The revival will have a new host, a "refreshed signature look", and a switch to CGI animation. The most important casting decision was that of the host, the only human character in the show. The host's role was to empower and challenge the show's young viewers, to help increase their self-esteem, and to strongly connect with them through the television screen.
He loved kids, but he didn't want to make a career out of it. Accompanied by a "concentrated multiplatform promotional campaign"  that included articles in Nickelodeon's magazine and on its webpage, an arc of three episodes introduced Burns' replacement Donovan Patton , who played Steve's brother Joe. Johnson was cast as Blue's voice because, of the show's crew, she was able to sound the most like a dog. Nick Balaban, who wrote the music for the show along with Michael Rubin, was cast as the voice of Mr. Balaban initially used a Brooklyn accent for Mr.
Salt before settling on a French accent. Steve, the host, presents the audience with a puzzle involving Blue, the animated dog To help the audience unlock the puzzle, Blue leaves behind a series of clues, which are objects marked with one of her paw prints. In between the discovery of the clues, Steve plays a series of games — mini-puzzles — with the audience that are thematically related to the overall puzzle As the show unfolds, Steve and Blue move from one animated set to another, jumping through magical doorways, leading viewers on a journey of discovery, until, at the end of the story, Steve returns to the living room.
There, at the climax of the show, he sits down in a comfortable chair to think — a chair known, of course, in the literal world of Blue's Clues , as the Thinking Chair. He puzzles over Blue's three clues and attempts to come up with the answer. Nickelodeon researcher Daniel R. Anderson called the structure of Blue's Clues a game that presented its viewers with increasingly challenging and developmentally appropriate problems to solve. They used content and production characteristics such as pacing which gave children time to respond,  as well as "camera techniques, children's voices, musical cues, sound effects, clear transitions, repeatable dialogue, and visuals.
The purpose of the recurrent formats and content, which were similar in every episode, was to increase viewers' attention, comprehension, and participation during key educational lessons. Nickelodeon originally aired the same episode daily for five days before showing the next one.
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The producers believed this telecast strategy empowered young children by giving them many opportunities to master the content and problems presented to them. The creators' and producers' goals were to "empower, challenge, and build the self-esteem of preschoolers"  while entertaining them. Kessler, Santomero and Johnson were influenced by Sesame Street , the first children's television program to utilize a detailed and comprehensive educational curriculum developed from research. Unlike Sesame Street , which tested a third of its episodes,  the Blue's Clues research team field tested every episode three times with children aged between two to six in preschool environments such as Head Start programs, public schools, and private day care centers.
There were three phases of testing: As Anderson stated, the formative research team served "as a liaison between the feedback provided by the preschoolers and outside advisers and the production team, including writers, talent, producers, directors, element artists, and animators.
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Blue's Clues co-creator and producer Angela Santomero . Twenty years worth of research had showed that television, a "cultural artifact" accessible to most American children, could be a "powerful educational agent. They wanted to provide their viewers with more "authentic learning opportunities"  by placing problem-solving tasks within the stories they told, by slowly increasing the difficulty of these tasks, and by inviting their involvement.
The producers wanted to foster their audience's sense of empowerment by eliciting their assistance for the show's host and by encouraging their identification with the character Blue, who served as a stand-in for the typical preschooler. Sesame Street reflected the prevailing view that preschoolers had short attention spans; it featured a magazine-like format  consisting of varied segments. Previous children's television programs presented their content with little input from their viewers, but Blue's Clues was one of the first children's shows to actively invite its viewers' involvement.
Its creators believed that if children were more involved in what they were viewing, they would attend to its content longer than previously expected—for up to a half hour—and learn more. They also dropped the magazine format for a more traditional narrative format. As Variety magazine stated, " The choice for Blue's Clues became to tell one story, beginning to end, camera moving left-to-right like reading a storybook, transitions from scene to scene as obvious as the turning of a page.
The pace of Blue's Clues was deliberate, and its material was presented clearly. After pausing, child voice-overs provided the answers so that they were given to children who had not come up with the solution and helped encourage viewer participation. Crawley and her colleagues stated that the show was "unique in making overt involvement a systematic research-based design element. Blue's Clues was set in the home—the environment that was most familiar and secure for preschoolers—and looked like no other children's television show.
Writers created a goal sheet, which identified their objectives based on the show's curriculum and audience needs. Script drafts, once developed and approved by the show's creators and research team, were tested at public and private schools, day care centers, preschools, and Head Start programs by three researchers, who would narrate the story in the form of a storybook and take notes about the children's responses.
The writers and creators revised the scripts based on this feedback. A rough video, in which the host performed from the revised script in front of a blue screen with no animation, was filmed and retested. The script was revised based on the audiences' responses, tested a third time with animation and music added, and incorporated into future productions. Most of the show's production was done in-house, rather than by outside companies as was customary for children's TV shows. Blue's Clues was the first animated series for preschoolers that utilized simple cut-out construction paper shapes of familiar objects with a wide variety of colors and textures, resembling a storybook.
The green-striped shirt worn by the show's original host, Steve, was inspired by Fruit Stripe gum. The music, produced by composer Michael Rubin and pianist Nick Balaban, was simple, had a natural sound, and exposed children to a wide variety of genres and instruments. According to Tracy, the music empowered children and gave the show "a sense of playfulness, a sense of joy, and a sense of the fantastic". The host performed each episode in front of a " blue screen ", with animation added later.
Johnson hired artist Dave Palmer and production company Big Pink to create the animation from simple materials like fabric, paper, or pipe-cleaners, and scan them into a Macintosh computer so that they could be animated using inexpensive computer software such as Media , Ultimatte, Photoshop and After Effects ,  [note 4] instead of being repeatedly redrawn as in traditional animation.
Ratings for Blue's Clues were high during its first season, and it was Nickelodeon's most popular preschool program. Starting in , a live production of Blue's Clues toured the U.
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. 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.
Kim Newman, writing for Empire in , 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: On the 30th anniversary, L'Osservatore Romano ,  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. 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.
The fans act as the members of the crowd during the performance of " Ghost Riders in the Sky ". 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. When the film was first screened for a preview audience, a producer demanded that director Landis cut 25 minutes from the film.
Weiss, editor George Folsey Jr. It also included production photographs, the theatrical trailer, production notes, and cast and filmmaker bios. The 25th-anniversary DVD release in included both the theatrical cut and the extended version. The film was released on Blu-ray on July 26, , with the same basic contents as the 25th-anniversary DVD. In a March interview with Ain't it Cool News , Landis also mentioned he had approved the Blu-ray's remastered transfer.
Music from the Soundtrack was released on June 20, as the second album by the Blues Brothers Band, which also toured that year to promote the film. Later that year they released a second live album, Made in America , which featured the Top 40 track, "Who's Making Love". 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 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. Other songs in the film include:. The sequel, Blues Brothers , 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 year-old J.
Smashwords – Steel Blues - Book II of The Order of the Air – a book by Melissa Scott
Evan Bonifant as the new Blues Brothers. Franklin and Brown were among the celebrities returning from the first film. King , and Eric Clapton , among others. Dozens of artists were packed into an all-star band called The Louisiana Gator Boys. From Wikipedia, the free encyclopedia. The Blues Brothers Theatrical release poster. Dan Aykroyd John Landis. British Board of Film Classification. Retrieved January 27, Retrieved February 11, Retrieved December 16, Turner Broadcasting System Time Warner. Retrieved March 27, The Making of The Blues Brothers". Retrieved December 18, Retrieved October 4, Retrieved October 30, Archived from the original on August 25, The Center for Land Use Interpretation.
Archived from the original on January 20, Locations in the Blues Brothers. Archived from the original on May 24, Archived from the original on October 14, Archived from the original on April 3, Retrieved June 2, Archived from the original on October 10, Archived from the original on July 28, Archived from the original on October 17, Archived from the original on July 21, Every show, every winner, every nominee-Blues Brothers. Retrieved September 15, The New York Times. Archived from the original on November 1, Retrieved November 1, The Return of the Blues Brothers.
Archived from the original on July 20, Retrieved April 27, Retrieved July 23, The Billboard book of top 40 hits. Australian Recording Industry Association. Federazione Industria Musicale Italiana. Second in an engaging historical fantasy series set in the s. Book II of this great series picks up a short time after the first ended - with our heroes on hard times at Gilchrist Aviation as the Depression begins to bite. A race with a prize too good to pass up turns up, but as usual, intrigue and mystery follow hot on their heels and their plans are a constant series of adjustments and about-turns as they rely on all their skills, both in the cockpit and amongst the magic of their Lodge, to steer themselves to safety.
Following the brilliance of Book I, Steel Blues continues the detailed characterisation of the Gilchrist Team, and we learn more of their skills, and of the events of the Great War that brought them all together. We also learn of dark and unbalanced foes from the same conflict who are determined to wreak havoc. The details of the period, in the language, style and fears of the time are expertly woven into the story, really taking you back there.
This series so far is a celebration of many things: But believe me, you'll want to get your hands on the first book afterwards. Scott and Graham are really hitting their stride here together in this well-written sequel: These extremely likable characters are given even greater depth and some of the novel's tension comes from their unconventional circle of relationships put under the constant scrutiny of the press.
It's another ripping yarn; I read it in a couple of large gulps and immersed myself in for a while. Great fun; can't wait until the third book in the series. I read the first book and immediately read the second.
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