Reviews round-up

The critics' verdicts on Richard Weight, Sheryl Sandberg and Rory Carroll.

Mod: A Very British Style by Richard Weight

In Mod: A Very British Style, Richard Weight tells the story of Britain’s first and most influential youth cult, charting its origins in the Soho jazz scene in the 1950s. Writing in the Guardian, John Harris says that reading Mod conjured Proustian flashbacks for him and that as an adolescent growing up in the 1970s, “I was consumed by my first taste of what Mod had left behind, and it changed me forever: the initial rites included a poleaxed listen to the Who's My Generation.” Written by an academic, the book attempts to establish that Mod was not only the first distinctively British youth culture but a popular form of modernism – “an avant garde reaction to mainstream aesthetics, morality and politics.” However, Harris explains that uncertainty clouds Mod’s origins and its legacy: "Perhaps … we are all modernists now". Harris provides a critical analysis of the style: “Weight opts for a scattershot narrative, brimming with second-hand quotations, a bit like an undergraduate dissertation.” The main criticism is that the although the Mod ideal boils down to an emphasis on sharpness and an attention to detail, the book in contrast is rambling and so “it ends up missing its target, by miles.”

In contrast, Walter Ellis writes in the Spectator that Richard Weight has crafted an “elegant and thoughtful compendium” showing that there was more to the youthful revolt than Beatlemania and the Who. Ellis describes Mod as a social movement wrapped up in a fashion statement, and that Weight’s thesis can be summarised as showing that the Mods were a “populist version of the Enlightenment”. He concludes by saying “what matters is that he has done his job well” and is sceptical of what future cultural historians will make of the youth of today.  

Lean In: Women, Work, and the Will to Lead by Sheryl Sandberg

Sheryl Sandberg, chief operating officer of Facebook, gave a motivational Ted talk in 2010 about women in the boardroom, and Zoe Williams writes in the Guardian that her book Lean In is an “elongation” of this speech. Williams explains that this “is not a book about how women can become more equal: this is a book about how women can become more like Sheryl Sandberg”. It is a “goal-driven, ideology-free approach has some fascinating insights into the world of business itself”, and Sandberg’s thought processes leading her to Google and interview process for Facebook are “magnetic.” Sandberg’s approach is “emollient and inoffensive” and brings in relevant experiences of her own, “describing the "damned if you do, doomed if you don't" bind that women find themselves in if they boast about their achievements. Williams points out that despite winning a Henry Ford scholarship for her attainments in her first year at business school, jointly with six men, Sandberg didn't consider telling anyone, and that it is disappointing that a woman in the 1980s didn’t have the “spine to admit she was clever”.

On the other hand, Anne-Marie Slaughter in the New York Times writes that Sandberg is a “feminist champion” and that Lean In is “full of many such gems, slogans that ambitious women would do well to pin up on their wall”. For example, the phrase “It’s a jungle gym, not a ladder” describes the many different paths careers can take, sideways and even downward on their way up. At the same time, she concedes that the advice to young women to be more ambitious “can sound like a finger-wagging admonishment when taken out of context”. Slaughter explains that “Sandberg is not just tough, however. She also comes across as compassionate, funny, honest and likable.” Sandberg’s point in a nutshell is that “notwithstanding the many gender biases that still operate all over the workplace, excuses and justifications won’t get women anywhere. Instead, believe in yourself, give it your all.”

Comandante: Inside Hugo Chavez’s Venezuela by Rory Carroll

The Telegraph’s David Blair humourously writes “To survive in the court of King Chávez, you had to 'mould' your face into a mask and 'arrange features into appropriate expressions when on camera,'" writes [rory] Carroll. 'This,' he adds, 'was tricky when the comandante did something foolish or bizarre.’”

Rory Carroll’s latest book, Comandante has received much praise for the nuanced profile it offers of the “Bolivarian Revolutionary”, Hugo Chavez. Carroll, who has experience in reporting from regions, such as Iraq, with hostile political conditions, spent his next assignment in Venezuela. He reported from 2006-12 from a country where corruption, bureaucracy and crime rates were quotidian fare. Blair praises Carroll’s book as “beautifully written and acutely perceptive book … on the nature of power, in all its corruption and absurdity.” He later adds: “Now that the comandante has passed on, Carroll will have to update his account. When he does, this book will deserve to be the definitive work on Chávez in the English language.” The Financial Times’s Julia Sweig also praises Comandante as “a compellingly written, keenly reported portrait of Venezuela…He writes with tremendous pathos in explaining Chavez’s appeal to the millions of poor Venezuelans who, for decades felt, and largely were, invisible to the ruling elite.” She highlights how the book explains the Venezuelan public’s changing opinion of Chavez; having seen him as the face of change, they came to realise that he differed little from those who came before him.

The Independent’s Oliver Balch adds that the book “excels in showing what happens when a self believing ideologue grasps the reins of government and determines not to let go. It’s military politics, without the guns: outflanking opponents, consolidating power, barking orders, reprimanding ministers.” Balch observes how Carroll’s observations grow increasingly critical and animated towards the end of the book, yet he states this “criticism is built on an earnest attempt to understand a fascinating politician.”

Balch, Blair and Sweig all applaud Carroll’s favourable position to provide an insightful portrait of Chavez; which as Balch rightly observes, reveals “a more intimate image of Chavez than his own propaganda allows”.

A policeman escorts a teenager in 1964 after violence between Mods and Rockers in Margate, Getty Images, photographer Ronald Dumont, Hulton Archive
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Doing a Radiohead: how to disappear online

The band has performed an online Houdini in advance of its ninth album – but it’s harder than it looks. 

At the beginning of May, the band Radiohead’s web presence – well, its Twitter, Facebook, and website, at least – went offline.

Lead singer Thom Yorke has repeatedly criticised streaming, and the future of online music in general, and it's clear that his opinion fed into this month's decision to reject social media in favour of sending individual cards to the band's fans in the post. 

However, it’s also a clever publicity stunt in the run up to the rumoured release of the band's ninth album, since it plays into a growing paranoia around the lives we live online, and quite how permanent they are. In reality, though, Radiohead has done a pretty terrible job of disappearing from the internet. Its Facebook and Twitter accounts still exist, and widely available caching services actually mean you can still see Radiohead.com if you so wish. 

These are the steps you’d need to take to really disappear from the internet (and never be found).

Delete your acccounts

Radiohead may have deleted its posts on Facebook and Twitter, but its accounts – and, therefore user data – still exist on the sites. If this was a serious move away from an online presence, as opposed to a stunt, you’d want to delete your account entirely.

The site justdelete.me rates sites according to how easy they make it to delete your data. If you only hold accounts with “easy” rated sites, like Airbnb, Goodreads and Google, you’ll be able to delete your account through what justdelete.me calls a “simple process”. JustDelete.me also links you directly to the (sometimes difficult-to-find) account deletion pages.

Failing that, delete what you can

If, however, you’re a member of sites that don’t allow you to delete your account like Blogger, Couchsurfing or Wordpress, you may be stuck with your account for good. However, you should at least be able to delete posts and any biographical information on your profile.

If this bothers you, but you want to create an account with these sites, Justdelete.me also offers a “fake identity generator” which spits out fake names and other details to use in the signup process.

Go to Google

Search results are the hardest thing to erase, especially if they’re on sites which published your details without your permission. However, thanks to the European Commission “Right to be forgotten” ruling in 2014, you can now ask that certain search results be deleted using this online form.  

Ditch your smartphone

Smartphones tend to track your location and communicate with app and web servers constantly. For true privacy, you’d want to either disconnect your phone from all accounts (including iCloud or Google) or else get a basic phone which does not connect to the internet.

Give out your passwords

The artist Mark Farid decided in October 2015 to live without a digital footprint until April 2016, but was aghast when he realised quite how often our data is collected by our devices. As a result, he decided to live without bank accounts, use a phone without internet connectivity, and use an unregistered Oyster.

When I saw him speak at an event just before his off-grid experiment was due to begin, he announced that he would also be handing out the passwords to all his online accounts to the public. The kind of “bad data” which randomly hacked accounts would show would actually make him less traceable than a radio silence – a bit like how words written over other words mask them more than simply erasing them or scribbling on them would.

Accept that it probably won’t work

Even if you managed all this, the likelihood is that some of your daily activities would still leave a trace online. Most jobs require internet activity, if not an internet presence. Bank accounts are, let's face it, fairly necessary. And even Radiohead will, I’m willing to bet, reappear on the internet soon after their album arrives.

Barbara Speed is a technology and digital culture writer at the New Statesman and a staff writer at CityMetric.