Musa enriched this discussion by recounting a telling anecdote that illustrates the depth of connection that once existed between entertainment journalists and the artists they covered. Around 1997, an entertainment journalist assigned to cover Exists became so genuinely invested in the band's music that he rented a recording studio and invited Musa and another band member to jam together for approximately two hours. This boundary-crossing act—where a journalist essentially became a participant rather than an observer—would be ethically questionable by modern journalistic standards, yet Musa presents it as evidence of something valuable that has been lost: a relationship between artists and media professionals rooted in authentic mutual interest and respect, rather than purely professional obligation.

Musa's reflection points to a deeper erosion in professional culture. He emphasized that properly trained journalists possess not only technical writing skills but also ethical training and sensitivity awareness that equips them to make sound judgments about what should and should not be published. Responsible journalists understand the potential consequences of their reporting, recognize cultural and personal sensitivities, and maintain standards that prioritize accuracy and fairness. In Musa's view, such professionalism serves a broader social function: when quality journalists maintain high standards, they implicitly set expectations for other content creators and writers, creating demonstration effects that gradually raise the overall quality and responsibility of public discourse.

The contrast that Exists members draw between past and present media environments carries particular relevance for the Malaysian entertainment industry as it navigates the ongoing transition from traditional to digital platforms. The band's observations suggest that the loss of institutional gatekeeping has created a void that has not been adequately filled by alternative quality-control mechanisms. Social media algorithms reward engagement over accuracy, incentivizing sensationalism and controversy rather than thoughtful analysis. The economic model that sustained professional journalism—where readers paid for content and editors' salaries depended on maintaining audience trust over time—has been displaced by attention-based advertising models that prioritize immediate clicks over long-term credibility.

For Malaysian artists and the broader creative community, the implications are significant. The protective function that journalists once provided was not merely about suppressing criticism or negative stories; rather, it was about ensuring that criticism would be informed, contextual, and fair. Without such mediation, artists face exposure to what amounts to unmoderated public judgment, where the loudest voices and most inflammatory comments often dominate perception regardless of their accuracy or representativeness. Younger entertainers entering the industry today operate in an environment where reputation damage can occur instantaneously and be nearly impossible to fully remediate.

Musa's ongoing work as a musician—including final preparations for the Memento Mori Concert scheduled for August 1 at the Unifi Arena—reflects the continued viability of live performance as an alternative space where artists can connect directly with audiences without mediation. Yet the band's reflections suggest an underlying concern that the loss of professional journalistic oversight represents a genuine degradation of the information ecosystem, one that leaves all public figures more vulnerable to misrepresentation and manufactured controversy. Whether the entertainment industry and society at large will develop new institutional mechanisms to replace the functions that professional journalism once performed remains an open question that extends well beyond Malaysia's borders.