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The Blues Brothers (film)
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The Blues Brothers
Theatrical release poster
Directed by
John Landis
Produced by
Robert K. Weiss
Written by
Dan Aykroyd
John Landis
Starring
John Belushi
Dan Aykroyd
James Brown
Cab Calloway
Ray Charles
Carrie Fisher
Aretha Franklin
Henry Gibson
Cinematography
Stephen M. Katz
Edited by
George Folsey Jr.
Distributed by
Universal Pictures
Release date
June 20, 1980 (1980-06-20)
Running time
133 minutes[1]
Country
United States
Language
English
Budget
$30 million[2]
Box office
$115.2 million[3]
The Blues Brothers is a 1980 American musical comedy film directed by John Landis.[4] It stars John Belushi and Dan Aykroyd as "Joliet" Jake and Elwood Blues, characters developed from "The Blues Brothers" musical sketch on the NBC variety series Saturday Night Live. The film's screenplay was written by Aykroyd and Landis. It features musical numbers by rhythm and blues (R&B), soul, and blues singers James Brown, Cab Calloway, Aretha Franklin, Ray Charles, and John Lee Hooker. The film is set in and around Chicago, Illinois, where it was filmed. It features non-musical supporting performances by Carrie Fisher, Henry Gibson, Charles Napier and John Candy.
The story is a tale of redemption for paroled convict Jake and his brother Elwood, who set out on "a mission from God" to save the Catholic orphanage in which they were raised from foreclosure. To do so, they must reunite their R&B band and organize a performance to earn $5,000 needed to pay the orphanage's property tax bill. Along the way, they are targeted by a destructive "mystery woman", Neo-Nazis, and a country and western band—all while being relentlessly pursued by the police.
Universal Studios, which had won the bidding war for the film, was hoping to take advantage of Belushi's popularity in the wake of Saturday Night Live, Animal House, and the Blues Brothers' musical success; it soon found itself unable to control production costs. The start of filming was delayed when Aykroyd, new to film screenwriting, took six months to deliver a long and unconventional script that Landis had to rewrite before production, which began without a final budget. On location in Chicago, Belushi's partying and drug use caused lengthy and costly delays that, along with the destructive car chases depicted onscreen, made the final film one of the most expensive comedies ever produced.
Concerns that the film would fail limited its initial bookings to less than half those a film of its magnitude normally received. Released in the United States on June 20, 1980, it received mostly positive reviews. It earned just under $5 million in its opening weekend and went on to gross over $115 million in theaters worldwide before its release on home video. It has become a cult classic, spawning the sequel, Blues Brothers 2000, 18 years later, which was a critical and commercial failure.
Contents
1 Plot
2 Cast
3 Production
3.1 Origins
3.2 Filming
3.2.1 Locations
3.3 Bluesmobile
3.4 Casting
3.5 Post-production
4 Reception
4.1 Box office
4.2 Critical reception
4.3 Cult-film status
4.4 American Film Institute
5 Release
5.1 Home media
6 Soundtrack
6.1 Certifications
6.2 Other songs in the film
7 Sequel
8 See also
9 References
10 External links
Plot[edit]
Jake Blues is released from Joliet Correctional Center 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 "the Penguin" 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 their band, "The Blues Brothers" – which disbanded while Jake was in prison – and raise the money to save the orphanage.
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.
Jake and Elwood begin tracking down members of the band. Five of them are playing a 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 Socialist White People's Party" – "the Illinois Nazis" – 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.
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.
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.
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.
Cast[edit]
John Belushi as "Joliet" Jake Blues
Dan Aykroyd as Elwood Blues
James Brown as Reverend Cleophus James
Cab Calloway as Curtis
Ray Charles as Ray
Aretha Franklin as Mrs. Murphy
Steve "the Colonel" Cropper – lead guitar
Donald "Duck" Dunn – bass guitar
Murphy Dunne ("Murph") – keyboards
Willie "Too Big" Hall – drums
Tom "Bones" Malone – trombone
"Blue Lou" Marini – saxophone
Matt "Guitar" Murphy – lead guitar
"Mr. Fabulous" Alan Rubin – trumpet
Carrie Fisher as Mystery Woman
Henry Gibson as Head Nazi
John Candy as Burton Mercer
John Lee Hooker as Street Slim
Kathleen Freeman as Sister Mary Stigmata
Steve Lawrence as Maury Sline
Twiggy as chic lady
Frank Oz as corrections officer
Jeff Morris as Bob
Charles Napier as Tucker McElroy
Steven Spielberg as Cook County Assessor
Steven Williams as Trooper Mount
Armand Cerami as Trooper Daniel
Production[edit]
Origins[edit]
See also: The Blues Brothers
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]
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]
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]
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. He titled it The Return of the Blues Brothers, and credited it to “By Scriptatron GL-9000.” [7] Landis was given the task of editing the script into a usable screenplay,[8] which took him about two weeks.[6]
Filming[edit]
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]
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]
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, said most of the bar's staff doubled as dealers, procuring any drug patrons desired.[6]
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]
On the set, Belushi's drug use worsened. Fisher, who herself later struggled with cocaine addiction, said 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]
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]
Locations[edit]
Much of the film was shot on location in and around Chicago between July and October 1979, including Joliet Correctional Center in nearby Joliet, Illinois and 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]
The Bluesmobile races through the mall while being chased by state troopers.
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]
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.
Richard J. Daley Center is Chicago's premier civic center and features a massive sculpture by Pablo Picasso.
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]
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 grille in the building.[19] Interior shots of the elevator, staircase, and assessor's office were all recreated in a film set for filming.[19]
Bluesmobile[edit]
Main article: Bluesmobile
The film used 13 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]
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]
Casting[edit]
At Aykroyd's demand, 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]
Other 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.[8]
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 and 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]
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]
Post-production[edit]
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 (equivalent to $81.7 million in 2017), $10 million over its original budget.[6]
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][24] 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]
Reception[edit]
Box office[edit]
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 10th-highest earner among comedy road movies. It ranks second, between Wayne's World and Wayne's World 2, 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]
Critical reception[edit]
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's grace, and several soul-stirring musical numbers."[25] It won the Golden Reel Award for Best Sound Editing and Sound Effects,[26] is 14th on Total Film magazine's "List of the 50 Greatest Comedy Films of All Time"[27] and is number 69 on Bravo's "100 Funniest Movies".[28]
Roger Ebert of the Chicago Sun-Times gave the film three out of four 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."[29] 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".[30] 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".[31]
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.[32] 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.
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 Aykroyd 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".[33]
On the 30th anniversary, L'Osservatore Romano,[34] 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."[35]
Cult-film status[edit]
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.[36] 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".[37]
In August 2005, a 25th-anniversary celebration for The Blues Brothers was held at Grauman's Chinese Theatre in Los Angeles.[38] 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.
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.
American Film Institute[edit]
AFI's 100 Years...100 Laughs - Nominated[39]
AFI's 100 Years...100 Songs:
Think - Nominated[40]
AFI's 100 Years...100 Movie Quotes:
"We're on a mission from God." - Nominated[41]
Release[edit]
Home media[edit]
When the film was first screened for a preview audience, a producer demanded that director Landis cut 25 minutes from the film.[42] 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.
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.
Soundtrack[edit]
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) The Blues Brothers: Original Soundtrack Recording
(1980) Made in America
(1980)
Professional ratings
Review scores
Source
Rating
AllMusic [43]
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.[44] 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".[44]
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.
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.
No.
Title
Writer(s)
Artist
Length
1. "She Caught the Katy" Taj Mahal, Yank Rachell The Blues Brothers with lead vocals by Jake Blues 4:10
2. "Peter Gunn Theme" Henry Mancini The Blues Brothers Band 3:46
3. "Gimme Some Lovin'" Steve Winwood, Muff Winwood, Spencer Davis The Blues Brothers with lead vocals by Jake Blues 3:06
4. "Shake a Tail Feather" Otha Hayes, Andre Williams, Verlie Rice Ray Charles with the Blues Brothers (Jake and Elwood, backing vocals) 2:48
5. "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
6. "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
7. "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
8. "Theme from Rawhide" Dimitri Tiomkin, Ned Washington Elwood, Jake, and the Blues Brothers Band 2:37
9. "Minnie the Moocher" Cab Calloway, Irving Mills Cab Calloway with the Blues Brothers Band 3:23
10. "Sweet Home Chicago" Robert Johnson The Blues Brothers with lead vocals by Jake Blues (dedicated to the musician Magic Sam) 7:48
11. "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
Certifications[edit]
Region
Certification
Certified units/Sales
Australia (ARIA)[45]
6× Platinum 420,000^
France (SNEP)[46]
2× Platinum 600,000*
Germany (BVMI)[47]
2× Platinum 1,000,000^
Netherlands (NVPI)[48]
Gold 50,000^
Switzerland (IFPI Switzerland)[49]
2× Platinum 100,000^
United Kingdom (BPI)[50]
2× Platinum 600,000^
United States (RIAA)[51]
Platinum 1,000,000^
*sales figures based on certification alone
^shipments figures based on certification alone
Other songs in the film[edit]
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:
No.
Title
Writer(s)
Artist
Length
1. "Soothe Me/Hold On! I'm Comin'" Sam Cooke/Isaac Hayes and David Porter 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)
2. "I Can't Turn You Loose" Otis Redding 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)
3. "Let the Good Times Roll" Louis Jordan Louis Jordan (plays on the record player in Elwood's corner of the flophouse)
4. "Anema e core" Salve d'Esposito Ezio Pinza (plays when Jake and Elwood investigate Tom Malone and Lou Marini's old home)
5. "Boom Boom" John Lee Hooker 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 "Guitar Junior" Johnson, guitar; Calvin "Fuzz" Jones, bass (plays in the Maxwell Street scene, short version in the theatrical cut, full-length in the extended cut). This was a live take.
6. "Mama Lawdy"/"Boogie Chillen'" John Lee Hooker 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)
7. "Stand by Your Man" Tammy Wynette and Billy Sherrill The Blues Brothers
8. "I'm Walkin'" Fats Domino together with frequent collaborator Dave Bartholomew Fats Domino (plays during the scenes where Jake, Elwood and the orphans promote the concert)
Sequel[edit]
Main article: Blues Brothers 2000
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 negative.[52]
See also[edit]
Blues Brothers: Private
The Blues Brothers Video Game
References[edit]
Jump up ^ "THE BLUES BROTHERS (AA)". British Board of Film Classification. July 8, 1980. Retrieved January 27, 2013.
Jump up ^ Egan, Jack (July 21, 1980). "Wall Street Turns Sour on Hollywood". New York Magazine. p. 12. Retrieved February 11, 2001.
^ Jump up to: a b c "The Blues Brothers". Box Office Mojo. Internet Movie Database. Retrieved December 16, 2008.
Jump up ^ "The Blues Brothers". Turner Classic Movies. Atlanta: Turner Broadcasting System (Time Warner). Retrieved March 27, 2016.
Jump up ^ "Fortune City-Blues Brothers". Biography of the Blues Brothers-From their album, A Briefcase Full of Blues. Retrieved December 16, 2008.
^ Jump up to: a b c d e f g h i j k l m Zeman, Ned (January 2013). "Soul Men: The Making of The Blues Brothers". Vanity Fair. Retrieved December 18, 2012.
Jump up ^ Zeman, Ned. "Making Blues Brothers With John Belushi and Dan Akroyd—"We Had a Budget for Cocaine"". vanityfair.com. Retrieved October 4, 2018.
^ Jump up to: a b Stories Behind the Making of The Blues Brothers, documentary feature on 1998 DVD and 25th Anniversary DVD (2005).
Jump up ^ "Blues Brothers Central". The Blues Brothers : About The Movie. Retrieved December 16, 2008.
Jump up ^ Cecil Adams (October 15, 2009). "Were no movies made in Chicago while Richard J. Daley was mayor?". Straight Dope Chicago. Chicago Reader. Retrieved October 30, 2009.
^ Jump up to: a b Newbart, Dave (June 20, 2005). "They 'were on a mission from God'". Chicago Sun-Times. Archived from the original on August 25, 2005. Retrieved December 16, 2008.
Jump up ^ "The CLUI Land Use Database-Dixie Square Mall". The Center for Land Use Interpretation. Archived from the original on January 20, 2008. Retrieved December 16, 2008.
Jump up ^ "The Blues Brothers - Chicago Filming Locations". Locations in the Blues Brothers. Archived from the original on May 24, 2008. Retrieved December 16, 2008.
Jump up ^ "The Blues Brothers". DVD Laser. Archived from the original on October 14, 2007. Retrieved December 16, 2008.
Jump up ^ Corcoran, Michael; Bernstein, Arnie (June 1, 2013). "Hollywood on Lake Michigan: 100+ Years of Chicago and the Movies". Chicago Review Press.
Jump up ^ French, Karl; French, Philip (January 1, 2000). "Cult Movies". Billboard Books.
Jump up ^ Bessert, Christopher. "Milwaukee Freeways: Lake Freeway". Wisconsin Highways. Retrieved December 16, 2008.
Jump up ^ "Chicago-The Blues Brothers". Onscreen Illinois. Archived from the original on April 3, 2008. Retrieved December 16, 2008.
^ Jump up to: a b c d e f Newbart, Dave; Abdon Pallasch (June 24, 2005). "Happy to have Bluesmobile ram Daley Center — County Building's doors harder to pry open". Chicago Sun-Times. Retrieved June 2, 2009. (Registration required (help)).
Jump up ^ Jevens, Darel (April 4, 2007). "The 50 Greatest Chicago Moments". Chicago Sun-Times. Archived from the original on October 10, 2008. Retrieved June 2, 2009.
^ Jump up to: a b c d Newbart, Dave (June 23, 2005). "Incredible stunt driving: "That was all real"". Chicago Sun-Times. Archived from the original on July 28, 2005. Retrieved December 16, 2008.
Jump up ^ "Biography". Curtis Salgado. Archived from the original on October 17, 2008. Retrieved December 16, 2008.
Jump up ^ "Blues Brothers 25th Anniversary". Chicago Sun-Times. Archived from the original on July 21, 2005. Retrieved December 16, 2008.
Jump up ^ Zeman, Ned. "Making Blues Brothers With John Belushi and Dan Akroyd—"We Had a Budget for Cocaine"". HWD. Retrieved 2018-07-23.
Jump up ^ "The Blues Brothers (1980)". Rotten Tomatoes. Flixster. Retrieved December 16, 2008.
Jump up ^ "The Envelope". Every show, every winner, every nominee-Blues Brothers. Retrieved December 16, 2008.
Jump up ^ "Film & Movie Comedy Classics". Comedy Zone. Retrieved December 16, 2008.
Jump up ^ "Bravo's 100 Funniest Movies List is Laughable". Manroom Magazine. Retrieved December 16, 2008.
Jump up ^ Ebert, Roger. "The Blues Brothers". Chicago Sun-Times. Retrieved December 16, 2008.
Jump up ^ Arnold, Gary. "Oh, Brothers!". The Washington Post.
Jump up ^ Corliss, Richard (July 7, 1980). "A Great Rock-'n'-Roll Caravan". Time. Retrieved September 15, 2009.
Jump up ^ Maslin, Janet (June 20, 1980). "The Blues Brothers (1980)". The New York Times. Retrieved December 16, 2008.
Jump up ^ "The Blues Brothers Review at Empireonline". by Kim Newman.2013-1-1
Jump up ^ Greg Burke (June 18, 2010). "Vatican Calls The Blues Brothers "Catholic"". Fox News. Archived from the original on November 1, 2010. Retrieved November 1, 2010.
Jump up ^ Paul Casciato (June 18, 2010). "Vatican beatifies Blues Brothers ... well almost". Reuters. Archived from the original on November 1, 2010. Retrieved November 1, 2010.
Jump up ^ Coslovich, Gabriella (February 11, 2003). "A mission from God nears its end". Melbourne: The Age. Retrieved December 16, 2008.
Jump up ^ "The Melbourne Blues Brothers go global!". The Return of the Blues Brothers. Archived from the original on July 20, 2002. Retrieved December 16, 2008.
Jump up ^ "Blues Brothers 25th Anniversary DVD Launch". Blues Brothers Central. Retrieved April 27, 2009.
Jump up ^ AFI's 100 Years...100 Laughs Nominees Archived July 27, 2015, at the Wayback Machine.
Jump up ^ AFI's 100 Years...100 Songs Nominees Archived April 17, 2015, at the Wayback Machine.
Jump up ^ AFI's 100 Years...100 Movie Quotes Nominees Archived July 6, 2011, at the Wayback Machine.
Jump up ^ Chiarella, Chris (October 14, 2005). "John Landis, Uncensored". Home Theater. Retrieved December 16, 2008.
Jump up ^ Adams, Bret. "The Blues Brothers [Original Soundtrack]". Allmusic. Retrieved July 23, 2009.
^ Jump up to: a b Whitburn, Joel (2004). The Billboard book of top 40 hits. Billboard Books. p. 70. ISBN 0-8230-7499-4. Retrieved November 1, 2010.
Jump up ^ "ARIA Charts – Accreditations – 2000 Albums". Australian Recording Industry Association.
Jump up ^ "French album certifications – Blues Brothers – BOF BLUES BROTHERS" (in French). Syndicat National de l'Édition Phonographique.
Jump up ^ "Gold-/Platin-Datenbank (Soundtrack; 'Blues Brothers')" (in German). Bundesverband Musikindustrie.
Jump up ^ "Dutch album certifications – Soundtrack – Blues Brothers" (in Dutch). Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers. Enter Blues Brothers in the "Artiest of titel" box.
Jump up ^ "The Official Swiss Charts and Music Community: Awards (Soundtrack; 'Blues Brothers')". IFPI Switzerland. Hung Medien.
Jump up ^ "British album certifications – Soundtrack – Blues Brothers". British Phonographic Industry. Select albums in the Format field. Select Platinum in the Certification field. Type Blues Brothers in the "Search BPI Awards" field and then press Enter.
Jump up ^ "American album certifications – Soundtrack – Blues Brothers". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Album, then click SEARCH.
Jump up ^ "Blues Brothers 2000". Box Office Mojo. Retrieved December 16, 2008.
External links[edit]
Wikiquote has quotations related to: The Blues Brothers
Official website
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"Blue" Lou Marini
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Albums
Briefcase Full of Blues (1978)
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Made in America (1980)
Best of The Blues Brothers (1981)
Dancin' wid da Blues Brothers (1983)
The Blues Brothers Band Live in Montreux (1990)
Red, White & Blues (1992)
The Very Best of The Blues Brothers (1995)
Blues Brothers and Friends: Live from Chicago's House of Blues (1997)
Blues Brothers 2000: Original Motion Picture Soundtrack (1998)
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Fluid balance
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
See also: Weight loss effects of water
Not to be confused with Water balance.
Fluid balance is an aspect of the homeostasis of organisms in which the amount of water in the organism needs to be controlled, via osmoregulation and behavior, such that the concentrations of electrolytes (salts in solution) in the various body fluids are kept within healthy ranges. The core principle of fluid balance is that the amount of water lost from the body must equal the amount of water taken in; for example, in humans, the output (via respiration, perspiration, urination, defecation, and expectoration) must equal the input (via eating and drinking, or by parenteral intake). Euvolemia is the state of normal body fluid volume, including blood volume, interstitial fluid volume, and intracellular fluid volume; hypovolemia and hypervolemia are imbalances. Water is necessary for all life on Earth. Humans can survive for 4 to 6 weeks without food but only for a few days without water.
Profuse sweating can increase the need for electrolyte replacement. Water-electrolyte imbalance produces headache and fatigue if mild; illness if moderate, and sometimes even death if severe. For example, water intoxication (which results in hyponatremia), the process of consuming too much water too quickly, can be fatal. Deficits to body water result in volume contraction and dehydration. Diarrhea is a threat to both body water volume and electrolyte levels, which is why diseases that cause diarrhea are great threats to fluid balance.
Contents
1 Applications
1.1 Water consumption
1.1.1 Trace elements
1.2 Medical use
1.2.1 Effects of illness
1.2.2 Oral rehydration therapy
2 Routes of fluid loss and gain
2.1 Input
2.1.1 Regulation of input
2.2 Output
2.2.1 Regulation of output
2.2.1.1 Antidiuretic hormone
2.2.1.2 Aldosterone
3 See also
4 References
Applications[edit]
Water consumption[edit]
The amount of water varies with the individual, as it depends on the condition of the subject, the amount of physical exercise, and on the environmental temperature and humidity.[1] In the US, the reference daily intake (RDI) for water is 3.7 litres per day (l/day) for human males older than 18, and 2.7 l/day for human females older than 18[2] including water contained in food, beverages, and drinking water. The common misconception that everyone should drink two litres (68 ounces, or about eight 8-oz glasses) of water per day is not supported by scientific research. Various reviews of all the scientific literature on the topic performed in 2002 and 2008 could not find any solid scientific evidence that recommended drinking eight glasses of water per day.[3][4][5] For example, people in hotter climates will require greater water intake than those in cooler climates. An individual's thirst provides a better guide for how much water they require rather than a specific, fixed number. A more flexible guideline is that a normal person should urinate 4 times per day, and the urine should be a light yellow color.
A constant supply is needed to replenish the fluids lost through normal physiological activities, such as respiration, perspiration and urination. Food contributes 0.5 to 1 l/day, and the metabolism of protein, fat, and carbohydrates produces another 0.25 to 0.4 l/day,[6] which means that 2 to 3 l/day of water for men and 1 to 2 l/day of water for women should be consumed as fluid to meet the Recommended Daily Intake (RDI).
Trace elements[edit]
In terms of mineral nutrients intake, it is unclear what the drinking water contribution is. However, inorganic minerals generally enter surface water and ground water via storm water runoff or through the Earth's crust. Treatment processes also lead to the presence of some minerals. Examples include calcium, zinc, manganese, phosphate, fluoride and sodium compounds.[7] Water generated from the biochemical metabolism of nutrients provides a significant proportion of the daily water requirements for some arthropods and desert animals, but provides only a small fraction of a human's necessary intake.
There are a variety of trace elements present in virtually all potable water, some of which play a role in metabolism. For example, sodium, potassium and chloride are common chemicals found in small amounts in most waters, and these elements play a role in body metabolism. Other elements such as fluoride, while arguably beneficial in low concentrations, can cause dental problems and other issues when present at high levels. Water is essential for the growth and maintenance of our bodies, as it is involved in a number of biological processes.
Medical use[edit]
Effects of illness[edit]
When a person is ill, fluid may also be lost through vomiting, diarrhea, and hemorrhage. An individual is at an increased risk of dehydration in these instances, as the kidneys will find it more difficult to match fluid loss by reducing urine output (the kidneys must produce at least some urine in order to excrete metabolic waste.)
Oral rehydration therapy[edit]
Main article: Oral rehydration therapy
Oral rehydration therapy (ORT), is type of fluid replacement used as a treatment for dehydration. In an acute hospital setting, fluid balance is monitored carefully. This provides information on the patient's state of hydration, renal function and cardiovascular function.
If fluid loss is greater than fluid gain (for example if the patient vomits and has diarrhea), the patient is said to be in negative fluid balance. In this case, fluid is often given intravenously to compensate for the loss.
On the other hand, a positive fluid balance (where fluid gain is greater than fluid loss) might suggest a problem with either the renal or cardiovascular system.
If blood pressure is low (hypotension), the filtration rate in the kidneys will lessen, causing less fluid reabsorption and thus less urine output.
An accurate measure of fluid balance is therefore an important diagnostic tool, and allows for prompt intervention to correct the imbalance.
Routes of fluid loss and gain[edit]
Fluid can leave the body in many ways. Fluid can enter the body as preformed water, ingested food and drink and to a lesser extent as metabolic water which is produced as a by-product of aerobic respiration (cellular respiration) and dehydration synthesis.[8]
Input[edit]
A constant supply is needed to replenish the fluids lost through normal physiological activities, such as respiration, sweating and urination. Water generated from the biochemical metabolism of nutrients provides a significant proportion of the daily water requirements for some arthropods and desert animals, but provides only a small fraction of a human's necessary intake.
In the normal resting state, input of water through ingested fluids is approximately 1200 ml/day, from ingested foods 1000 ml/day and from aerobic respiration 300 ml/day, totaling 2500 ml/day.[9]
Regulation of input[edit]
Main article: Thirst
Input of water is regulated mainly through ingested fluids, which, in turn, depends on thirst. An insufficiency of water results in an increased osmolarity in the extracellular fluid. This is sensed by osmoreceptors in the organum vasculosum of the lamina terminalis, which trigger thirst. Thirst can to some degree be voluntarily resisted, as during fluid restriction.
The human kidneys will normally adjust to varying levels of water intake. The kidneys will require time to adjust to the new water intake level. This can cause someone who drinks a lot of water to become dehydrated more easily than someone who routinely drinks less.
Output[edit]
The majority of fluid output occurs via the urine, approximately 1500 ml/day (approx 1.59 qt/day) in the normal adult resting state.[9][10]
Some fluid is lost through perspiration (part of the body's temperature control mechanism) and as water vapor in exhaled air. These are termed "insensible fluid losses" as they cannot be easily measured. Some sources say insensible losses account for 500 to 650 ml/day (0.5 to 0.6 qt.) of water in adults,[9][11] while other sources put the minimum value at 800 ml (0.8 qt.).[12] In children, one calculation used for insensible fluid loss is 400 ml/m2 body surface area.
In addition, an adult loses approximately 100 ml/day of fluid through feces.[9][13]
For females, an additional 50 ml/day is lost through vaginal secretions.
These outputs are in balance with the input of ~2500 ml/day.[9]
Regulation of output[edit]
The body's homeostatic control mechanisms, which maintain a constant internal environment, ensure that a balance between fluid gain and fluid loss is maintained. The anti-diuretic hormones vasopressin (ADH) and aldosterone play a major role in this.
If the body is becoming fluid-deficient, there will be an increase in the secretion of these hormones, causing fluid to be retained by the kidneys and urine output to be reduced.
Conversely, if fluid levels are excessive, secretion of these hormones is suppressed, resulting in less retention of fluid by the kidneys and a subsequent increase in the volume of urine produced.
Antidiuretic hormone[edit]
Main article: Antidiuretic hormone
If the body is becoming fluid-deficient, this will be sensed by osmoreceptors in the vascular organ of lamina terminalis and subfornical organ.[14] These areas project to the supraoptic nucleus and paraventricular nucleus, which contain neurons that secrete the antidiuretic hormone, vasopressin, from their nerve endings in the posterior pituitary. Thus, there will be an increase in the secretion of antidiuretic hormone, causing fluid to be retained by the kidneys and urine output to be reduced.
Aldosterone[edit]
Main article: Renin–angiotensin system
A fluid-insufficiency causes a decreased perfusion of the juxtaglomerular apparatus in the kidneys. This activates the renin–angiotensin system. Among other actions, it causes renal tubules (i.e. the distal convoluted tubules and the cortical collecting ducts) to reabsorb more sodium and water from the urine. Potassium is secreted into the tubule in exchange for the sodium, which is reabsorbed. The activated renin–angiotensin system stimulates the zona glomerulosa of the adrenal cortex which in turn secretes the hormone aldosterone. This hormone stimulates the reabsorption of sodium ions from distal tubules and collecting ducts. Water in the tubular lumen cannot follow the sodium reabsorption osmotically, as this part of the kidney is impermeable to water; release of ADH (vasopressin) is required to increase expression of aquaporin channels in the cortical collecting duct, allowing reabsorption of water.
See also[edit]
Drinking water
References[edit]
Jump up ^ Maton, Anthea bj; Jean Hopkins; Charles William McLaughlin; Susan Johnson; Maryanna Quon Warner; David LaHart; Jill D. Wright (1993). Human Biology and Health. Englewood Cliffs, New Jersey, USA: Prentice Hall. ISBN 0-13-981176-1.
Jump up ^ US daily reference intake values Archived 2011-10-06 at the Wayback Machine.
Jump up ^ Research debunks health value of guzzling water. Reuters, April 2008.
Jump up ^ H. Valtin, Drink at least eight glasses of water a day." Really? Is there scientific evidence for "8 × 8"? Am J Physiol Regul Integr Comp Physiol 283: R993-R1004, 2002.
Jump up ^ Negoianu, Dan; Goldfarb, Stanley (2008). "Just add water" (PDF). J. Am. Soc. Nephrol. 19 (6): 1041–1043. doi:10.1681/ASN.2008030274. PMID 18385417. Archived from the original (PDF) on 2012-03-24.
Jump up ^ Swedish DFA (in Swedish)
Jump up ^ World Health Organization (WHO). Geneva, Switzerland. Joyce Morrissey Donohue, Charles O. Abernathy, Peter Lassovszky, George Hallberg. "The contribution of drinking-water to total dietary intakes of selected trace mineral nutrients in the United States." Draft, August 2004.
Jump up ^ Saladin, Kenneth S. Water, Electrolyte, and Acid-Base Balance (New York: McGraw-Hill Companies, Inc., 2010), 943-944.
^ Jump up to: a b c d e Walter F. Boron (2005). Medical Physiology: A Cellular And Molecular Approaoch. Elsevier/Saunders. ISBN 1-4160-2328-3. Page 829
Jump up ^ Physiology: 7/7ch08/7ch08p33 - Essentials of Human Physiology
Jump up ^ Physiology: 7/7ch08/7ch08p28 - Essentials of Human Physiology
Jump up ^ 3.2 Insensible Water Loss
Jump up ^ Physiology: 7/7ch08/7ch08p32 - Essentials of Human Physiology
Jump up ^ M.J. McKinley; A.K. Johnson (2004). "The Physiological Regulation of Thirst and Fluid Intake". News in Physiological Sciences. 19 (1): 1–6. doi:10.1152/nips.01470.2003. PMID 14739394. Retrieved 2006-06-02.
show
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t
e
Physiology of the kidneys and acid-base physiology
Renal function
Secretion
clearance
Pharmacokinetics
Clearance of medications
Urine flow rate
Reabsorption
Solvent drag
sodium
chloride
urea
glucose
oligopeptides
protein
Renal function
Glomerular filtration rate
Creatinine clearance
Renal clearance ratio
Urea reduction ratio
Kt/V
Standardized Kt/V
Measures of dialysis
Hemodialysis product
PAH clearance (Effective renal plasma flow
Extraction ratio)
Filtration
Renal blood flow
Ultrafiltration
Countercurrent exchange
Filtration fraction
Hormones
Antidiuretic hormone
Aldosterone
Atrial natriuretic peptide
Renin
Erythropoietin
Calcitriol
Prostaglandins
Acid-base balance
Fluid balance
Darrow Yannet diagram
Body water: Intracellular fluid/Cytosol
Extracellular fluid
(Interstitial fluid
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Transcellular fluid)
Base excess
Davenport diagram
Anion gap
Arterial blood gas
Winters' formula
Buffering
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Respiratory compensation
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Other
Fractional sodium excretion
BUN-to-creatinine ratio
Tubuloglomerular feedback
Natriuresis
Urine
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Human homeostasis
Blood composition
Blood sugar
Osmoregulation
Pressure: Renin–angiotensin system
Acid–base
Fluid balance
Hemostasis
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Predictive
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