The legendary Malaysian rock band Exists has offered a retrospective look at how journalists and editors functioned as gatekeepers and protectors of artistes during the heyday of print media, a role that has fundamentally transformed in the age of social media. Speaking after performing at the Riuh Pi HAWANA concert at the PICCA PICCA @ Arena Butterworth Convention Centre in Butterworth on June 20, the band's members reflected on a relationship between the media establishment and entertainers that was characterised by mutual respect, editorial responsibility, and a commitment to accuracy that served to shield artists from potentially career-damaging misinformation.
According to lead guitarist Along, the print era was defined by a deliberate editorial process that stood in sharp contrast to today's instant publishing culture. When fans submitted complaints or allegations against artistes, editors would scrutinise these submissions carefully, verifying claims and checking facts before deciding whether material should reach the public. This gatekeeping function was not merely bureaucratic but served a protective purpose, preventing unfounded rumours and unverified accusations from gaining legitimacy through formal publication. The practice extended to journalists actively reaching out to the subjects of stories, requesting their perspective and allowing artistes to respond to allegations, a courtesy that ensured basic fairness and reduced the likelihood of misunderstandings escalating into public controversies.
This layered approach to editorial decision-making created what might be described as an institutional buffer between raw public commentary and what ultimately appeared in print. Along explained that such diligence prevented artistes' private lives from becoming fodder for unfounded gossip, allowing them to maintain a degree of personal privacy despite their public status. The impact of this system extended beyond individual stories—it shaped public discourse itself, establishing norms around what constituted acceptable reporting and limiting the amplification of unsubstantiated claims that could damage reputations.
The transformation from that environment to today's media landscape is stark and irreversible. Along noted that the contemporary scene is characterised by speed and a lack of filtering mechanisms. Members of the public routinely capture photographs or videos of entertainers and upload them directly to social media platforms without any editorial review or consideration of context and consequences. The absence of institutional gatekeepers means that such content spreads rapidly, often accompanied by commentary that ranges from supportive to viciously critical. Comment sections become forums where unmoderated opinions accumulate, creating an environment where artists may encounter sustained attacks from strangers with no obligation to verify their claims or engage in reasoned debate.
The psychological toll of this shift warrants particular attention for understanding the pressures faced by contemporary artistes. Along acknowledged that exposure to a constant stream of harsh criticism can damage the emotional wellbeing of entertainers who read these comments. This has practical implications for how artistes must approach their public lives—they must develop thicker emotional resilience, exercise extreme caution about their public behaviour, and adopt protective strategies such as limiting their engagement with online commentary or delegating social media management to trusted staff members. The burden has essentially shifted from the media institution to the individual artist.
Vocalist Mamat reflected on how the close relationships Exists maintained with journalists throughout its career contributed directly to the band's longevity and continued relevance in the Malaysian entertainment landscape. Mamat expressed astonishment at being frequently approached by journalists, but emphasised that this engagement has translated into meaningful support during difficult periods. Rather than treating Exists as merely the subject of transactional reporting, journalists accorded the band space to recover and develop, and often embedded encouragement and constructive advice within their coverage. This symbiotic relationship meant that media attention functioned not simply as publicity but as a form of industry validation and emotional support.
Bassist Musa provided a vivid illustration of how the relationship between artistes and journalists transcended professional boundaries in earlier decades. In 1997, an entertainment journalist's engagement with Exists went beyond observation and reporting—the journalist actually rented a recording studio and participated in a jamming session with band members, spending nearly two hours playing music together. This anecdote encapsulates a fundamentally different model of journalism, one where professional interest could evolve into genuine friendship and shared passion. The distinction matters because it reflects a time when media figures were embedded within the cultural community they covered, developing deep knowledge and genuine investment in the wellbeing of the artists and the health of the industry.
Musa acknowledged that despite nostalgia for that era, professional journalism remains essential for the entertainment industry and society more broadly. He articulated a defence of trained journalists as possessing specific competencies that amateur content creators lack—careful language use, sensitivity to cultural context, awareness of what material risks causing unwarranted harm, and commitment to accuracy and fairness. Professional journalists, in Musa's view, can serve as exemplars, demonstrating standards that encourage other writers and content creators to adopt more responsible practices. This argument positions journalism not as an obstacle to communication but as a standard-setter that elevates the quality and ethics of public discourse.
The contrast between past and present suggests several implications for Malaysia's entertainment industry specifically and Southeast Asian media environments more broadly. As traditional media has declined in economic viability and social reach, the protective functions it once performed have not been replaced by equivalent structures. Artistes now operate in an environment where their reputations are simultaneously more fragile—subject to rapid amplification of criticism—and less protected by institutional gatekeepers. This creates both psychological pressure on individual entertainers and potential distortions in how the public perceives cultural figures, since viral moments and social media narratives may bear little relationship to sustained reality.
For aspiring artistes in Malaysia and the region, the observations from Exists suggest that navigating public life now requires skills and psychological resources that previous generations may not have needed to develop. The band members' testimony indicates that relationships with journalists remain valuable, but the nature of those relationships has changed. Rather than providing protection through editorial gatekeeping, contemporary journalists may offer support through thoughtful coverage and platform building. The band is currently focused on future projects, with bassist Musa preparing for the Memento Mori Concert scheduled for August 1 at Unifi Arena, continuing the tradition of artistic work that once found steady support through Malaysia's print media infrastructure.
