2009聽障奧運在臺北

關於藍人組

藍人組以具豐富戲劇性的演出廣受歡迎，他們的表演結合了音樂、喜劇和多媒體劇場效果，製作出獨一無二的娛樂形式。現場表演營造出的歡樂派對氣氛，也成為現場體驗藍人組演出的註冊商標。

藍人組發揮創意將其獨特的創作應用在不同的計畫，包括在世界各地的七個城市中製作的現場演出，錄製三張專輯：獲葛萊美獎提名的『聲音』、為「綜合體搖滾巡迴」打下音樂基礎的專輯『綜合體』、以及專輯『於拉斯維加斯威尼斯人酒店的現場演出』，現在已可於iTunes下載。2008年秋季，藍人組再次帶來現場演出：「如何成為超級巨星巡迴演出2.1」。

藍人組同時在電影與電視上嶄露頭角，（最近參與動畫『機器人歷險記』）、電視廣告（與英特爾的合作）、電視節目（電視劇『發展受阻』中重現的故事情節）。隨著藍人組逐漸茁壯，它依然堅持最初的願景—以不同的媒材提供刺激驚奇的體驗，給予不同年齡層與文化背景的朋友。

About Blue Man Group

Blue Man Group is best known for their wildly popular theatrical shows and concerts which combine music, comedy and multimedia theatrics to produce a totally unique form of entertainment.  The blissful party atmosphere created at their live events has become the trademark of a Blue Man Group experience. 

The company applies its unique creative process to a wide variety of projects, including their live productions located in 7 cities worldwide, the recording of three albums; the Grammy nominated Audio, The Complex, which became the musical basis for The Complex Rock Tour, and Live At The Venetian ® - Las Vegas, available exclusively on iTunes ©. This fall, Blue Man Group will be hitting the road again in their How To Be A MegaStor Tour 2.1.

Blue Man Group has also ventured into film and TV scoring (most recently the animated feature Robots), commercial campaigns (such as Intel), and television programs (like the recurring storyline in “Arrested Development”). As the company grows, it remains true to its vision of providing exciting experiences in a variety of media, which appeal to a broad range of age groups and cultural backgrounds.

關於 超級巨星巡迴演出

在北美與南美場場爆滿的現場演出後，藍人組廣受好評的『如何成為超級巨星巡迴演出』再度上路。這個現場搖滾演出帶領觀眾經歷一場帶有諷刺意味的工作表演坊，教導如何創造出「最完美的搖滾演唱會體驗」。在這過程中，他們慶祝，或是打破搖滾巨星的自我崇拜意識。從之前「綜合體搖滾巡迴演出」中拓展「搖滾演唱會教戰手冊」的概念，這次藍人組將帶來嶄新的『如何成為○○教戰手冊』，帶領觀眾經歷獨一無二、互動性高、睿智聰明的演出，保證帶給所有年齡層的觀眾目不暇給的娛樂體驗。

最後，表演傳遞的訊息與諷刺的演唱會標題大相逕庭。藍人組的共同創立者克里斯‧溫克解釋著：「我們希望觀眾在散場後，能夠自發地感覺到搖滾真實的魔力，這與『超級巨星』的概念相反。我們邀請觀眾將演唱會時的自拍照片上傳到藍人組官方網站，象徵在一場好的搖滾演唱會中，真正的超級巨星其實是觀眾共同創造的氛圍，快樂且滿足的氣氛。」

2007年秋天，萊諾唱片以「如何成為超級巨星巡迴演出2.1」為藍本發行DVD/CD組合，專輯名稱為「如何成為超級巨星現場版」，於2008年4月1日發行，提供樂迷們藍人組的貼身特寫與發想創意的成長過程。

About MegaStar

After playing to capacity crowds throughout North and South America, Blue Man Group's Megastar World Tour hits the road again. The live rock show takes the audience through a satirical "workshop" on how to create "the perfect rock concert experience." In the process, they celebrate, skewer and otherwise deconstruct rock stardom in all of its narcissistic glory. Expanding on the "Rock Concert Manual" concept from The Complex Rock Tour, this time around the Blue Men download a new "how-to manual" that takes the audience through a uniquely clever and interactive show that guarantees to deliver hypnotic entertainment for all ages.

In the end, the message of the show plays against its ironic title. Co-founder of Blue Man Group Chris Wink explains, “We want people to walk away feeling like the real magic of rock concerts comes from their tribal and communal elements as opposed to 'mega-stardom.' We invite people to upload pictures of themselves taken at the show to our website as a symbol of how the real star of a good rock concert is the euphoric vibe that takes everyone in the building to create."

In the fall of 2007, How to be a Megastar Tour 2.1 was captured by Rhino Records for a combo DVD/CD, entitled How to be a Megastar Live! Released on April 1, 2008, this two-disc collection provides an intimate look inside Blue Man Group's creative process and history.

超級巨星歷史

藍人組對於超級巨星搖滾史的影響

50年代早期，一位年輕人向藍人組詢問意見，要如何讓自己的動作更有力。在看過年輕人幾個僵硬的動作後，藍人組決定提供一些助於放鬆骨盆的動作。在幾次簡短的教學過程中，年輕人大聲叫出，他將重整對音樂的態度，要一飛沖天等等的話語。短短幾個月後，年輕的艾維斯‧普利斯萊（貓王）唱歌時的動作開始風靡全球，雖然他從來沒有正式承認藍人組對他個人風格的影響，許多研究貓王的學者相信每當他說出「謝謝你」的時候，貓王正對藍人組暗示著一些訊息。

1961年，藍人組在加州海岸發展他們新的興趣－衝浪。數月以來，藍人組參與當地的樂團，演出簡單、好記的歌曲，讚頌著香車美人及如應許之地的加州。但因藍人組關於衝浪的歌詞牽涉到當時未發名的網路世界，他們在這段期間的貢獻直到1990年中期才受到青睞。

60年代，年輕的鼓手基斯‧穆恩在倫敦一家小酒吧看到藍人組表演油漆與鼓的歌曲。演出此首樂曲時，藍人組本來未使用任何油漆，假設觀眾可以看到隱喻的顏色，但許多觀眾早喪失了赤子之心而再也無法看到這些顏色。由於這首樂曲被大力宣傳為打擊性的顏色大爆炸，觀眾在曲終報以噓聲，感覺被表演內容騙了。唯一例外的是穆恩，他大聲叫著：「我看到了！我看到顏色了！真是漂亮！」這場表演過後，藍人組將真正的油漆倒在鼓上，幫助觀眾看到隱藏的顏色，也就是觀眾喪失的東西。但是穆恩仍然追求正道，並持續創造多彩的空氣畫作，那是唯有赤子之心的人才能看到的。

1969年的暑假，藍人組與瓊尼‧蜜雪兒在巴黎一起從事繪畫工作。許多搖滾史學家同意藍人對瓊尼‧蜜雪兒在音樂與顏色上的運用造成很大的影響。要不是她對色彩的喜愛，某首暢銷單曲可能會以原名－「大計程車」發表，而她受到高度讚賞的專輯－『藍色』，當然就是向藍人組致敬。

1977年，藍人組造訪摩洛哥，探尋蘇菲教派信徒的音樂與在小毯子上祈禱的冥想世界，並將西方影響融入其宗教。在招募一位當地歌手後，藍人將摩洛哥的經歷譜寫成創作歌曲「教派、小毯子、搖滾樂」，但歌名被伊安‧杜利誤解，之後卻也變成另一首暢銷單曲。當某人指出杜利的錯誤時，可惜為時已晚，因為整個搖滾世代在身心層面上，已被杜利的歌曲錯誤地教育了。

在1989年，藍人決定往環太平洋地區前進，在西雅圖郊外進行重新造林的計畫。在這段期間，藍人組經常在工作後往搖滾俱樂部探險，與當地的樂團做即興表演。由於長時間的工作，在表演前藍人總是沒時間換下工作時的棉T恤、寬鬆短褲與工作靴。起初觀眾無法接受這樣新式龐克的穿衣風格，憤而丟擲水果至台上，但藍人化危機為轉機，以嘴巴接住觀眾的丟擲物。自此之後，觀眾與西雅圖的音樂家也仿效，媒體則不久之後將此風格封為「破爛打扮」。

2005年，對「Everybody Wang Chung tonight」的涵義保持沉默近二十年後，傑克‧休斯與尼克‧費德曼終於承認這句話的真正語意是：「去看藍人在拉斯維加斯威尼斯人酒店的表演。」根據他們的律師/發言人回應：「雖然藍人組直到去年才在那開始演出，但休斯與費德曼知道這只是遲早會發生的事情，因此他們寫下這句話，帶有音樂時光膠囊的意味，在二十年後的未來，這一切顯得理所當然。」而休斯與費德曼則不做任何回應。

2006年藍人組開始『如何成為超級巨星巡迴演出2.0』，報評讚揚為史上空前大事件，媲美無帽子樂團，及「鳳梨奶霜歌曲」的演唱人。

MegaStar History

Blue Man Group’s Influence on Megastar Rock History

In the early 50’s a struggling young crooner sought the advice of Blue Man Group on how to “punch up his act.”  After viewing how stiff the young man’s movements were, the Blue Men decided to provide some exercises to help him loosen his pelvis. After just a few short sessions, the young performer yelled out something about having made it “up to the roof,” and how he was going to completely revamp his musical approach. Only a few months later the young Elvis Presley’s act began to catch fire. Though he never publicly acknowledged Blue Man Group’s influence on his personal style, many Presley scholars believe that he was sending out secret messages to them every time he said, “Thank you very much.”

In 1961, Blue Man Group spent some time on the California coast to pursue one of their new interests, surfing. So for several months, the Blue Men became part of a community of bands playing simple, catchy songs celebrating cars, girls and California as the Promised Land. But because Blue Man Group’s surfing lyrics referred to the then unheard of internet, this period of their work was not fully appreciated or understood until the mid-1990s.

 A young Keith Moon caught Blue Man Group performing one of their paint drumming pieces at a small pub in London in the mid-sixties. In the earliest versions of this piece, the Blue Men did not use any paint, assuming that the audience would have the ability to see the metaphorical color that their expression of passion was making. However, the Blue Men learned the hard way that many people in the audience had lost their childlike access to joy and therefore could no longer see these colors. Since the piece had been heavily promoted as “a percussive explosion of color” the audience felt misled and booed loudly at the end of the piece. The sole exception was Moon who was heard yelling, ‘I can see the colors! I can see the colors! It’s beautiful!” After this performance, the Blue Men began pouring real paint on their drums to help give the audience an approximation of what they were missing, but Moon pursued a purist path and went on to create thousands of incredibly colorful air-paintings that only people who were young at heart could see.

The Blue Men spent the summer of 1969 painting and jamming with Joni Mitchell in Paris. Most rock historians agree that the Blue Men taught Mitchell to appreciate how color and music could be effectively intertwined. Were it not for her newfound fondness of color, one of her most popular songs might have been released under its original name, "Big Taxi," and of course, it’s no mystery who she was saluting with her acclaimed album, “Blue.”

Blue Man Group visited Morocco in 1977 to explore the music of various Sufi sects and meditate on prayer rugs, while also trying to incorporate Western influences into the mix. After recruiting a local vocalist, Blue Man Group paid tribute to this experience in their piece "Sects and Rugs and Rock ‘n’ Roll." Ian Dury’s misinterpreted cover version of the song went on to become a hit. By the time someone pointed out the error to Dury, it was too late, and an entire generation of rock fans was given the wrong recipe for mental and physical autonomy.

In 1989, Blue Man Group decided to head for the Pacific Northwest to work at a reforestation project outside of Seattle. During this period, the Blue Men would often venture into the rock clubs after work, and perform impromptu jam sessions with local bands. Because they worked long days, the Blue Men would often not have time to change out of their flannel shirts, big shorts and work boots before the gigs. The first time this happened, the alternative, hipster audience was outraged by this deviation from their strict punk/new wave dress code and started throwing fruit onstage. The Blue Men were able to turn this potential disaster into an opportunity and began to catch the projectiles in their mouths. From that point forward, audience members, as well as other Seattle musicians began adopting this look for themselves and before long the press dubbed this the “grunge” look.

In 2005, After twenty years of keeping mum about the meaning of the phrase “Everybody Wang Chung tonight,”  Jack Hues and Nick Feldman finally admit that it means “Going to see  a Blue Man Group at the Venetian in Vegas " According to their lawyer/spokesmen, “Even though Blue Man Group didn’t actually open there until this past year, Hues and Feldman knew it was just a matter of time, and so they wrote it as a sort of musical time capsule that would only make sense twenty years into the future.” Hues and Feldman were not available for further comment.

In 2006, Blue Man Group launched their “How to be a Megastar Tour 2.0.”   Critics hailed the tour as an historic event that “approached the caliber of tours by Men without Hats, and the dude who sang the "Pina Colada Song.”