In One-Track Mind: Capitalism, Technology, and the Art of the Pop Song, Fordham history professor Asif Siddiqi, Ph.D., and 15 other writers attempt to answer those questions. They each delve into the history of a song from the past 60-plus years, and their essays, Siddiqi writes, “show the undiminished power of the pop song.” He sees them as “distillations of important flashpoints,” and he hears in them “ghostly echoes that persist undiminished but transform[ed] for succeeding generations.”

The idea for the book blossomed at Fordham’s Lincoln Center campus in June 2019. That’s when the University’s O’Connell Initiative on the Global History of Capitalism provided funding for a workshop where Siddiqi and other contributors began to flesh out the cultural reflections they noticed in pop songs across the decades.

“We knew that there were a couple of running themes,” said Siddiqi, the book’s editor. “One was that technology was everywhere, not only in terms of recording studios [and instruments] but also media, like CDs and streaming, etc. And the other thing that was everywhere was, of course, capitalism, because of the business of making music.”

Siddiqi, a former Guggenheim Fellow, is best known for his books on the history of space exploration, including The Red Rockets’ Glare: Spaceflight and the Russian Imagination, 1857–1957. But he is also a guitar player and music lover with a keen interest in the technology of music production.

He said he was wary of gravitating too far toward the kind of classic rock often seen as the canon by fans and critics, so he encouraged contributors to highlight a diversity of artists and sounds. Their selections run the gamut from Afropop to hip-hop and span nearly five decades, from “Indépendance Cha Cha,” the 1960 Congolese anthem by Le Grand Kallé and African Jazz, to M.I.A.’s 2007 hit, “Paper Planes.”

Along with Siddiqi, four other Fordham professors or graduates wrote essays for the book, which was published last fall as part of Routledge’s Ashgate Popular and Folk Music Series.

“Immigrant Song” by Led Zeppelin

Esther Liberman Cuenca, Ph.D., GSAS ’19, a medieval historian, wrote about Led Zeppelin’s obsession with medievalism, evident in the J.R.R. Tolkien references and Viking allusions in their lyrics—the latter most prominent in 1970’s “Immigrant Song.” With its hard-charging riff and wordless, wailing chorus, the song “made an ideal conduit through which ideas about the medieval world of the Vikings were communicated in popular culture,” Liberman Cuenca writes.

Inspired by a triumphant stop the band made in Iceland on their way to the Bath Festival in England, the swaggering machismo of the track was in part simple braggadocio about their “conquest” of foreign music markets, but Liberman Cuenca notes that there may have been a bit of British tongue-in-cheek humor in the band’s nod to colonization.

“Led Zeppelin’s particular brand of medievalism,” she writes, “banked on a type of nostalgia for an idyllic, rural Britain reflecting the postwar, post-industrial anxieties that many British youth in the 1960s and 1970s experienced. … For the British, the failed [Viking] colony of Vinland represented their fears of how carefully calibrated imperial projects could fail.”

“Rebel Rebel” by David Bowie

The capitalist spirit of the music industry—and its focus on reaching foreign markets—is on full display in Fordham English professor Glenn Hendler’s essay on David Bowie’s “Rebel Rebel,” from 1974.

While the best-known version of the song, from the album Diamond Dogs, is a fairly straightforward rock song, Bowie decided he wanted to incorporate the sounds of Latin music for the U.S. single. In the mid-1970s, though, with album-oriented rock—and its mostly white purveyors—dominating FM radio playlists, the prominence of castanets and congas in the U.S. single meant that it was relegated to the AM dial, where listeners would find almost all non-rock (and non-white) sounds. And while that version still managed to crack the Billboard Hot 100 chart, it was replaced by the U.K. version after several months.

“The marketing did not match the product,” Hendler writes, “at least not in a context in which rock was being starkly differentiated from soul music, R&B, dance music, and Latin music. The U.S. single of ‘Rebel Rebel’ largely fell between the cracks of race, culture, format, and genre. The shape of those cracks would define the U.S. music market for years to come.”

“Mmmbop” by Hanson

In 1997, two decades after David Bowie released two versions of “Rebel, Rebel,” a different kind of marketing decision—opening direct lines of communication to fans via fast-growing online spaces—helped the brothers in Hanson turn their hit song “Mmmbop” into a springboard for building a devoted following, which is explored in an essay by Louie Dean Valencia, Ph.D., GSAS ’16.

Through the band’s official website and other online forums, Hanson’s fan engagement allowed the group to survive, Valencia writes. “The boy band singing about the ephemerality of relationships used digital technology to maintain their relationships with their fans—attempting to adapt to the digital era in real time.”

“Candle in the Wind 1997” by Elton John

Elton John released “Candle in the Wind 1997,” a tribute to the late Princess Diana, in September 1997, two weeks after her death. It’s an update to the 1974 version written in honor of Marilyn Monroe. In One-Track Mind,
Christine Caccipuoti, FCLC ’06, GSAS ’08, describes how the song—a massive hit and cultural phenomenon that John has protected from widespread commercial usage—tapped into the same shifting modes of consumption as Hanson’s hit “Mmmbop” did that year.

“As the still-nascent internet became a site for growing personal expression in the late 1990s,” Caccipuoti writes, “many chose to create memorial websites. … These mostly female-run sites included many of the same features: photographs of Diana, writing about the host’s personal grief, and the lyrics to ‘Candle in the Wind 1997.’”

“Paper Planes” by M.I.A.

In the book’s last chapter, Siddiqi tackles technology on the music-creation side—specifically the practice of digital sampling, which has shaped the sound of pop music in the past 30-plus years. He writes about M.I.A.’s “Paper Planes,” a 2007 song by a Sri Lankan–British artist that samples the Clash’s 1982 song “Straight to Hell”—itself a critique of British and American colonialism—to explore the hustles necessary to survive in the colonialized Global South.

As a cheap technology, sampling has both democratized music creation and, at times, led to more unlicensed co-opting of “global” music by established European and American artists, Siddiqi notes. But its predominant use in hip-hop points to a certain reclaiming of history.

“As with writers and historians who liberally quote from prior works, by analogy, hip-hop artists using the digital sampler invoke, echo, and cite earlier artists through mechanical reproduction,” he writes. “The digital sampler here is not simply a musical instrument, a technical artifact, it also becomes, as M.I.A. shows in ‘Paper Planes,’ a tool for writing and rewriting history for those for whom history has always been written by others.”

As a whole, One-Track Mind offers plenty of opportunities to see the way that pop songs contribute to the writing and rewriting of history.

“Every song has a life cycle from birth to out into the world,” Siddiqi said. “And to write that biography is actually to talk about a moment in time. So I think you can read these stories if you are just interested in social and cultural history. Even if you don’t know the song, it might tell you something.”

Those were just a few of the suggestions two Fordham history professors shared at a lunch seminar, where they shared preliminary findings from ongoing research projects.

The seminar, which featured Christopher Dietrich, Ph.D., and Yuko Miki, Ph.D., both associate professors of history, was held on Dec. 4 in the Walsh Library’s O’Hare Special Collections room at Rose Hill. The informal lunchtime gathering of scholars and doctoral students was sponsored by the O’Connell Initiative for the Global History of Capitalism, which aims to broaden the ways in which capitalism is understood.

The History of U.S. Energy Policy

Dietrich, the author of Oil Revolution: Anticolonial Elites, Sovereign Rights, and the Economic Culture of Decolonization (Cambridge University Press, 2017), spoke about a project he’s been working on about U.S. foreign oil policy and domestic culture in the 20th century.

Talking to students about his research on oil policy during that time period, he said the common thread of the era is policymakers’ feelings of vulnerability and insecurity.

He broke the century into three eras. From 1910-45, the United States rose as a global power. The years between 1945-1973, on the other hand, were a period in which temporary measures adopted during World War II became permanent.   

“That permanency of a total economy always being protected by an advanced military posture is something I’m concerned with,” he said.

From 1973 to the present day, he said American power in the Middle East has been less focused on infrastructure, and more focused on finance.

“Within that broad story, there are a million smaller stories, and part of what the O’Connell Initiative allowed me to do was dig in a bunch places for those smaller stories,” he said.

One of the archives he visited was the George H.W. Bush Library and Museum in College Station, Texas. Although he was primarily interested in Bush’s thought process leading up to the 1990 war with Iraq, he also looked at the journal Bush kept when he was ambassador to the United Nations from 1971to 1973.

“I like to do personal history and intellectual and ideological work on the background of actors before they become principal movers in the story, and I was interested just to see if Bush said anything about third-world solidarity, sovereignty at the time,” he said.

The Unspoken Truths of Slavery

Miki, the author of Frontiers of Citizenship: A Black and Indigenous History of Postcolonial Brazil (Cambridge University Press, 2018), shared the ways she is expanding her research into slavery the Iberian Atlantic with visits to archives in Lisbon, Portugal, among other places.

Slavery that took place even after it was outlawed is a good place to center a critique of capitalism, because England and the United States, which were ascendant at the time, could not have made progress without it.

“So many of the narratives about slavery that we study are of the 19th century as the age of emancipation. It’s a very liberal triumphalist narrative where we all seem to be forming a western world where liberty triumphs over slavery,” she said, noting that in fact, a staggering amount of illegal slavery still took place at the time.

The Mary B. Smith, one of the last illegal slave ships to be captured on January 20, 1865, is a perfect example, she said. Brazil had won its independence in 1822, but its legitimacy rested on England’s recognition that it had abolished slavery. The capture of the Mary B. Smith was celebrated in newspapers on both sides of the Atlantic Ocean as proof of this change.

To understand Brazilian slavery, one needs to include its former colonial master, Portugal. When Miki did research there, she found what purported to be a manifest from the Mary B. Smith, with the names, ages, and genders of the 500 slaves who were “liberated” when the ship was captured.

“At first you think, ‘I have a list of the people on the ship. Maybe there’s a potential to write a history of these people.’” she said.

“But then you look at when they died: the 3rd of February, the 4th of February. Every person is dead. What do you do with a list of people who are liberated, but are already dead?”

The list was beautifully crafted, even though it detailed horrific suffering. That was the first clue that there was more to the list than met the eye, she said. Then there was the issue of the timing of the list’s creation, shortly before the slaves all perished.

“If you’re dying, you don’t speak Portuguese, you’re terrified, you’re barely alive, how does someone create this list?” she said.

Miki determined that a Brazilian official made up names and ages for real people who had died on the ship. By doing so, she said, he hoped to demonstrate that the country was serious about ending slavery, even it meant acknowledging those who were already dead.

It shows why scholars of capitalism need be more skeptical of the way they rely on merchant ledgers as a resource, she said. Sometimes, an “archive of liberation,” such as the one she discovered, is merely a mask for unimaginable agony.

“You need to account for the suffering. You can’t just make it a footnote to the success of antislavery,” she said.

The O’Connell Initiative in the Global History of Capitalism, which is supported by a gift Robert J. O’Connell, FCRH ’65, brings together scholars of every aspect of capitalism, from its earliest medieval manifestations to its global reach today. In addition to groundbreaking research, it supports lectures, debates, and workshops.

Grace Yen Shen, Ph.D., associate professor of Chinese history and director of graduate studies in history, said the monthly O’Connell Initiative gatherings have the given members of her department a new way to connect with each other.

The word “global” is often used to reference phenomena such as global warming, she said, or it’s used as a code word for non-western countries. In contrast, the initiative has helped history scholars see how European or American subjects like the Crusades or the American Revolution are very much part of a larger, worldwide system of monetary exchange.

For students, there’s also real value in hearing faculty talk about how they work in archives, she said.