There was a time when music videos were kind of a cultural thing. Cable was fairly new, and with it, MTV launched a 24-hour music video channel in 1981; an odd idea at the time. Then, for a few years, it was a phenomenon. MTV videos created stars out of thin air, and for older bands still around, flashy video presentations revived their careers. For a certain generation, music videos were something to talk about and wait for.
Admittedly, there are a lot of music videos with cars, but there aren’t many with car chases. After all, it’s easier to shoot singers on a set swinging their hips than coordinating stunt teams. One notable exception to this is Chicago’s video for their 1984 hit “Stay The Night.” The video’s main star? In my automotive eyes, the 1968 Oldsmobile 442 at the core of its chase-focused center.
(If you just want to see the 442 in action, the Youtube link is HERE)
Now, Chicago in ’84 was quite different from the one back in their Transit Authority days. And whatever you think about ‘Stay the Night,’ will have much to do with how you feel about those changes. The band had gone from their jazzy-influenced horn-section rock to a more pop-rock ’80s sound, a transition most surviving bands from the ’70s went through. Still, such musical changes, and their willingness to adopt the music video format, kept their name alive and placed them in the eye of the young. Other bands made similar shifts and thus, names like Fleetwood Mac, Bruce Springsteen, and Chicago are familiar to people of my generation; even to those with only a passing interest in music.
There was much effort to create attention-grabbing music videos, a necessity in order to stand out from the crowd. And in the case of ‘Stay The Night,’ a fun and rather complex car chase was the chosen method. It was all told in a ‘narrative of sorts,’ which was kind of a thing after Michael Jackson’s groundbreaking Thriller video. In established bands, expenses weren’t spared in those efforts, and in ‘Stay The Night,’ the stunts turned out as good as they came. The video was to be directed by Bob Giraldi (Director of Michael Jackson’s Beat It) and Gilbert Bettman Jr.
An interesting artistic choice for the video was the selected vehicle, a ’68 Oldsmobile 442. A good thing in my book, as the video is basically 3 minutes or so of 442-porn.
In my Puerto Rico days, these GM A-Bodies were rather common even in the late ’80s. The Chevy was my first choice, but the Oldsmobile version wasn’t too far behind in my preferences. The A-Body profiles were taut and sexy, and when equipped with a V8, they sounded incredibly alluring. I remember them fondly, and I find them seductive to this day.
The car chase idea was probably a reflection of the song’s lyrics; which were about a mating chase of sorts. In their most blunt interpretation, the lyrics are asking for a one-night stand; to finally ‘just do it’ and to hell with whatever happens. Appropriately, the video starts with a casual encounter… at a repair shop? Because that’s where casual love happens?
- Stay the night, there’s enough here for two!
- Easy for you to ask! Not in this rat-ridden workshop!
And no, those aren’t exactly the actual lyrics. But you get the drift; our female lead just turns down the advances of Chicago’s singer, Peter Cetera.
Regarding Cetera, it was around this time he was displayed as the band’s ‘front man’ by the record company’s marketing. An idea that didn’t quite reflect the band’s real inner workings, but such is the world of marketing. In any case, Cetera seemed to enjoy playing the obstinate suitor, and he did so with boyish charm (for a 40-year-old, that is).
The video’s female lead is model Ingrid Anderson, and her presence is a curious mix of icy and fiery beauty.
- So… stay the night?
Not really! Time for Ingrid to split, on that sweet driving 442. And turns out she’s quite the driver! No wonder Peter is so taken with her!
Here’s a bit of storytelling that would fall under the ‘stalking’ file to modern sensibilities; with Cetera just unable to take ‘NO’ for an answer. Well, back then, that was just being romantic!
I know the 442’s driving is obviously not Ingrid’s, but she does a great job pretending to. And looking fashion-magazine gorgeous while doing so.
By this point in the storyline, we see Peter is determined, or you know; romantic. And once again, from a modern interpretation, maybe the man isn’t so much a stalker as someone who enjoys a certain amount of abuse. In any case, the stuntman earned his keep on this shoot, as the video shows.
See what I mean?
While the main stunts belong to the action double, Cetera had to hang from the 442 in some closer shots. I’m sure at far lesser speeds and with careful planning. Still, quite a lot for the stunt driver to keep in mind: Get the shot done, don’t ruin the classic car, and don’t hurt our million-dollar-earning singer.
Did the insurance company know about all this?
More stunt work in front of an approaching Ford F-Series. And that looks rather close. Did someone get hurt on this shot?
After almost running him over, the good ol’ boys in the Ford decide to help poor Peter in his quest. Because… boys gotta stick together?
Midway the plot thickens, with the police joining the fray. Not surprising, since speeding and careening recklessly all over town is illegal in most places; even if for love reasons.
The police not only join the fray, but they also join in singing the song’s chorus. Look, it was the ’80s. I won’t explain any further. We all got something to be ashamed of. Ok?
Not that lovely Ingrid heeds the police’s warnings. And so, the chase moves to the ever-so-iconic LA river basin. Time for the 442 to speed up some more.
Nice round gauges in the 442. Close-ups like this are a nice personal reminder that Oldsmobile knew of their existence, even if every Ciera of my youth made me believe otherwise.
The police go down, and now Ingrid has gone from being a reckless driver to an urban menace. Curious how being a delinquent is often a main character’s ‘fun trait’ in fictional scenarios.
As it’s inevitable in car chases of the ’70s and ’80s, a strategically placed ramp appears. Only on TV did this ever happened (America was a strange place to imagine when viewed through Starsky and Hutch reruns).
Both the 442 and Ford jump. What do they fly through? A billboard of the ‘Chicago 17’ art cover! Because there may be artistic merits in a music video, and a lot of talent involved; but let’s not forget that the whole point is to sell records. Got it?
Through a curious flight of fancy, as the Ford lands, it explodes and it’s suddenly nighttime. Reasons? My best guess is that it just looked cool.
Not a good fate for our boyish stalker charmer (some may think he had it coming…), as he lays in wait for an ambulance. Could there be a nice ending to this troubled story?
In a James Bond-like twist ending, the ambulance driver turns out to be none other than wild and hot-tempered Ingrid. Wait, what?
Now, I could try to wrap my head around the tortured symbolism of this unhealthy relationship, but why bother? I’m sure that in this fictional world, they’ll make each other happily-miserable in ways they won’t be able to live without (Hey! I know such couples!)
I have reserved my opinion on the ‘Stay The Night’ song until now. Let’s just say that I heard enough drum-heavy pop songs and power ballads in the ’80s, and nowadays I’m more inclined to the early days of the Transit Authority.
It doesn’t matter, to me the video’s star is the 442. And just to see it in action, I can view it countless times. I won’t deny it, the song has been on my head relentlessly as I type this. Slightly annoying, yes, but as the video showed, we can all endure some discomfort in the name of love. And I can certainly endure some for the 442.
Further reading:
Curbside Classic: 1968 Oldsmobile 442 – It’s All In The Numbers
Great post. My first car was a 66 Olds Dynamic 88 red convert with 425 engine. Kind of amazing how Olds kept similarities in styling across the line up for several years. Older brother at one time bought 69 Hurst Olds convert for his wife. My tastes graduated to further upscale vehicles. Relating to music and a car, that has happened many times for me. Probably the strangest is driving into Chicago, seeing a huge billboard with a copy of my 89 Lincoln Town Car and as I recall Frank Sinatra with lettering MY KIND OF TOWN CAR. Actually had a cassette of him singing My Kind of Town playing and joined him for a duet changing the lyrics enough to fit the car. Frequently go back to that. Since acquiring my current Town Car, my CD player often plays Josh Turner’s LORETTA LYNN’S LINCOLN. 🎵 👍. 😎
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David Foster produced Chicago at this time and he is the producer who gave us Celine Deion and gigantic production numbers like that. He earned millions producing music like this. Chicago broke up over the direction Foster knew would earn the band millions and Cetera wanted to be big – and it worked. Many of the original members left when they were asked to put down their musical instruments and pick up a background mike and a digital keyboard to produce wallpaper pop. But it sold millions and made millions for Foster and Cetera.
So this is a Foster video production number and every slice of cheese added to every scene. The music is Foster produced and the video reflects this. I didn’t bother watching it because it is 180 degrees from the Punk and British rock I preferred at the time and it looks excruciating in the stills.
As to the car – yes – that is a very fine car. While it isn’t an earlier 442, it was what was available for the video shoot and a respectable ride all around.
Go magazine ad for the yellow 442! Of course one can tell this is 1968 without the ad even mentioning the model year because of the wild way the model is dressed!
Meant “Good” magazine ad in my post above. There’s no option to edit these posts once done.
If you log into CC using a user-name and password set up before the comment is posted, you have 15 minutes to edit the post.
Good to know, thanks!
Ugh. I’m a very early Gen Xer (1967), so the 80’s was a formative decade for me, but what that decade did to music, personified by tracks like this from Chicago, (Jefferson) Starship, and even to some degree the Grateful dead with Touch of Gray was just a travesty. If the 70’s was the decade that taste forgot, the 80’s was truly the decade when music went to hell.
I’m just a few years old and agreed about ’80s music – a computer-generated synthesized hellscape. MTV had the effect of elevating bands that made awful music but cool videos. Lots of bands and artists from the ’60s and ’70s trying to stay relevant by hiring a David Foster-type slick producer and adopting that generic synthetic sound. Chicago amongst them; Starship also a great example. Heart starting in 1985. ’90s music was better; ’60s and ’70s music was much better. This isn’t a case of just liking whatever music you grew up with, because my favorite tunes are from just before my time.
I like a lot of 80s music, probably more from that decade across various genres than any other from that measure at least, but I do agree the acts from the previous decade or earlier trying to fit in with the changing styles and trends and instruments were mostly forgettable and in some cases cringeworthy
I never could stand any of the music I grew up with, musical hell for me can be broadly defined as 2000 to present, a range that starts in my preteens! I do today like what I liked then, but back then I had to seek it out, it wasn’t what most of my friends were listening to.
There really has been lots of excellent music made in the 21st century; you just have to look beyond the top of the charts to find it. Most of my favorite songs from the last 20 years are from relatively obscure artists and bands.
But… Steely Dan….
I remember this video, and the Olds 442 that had the starring role. A nice change from the Mustangs, Camaros and 1950s Cadillacs that were generally used in music videos during MTV’s early days.
The band’s change of style was most likely linked to the untimely death of Terry Kath, its leader, in January 1978. He died of a self-inflicted gun shot wound. Initial reports were that he committed suicide, but friends insist it was accidental, and that he was not suicidal (although had struggled with substance abuse issues). Band members considered disbanding Chicago, but they were persuaded to continue.
I wish they had broken up after Kath died; the band would have a much better rep today rather than a tarnished legacy from so much awful stuff after that point. I do love much of their earlier work still.
Super post!! I love the play-by-play, and I am also a fan of this band. I prefer Chicago’s ’70s stuff to their ’80s output, but I like most of it. This post also reminds me of how I wish from time to time that there was still a 24-hour music video channel! I know all about YouTube and streaming, and it isn’t quite the same.
Only for die-hard 1968 442 convetible fans. It may have even been an authentic 4-speed car (shifter seen for a brief moment).
Otherwise, completely forgettable.
I’m not so sure about the “don’t ruin the classic car” prerequisite, I’m thinking the jump put an end to it like many a Dodge Charger behind the scenes on a certain TV show of that era. That sad reality has a positive side though, these were just old cheap fast cars in the early to mid 80s, something you could peel out from at every stop, do doughnuts in, drive off road and have other youthful automotive fun in. You could even paint your own stripes on the thing and not worry about value, numbers matching, or any of the tedium obsessed over on these type of cars today. Heck the last time I saw a 68 442 convertible on TV was an auction showcasing the numbers matching undercarriage you could eat off of rolling 2.5mph across the stage via foot power, so as to not fume the stage with the sweet sounds of 400 cubic inch Oldsmobile power, how exciting…
I grew up past the true MTV music video era(it was firmly in the reality show era in my youth) but this sort of cinematography of old muscle cars in TV and movies from this specific period is what probably what made me attracted to them. Ironically what Chicago was trying to do by breaking into music video to get a younger audience, the younger audience may well have been more interested in seeing the 442 in action than the song and band. Baby boomers love to claim the muscle car era as their own, but it was Gen Xers came of age when those cars were dirt cheap and obtainable, and grew up in the MTV era of flashy filmography to make them look even cooler.
Also I’ve seen so much footage from 80s movies and TV shows filmed in or on the old 6th street bridge and river basin I feel like I’ve been there, I could probably place most of the filming locations on a map.
I’ve played numerous “Transit Authority” era Chicago charts in many different bands, and I’m obviously partial to that style over Chicago post-’76 or so.
But, taking it for what it’s worth, this is still a good track, Cetera had a great set of pipes, the band could actually *play*, the rest of them (there were I think eight by this point) showed up in the video too, and the video is just FUN.
Remember that? FUN? Of course “True Lies” was a ridiculous film and this was a silly video. No, there’s no toxic masculinity. No, we don’t really expect anyone to pick up a date at the repair shop. No, we don’t expect her to actually drive like that or him to go to those ridiculous lengths. What video WASN’T silly? Can’t we shtcan the virtue signaling cynicism and just enjoy it?
Wasn’t into the more commercial ’80s Chicago, or Cetera, as a solo artist. I remember the first time I heard ‘Life is a Highway’ by Tom Cochrane, and later watched the music video, I knew it would be huge in Canada. As it was a great song, and he was already established here. I was a bit surprised, it did so well, in the US (and worldwide).
Including the ’65 Impala SS convertible, was certainly a deliberate aim to give the song and video, more mass appeal in the American market. As Cochrane, and others surely knew, his song could be massive south of the border.
I remember when a buddy who had cable told me about MTV, you could call in a request and they’d actually play it in a short while .
I enjoyed this nicely done time capsule video, even the Old’s cracked steering wheel .
More than a few horny women came y my shop back in the day but I’da never touched one when greasy ~ that part of their fantasy doesn’t work out well .
-Nate
Not a song of theirs that I’m familiar with, and I never got into the music-video thing but – wow! Rather James Bond-esque. Kudos to whoever thought that one up.
Chicago are to music what eye-charts are to literature.
Brilloiant! Snorted my coffee when I read this!
Besides reminding me of a line in the song Hot Rod Lincoln, that 110 mph speedo reading has be trying to guess what car the dashboard shot is actually from. An Olds gear quadrant of the era would have read PRNDSL. This one has a PRND21 quadrant. I’m stumped. Anyone else know?
You’re right, those definitely aren’t 68 442(or cutlass) gauges either, it’s driving me nuts tyying to figure out what they are from, I had a few guesses but struck out
I call this Burlington Coat Factory music because this is the stuff they would play when my Mom would take me shopping. Honestly I think Burlington has more soul and is less corporate than this stuff though. Cool car, I’m not a big Olds guy but I’ve always liked the 442.
I figured out what the gauges are from, it’s a 1972 Ford Torino in the standard arrangement