For a movie that came out four decades ago, a lot in The Blues Brothers still feels very relevant today. "It's anti-Nazi. It's anti-racist," explains its star and co-screenwriter, Dan Aykroyd. "It venerates African American culture and recognizes African American performers and artists." While any cultural conversation today might cite the comedy as an example of appropriation and "white saviors" rescuing the blues, in 1973, the movie's origins seemed innocent enough.
When John Belushi, then 24, journeyed from Chicago to Toronto to scout Second City performers for The National Lampoon Radio Hour, "it was love at first sight," Aykroyd, 21 at the time, recalls of their first meeting.
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