Far Out Meets: Josh Cheuse discusses his upcoming Joe Strummer photobook
At age 16, Josh Cheuse decided to use a pay phone to ring The Clash at Electric Lady Studios. After asking the London punks if he could photograph them, he soon found himself hanging out with his favourite band. Since then, Cheuse has worked with some of the music world’s biggest names, such as David Bowie, AC/DC, Bob Dylan and Oasis. In 2020, his art direction for John Coltrane’s 1963: New Directions boxset was even nominated for a Grammy.
It’s safe to say that Cheuse’s life changed by making that one phone call. Not only did he create a career for himself, but Cheuse formed invaluable friendships with his musical icons, most notably Joe Strummer, who is the focus of his new book, Print the Myth: Joe Strummer Portraits 1981-2002.
Speaking to Far Out, Cheuse expressed why he chose to release this “time capsule” of images now, two decades after Strummer’s passing. He explained, “All this stuff has been sitting in a box, and I wanted to share it. I didn’t want it to just get sold at a yard sale.” He shared, “Those of us that are still lucky enough to be on this earth are trying to keep the flame alive. I feel like I’m blowing on the embers of rock and roll to keep that spirit alive.”
Growing up under the influence of “bohemian” and politically engaged parents, Cheuse was naturally attracted to The Clash. He explained that their “music just made sense to me.” When he first heard their tunes, he realised, “these people know what I’m talking about, or what I’m thinking and what I believe. We’re on a similar wavelength. […] I was driven to meet these people because I thought they would understand me.” He also noted that the band were incredibly “open.” If you didn’t have a ticket to their show – no worries! Someone would be able to get you in. “The fans were a part of it; whether it was The Clash, or The Specials, or any of these bands, the fans were the same as them.”
This community spirit underlined Cheuse’s experience with The Clash, who openly welcomed the young photographer into their world. “Because of the nature of the way those guys were, to let everyone into the party and join in if you had something to contribute, it didn’t have this kind of exclusivity that things have now.”
The music industry has rapidly changed since the 1970s and ’80s when bands such as The Jam would “open up their sound checks and let kids in to watch.” Observing the current state of music, Cheuse explained, “It seems to me like it would behove an artist now to still move amongst the people. Through social media, people feel like they’re connected to artists in a different way. But I’m not sure how fulfilling that is. Ultimately, it’s like – do you really know them, or do you just know what they want you to know?”
However, Cheuse cited the jazz scene that emerged from the Total Refreshment Centre in London a few years back, including Shabaka Hutchings, The Comet Is Coming, and Alabaster Deplume, as an example of “these scenes that do still happen.” He argued, “You have to be out there to find it. I guess they can let you know on social media that something’s happening. But then you’ve got to actually get out of your room and go and find it to take a picture of it.”
Cheuse was inspired to photograph gigs after developing an interest in the documentary aspect of war photography. “I have no musical talent. I felt like that was the way I could contribute to the scene.” He also shared some crucial advice for budding photographers, “Having a subject in photography that you’re passionate about helps you to create good work, and to get good images, you have to be around all the time.”
Discussing analogue versus digital, Cheuse believes that the medium doesn’t matter so much – what matters is the message. “A friend of mine said to me, ‘the best camera is the one that you have’. When you’re there, whatever it is, you just push it to the limit and get what you can out of it. Because if you have something to say, you gotta get it out.”
Looking through the pages of Print the Myth, Cheuse’s dedication to his subject is blindingly apparent. Strummer is captured with friends and family, hard at work, or posing for shoots, in locations spanning from New York to Wales. A striking blend of black-and-white and colour shots, as well as images of collages and memorabilia, line the pages of Print the Myth in celebration of Strummer.
Discussing the frontman’s impact on him, Cheuse referred to his friendship with Strummer as “very special.” Not only was he a friend, but also a “mentor.” He explained, “Part of the idea of this book is to carry on that tradition and inspire in the same way that I was inspired by [The Clash].”
Print The Myth: Joe Strummer Portraits 1981-2002 by Josh Cheuse will be published by Rocket 88 Books in December. The book is exclusively available online; you can order a copy here.
