The legendary Malaysian rock band Exists has drawn a striking contrast between the protective editorial standards of print journalism's heyday and the chaotic immediacy of today's social media landscape, offering perspective on how the entertainment industry's relationship with media has fundamentally shifted over three decades. Speaking after their performance at the Riuh Pi HAWANA concert in Butterworth last night, band members reflected on a time when journalists and editors functioned as gatekeepers who carefully vetted complaints and allegations before publication, shielding artistes from potential reputational damage rooted in unverified claims.

Lead guitarist Along emphasized that the editorial rigour of mainstream print media provided entertainment professionals with a crucial buffer against misinformation and malicious gossip. When fans submitted complaints or stories to publications, editors would investigate thoroughly rather than rushing stories to print. Journalists would actively reach out to the artistes in question, requesting their perspective and allowing them to clarify misunderstandings before anything appeared in print. This methodical approach prevented private matters from being amplified into public scandals based on incomplete information or hearsay. The system was not perfect, but it operated on principles of verification and accountability that are largely absent from contemporary digital discourse.

The contrast with today's media environment could hardly be starker. Along observed that the advent of smartphones and social media has democratized content creation in ways that have fundamentally undermined the gatekeeping function that traditional journalism once provided. Individuals can now capture photographs or videos of entertainers, often in intimate or unflattering moments, and upload them instantly to platforms like Instagram, TikTok, and Facebook without any editorial review or consideration for the consequences. What follows is often a cascade of commentary in social media comment sections, where unfiltered opinions, assumptions, and outright falsehoods accumulate and amplify one another, creating a hostile environment that can psychologically damage the subjects of such posts.

Vocalist Mamat highlighted how the close working relationships between entertainers and journalists have been instrumental in maintaining Exists' relevance and longevity across more than three decades in a notoriously unpredictable industry. He described himself as probably one of the most frequently approached artistes by Malaysian journalists, yet emphasized that despite the band's numerous ups and downs, journalists have consistently afforded them space to recover and move forward. Beyond mere reporting of career milestones and concert dates, journalists have provided emotional and professional support during difficult periods, offering encouragement and advice that sustained the band through lean times. This collaborative relationship transcended the traditional boundaries between subject and reporter, developing into a form of professional partnership rooted in shared investment in the local music scene's success.

Bassist Musa illustrated the depth of these professional bonds with a vivid anecdote from 1997, when an entertainment journalist's enthusiasm for the band's music became so genuine that he rented a recording studio to experience jamming with them firsthand. The journalist had spent considerable time following the band, attending their performances and studying their craft with the dedication of someone pursuing a genuine passion rather than merely fulfilling job requirements. When he proposed a collaborative music session with Musa and guitarist Ujang, both band members agreed enthusiastically, resulting in nearly two hours of spontaneous musical exploration. For Musa, this experience encapsulated the essential difference between transactional media relationships and the genuine bonds of mutual respect and shared artistic sensibility that once characterised the interaction between artistes and serious journalists.

Musa articulated a nuanced position that avoids dismissing contemporary media entirely while lamenting the erosion of professional standards. He asserts that formally trained and professionally accountable journalists remain indispensable to the entertainment industry because they possess both technical expertise and ethical frameworks that amateur content creators fundamentally lack. Professional journalists undergo training in language precision, cultural sensitivity, legal liability, and editorial judgment—skills that enable them to communicate information accurately while minimizing harm to subjects. Furthermore, their adherence to codes of ethics and editorial standards can set examples for other writers and content creators, potentially elevating the overall quality of discourse surrounding entertainment figures and cultural events.

The discussion underscores a broader tension in contemporary Malaysian society regarding information quality and media professionalism. As traditional media outlets face declining revenue and shrinking influence, and as social media platforms have become primary news sources for younger audiences, the institutional gatekeeping function that newspapers once performed has largely evaporated. The speed and accessibility of digital publishing have created immense pressure to break stories before competitors, often at the expense of verification. Meanwhile, the algorithmic amplification of engagement-driving content—particularly controversy and outrage—creates perverse incentives that reward sensationalism over accuracy.

For entertainers navigating this transformed landscape, the psychological burden has intensified considerably. Along acknowledged that contemporary artistes must develop significantly thicker emotional resilience than their predecessors because they are exposed to unfiltered public criticism at a scale and velocity that would have been unimaginable during the print era. The sheer volume of harsh comments, conspiracy theories, and fabricated narratives that accumulate in social media comment sections can deeply affect performers' mental health and wellbeing. His advice to younger artistes reflects a pragmatic adaptation to this new reality: develop emotional fortitude, exercise careful judgment about public behaviour, and maintain sufficient emotional distance from online commentary to avoid internalizing baseless criticism.

The band's reflections also highlight the particular vulnerability of Malaysian entertainment professionals to reputational damage in a society where social conservatism remains influential and where online mob dynamics can quickly escalate minor incidents into major controversies. The absence of credible journalistic voices actively fact-checking and contextualizing events means that false narratives can achieve widespread circulation before professional journalists even become aware of them. This dynamic has profound implications for artistes' willingness to take creative risks, express authentic opinions, or simply maintain the privacy boundaries that most people consider reasonable.

Exists' perspective suggests that the relationship between journalism and entertainment requires recalibration in the digital age. Rather than attempting to restore the gatekeeping function of print journalism—which is neither feasible nor necessarily desirable in a democratized media environment—Malaysian media institutions might focus on establishing credible, transparent fact-checking practices that can counter misinformation after it circulates. Professional journalists could serve as authoritative voices that provide context, verify claims, and publicly debunk falsehoods, thereby offering some protection to entertainers without suppressing legitimate public discourse. Such an approach would acknowledge that social media is irreversible while reasserting the value of professional journalistic standards as a counterweight to digital chaos.

Musa's upcoming preparations for the Memento Mori Concert at the Unifi Arena on August 1 represent a continuation of Exists' commitment to creating meaningful cultural experiences despite the challenging contemporary environment. The band's ability to remain creatively active and professionally engaged after more than thirty years testifies to their resilience and the loyalty of their audience. Yet their reflections on the transformation of media and journalism suggest that the broader Malaysian entertainment ecosystem faces significant challenges as it adapts to a post-gatekeeping media landscape. The professional relationships, careful verification practices, and mutual respect that once characterized interactions between artistes and journalists cannot simply be recovered, but understanding their historical importance may help contemporary entertainment professionals and media practitioners develop new models of accountability and support appropriate to the digital age.