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“Dancing’s all they got.”A brawl was in progress when they arrived at 2001 Odyssey.

One of the brawlers lurched over to Cohn’s cab and threw up on his trouser leg.

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Later, Cohn went back to the disco with the artist James Mc Mullan, whose illustrations for the article helped persuade Cohn’s underwhelmed editor in chief, Clay Felker, to run it.

The title was changed from “Another Saturday Night” to “Tribal Rites of the New Saturday Night,” and a note was added insisting that “everything described in this article is factual.”) and a few others bid on it.

But you should see his movie first.”“So we saw on Monday, and we made a deal,” recalls Mc Cormick, now executive vice president of production at Warner Bros.

The client was director John Avildsen, and he brought in screenwriter Norman Wexler, who had earned his first Academy Award nomination for the screenplay for for the screen (which brought him a second Oscar nomination).

“They don’t do magazine articles.” But while Mc Cormick was packing to return to New York, the phone rang, and it was the agent saying, “Kid, you’re in luck.

My client came in and looked at this, and he’s interested.During one row at the dinner table, Tony explodes at his mother when she refuses to accept that her eldest has turned in his collar: “You got nuthin’ but three shit children! Tony’s mother—played by acclaimed stage actress and Off Broadway playwright Julie Bovasso—bursts into tears, and Tony is overcome with remorse.” That famous strut to the Bee Gees’ “Stayin’ Alive” in the opening scene? I went to a school that was 50 percent black, and that’s how the black kids walked through the hall.”“Nobody pushed me into show business,” Travolta says.“I was aching for it.” Born in l954 in Englewood, New Jersey, he was one of six kids, five of whom pursued careers in show business.“According to Tu Sweet,” Cohn later wrote, “the [disco] craze had started in black gay clubs, then progressed to straight blacks and gay whites and from there to mass consumption—Latinos in the Bronx, West Indians on Staten Island, and, yes, Italians in Brooklyn.” In l975, black dancers like Tu Sweet were not welcome in those Italian clubs; nonetheless, he liked the dancers there—their passion and their moves.“Some of those guys, they have no lives,” he told Cohn.That was the talk in Hollywood, Bill Oakes remembers, on September 25, 1976, when his boss held a lavish press conference at the Beverly Hills Hotel to announce that the Robert Stigwood Organisation—RSO—had just signed John Travolta to a million-dollar contract to star in three films.