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Cohn’s hero, named Vincent, was a tough, violent guy but a great dancer who yearned for a chance to shine, and to escape the mean streets of Brooklyn.On an icy winter night in 1975, Cohn had made his first trip to Bay Ridge with a disco dancer called Tu Sweet, who would serve as his Virgil.By this time he was running RSO Records, which boasted Eric Clapton and the Bee Gees among its roster of pop stars.“Everyone thought it was madness,” says Oakes, “because nobody had ever made the transition from television to movie stardom.
One of the brawlers lurched over to Cohn’s cab and threw up on his trouser leg.
John Travolta has been honored twice with Academy Award nominations, the latest for his riveting portrayal of a philosophical hit-man in Quentin Tarantino’s “Pulp Fiction.” He also received BAFTA and Golden Globe nominations for this highly acclaimed role and was named Best Actor by the Los Angeles Film Critics Association, among other distinguished awards.
Travolta garnered further praise as a Mafioso-turned-movie producer in the comedy sensation “Get Shorty,” winning the Golden Globe Award for Best Actor in a Motion Picture, Musical or Comedy.
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.
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.