The blue could be as simple as not using enough water in presoak
The blue is usually due to blix contamination of the developer.
It will not be the blue (actually cyan) dye of the paper unless the paper has remained absolutely dry in those places, and that's definitely not the case here as the edges to the blue spots would be different. The cyan anti-halation dye will wash out very easily in any bath (water, dev, fix etc.) so in a drum processing situation, it's virtually impossible for any of this dye to come out on the paper at the end.
@ac123 if you're using drums, a concern is the lid of the drum that has the light trap in it. This can be difficult to clean between development sessions. A few remaining drops of blix can ruin the next developing round. This is one reason I personally don't like drums for RA4. Blix contamination of the developer results in a cyan cast and usually cyan streaky patterns. The defect shown on the long edges of your print almost certainly due to blix contamination.
If you're using a drum you must use AT LEAST the amount stated on the drum, I often used 500ml.
Print drums work with far smaller volumes generally since you use them on a rotary base. 50-100ml is fairly typical for an 8x10 print drum. I do agree to er on the side of safety, but there's no utility in going overboard. In fact, the Jobo paper drums have a kind of buffer 'cup' inside the lid that holds the chemistry while the drum is still vertical. This ensures that the chemistry all enters the drum at more or less the same time as the drum is tilted on its side, which helps prevent uneven development. Filling a drum with such a cup with more chemistry than the cup will hold, does away with this advantage. I don't recommend it.
That's very, very long. My RA4 developing time even at room temperature is 90 to 120 seconds. 120 seconds always does the job. A little overdevelopment doesn't hurt, but I don't know if overdeveloping by 100% is such a good idea.
Brown could be light leak or reflection fogging the paper.
Old Fuji paper fogs to yellow and then tan when it's (long) expired. The yellow sets in after a year or two but will be very, very faint. It then gets progressively worse.
However, in this case, I expect the yellow fog is actually due to lack of proper masking of the paper on an easel combined with stray light. Use a regular easel/frame with masking blades and the problem likely goes away. It will not fix the cyan borders, though.
Another possibility is a blue indicator LED on some piece of equipment.
Keep in mind that RA4 paper is extremely sensitive to blue light, less so to green light, and even less so to red light. So anything that emits blue light will be a massive problem, even if it's only a tiny bit of light.
So my suggestions are, in summary:
* Revise darkroom conditions and exclude any source of light. It should be absolutely pitch dark, and no light should be visible even after accommodating your eyes to the dark for 5-10 minutes.
* Obtain a proper printing easel and ensure the negative is properly masked in the negative holder. If using an enlarger for larger formats than 35mm, set it up for 35mm and not some larger format; this means adjusting any masking blades to cut out stray light etc. Ensure that the enlarger doesn't leak any light from the lamp house etc. Put tape or a dark cloth over any seams etc. that bleed light.
* Revise your use of processing drums and either (temporarily) switch to trays to get the basics down, or figure out how to use your drums in such a way that there's no blix being carried over from one run to the next. This is of course possible since many people use drums to good effect, but you may have to quite thoroughly rinse your drum between development runs. It takes time, but as you can see, it's necessary.