Legendary Malaysian rock band Exists has offered a nostalgic perspective on the role journalism played in protecting entertainers during the golden era of print media. Speaking after their recent performance at the Riuh Pi HAWANA concert at Arena Butterworth Convention Centre in late June, band members highlighted how editorial standards and professional gatekeeping once provided a crucial safeguard against reputational harm and unfounded allegations affecting performing artists across the country.

The band's lead guitarist Along underscored how the institutional practices of mainstream newsrooms created a protective framework for entertainers. When fans or readers submitted complaints or stories about public figures, editors would scrutinise these submissions carefully before deciding whether publication was warranted. This deliberate filtering process meant that sensitive issues underwent thorough vetting rather than being published indiscriminately, reducing the likelihood of misinformation damaging an artist's reputation.

According to Along, professional journalists of that era maintained direct contact with the artists in question, actively seeking their perspective and clarification on allegations. This practice of reaching out for comment served multiple functions: it ensured accuracy, gave artists the opportunity to respond to claims, and generally prevented misunderstandings from escalating into full-blown controversies. The combined effect was a more measured approach to entertainment reporting that prioritised verification over speed.

The contrast with today's media landscape is stark. Along described how the current digital environment operates without many of those traditional safeguards. Any individual can now capture images or video content and immediately distribute it through social media platforms, bypassing any editorial review or consideration of consequences. This democratisation of content creation, while offering new opportunities for expression, has removed the institutional filters that once protected privacy and reputation.

The velocity and scale of modern information spread present unprecedented challenges for artists. According to Along, content uploaded to social media platforms often generates comment sections filled with diverse—and frequently hostile—perspectives within hours. For performers who monitor their own mentions and engagement, exposure to sustained critical commentary can have genuine psychological effects, making emotional resilience a necessary professional attribute in ways it perhaps was not decades ago.

Vocalist Mamat reflected on how Exists' longevity in Malaysia's competitive entertainment industry has been closely tied to consistent journalistic support since the band's formative years. Rather than treating the group as merely a news subject to be reported on, journalists maintained an ongoing relationship with the band, covering career developments while also standing with them during difficult periods. Mamat noted that he ranks among Malaysia's most frequently interviewed entertainers, yet this sustained media attention has enabled rather than harmed the band's trajectory.

Mamat highlighted how journalists writing about Exists have often exceeded their basic reporting function by offering encouragement and constructive advice. These instances of editorial generosity—words of support embedded within coverage—provided emotional reinforcement that helped the band navigate industry challenges and maintain motivation across more than three decades of activity. The relationship transcended a transactional news-gathering arrangement to become something closer to genuine professional partnership.

Bassist Musa contributed a particularly revealing anecdote that captures the depth of relationships between entertainers and journalists in that earlier era. Around 1997, an entertainment journalist covering the band became so invested in Exists' creative process that he independently rented a recording studio and invited band members to jam together. The two-hour session that resulted was not part of any journalistic assignment but rather emerged from authentic interest in the music itself. For Musa, this story exemplifies how professional boundaries sometimes dissolved into genuine friendship built on mutual artistic respect.

Musa's broader reflection suggests that the protective function journalism provided was inseparable from the genuine relationships and shared values that connected journalists to the entertainment community. These connections fostered accountability—journalists cared about accuracy and impact partly because they knew the people they covered as human beings. The stakes felt personal rather than merely commercial, creating an ecosystem where responsible reporting was reinforced by social bonds and professional pride.

Yet Musa remains convinced that professional journalism retains essential value in the modern entertainment landscape, despite its diminished gatekeeping power. Trained journalists possess technical skills in language precision and understanding cultural sensitivities that untrained content creators often lack. They understand which stories merit publication and which could cause disproportionate harm, knowledge acquired through formal training rather than intuition alone.

In Musa's view, professional journalists serve as exemplars within the broader ecosystem of entertainment commentary. By demonstrating responsible practices—careful fact-checking, seeking multiple perspectives, considering consequences—credible journalists establish standards that influence other content creators to produce more thoughtful work. This exemplary function becomes especially important when most entertainment commentary now originates from non-professional sources lacking established ethical guidelines.

The conversation with Exists reflects a genuine tension at the heart of Malaysian media evolution. The traditional gatekeeping role of journalists protected artists from unvetted allegations and reputational damage, yet it also constrained freedom of expression and public discourse. Today's system distributes power more democratically but at the cost of institutional protection against harm. For entertainers navigating this landscape, the challenge is neither nostalgic retreat nor uncritical acceptance of current conditions, but rather developing strategies to engage productively with both professional journalists and the broader digital public sphere.