His resume includes improvisational comedy (Second City, "Saturday Night Live"), light opera ("The Pirates of Penzance"), animation ("The Pebble and the Dragon"), drama ("Conversations With My Father") and sexual farce ("Sexual Perversity in Chicago") for the stage and a wide range of roles for the big and small screen.
He has even begun performing as a harmonica player and blues singer with the Sacred Hearts, the house band for the trendy Hollywood eatery, the House of Blues, in which he is an investor. Longevity and craft, as opposed to evanescence and genius, have been his standard, and, sometimes unsuccessfully, he has endeavored to push himself away from the destructive path of those "pure, young" talents he calls "the shooting stars."
"I've thought about that stuff a lot. I always consider guys like John, Tupac, Jimi Hendrix are shooting stars; you can't take your eyes off them because of that burn, but it's . . . that quick," Belushi claps his hands, "Smack, they're gone. John Candy, Tupac, my brother John. Thank God they captured their life on film. It makes me smile when I see them in a movie now.
"I like to consider myself a star--a star, that when you look in the sky, it's always there. And on a clear night . . . a shooting star comes by, and get a little thrill, and you make a little wish. You need both types of stars, the shooting and the constant stars. The heavens include them all. And I think it's good to be a star that's there every night."