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.”