document_title: The Blues Brothers (film)

question_text: where was the opening scene of blues brothers filmed

text: The Blues Brothers (film)

text: Plot[edit]

text: Jake Blues is released from prison after serving three years, and is picked up by his brother Elwood in his Bluesmobile, a battered former police car. Elwood demonstrates its capabilities by jumping an open drawbridge. The brothers visit the Roman Catholic orphanage where they were raised, and learn from Sister Mary Stigmata that it will be closed unless $5,000 in property taxes is collected. During a sermon by the Reverend Cleophus James at the Triple Rock Baptist church, Jake has an epiphany: They can re-form the Blues Brothers Band, which broke up while Jake was in prison, and raise the money to save the orphanage.

text: That night, state troopers attempt to arrest Elwood for driving with a suspended license due to 116 parking tickets and 56 moving violations. After a high-speed chase through the Dixie Square Mall, the brothers escape. The next morning, as the police arrive at the flophouse where Elwood lives, a mysterious woman detonates a bomb that demolishes the building, but miraculously leaves Jake and Elwood unharmed, and saves them from being arrested.

text: Jake and Elwood begin tracking down members of the band. Five of them are playing a deserted Holiday Inn lounge, and quickly agree to rejoin. Another turns them down as he is the maître d' at an expensive restaurant, but the brothers refuse to leave the restaurant until he relents. On their way to meet the final two band members, the brothers find the road through Jackson Park blocked by an American Nazi Party demonstration on a bridge; Elwood runs them off the bridge into the East Lagoon. The last two band members, who now run a soul food restaurant, rejoin the band against the advice of one's wife. The reunited group obtain instruments and equipment from Ray's Music Exchange in Calumet City, and Ray, as usual, takes an IOU.

text: As Jake attempts to book a gig, the mystery woman blows up the phone booth he is using; once again, he is miraculously unhurt. The band stumbles into a gig at Bob's Country Bunker, a local honky-tonk. They win over the rowdy crowd, but run up a bar tab higher than their pay, and infuriate the country band that was actually booked for the gig, the Good Ol' Boys.

text: Realizing that they need one big show to raise the necessary money, the brothers persuade their old agent to book the Palace Hotel Ballroom, north of Chicago. They mount a loudspeaker atop the Bluesmobile and drive the Chicago area promoting the concert—and alerting the police, the Nazis, and the Good Ol' Boys of their whereabouts. The ballroom is packed with blues fans, police officers, and the Good Ol' Boys. Jake and Elwood perform two songs, then sneak offstage, as the tax deadline is rapidly approaching. A record company executive offers them a $10,000 cash advance on a recording contract—more than enough to pay off the orphanage's taxes and Ray's IOU—and then shows the brothers how to slip out of the building unnoticed. As they make their escape via a service tunnel, they are confronted by the mystery woman: Jake's vengeful ex-fiancée. After her volley of M16 rifle bullets leaves them miraculously unharmed, Jake offers a series of ridiculous excuses that she accepts, allowing the brothers to escape to the Bluesmobile.

text: Jake and Elwood race back toward Chicago with dozens of state/local police and the Good Ol' Boys in pursuit. They eventually elude them all with a series of improbable maneuvers, including a miraculous gravity-defying escape from the Illinois Nazis. At the Richard J. Daley Center, they rush inside the adjacent Chicago City Hall building, soon followed by hundreds of police, state troopers, SWAT teams, firefighters, Illinois National Guardsmen, and the Military Police. Finding the office of the Cook County Assessor, the brothers pay the tax bill. Just as their receipt is stamped, they are arrested by the mob of law officers. In prison, the band plays "Jailhouse Rock" for the inmates.

text: Cast[edit]

text:
John Belushi as "Joliet" Jake Blues – lead vocals
Dan Aykroyd as Elwood Blues – harmonica and lead vocals
Steve "the Colonel" Cropper – lead guitar, rhythm guitar and vocals
Donald "Duck" Dunn – bass guitar
Murphy Dunne ("Murph") – keyboards
Willie "Too Big" Hall – drums and percussion
Tom "Bones" Malone – trombone, tenor saxophone, and backing vocals
"Blue Lou" Marini – alto saxophone and tenor saxophone, and backing vocals
Matt "Guitar" Murphy – lead guitar
"Mr. Fabulous" Alan Rubin – trumpet, percussion and backing vocals
Cab Calloway as Curtis
Carrie Fisher as Mystery Woman
Aretha Franklin as Mrs. Murphy
Ray Charles as Ray's Music Exchange owner
James Brown as Reverend Cleophus James
John Candy as Burton Mercer
Kathleen Freeman as Sister Mary Stigmata, "the Penguin"
Henry Gibson as Head Nazi
Steve Lawrence as Maury Sline
Twiggy as chic lady
Frank Oz as corrections officer
Jeff Morris as Bob
Charles Napier as Tucker McElroy
Armand Cermani as Trooper Daniel
Steven Williams as Trooper Mount
Chaka Khan as choir soloist
John Lee Hooker as 'Street Slim', musician on Maxwell Street
Pinetop Perkins as Luther Jackson

text: Production[edit]

text: Origins[edit]

text: The characters, Jake and Elwood Blues, were created by Belushi and Aykroyd in performances on Saturday Night Live. The name "The Blues Brothers" was the idea of Howard Shore. The fictional back story and character sketches of blood brothers Jake and Elwood were developed by Aykroyd in collaboration with Ron Gwynne, who is credited as a story consultant for the film. As related in the liner notes of the band's debut album, Briefcase Full of Blues, the brothers grew up in an orphanage, learned the blues from a janitor named Curtis, and sealed their brotherhood by cutting their middle fingers with a steel string said to have come from the guitar of Elmore James.[5]

text: Belushi had become a star in 1978 as a result of both the Blues Brothers' musical success and his role in National Lampoon's Animal House. At one point, he managed the triple feat of being the star of the week's top-grossing film, top-rated television show, and singing on the number-one album within a year. When Aykroyd and Belushi decided they could make a Blues Brothers film, the bidding war was intense. Universal Studios narrowly beat Paramount Pictures for the project. John Landis, who had directed Belushi in Animal House, was aboard as director.[6]

text: However, the project had neither a budget nor a script. On the former issue, Universal head Lew Wasserman thought the film could be made for $12 million; the filmmakers wanted $20 million. It would be impossible to settle on a specific amount without a screenplay to review, and after Mitch Glazer declined to help him, Aykroyd wrote one on his own.[6]

text: Aykroyd had never written a screenplay before, as he admitted in the 1998 documentary, Stories Behind the Making of The Blues Brothers, or even read one, and he was unable to find a writing partner. Consequently, he put together a very descriptive volume that explained the characters' origins and how the band members were recruited. His final draft was 324 pages, which was three times longer than a standard screenplay, written not in a standard screenplay format, but more like free verse.[6] To soften the impact, Aykroyd made a joke of the thick script and had it bound with the cover of the Los Angeles Yellow Pages directory for when he turned it in to producer Robert K. Weiss. Landis was given the task of editing the script into a usable screenplay,[7] which took him about two weeks.[6]

text: The overriding plot premise was unrealistic: religious groups and other not-for-profit organizations are typically exempt from federal or state taxes; although a legislative proposal to tax such property was under consideration in Illinois at the time.[8]

text: Filming[edit]

text: Principal photography began in July 1979, with the film's budget still not settled. For the first month, things ran smoothly on and off the set. When Weiss saw the supposedly final $17.5 million budget, he reportedly joked, "I think we've spent that much already."[6]

text: In the next month, the production began falling behind schedule. Much of the delay was due to Belushi's partying and carousing. When not on the set, he went out to his familiar Chicago haunts such as Wrigley Field and the Old Town Ale House. People often recognized him and slipped him cocaine, a drug he was already using heavily on his own, hoping to use it with him. "Every blue-collar Joe wants his John Belushi story," said Smokey Wendell, who was eventually hired to keep it away from the star. As a result of his late nights and drug and alcohol use, Belushi would often miss unit calls (the beginning of a production day) or go to his trailer after them and sleep, wasting hours of production time. One night, Aykroyd found him crashing on the sofa of a nearby house, where Belushi had already helped himself to food in the refrigerator.[6]

text: Cocaine was already so prevalent on the set (like many other film productions of that era) that Aykroyd, who used far less than his partner, claims a section of the budget was actually set aside for purchases of the drug during night shooting. The stars had a private bar, the Blues Club, built on the set, for themselves, crew, and friends. Carrie Fisher, Aykroyd's girlfriend at the time, says most of the bar's staff doubled as dealers, procuring any drug patrons desired.[6]

text: The original budget was quickly surpassed, and back in Los Angeles, Wasserman grew increasingly frustrated. He was regularly confronting Ned Tanen, the executive in charge of production for Universal, in person over the costs. Sean Daniel, another studio executive, was not reassured when he came to Chicago and saw the production had set up a special facility for the 70 cars used in the chase sequences. Filming there, which was supposed to have concluded in the middle of September, continued into late October.[6]

text: On the set, Belushi's drug use worsened. Fisher, who herself later struggled with cocaine addiction, says Landis told her to keep Belushi away from the drug. Wendell was hired to clear any from the places Belushi visited off-camera. Nevertheless, at one point, Landis found Belushi with what he described as a "mountain" of cocaine on a table in his trailer, which led to a tearful confrontation in which Belushi admitted his addiction and feared it could eventually kill him.[6]

text: After Belushi's wife Judy and Aykroyd had a talk with Belushi about his antics, the production returned to Los Angeles. Filming there again ran smoothly, until it came time to shoot the final sequence at the Hollywood Palladium. Just beforehand, Belushi fell off a borrowed skateboard and seriously injured his knee, making it unlikely he could go through with the scene, which required him to sing, dance, and do cartwheels. Wasserman persuaded the city's top orthopedic surgeon to postpone his weekend plans long enough to stop by and sufficiently anesthetize Belushi's knee, and the scene was filmed as intended.[6]

text: Locations[edit]

text: Much of the film was shot on location in and around Chicago between July and October 1979, including Wauconda, Illinois, where the car crashes into the side of Route 12.[9] Made with the cooperation of Mayor Jane M. Byrne, it is credited for putting Chicago on the map as a venue for filmmaking.[10] Nearly 200 movies have been filmed in Chicago. "Chicago is one of the stars of the movie. We wrote it as a tribute," Dan Aykroyd told the Chicago Sun-Times in an article written to mark the film's 25th-anniversary DVD release.[11]

text: The first traffic stop was in Park Ridge, Illinois. The shopping mall car chase was filmed in the real, albeit shuttered, Dixie Square Mall, in Harvey, Illinois.[12] The bridge jump was filmed on an actual drawbridge, the 95th Street bridge over the Calumet River, on the southeast side of Chicago. The main entrance to Wrigley Field (and its sign reading "Save lives. Drive safely, prevent fires.") makes a brief appearance when the "Illinois Nazis" visit it after Elwood falsely registers the ballpark's location, 1060 West Addison, as his home address on his driver's license. (Elwood's Illinois driver's license number is an almost-valid encoded number, with Dan Aykroyd's own birth date embedded.) Jake's final confrontation with his girlfriend was filmed in a replica of a section of the abandoned Chicago freight tunnel system. The other chase scenes included lower Wacker Drive, Lake Street, and Richard J. Daley Center.[13]

text: In the final car chase scene, the production actually dropped a Ford Pinto, representing the one driven by the "Illinois Nazis", from a helicopter at an altitude of about 1,200 feet—and had to gain a Special Airworthiness Certificate from the Federal Aviation Administration to do it.[14][15] The FAA was concerned that the car could prove too aerodynamic in a high-altitude drop, and pose a threat to nearby buildings.[16] The shot leading up to the car drop, where the "Illinois Nazis" drive off a freeway ramp, was shot in Milwaukee, Wisconsin, near the Hoan Bridge on Interstate 794. The Lake Freeway (North) was a planned but not completed six-lane freeway, and I-794 contained an unfinished ramp off which the Nazis drove.[17] Several Milwaukee skyscrapers are visible in the background as the Bluesmobile flips over, notably the U.S. Bank Center.

text: The Palace Hotel Ballroom, where the band performs its climactic concert, was at the time of filming a country club, but later became the South Shore Cultural Center, named after the Chicago neighborhood where it is located. The interior concert scenes were filmed in the Hollywood Palladium.[18]

text: The filming in downtown Chicago was conducted on Sundays during the summer of 1979, and much of the downtown was cordoned off from the public. Costs for filming the largest scene in the city's history totaled $3.5 million.[19] Permission was given after Belushi and Aykroyd offered to donate $50,000 to charity after filming.[19] Although the Bluesmobile was allowed to be driven through the Daley Center lobby, special breakaway panes were temporarily substituted for the normal glass in the building.[19][20] The speeding car caused $7,650 in damage to 35 granite paver stones and a bronze air grill in the building.[19] Interior shots of the elevator, staircase, and assessor's office were all recreated in a film set for filming.[19]

text: Bluesmobile[edit]

text: The film used thirteen different cars bought at auction from the California Highway Patrol to depict the retired 1974 Mount Prospect, Illinois Dodge Monaco patrol car. The vehicles were outfitted by the studio to do particular driving chores; some were customized for speed and others for jumps, depending on the scene. For the large car chases, filmmakers purchased 60 police cars at $400 each, and most were destroyed at the completion of the filming.[21] More than 40 stunt drivers were hired, and the crew kept a 24-hour body shop to repair cars.[21]

text: For the scene when the Blues Brothers finally arrive at the Richard J. Daley Center, a mechanic took several months to rig the car to fall apart.[21] At the time of the film's release, it held the world record for the most cars destroyed in one film until it was surpassed by its own sequel.[21]

text: Casting[edit]

text: Soul and R&B stars James Brown, Cab Calloway, Ray Charles, and Aretha Franklin were cast in speaking parts to support musical numbers built around them. This caused friction between Landis and Universal later in the production, as its costs far exceeded the original budget. Since none of them except Charles had had any hits in recent years, the studio wanted the director to replace them with or add performances by younger acts, such as Rose Royce, whose "Car Wash" had made them disco stars after its use in the 1976 film of that name.[6]

text: Other notable musicians in the cast include Big Walter Horton, Pinetop Perkins, and John Lee Hooker (who performed "Boom Boom" during the Maxwell Street scene). The members of The Blues Brothers band are notable for their musical accomplishments, as well. Steve Cropper and Donald Dunn are architects of the Stax Records sound (Cropper's guitar can be heard at the start of the Sam & Dave song "Soul Man") and were half of Booker T. & the M.G.'s. Horn players Lou Marini, Tom Malone, and Alan Rubin had all played in Blood, Sweat & Tears and the Saturday Night Live band. Drummer Willie Hall had played in The Bar-Kays and backed Isaac Hayes. Matt Murphy is a veteran blues guitarist. As the band developed at Saturday Night Live, pianist Paul Shaffer was part of the act and was cast in the film. However, due to contractual obligations with SNL, he was unable to participate, so actor-musician Murphy Dunne (whose father, George Dunne, was the Cook County Board President) was hired to take his role.[7]

text: Fisher, Freeman, Gibson, and Candy were cast in non-musical supporting roles. The film is also notable for the number of cameo appearances by established celebrities and entertainment-industry figures, including Steve Lawrence as a booking agent, Twiggy as a "chic lady" in a Jaguar convertible whom Elwood propositions at a gas station, Steven Spielberg as the Cook County Assessor's clerk, John Landis as a state trooper in the mall chase, Paul Reubens (before Pee-wee Herman) as a waiter in the Chez Paul restaurant scene, Joe Walsh in a cameo as the first prisoner to jump up on a table in the final scene, and Chaka Khan as the soloist in the Triple Rock choir. Muppet performer Frank Oz plays a corrections officer, and in the scene where the brothers crash into Toys R Us, a Grover and Kermit the Frog toy can be spotted. Right before the brothers crash into the Toys R Us, a customer (played by stunt coordinator Gary McLarty) asks the cashier if they have a Miss Piggy doll, a Muppet character that is voiced by Oz. Singer/songwriter Stephen Bishop is a deputy sheriff who complains that Jake and Elwood broke his watch (a result of the car chase in the mall). Makeup artist Layne Britton is the old card player who asks Elwood, "Did you get me my Cheez Whiz, boy?" The character portrayed by Cab Calloway is named Curtis as an homage to Curtis Salgado, a Portland, Oregon, blues musician who inspired Belushi while he was in Oregon filming Animal House.[22]

text: Over 500 extras were used for the next-to-last scene, the blockade of the building at Daley Center, including 200 National Guardsmen, 100 state and city police officers, with 15 horses for the mounted police (and three each Sherman tanks, helicopters, and fire engines).[19][23][24][25]

text: Post-production[edit]

text: Landis' difficulties continued even after principal photography was completed. The first cut of the film lasted two and a half hours, with an intermission. After one early screening, Wasserman demanded it be shortened, and 20 minutes were cut. The film's final budget was $27.5 million ($79.9 million in modern dollars[26]), $10 million over its original budget.[6]

text: Prospects for a successful release did not look good. Aykroyd and Belushi had left SNL at the end of the previous season, reducing their bankability. Belushi's fame had taken a further hit after the commercial and critical failure of 1941 at the end of the year. One day after the editing was done, Wasserman invited Landis up to his office to speak with Ted Mann, head of the Mann Theatres chain, which dominated film exhibition in the Western United States. He told Landis that he would not book the film at any theaters in predominantly white neighborhoods, such as Westwood. Not only did Mann not want black patrons going there to see the film,[citation needed] he surmised that white viewers were unlikely to see a film featuring older black musical stars. Ultimately The Blues Brothers got less than half the bookings nationwide for its initial release than a typical big-budget studio film of the era, which did not bode well for its success at the box office.[6]

text: Reception[edit]

text: Box office[edit]

text: The Blues Brothers opened on June 20, 1980, with a release in 594 theaters. It took in $4,858,152, ranking second for that week (after The Empire Strikes Back) and 10th for the entire year. Over the years, it has retained a following through television and home video. The film in total grossed $57,229,890 domestically and $58,000,000 in foreign box offices for a total of $115,229,890.[3] By genre, it is the ninth-highest grossing musical and the tenth-highest earner among comedy road movies. It ranks second, between Wayne's World and Wayne's World 2 (which, coincidentally, also take place in the greater Chicago metropolitan area, in the outlying suburb of Aurora, Illinois), among films adapted from Saturday Night Live sketches.[3] Director John Landis claimed The Blues Brothers was also the first American film to gross more money overseas than it did in the United States.[11]

text: Critical reception[edit]

text: The Blues Brothers received mostly positive reviews from critics. On Rotten Tomatoes, the film has an 85% "Certified Fresh" rating, based on 53 reviews, with an average rating of 7.1/10. The site's critical consensus reads, "Too over the top for its own good, but ultimately rescued by the cast's charm, director John Landis' grace, and several soul-stirring musical numbers".[27] It won the Golden Reel Award for Best Sound Editing and Sound Effects,[28] is 14th on Total Film magazine's "List of the 50 Greatest Comedy Films of All Time"[29] and is number 69 on Bravo's "100 Funniest Movies".[30]

text: Roger Ebert of the Chicago Sun-Times gave the film 3 out of 4 stars, praising it for its energetic musical numbers and said the car chases were "incredible" if so over-the-top that they finally became numbing. Ebert further noted "Belushi and Aykroyd come over as hard-boiled city guys, total cynics with a world-view of sublime simplicity, and that all fits perfectly with the movie's other parts. There's even room, in the midst of the carnage and mayhem, for a surprising amount of grace, humor, and whimsy."[31] In his review for The Washington Post, Gary Arnold criticized Landis for engorging "the frail plot of The Blues Brothers with car chases and crack-ups, filmed with such avid, humorless starkness on the streets of Chicago that comic sensations are virtually obliterated".[32] Time magazine's Richard Corliss wrote, "The Blues Brothers is a demolition symphony that works with the cold efficiency of a Moog synthesizer gone sadistic".[33]

text: Janet Maslin of The New York Times criticized the film for shortchanging viewers on more details about Jake and Elwood's affinity for African-American culture. She also took director Landis to task for "distracting editing", mentioning the Soul Food diner scene in which saxophonist Lou Marini's head is out of shot as he dances on the counter.[34] In the documentary, Stories Behind the Making of The Blues Brothers, Landis acknowledges the criticism, and Marini recalls the dismay he felt at seeing the completed film.

text: Kim Newman, writing for Empire in 2013, considered The Blues Brothers to be "an amalgam of urban sleaze, automobile crunch and blackheart rhythm and blues" with "better music than any film had had for many years". He noted that Belushi and Akyroyd pack in their heroes: "Aretha storming through 'Think', Cab Calloway cruising through 'Minnie the Moocher', John Lee Hooker boogying through 'Boom Boom' and Ray Charles on electric piano, not to mention the hottest band." He observed that "the picture had revived the careers of virtually all the musicians that appeared in it" and concluded "it still sounds great and looks as good as ever through Ray Bans".[35]

text: On the 30th anniversary, L'Osservatore Romano,[36] the daily newspaper of Vatican City State, wrote that the film is filled with positive symbolism and moral references that can be related to Catholicism. They went further, stating, The Blues Brothers "is a memorable film, and, judging by the facts, a Catholic one."[37]

text: Cult-film status[edit]

text: The Blues Brothers has become a staple of late-night cinema, even slowly morphing into an audience-participation show in its regular screenings at the Valhalla Cinema, in Melbourne, Australia.[38] John Landis acknowledged the support of the cinema and the fans by a phone call he made to the cinema at the 10th-anniversary screening, and later invited regular attendees to make cameo appearances in Blues Brothers 2000. The fans act as the members of the crowd during the performance of "Ghost Riders in the Sky".[39]

text: In August 2005, a 25th-anniversary celebration for The Blues Brothers was held at Grauman's Chinese Theatre in Los Angeles.[40] Attendees included Landis, former Universal Studios executive Thom Mount, film editor George Folsey, Jr., and cast members James Brown, Henry Gibson, Charles Napier, Steve Cropper, and Stephen Bishop. It featured a press conference, a panel discussion where Dan Aykroyd joined by satellite, and a screening of the original theatrical version of the film. The panel discussion was broadcast direct to many other cinemas around the country.

text: The popularity of the film has also spread overseas. The film was an inspiration for Japanese companies Studio Hibari and Aniplex, which led to the creation of the manga and anime franchise Nerima Daikon Brothers, which contain heavy references to the film.

text: American Film Institute[edit]

text:
AFI's 100 Years...100 Laughs - Nominated[41]
AFI's 100 Years...100 Songs:

Think - Nominated[42]

AFI's 100 Years...100 Movie Quotes:

"We're on a mission from God." - Nominated[43]

text: Release[edit]

text: Home media[edit]

text: When the film was first screened for a preview audience, a producer demanded that director Landis cut 25 minutes from the film.[44] After trimming 15 minutes, it was released in theaters at 132 minutes. It was first released on VHS and Betamax from MCA Videocassette Inc. in 1983. A Laserdisc from MCA Videodisc was released the same year. It was re-released on VHS, Laserdisc, and Betamax in 1985 from MCA Home Video, and again in 1990 from MCA/Universal Home Video. It was also released in a 2-Pack VHS box set with Animal House. The film's original length was restored to 148 minutes for the "Collector's Edition" DVD and a Special Edition VHS and Laserdisc release in 1998. The DVD and Laserdisc versions included a 56-minute documentary called "The Stories Behind The Making Of The Blues Brothers". Produced and directed by JM Kenny (who also produced the Animal House Collector's Edition DVD the same year), it included interviews with Landis, Aykroyd, members of The Blues Brothers Band, producer Robert K. Weiss, editor George Folsey Jr., and others involved with the film. It also included production photographs, the theatrical trailer, production notes, and cast and filmmaker bios. The 25th-anniversary DVD release in 2005 included both the theatrical cut and the extended version.

text: The film was released on Blu-ray on July 26, 2011, with the same basic contents as the 25th-anniversary DVD. In a March 2011 interview with Ain't it Cool News, Landis also mentioned he had approved the Blu-ray's remastered transfer.

text: Soundtrack[edit]

text:
The Blues Brothers: Original Soundtrack Recording

Soundtrack album by The Blues Brothers

Released
June 20, 1980

Recorded
1980

Studio
Universal, Chicago, Record Plant, New York City

Genre
Blues, blues rock, blue-eyed soul

Length
40:27

Label
Atlantic

Producer
Bob Tischler

The Blues Brothers chronology

Briefcase Full of Blues
(1978)Briefcase Full of Blues1978
The Blues Brothers: Original Soundtrack Recording
(1980)
Made in America
(1980)Made in America1980

text:
Professional ratings

Review scores

Source
Rating

AllMusic
[45]

text: The Blues Brothers: Original Soundtrack Recording (later re-released as The Blues Brothers: Music from the Soundtrack) was released on June 20, 1980 as the second album by the Blues Brothers Band, which also toured that year to promote the film. "Gimme Some Lovin'" was a Top 20 Billboard hit, peaking at number 18.[46] The album was a followup to their debut, the live album, Briefcase Full of Blues. Later that year they released a second live album, Made in America, which featured the Top 40 track, "Who's Making Love".[46]

text: The songs on the soundtrack album are a noticeably different audio mix than in the film, with a prominent baritone saxophone in the horn line (also heard in the film during "Shake a Tail Feather", though no baritone sax is present), and female backing vocals on "Everybody Needs Somebody to Love", though the band had no other backup singers, besides Jake &/or Elwood, in the film. A number of regular Blues Brothers' members, including saxophonist Tom Scott and drummer Steve Jordan, perform on the soundtrack album, but are not in the film.

text: According to Landis in the 1998 documentary The Stories Behind the Making of 'The Blues Brothers', filmed musical performances by Franklin and Brown took more effort, as neither artist was accustomed to lip-synching their performances on film. Franklin required several takes, and Brown simply rerecorded his performance live. Cab Calloway initially wanted to do a disco variation on his signature tune, "Minnie the Moocher", having done the song in several styles in the past, but Landis insisted that the song be done faithful to the original big-band version.

text:
"She Caught the Katy" (Taj Mahal, Yank Rachell) – The Blues Brothers with lead vocals by Jake Blues - 4:10
"Peter Gunn Theme" (Henry Mancini) – The Blues Brothers Band - 3:46
"Gimme Some Lovin'" (Steve Winwood, Muff Winwood, Spencer Davis) – The Blues Brothers with lead vocals by Jake Blues - 3:06
"Shake a Tail Feather" (Otha Hayes, Andre Williams, Verlie Rice) – Ray Charles with the Blues Brothers (Jake and Elwood, backing vocals) - 2:48
"Everybody Needs Somebody to Love" (Jerry Wexler, Bert Berns, Solomon Burke) – The Blues Brothers (Jake Blues, lead vocals; Elwood Blues, harmonica and vocals) - 3:21
"The Old Landmark" (Adeline M. Brunner) – James Brown and the Rev. James Cleveland Choir (additional choir vocals by Chaka Khan credited in the film) - 2:56
"Think" (Teddy White, Aretha Franklin) – Aretha Franklin and the Blues Brothers with backing vocals by Brenda Corbett, Margaret Branch, Carolyn Franklin, Jake, and Elwood - 3:13
"Theme from Rawhide" (Dimitri Tiomkin, Ned Washington) – Elwood, Jake, and the Blues Brothers Band - 2:37
"Minnie the Moocher" (Cab Calloway, Irving Mills) – Cab Calloway with the Blues Brothers Band - 3:23
"Sweet Home Chicago" (Robert Johnson) – The Blues Brothers with lead vocals by Jake Blues (dedicated to the musician Magic Sam) - 7:48
"Jailhouse Rock" (Jerry Leiber, Mike Stoller) – Jake Blues and the Blues Brothers (Over the closing credits in the film, verses are sung by James Brown, Cab Calloway, Ray Charles, Aretha Franklin and "crew") - 3:19

text: Other songs in the film[edit]

text: The film's score includes "God Music" (instrumental with choir vocalese) composed by Elmer Bernstein, who previously had worked with John Landis on National Lampoon's Animal House. Other songs in the film include:

text:
"Soothe Me"/"Hold On! I'm Comin'" – composed by Sam Cooke/Isaac Hayes and David Porter; performed by Sam & Dave (both tracks playing on the Bluesmobile's 8-track player. The former when Jake and Elwood get pulled over by the police; latter when they are then chased after resisting arrest)
"I Can't Turn You Loose" – composed by Otis Redding; instrumental performed by the Blues Brothers band (their theme song; plays during the smashing of the Mall and again when they are introduced at the Palace Hotel Ballroom, incorporating "Time Is Tight" by Booker T. and The M.G.'s)
"Let the Good Times Roll" – composed and performed by Louis Jordan (plays on the record player in Elwood's corner of the flophouse)
"Anema e core" – performed by Ezio Pinza (plays when Jake and Elwood investigate Tom Malone and Lou Marini's old home.
"Boom Boom" – composed by John Lee Hooker; performed by John Lee Hooker (as "Street Slim"), vocals and guitar; Big Walter Horton (as "Tampa Pete"), harmonica; Pinetop Perkins (as "Luther Jackson") electric piano; Willie "Big Eyes" Smith, drums; Luther Johnson (Guitar Junior), guitar; Calvin "Fuzz" Jones, bass (plays in the Maxwell Street scene, short version in the theatrical cut, full-length in the extended cut)
"Mama Lawdy"/"Boogie Chillen'" – composed and performed by John Lee Hooker (plays in the film twice; first when Jake tries to phone Maury Sline, again when the band go to Bob's Country Bunker)
"Stand by Your Man" – composed by Tammy Wynette and Billy Sherrill; performed by the Blues Brothers
"I'm Walkin'" – performed by Fats Domino (plays during the scenes where Jake, Elwood and the orphans promote the concert)

text: Sequel[edit]

text: The 1998 sequel, Blues Brothers 2000, had similar traits to the original, including large car-chase scenes and musical numbers. Landis returned to direct the film and Aykroyd reprised his role, joining John Goodman, Joe Morton, and 10-year-old J. Evan Bonifant as the new Blues Brothers. Franklin and Brown were among the celebrities returning from the first film. There were also musical performances by Sam Moore, Wilson Pickett, Paul Shaffer, B.B. King, and Eric Clapton, among others. Dozens of artists were packed into an all-star band called The Louisiana Gator Boys. Even with many returning cast members, the film was considered a box-office failure, only generating a little over $14 million in sales, and critics' reactions were very poor.[47]


document_title: List of Super Bowl starting quarterbacks

question_text: quarterbacks who won super bowls with different teams

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text: Winning and losing quarterbacks[edit]

text:
Hall of Famer

Active Player

tag: table

text:
Season

Winning QB

Team

College

Losing QB

Team

College

1966

Bart Starr

Green Bay Packers

Alabama

Len Dawson

Kansas City Chiefs

Purdue

1967

Bart Starr

Green Bay Packers

Alabama

Daryle Lamonica

Oakland Raiders

Notre Dame

1968

Joe Namath

New York Jets

Alabama

Earl Morrall

Baltimore Colts

Michigan State

1969

Len Dawson

Kansas City Chiefs

Purdue

Joe Kapp

Minnesota Vikings

California

1970

Johnny Unitas

Baltimore Colts

Louisville

Craig Morton

Dallas Cowboys

California

1971

Roger Staubach

Dallas Cowboys

Navy

Bob Griese

Miami Dolphins

Purdue

1972

Bob Griese

Miami Dolphins

Purdue

Billy Kilmer

Washington Redskins

UCLA

1973

Bob Griese

Miami Dolphins

Purdue

Fran Tarkenton

Minnesota Vikings

Georgia

1974

Terry Bradshaw

Pittsburgh Steelers

Louisiana Tech

Fran Tarkenton

Minnesota Vikings

Georgia

1975

Terry Bradshaw

Pittsburgh Steelers

Louisiana Tech

Roger Staubach

Dallas Cowboys

Navy

1976

Ken Stabler

Oakland Raiders

Alabama

Fran Tarkenton

Minnesota Vikings

Georgia

1977

Roger Staubach

Dallas Cowboys

Navy

Craig Morton

Denver Broncos

California

1978

Terry Bradshaw

Pittsburgh Steelers

Louisiana Tech

Roger Staubach

Dallas Cowboys

Navy

1979

Terry Bradshaw

Pittsburgh Steelers

Louisiana Tech

Vince Ferragamo

Los Angeles Rams

Nebraska

1980

Jim Plunkett

Oakland Raiders

Stanford

Ron Jaworski

Philadelphia Eagles

Youngstown State

1981

Joe Montana

San Francisco 49ers

Notre Dame

Ken Anderson

Cincinnati Bengals

Augustana (IL)

1982

Joe Theismann

Washington Redskins

Notre Dame

David Woodley

Miami Dolphins

LSU

1983

Jim Plunkett

Los Angeles Raiders

Stanford

Joe Theismann

Washington Redskins

Notre Dame

1984

Joe Montana

San Francisco 49ers

Notre Dame

Dan Marino

Miami Dolphins

Pittsburgh

1985

Jim McMahon

Chicago Bears

BYU

Tony Eason

New England Patriots

Illinois

1986

Phil Simms

New York Giants

Morehead State

John Elway

Denver Broncos

Stanford

1987

Doug Williams

Washington Redskins

Grambling State

John Elway

Denver Broncos

Stanford

1988

Joe Montana

San Francisco 49ers

Notre Dame

Boomer Esiason

Cincinnati Bengals

Maryland

1989

Joe Montana

San Francisco 49ers

Notre Dame

John Elway

Denver Broncos

Stanford

1990

Jeff Hostetler

New York Giants

West Virginia

Jim Kelly

Buffalo Bills

Miami (FL)

1991

Mark Rypien

Washington Redskins

Washington State

Jim Kelly

Buffalo Bills

Miami (FL)

1992

Troy Aikman

Dallas Cowboys

UCLA

Jim Kelly

Buffalo Bills

Miami (FL)

1993

Troy Aikman

Dallas Cowboys

UCLA

Jim Kelly

Buffalo Bills

Miami (FL)

1994

Steve Young

San Francisco 49ers

BYU

Stan Humphries

San Diego Chargers

Northeast Louisiana[a]

1995

Troy Aikman

Dallas Cowboys

UCLA

Neil O'Donnell

Pittsburgh Steelers

Maryland

1996

Brett Favre

Green Bay Packers

Southern Miss

Drew Bledsoe

New England Patriots

Washington State

1997

John Elway

Denver Broncos

Stanford

Brett Favre

Green Bay Packers

Southern Miss

1998

John Elway

Denver Broncos

Stanford

Chris Chandler

Atlanta Falcons

Washington

1999

Kurt Warner

St. Louis Rams

Northern Iowa

Steve McNair

Tennessee Titans

Alcorn State

2000

Trent Dilfer

Baltimore Ravens

Fresno State

Kerry Collins

New York Giants

Penn State

2001

Tom Brady

New England Patriots

Michigan

Kurt Warner

St. Louis Rams

Northern Iowa

2002

Brad Johnson

Tampa Bay Buccaneers

Florida State

Rich Gannon

Oakland Raiders

Delaware

2003

Tom Brady

New England Patriots

Michigan

Jake Delhomme

Carolina Panthers

Louisiana–Lafayette

2004

Tom Brady

New England Patriots

Michigan

Donovan McNabb

Philadelphia Eagles

Syracuse

2005

Ben Roethlisberger

Pittsburgh Steelers

Miami (OH)

Matt Hasselbeck

Seattle Seahawks

Boston College

2006

Peyton Manning

Indianapolis Colts

Tennessee

Rex Grossman

Chicago Bears

Florida

2007

Eli Manning

New York Giants

Ole Miss

Tom Brady

New England Patriots

Michigan

2008

Ben Roethlisberger

Pittsburgh Steelers

Miami (OH)

Kurt Warner

Arizona Cardinals

Northern Iowa

2009

Drew Brees

New Orleans Saints

Purdue

Peyton Manning

Indianapolis Colts

Tennessee

2010

Aaron Rodgers

Green Bay Packers

California

Ben Roethlisberger

Pittsburgh Steelers

Miami (OH)

2011

Eli Manning

New York Giants

Ole Miss

Tom Brady

New England Patriots

Michigan

2012

Joe Flacco

Baltimore Ravens

Delaware

Colin Kaepernick

San Francisco 49ers

Nevada

2013

Russell Wilson

Seattle Seahawks

Wisconsin

Peyton Manning

Denver Broncos

Tennessee

2014

Tom Brady

New England Patriots

Michigan

Russell Wilson

Seattle Seahawks

Wisconsin

2015

Peyton Manning

Denver Broncos

Tennessee

Cam Newton

Carolina Panthers

Auburn

2016

Tom Brady

New England Patriots

Michigan

Matt Ryan

Atlanta Falcons

Boston College

2017

Nick Foles

Philadelphia Eagles

Arizona

Tom Brady

New England Patriots

Michigan

text: Jump up ^ Now known as Louisiana–Monroe.

tag: ol

tag: p

text: Quarterbacks with multiple Super Bowl starts[edit]

text:
Hall of Famers

Active Player

*Player is not yet eligible for hall of fame

text:
Starts
Player
Record
Team(s), Super Bowls
Win %
Ref,

8
Tom Brady

5–3
New England Patriots – XXXVI, XXXVIII, XXXIX, XLII, XLVI, XLIX, LI, LII
62.5%
[1]

5
John Elway

2–3
Denver Broncos – XXI, XXII, XXIV, XXXII, XXXIII
40%
[2]

4
Terry Bradshaw

4–0
Pittsburgh Steelers – IX, X, XIII, XIV
100%
[3]

Joe Montana

4–0
San Francisco 49ers – XVI, XIX, XXIII, XXIV
100%
[4]

Roger Staubach

2–2
Dallas Cowboys – VI, X, XII, XIII
50%
[5]

Peyton Manning*

2–2
Indianapolis Colts – XLI, XLIV; Denver Broncos – XLVIII, 50
50%
[6]

Jim Kelly

0–4
Buffalo Bills – XXV, XXVI, XXVII, XXVIII
0%
[7]

3
Troy Aikman

3–0
Dallas Cowboys – XXVII, XXVIII, XXX
100%
[8]

Bob Griese

2–1
Miami Dolphins – VI, VII, VIII
67%
[9]

Ben Roethlisberger

2–1
Pittsburgh Steelers – XL, XLIII, XLV
67%
[10]

Kurt Warner

1–2
St. Louis Rams – XXXIV, XXXVI; Arizona Cardinals – XLIII
33%
[11]

Fran Tarkenton

0–3
Minnesota Vikings – VIII, IX, XI
0%
[12]

2
Bart Starr

2–0
Green Bay Packers – I, II
100%
[13]

Jim Plunkett

2–0
Oakland/L.A. Raiders – XV, XVIII
100%
[14]

Eli Manning

2–0
New York Giants – XLII, XLVI
100%
[15]

Len Dawson

1–1
Kansas City Chiefs – I, IV
50%
[16]

Joe Theismann

1–1
Washington Redskins – XVII, XVIII
50%
[17]

Brett Favre

1–1
Green Bay Packers – XXXI, XXXII
50%
[18]

Russell Wilson

1–1
Seattle Seahawks – XLVIII, XLIX
50%
[19]

Craig Morton

0–2
Dallas Cowboys – V; Denver Broncos – XII
0%
[20]

text:
BOLD indicates game won
Starr was also 3–1 in NFL Championship games (1960, 1961,1962, 1965) before the NFL and AFL met in the first Super Bowl.
Dawson was also 1–0 in AFL Championship games (1962) before the NFL and AFL met in the first Super Bowl.
There have also been three instances of quarterbacks facing off multiple times in the Super Bowl. Staubach and Bradshaw, Aikman and Kelly, and Brady and Eli Manning all faced each other twice.  In each case the same quarterback (Bradshaw, Aikman and Manning) won both matchups.[21]

tag: ul

text: Quarterbacks with multiple Super Bowl wins[edit]

text: Super Bowl wins are often used to determine the greatness of a quarterback.[22] Of the eligible players, only Jim Plunkett has won multiple Super Bowls and not been inducted into the Hall of Fame. Peyton Manning is the only quarterback to have won Super Bowls for two NFL teams. The following NFL quarterbacks have won multiple Super Bowls as starters.

text:
Hall of Famers

Active Player

text:
Wins
Player
Super Bowls
Team

5
Tom Brady
XXXVI, XXXVIII, XXXIX, XLIX, LI
New England Patriots

4
Terry Bradshaw
IX, X, XIII, XIV
Pittsburgh Steelers

Joe Montana
XVI, XIX, XXIII, XXIV
San Francisco 49ers

3
Troy Aikman
XXVII, XXVIII, XXX
Dallas Cowboys

2
Bart Starr
I, II
Green Bay Packers

Bob Griese
VII, VIII
Miami Dolphins

Roger Staubach
VI, XII
Dallas Cowboys

Jim Plunkett
XV, XVIII
Oakland/Los Angeles Raiders

John Elway
XXXII, XXXIII
Denver Broncos

Ben Roethlisberger
XL, XLIII
Pittsburgh Steelers

Eli Manning
XLII, XLVI
New York Giants

Peyton Manning
XLI, 50
Indianapolis Colts; Denver Broncos

text: Quarterbacks with multiple Super Bowl losses[edit]

text: The following NFL quarterbacks have lost multiple Super Bowls as starters.

text:
Hall of Famers

Active Player

text:
Losses
Player
Super Bowls
Team

4
Jim Kelly
XXV, XXVI, XXVII, XXVIII
Buffalo Bills

3
Tom Brady
XLII, XLVI, LII
New England Patriots

Fran Tarkenton
VIII, IX, XI
Minnesota Vikings

John Elway
XXI, XXII, XXIV
Denver Broncos

2
Craig Morton
V;  XII
Dallas Cowboys; Denver Broncos

Roger Staubach
X, XIII
Dallas Cowboys

Kurt Warner
XXXVI;  XLIII
St. Louis Rams; Arizona Cardinals

Peyton Manning
XLIV;  XLVIII
Indianapolis Colts; Denver Broncos