David Bowie; The Icon Remembered

By Bruce Edwin

subnormal David Bowie 2016

Welcome to the newly revised Hollywood Sentinel! This online magazine is a creation that we are very passionate about, as we are passionate of all of the arts in general. The Hollywood Sentinel is the only magazine on the planet that covers all areas of the arts, features ‘only’ the good news, is seen by every star in its pages, as well as many more of the world’s most powerful people, and is created by working professionals in the entertainment industry. It is also unique in that it infuses a spiritual message in the publication, something lacking in most other entertainment publications. And, it serves as a voice to fans, to those aspiring in Hollywood, as well as an insider tool for top, A-level VIP’s and moguls.


After nearly a decade online, we decided it was time to re-vamp our look, upload speed, and smart phone capabilities. We are pleased that this new design does the job, enabling us to now bring The Hollywood Sentinel to you not only every Monday, but at times, with even daily new content. So, visit us often, explore the site, check out the back issues, and tell your friends and loved ones to read us too. There is truly a wealth of information and creativity in these pages, and we promise you, it will keep getting better, and better. You can always contact us via the contact box on the site, and for those of you that want to really do something great for yourself or your business, you can call us at 310-226-7176 to discuss advertising. Thank you for reading, and enjoy the new issue!


I grew up listening to my Dad’s great record collection when I was a boy. At 6 years old, I was singing to The Beatles, Janis Joplin, Elvis, Led Zeppelin, The Who, Tommy James and the Shondelles, and the Everly Brothers among many more. By 8, I was picking out my own music, and by 12, I started building my own record collection which included Joan Jett, Queen, Styx, Rush, Billy Idol, The Police, and dozens more including a man named David Bowie. When I first heard Bowie, I was stunned. The first thing that struck me all at once was the power and quality of his voice, songwriting, musical composition, and production quality. I had never heard anything else at all like Bowie. The production value was amazing, his voice sounded like it was right there in the room with me. His vocals were miked higher than most other bands I’d heard, and even among the solo artists like Bob Dylan or Donovan, Bowie’s production team did something I had never quite heard before. He was definitely out of this world; The man from Mars, to quote Debbie Harry. A genius songwriter, better than most any in the world, and with a voice and look that was captivating; David Bowie was legendary.

By the time I was 15, I had gone from being what kids called a metal head, to a new waver, to a punk rocker. I still loved metal bands including Ozzy Osbourne, Iron Maiden, Motley Crue, Judas Priest, and more, and I still loved the so-called new wave bands like Blondie, Bananarama, Flock of Seagulls, Culture Club, and The Cure, but I had now officially been introduced to punk rock. The Sex Pistols, The Damned, The Clash, The Ramones, The Dead Kennedy’s, Suicidal Tendencies, Black Flag, Bauhaus, Siouxsie and the Banshees, and many more were my new favorites. Across all genres of music, David Bowie was loved. My metalhead friends loved Bowie and listened to him, marveling at his wild outfits and theatrical make up and great songs. The new wavers naturally idolized him for his brilliance and songs that led so many movements musically and in fashion, and the punk rockers loved and appreciated him as well.

I recall many un-official David Bowie parties where my crowd of punk rocker friends host for the nights or days party would entail playing many hours of non-stop David Bowie CD’s. When I would go to the dance clubs in Chicago including Medusa’s, and later Club 950, and Neo among more, I would always hit the dance floor–as did everyone else who danced, when Bowie’s ‘Little China Girl,’ ‘Ashes to Ashes,’ Space Oddity,’ ‘Ziggy Stardust,’ ‘Fashion,’ ‘Fame,’ ‘Blue Jean,’ ‘Rebel Rebel,’ or any other number of his great hits were played.

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During my early punk years, I also made friends with a number cool black kids that also introduced me to early rap music. While I never became obsessed with rap like I did other genres, I liked a number of early rap artists, especially Public Enemy who I saw live several times. Even my rap friends loved Bowie. The mainstream pop crowd even liked Bowie, and although they and some of the rap crowd called him ‘weird,’ for having the guts to be one of the first male artists to wear make-up or wear a dress, they still liked him.

I loved music so much that I decided to start a music magazine which I called ‘subnormal,’ based on the college town of Normal, Illinois that I lived in for a number of years, and to describe a magazine that was definitely ‘not’ normal, featuring interviews with some of the bands listed above among many more. Having been called many insults during my early days as a punk rocker for how shocking I dressed, one of the entries of the word subnormal which also meant retarded, fit perfectly, to demonstrate an artistic and subcultural movement that could not be hurt or phased by even the worst of insults, similar to how some blacks later on began calling themselves the ‘n’ word. Like the punk rockers, and David Bowie himself, subnormal was un-insultable. We spoke our minds, and literally did not care what anyone thought or said. Like Bowie, subnormal wore its weirdness like a badge of honor, before it became trendy.

I remember how excited I was when David Bowie’s record label sent me some of his material, and an 8×10 glossy of David Bowie himself which I subsequently published. I was thrilled. I later decided to major in music in college, only later switching to film, as I realized it could include all of the arts within it including music, photography, writing, and even painting. David Bowie mastered nearly all areas of the arts; he sang, he wrote songs, he composed music, he danced, he acted, he wrote plays, he designed sets and costumes, he designed and wore fashion, and he made art as a painter.

People from every music scene out there loved David Bowie, and appreciated his artistic ingenuity, talent, brilliance, and greatness. He also collaborated with some of the other greatest artists of our time including The Rolling Stones, and Tina Turner, as well as from the punk scene including Sonic Youth, and Iggy Pop, and industrial rockers Nine Inch Nails among many, many more. I had the great pleasure to see David Bowie live when he toured one year with Nine Inch Nails and even performed some songs together with them. Trent Reznor was heavily influenced by Bowie, and reportedly asked him to do a tour together. Virgin Records kindly put me on the guest list. Bowie apologized that night for cutting the set short to about 90 minutes or less. He said he had a terrible cold and flu, and a sore throat. Yet he still sang, because, he said, he “didn’t want to cancel on us.” That was the kind of performer Bowie was. He loved his fans that much, and he was that kind. And if he hadn’t told us he was sick then, we would have never known, because he still sounded great.

David Bowie was light years ahead of his time, and still is. The world is still catching up with Bowie, and he influences artists across all genres in a myriad of ways. He gave me and countless others the strength to realize that an artist can be, do or have anything they want. An artist can wear anything they want, dress however they want, look however they want, and become anything they want, and that was their prerogative, and if someone else didn’t like it–too bad. Bowie gave hope to the hopeless, a voice to the voiceless, and a ray of light and celebration to anyone different, or yearning to be. David Bowie made being an outsider and rebel as cool as could be. And Bowie, unlike most any other, brought fashion, performance art, theatre, film, and more on to the stage, blending perfectly a multi-dimensional level of the arts like none before him. He realized that fashion itself was an art form, and more than most any performer of all time, made fashion an essential part of his persona. He even wrote a song called ‘Fashion,’ and married a fashion supermodel–Iman, which was shocking to many at the time, as Bowie was white, and she was black; yet another rebellious act that he didn’t just talk about, but lived. An actor, fashion icon, and musical great that made, broke, defined and defied genres, David Bowie made changes in music, the arts, and culture that will last forever. He was a true punk rocker; fearless, daring, and innovative, always pushing the edges.

The early morning when I clicked on the news and read that David Bowie had died, I was in a state of shock. I got tears in my eyes. Like other musicians I spoke with on the days that followed, they all felt like I did, that Bowie would be with us for ever, leading us all out of this life on Earth to the other side. I loved David Bowie’s work, and I am very sad that he is gone. A big piece of all of our global musical soul has been hit, and hurt since Bowie departed. I read that during his last months, he knew he was dying, but wanted to make his one last album for us, to leave to his fans, which he rushed to create and finished. That album, has since gone on to become his first #1 Album ever on the charts, giving his estate more sales at it’s debut than any of his other albums. I’m thankful I got to see his art exhibition that he personally put together, on display at the Museum of Contemporary Art in Chicago just two years ago, which was amazing. I developed an even greater appreciation of Bowie after seeing that incredible show. There will never be another David Bowie. He stands at the very top of the greatest icons, performers, songwriters, and singers in all of the world, for all time. David Bowie, thank you for gracing us all with your brilliance and your art. You were and are– an amazing man.

This content © 2016, Bruce Edwin, The Hollywood Sentinel, all world rights reserved. subnormal magazine

Los Angeles Art

By Moira Cue

LA Art Show image 2014, 2016

Roundup: LA Art In Brief

Los Angeles Art Show

The 21st L.A. Art Show is back at the Los Angeles Convention Center in good old DTLA from January 28-31st.  This is an event so massive that it has at least a dozen publicized and a dozen more unofficial invitation-only after parties stretching from Chinatown to Culver City and beyond. There will be 120 galleries representing 22 countries. Wear some walking shoes, bring a note pad and empty out the memory on your iPhone!


The VIP premiere was hosted by Amy Adams last year and will bring Anne Hathaway this year (on the evening of the Patron’s Ball on the 27th). There are separate sections for historic, contemporary, and even jewelry and interiors. There is typically a strong showing of Chinese art and a commercial vibe that borders on orgiastic, with 30 million in sales last year.  There are plenty of blue chip works, but also some other surprises, if you look carefully.  If you are Los Angeles local there’s no excuse to miss this!

According the to the official L.A. Art Show website; “ The LA Art Show, the 200,000 square foot art fair that welcomed more than 50,000 art enthusiasts to the Los Angeles Convention Center this past year, will launch its newly curated art show experience at the upcoming 2016 event. Looking back on the 20 year history of the LA Art Show, one can’t help noticing how it has evolved, changing locations and growing in diversity to reflect the trajectory of the burgeoning Los Angeles art scene. For the 2016 show, we want to offer visitors and collectors a new hosted art experience which will entail a fair devoted to only Modern and Contemporary art. Located next door, the Los Angeles Fine Art Show will exhibit works of Historic and Traditional Contemporary Art.”

It further states, “In recent years, the LA Art Show has become the most internationally diverse art platform in the Western world, bringing in the largest groupings of Korean, Chinese and Japanese galleries outside of Asia. Beginning in 2010, the LA Art Show has actively developed its international gallery offerings to provide collectors with a unique opportunity, to spot international trends and zeitgeist through art, a medium that has the ability to transcend language. This keen focus has been a hallmark of the show.”

   Jan. 28, 2016
   11am – 7pm

   Jan. 29, 2016
   11am – 7pm

   Jan. 30, 2016
   11am – 7pm

   Jan. 31, 2016
   11am – 5pm

Los Angeles Convention Center
1201 South Figueroa Street West Hall
Los Angeles, CA 90015


Three Day Weekend

You might have had one on MLK Day, or perhaps you’re looking forward to President’s Day in February, depending on the political inclination of your employer. But you don’t have to wait, another THREE DAY WEEKEND starts Thursday, January 28 courtesy BLUM & POE Los Angeles. But Thursday’s exhibit is only two hours so it doesn’t count. This show has three locations, ten “manifestations,” and a free vacuum cleaner.

Three Day Weekend will show Dave Muller’s three replicas of the infamous Wrong Gallery from 2004. The Wrong Gallery was the smallest exhibition space in New York, located at 516A1/2 West 20th Street in Chelsea, (2002-2005). Inside each gallery will be an installation by Brian Sharp, Dave Muller or Jon Pylypchuck. This reminds me of the time I was back in Chicago in 2013 and bumped into Meg Duguid on the SAIC campus, carrying a shoebox-sized curated traveling exhibition. Someday I hope to receive nanoparticles of art invisible to the naked eye.

Grice Bench will show paintings by Roger White as suggested/commissioned by Jacob Stewart-Halevy along with a video by Stewart-Halevy.

ROGERS will show Dave Muller sculptures of Andre Cadere crates. The first person to check off all nine of the shows on a special handout and bring it in wins the vacuum. In the event of simultaneous submissions, participants will fight to the death in an impromptu mud wrestling match. OK, I just made that up.

From February 13 to March 12, 2016, the ROSAMUND FELSEN GALLERY presents Marcia Roberts, a minimalist color field painter whose current palette invokes the late years of Monet (or an eye-shadow kit from the 1970’s). If you traced a line from Monet to Rothko, the angle of the trajectory would point straight to Roberts, though the undeniable (or projected) femininity of her work brings also to mind Eva Hesse and Ellen Gallagher. Because Roberts’ earliest work involved special lights and materials, she has been associated with Light Art movement types such as Robert Irwin, but I think that if you drew a line between Irwin and Roberts and tried to drive it you’d get stuck in traffic.

LACE (Los Angeles Contemporary Exhibitions) hosts the annual PEN USA Emerging Voices Welcome Party on January 27, from 7 to 9 pm. PEN Center USA is a branch of PEN International, an international literary and human rights organization. PEN Center USA “advocates for imprisoned, censored, and persecuted writers throughout the world, while cultivating and expanding a diverse and engaged literary community in the western United States.” The LOS ANGELES ART BOOK FAIR is also coming up, February 11 – February 14, 2016, at The Geffen Contemporary at MOCA.

From January 30 through March 12, 2016, Anat Ebgi presents Double Blind, the gallery’s second solo exhibition with young SAIC/CalARTS alum Margo Wolowiec, whose source material is chosen from the Internet by “an automated algorithm,” but looks like a quilt of torn squares of James Rosenquist semi-imposed beneath a layer of Richter squeegees. And they’re actually woven tapestries.


In addition to the L.A. art show, we also have  Art L.A. Contemporary.  “Art Los Angeles Contemporary, now in its seventh year, is the International Contemporary Art fair of the West Coast, held January 28–31, 2016 at Santa Monica’s Barker Hangar. The fair presents top established and emerging galleries from around the world, with a strong focus on Los Angeles galleries.”

This content is copyright 2016, The Hollywood Sentinel / Moira Cue, all world rights reserved.

By Bruce Edwin

Film producer and screenwriter Bruce Edwin is CEO of the A-list firm Starpower Management LLC, publisher of The Hollywood Sentinel, and founder of Hollywood Sentinel Public Relations. His services, based on his years of expertise and success in the music and film industry are sought out and used by some of the most powerful companies and stars in entertainment. This ongoing article series, a precursor to his upcoming book, is his way of giving back to models, actors and bands, with free education– that in its totality and with its unabashed honesty, cannot not be found anywhere else, for free. This advice pertains to those in all areas of the arts; screenwriters, directors, actors, models, bands, dancers, and more.

Letters to the Editor:

Hello Mr. Edwin,

My name is A.C. I happened to stumble across your site while searching for agents and managers. I appreciate your straight forward and authentic approach. Being of like mind in that regard, my situation is as follows…

I’m an “aspiring” actor in my mid-thirties. I have few credits most of which are student films. I started in the industry in my early twenties and things progressed very quickly. I was connected with a manager who then connected me with a SAG franchised agent. I had gone on several auditions ranging from commercials, to leading roles in soaps and feature films. Literally within weeks of me taking my first acting class of many.

Needless to say I didn’t book very often, mostly modeling work. I was eventually dropped by my agent, soon followed by my manager due to lack of communication a immaturity on my part. I’ve been in and out of the industry over the years mostly out with the exception of this past year completing three shorts and a couple of minor auditions for pilots, which I got through a fitness client of mine who happens to be a television producer. I have maintained a commercial look and can probably play as young as 28 or 29.

My question to you, is with everything I’ve mentioned, in your opinion is there a manager and or agent who would be willing to take a chance on someone like me?

I will still pursue my renewed acting goals regardless of your response, but I would be greatly appreciative of any advice you would be willing to offer.

Thank you for your time.


P.S. I plan on implementing the Domino Technique in helping me achieve said goal, so I also thank you for sharing it.

(Note: The Domino Technique is a method of business applications developed by Bruce Edwin, as published in a former issue of The Hollywood Sentinel. The full name has been omitted by the editor out of respect for the actor).

Bruce Edwin Responds:


I am glad you appreciate the writing and find some use with it, as well as implementing the Domino Technique. You are on the right path with that. Also, be sure to read all of the other articles of “How to Succeed In Hollywood” in our archives section which can be found at: www.TheHollywoodSentinel.com. You stated why you got dropped, due to immaturity and lack of communication. That’s good that you realize this, because the first step to overcoming any problem is realizing that you were the creator of the problem. Now, you did not indicate that you are no longer going to keep creating this problem by behaving in this way, so it is important to do that. My feeling is that if you did know that you were valuable and professional and doing all you needed to do, you would not ask if there would be an agent or manager willing to take a chance on you–rather you would ‘know’ it.

Not knowing something is obviously simply a lack of knowledge in that area. Certainly there are agents and managers out there willing to take a chance on you. But the question should be what type of agent or manager can you get, and what do you have to be, do, or have to get them? Can you get a low level agent or manager that does nothing for you, or a top quality one that helps takes you to the place you want to be? To get the best, you need to be the best, and to be the best in your career, you need to eliminate all areas in yourself concerning your career that are not the best. That includes firstly, your self esteem. You need to get your self esteem up, which is directly connected to your knowledge of success that will lead to success. If you lack self esteem, which many aspiring actors do, then you may need more training. And even the greatest actor can get more training. Just don’t get one of those acting coaches that wants to keep you under their wing training forever, and never let you go off and audition or work. If you were the best trained actor you possibly could be, I doubt that you would be asking me if an agent or manager would ‘take a chance’ on you. When one is highly competent, one knows the heights that they can achieve are limited only by their own reach. Get more competent as an actor with more training, and then you will have no doubts about getting the representation you want.

You may often hear agents and managers telling talent how there is no shortage of actors on town, ready to take there place. That is true for the mediocre or low level actors–the ones who cannot really ‘act.’ But there ‘is’ a shortage of ‘great’ actors in Hollywood. When you become great, due to a high level of competency in top level training, then your esteem goes up, because you know that you are now a product in higher demand.

Also, as I have stated in a former edition of “How to Succeed In Hollywood,” stop referring to yourself as an ‘aspiring’ actor. An aspiring actor means that you are working on becoming an actor. If you are an aspiring actor, then you are not an actor. To state that you are an ‘aspriring A-List actor’ might be more accurate, or in some cases, ‘aspiring’ to be an actor, but one is not an aspiring actor. Either one is an actor, or they are not. There is no in between. Imagine a man wanting to play baseball, telling everyone that he is an aspiring baseball player. What does that mean? He is either hoping to be a Major League all star player, or he is hoping to learn how to play baseball. If he is hoping to learn how to play, then he should stop hoping, and just go pick up a bat, ball, and glove and go learn how to play. Stop aspiring, and just act. If you are aspiring to a certain level, then make a written plan of how you are going to get there, with your top goal written at the top of the page, and working backwards to where you are now.

Its fine you are SAG-AFTRA, yet being SAG does not mean that one knows how to act. In fact, most SAG players don’t. Lack of credits does not matter so much as does lack of talent. One can have a hundred credits and still be a lousy actor. Which is funny to me when some SAG actors get offended when I ask them if they have training, when they automatically expect me to consider them valid as a talent just because they have union status or a few credits. That is not the case.

So, focus more on training, and less on credits. Focus more on your craft, and less on who will ‘take a chance on you.’ Focus on being the best, and the representation will–if you get out there enough, come to you if you become truly ‘great.’ Become a great actor, get in a play, record it, and then send that to a hundred agents and managers. Then you will have arrived much closer to the level you may seek. I hope this is further value to you.

– Bruce Edwin

Audrey Hepburn’s Roman Holiday Screen Tests

This content is ©2016, Bruce Edwin / The Hollywood Sentinel. All rights reserved. Audrey Hepburn’s Screen Tests, ©2016, AMPAS, all rights reserved.