Icons On Screen: Unforgettable Music Videos by Women Artists from the '80s and '90s
Jun. 25, 2025
In the past two decades, pop culture has accumulated a glittering collection of iconic music videos by women artists—from Beyoncé's viral "Single Ladies" dance to Taylor Swift's cinematic and satirical self-parody in "Blank Space," these videos not only elevated their respective tracks, but also carved legacies of their own in the culture. But what about the two decades before that?
What did it mean to be iconic when MTV was blossoming, and the very concept of the music video was still (relatively) undefined? From powerful political statements to trailblazing innovations in art and technology, here are some of the most unforgettable music videos by women artists from the '80s and '90s.
What did it mean to be iconic when MTV was blossoming, and the very concept of the music video was still (relatively) undefined? From powerful political statements to trailblazing innovations in art and technology, here are some of the most unforgettable music videos by women artists from the '80s and '90s.
"Girls Just Wanna Have Fun" by Cyndi Lauper (1983)
The 1983 single "Girls Just Wanna Have Fun" launched Cyndi Lauper into enormous mainstream success and cemented her as a legitimate pop star, but ironically enough, it was never her song to begin with—with a few (monumental) tweaks to the songwriting and instrumentals, Lauper made a breakthrough hit out of Robert Hazard's demo, which was originally written from a male perspective. The track was no longer a lament over the narrator's inability to attract a woman; it had been transformed into a bright, danceable feminist anthem.
If that wasn't already iconic enough, the song's music video sealed the deal. Lauper dances exuberantly around her parents, in the city, and with other women, fashionably accessorized and dressed to party. The video screams confidence, independence, and a carefree attitude as the party floods into Lauper's home, providing a visualizer for women to not only have fun, but to be the fun. Passivity was out, and taking control of the narrative was in. In January of 2022, the video crossed a billion views on YouTube—a testament to a cultural staple that has soundtracked women having fun for over four decades.
"Sweet Dreams (Are Made of This)" by Eurythmics (1983)
Earlier this year, the "Sweet Dreams" music video hit one billion views on YouTube—an unexpectedly late milestone, occurring more than a decade and a half after the iconic video's premiere on the video-sharing platform. In 1983, at the time of its release, "Sweet Dreams" was considered a classic on early MTV; it helped Eurythmics break through to American audiences and subsequently spun the duo into global superstars.
The music video itself, directed by Chris Ashbrook, features a bizarre yet mesmeric fusion of corporate office styling and a naturalistic setting, inspired by surrealist artists like Salvador Dalí and Luis Bunuel. Even more impactful than the presence of live cows in a boardroom, however, was Annie Lennox's striking, gender-nonconforming look; with her close-cropped orange hair, men's suit and cane, and unflinching gaze, she pioneered a groundbreaking image for female artists. The popularity of the music video not only helped the pop duo achieve widespread mainstream success, but also helped break the mold of expectations for women in music, and made Lennox instantly recognizable as a pop star.
"Rhythm Nation" by Janet Jackson (1989)
With its post-apocalyptic warehouse setting, dance crew costumed in unisex military uniforms, and black-and-white color grade, the music video for "Rhythm Nation" stands as a landmark of late-80s R&B and dance-pop. Directed by Dominic Sena (known for films like Kalifornia, Gone in 60 Seconds, and Swordfish), the video features eye-catching choreography as well as visual effects and editing to accompany the track's catchy beat. Each frame oozes drama and style, cementing Janet Jackson as a pop star in a league of her own.
While her label was reluctant to support either the album's concept or the premise of the music video, Jackson forged ahead, determined to make powerful political statements about issues that moved her. Not only did the music video go on to win multiple awards—including a Grammy Award and MTV's Best Choreography and Best Dance Video—but its singularity in the culture also made ripples in the music industry long after its release. Artists like Beyoncé have paid homage to the video's fashion, while others like Mickey Avalon and even film choreographers have referenced its dance sequences. One thing is for certain: "Rhythm Nation" is still (metaphorically) breaking laptops.
"Like A Prayer" by Madonna (1989)
Stirring up global debates around music, art, race, sex, and religion, the music video for "Like A Prayer" is undoubtedly, to this day, one of pop culture's most iconic moments. Following a woman who witnesses a misattributed homicide, the video featured and commented on a plethora of subjects that were considered deeply controversial at the time: systemic racism and injustice, cross burning, and religious blasphemy, including Madonna's provocative styling and a scene in which she kisses a Black saint. The controversy grew to such heights that it led to worldwide boycotts from Christian groups, both of her music and of Pepsi-Cola and its subsidiaries, which had partnered with Madonna just a day prior for a TV commercial and planned to sponsor her upcoming world tour. Even Pope John Paul II himself called for Catholics to boycott Madonna in Italy.
This controversy only bolstered its popularity, however, and more than forty years later, the music video for "Like A Prayer" remains an icon of pop culture. Its stunning visuals, bold social commentary, and profound global impact at the time have only aged like wine, and continue to resonate as a touchstone of provocation in art and cultural influence in pop music.
"Nothing Compares 2 U" by Sinead O'Connor (1990)
It's no question that Sinead O'Connor's heartbreaking rendition of "Nothing Compares 2 U" utterly eclipsed the original by Prince, but few might be familiar with the fact that its widespread success largely stemmed from the release of its music video, directed by John Maybury. After dwelling on the low ends of the Top 40 and being dropped from BBC playlists, the track was teetering on the edge of public consciousness.
The music video, however, with O'Connor's piercing expression and two genuine tears down each cheek, completely upended the song's standing; after its late-night premiere on MTV, sales skyrocketed, and the world wept in unison over her devastating performance. The video received numerous accolades, including MTV's Video of the Year, of which O'Connor was the first female recipient. To this day, the music video continues to touch the hearts of fans worldwide—with more than half a billion views on YouTube and counting.
"Waterfalls" by TLC (1995)
Addressing both the illegal drug trade and the HIV/AIDS epidemic, "Waterfalls" was already set to make a splash; the million-dollar-budget music video just ensured it. The video follows two stories: in one, a teenager ignores the pleas of his mother to quit selling drugs before getting killed by a rival dealer. His spirit tries in vain to embrace his mother afterwards, but he is unable to reach her. In another, a young couple eschews protection during intercourse, and the man's face slowly begins showing symptoms of AIDS. Clips of TLC singing while standing on the ocean are woven in between.
The track was the first number-one song to refer to AIDS, and its music video, directed by F. Gary Gray (Friday, Straight Outta Compton), made TLC the first African-American act to receive the MTV Video of the Year Award. TLC's socially conscious messaging and willingness to visually showcase and open discussions about stigmatized topics was revolutionary—and still deeply relevant and iconic today. At the time, HIV was wrongfully believed to only affect gay men, who also often faced victim-blaming. TLC not only created an international hit, but also a deeply sensitive music video that challenged those misconceptions head-on.
"Criminal" by Fiona Apple (1997)
Directed by Mark Romanek (One Hour Photo, Never Let Me Go), the music video for "Criminal" is set in a gritty, voyeuristic universe—the grimy green carpet, remnants of late-night debauchery, vignette shots, and Fiona Apple's sensual sulk all establish the feeling that the viewer is intruding upon something. Throughout the video, a young, scantily clad Apple lounges about on floors, countertops, and other bodies, locking eyes with the camera as if trying to directly reach the audience. This explicit, unabashed show of sexuality, pleasure, and the guilt that comes with it made waves for Apple as a female singer-songwriter, cementing her as a moody, sensual, yet confrontational performer in the alternative space.
Provoking further discussion about sexual agency was Apple's dual role as both the viewer, snapping photos of another woman, and the object, posing provocatively for the audience. Her waifish appearance also sparked debates about the "heroin chic" style that had been popularized in the early '90s—an aesthetic characterized by traits associated with drug abuse. All in all, the video's themes of sex, voyeurism, adolescence, and body image, along with its cinematography, remain iconic and recognizable to this day.
"Doo Wop (That Thing)" by Lauryn Hill (1998)
With the split-screen music video for "Doo Wop (That Thing)," Lauryn Hill embodied an icon of two different eras in New York; the left side, which featured a 1960s Hill reminiscent of Aretha Franklin, paying homage to classic rhythm and blues and doo-wop, and the right side, showcasing a late '90s Hill doing the same with hip-hop. Although the two sides display different eras, styles, and genres, they work in tandem to establish a narrative about community, identity, female empowerment and egalitarianism between the sexes. In both eras, we see similar displays of community and conflict, and Hill addresses both men and women in their relationships with each other, warning against getting caught up in superficial and material matters.
The visuals and fashion are undeniably iconic, and the candid cultural commentary is timeless. "Doo Wop" became the first hip-hop song to win the Video of the Year Award, and Hill made history as the first solo Black artist winner. Since its release, the video has appeared on numerous "greatest of all time" lists, including those of VH1 and Slant Magazine.
"All is Full of Love" by Björk (1999)
The video for "All is Full of Love" is not only regarded as a masterpiece in the music world, but in the art world as well; along with receiving a plethora of awards, it has also been featured in numerous art exhibitions and museums, including in a permanent exhibition at the Museum of Modern Art. Simultaneously sterile and sensual, the video follows two humanoid robots, both resembling Björk, in a surrealist cyborg world full of black wires, automated machines, and white countertops. The repeated drilling mechanisms, mysterious white fluid, and scenes of the two androids in a passionate embrace all establish a clear erotic undertone, playing with the uneasy balance between the garden and the machine.
Above all, the video serves as a technological feat of computer graphics and digital design—director Chris Cunningham relied heavily on post-production processes, and many of the video's visuals were created using computer-generated imagery or by skilfully mixing multiple shot frames. Looking back, it's clear that "All is Full of Love" was decades ahead of its time. Even with modern technological advancements, the video's concept, aesthetics, and overall execution remain thoroughly unique.
"Goodbye Earl" by The Chicks (2000)
Murder ballads have been around for centuries, but the Chicks stirred up a hayload of controversy in 1999 when they released "Goodbye Earl," a country song about a woman who kills her abusive husband with her best friend. The music video only exacerbated the effect; it was bright, comedic, and had a happy ending, with the two girls opening up a roadside stand and the town celebrating Earl's death. Upon its release, many radio stations refused to play the track, while others provided violence prevention hotline numbers. The trio was accused of promoting and trivializing violence, and there was even discourse over the lack of consequences for fictional characters Mary Anne and Wanda.
Despite the controversy, however, the public had spoken: "Goodbye Earl" was a hit. Its dark humor and lighthearted music video became a crowd favorite, and in 2000, it won the Video of the Year Award from the Academy of Country Music and the Country Music Association. Since the turn of the century, countless parodies have been made by other music artists and internet personalities alike—proof that we're never saying goodbye to "Goodbye Earl."