The 1975: Meanings behind the 'Chocolate' song :

Tuesday, March 15, 2016

Meanings behind the 'Chocolate' song :

*since the original video is forbidden from being downloaded, so here is one of their concert's video*

Peaking at #19 on the UK Singles Chart and becoming certified Gold in the United States, “Chocolate” is arguably The 1975's most well-known song. The song’s popularity gave the band their first radio play. “Chocolate” was released as a single from their self-titled debut album, but it was originally recorded and released on their Music For Cars EP.

The song takes listeners into the boys' rebellious lives, with chocolate being utilized as a euphemism for marijuana. Front man Matty Healy spoke with Songs For Whoever on the story behind the song:

"Chocolate tells the story of our relationships with the governing authorities of our small town. Smoking weed, smoking anything I suppose, boredom and what ensues when both parties challenge one another. It’s a love letter to boredom, limited opportunities of expressing yourself and embracing and understanding the makeup of where you’re from. Musically and structurally it is the blueprint of our output, but I’d need an entire book to discuss that in detail."

- SA

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One of the solid raw interviews :

This all came as the group were approaching the end of two years of solid touring in front of crowds that were growing ever bigger and ever more voracious. It was like, Healy says, being in a “really glamorous version ofDawn of the Dead. Instead of being followed by zombies, it was iPhone-clutching kids. There’d be 100 kids between the tour bus and the stage door, when I’m in my boxers with a hangover. So my first reaction with human beings is in a resentful, semi-clothed situation – ‘Matty! Matty! Matty!’ – and I’d be, ‘They don’t even care about the music! They’ve just got their phones out!’”

Healy found himself tumbling towards a crisis, which arrived on 6 December, onstage in Boston. “There was girl stuff,” he says. “There was family stuff. There was financial stuff. There was drug stuff. I remember hearing the crowd and having an identity crisis. I thought: ‘If you want to see a show, I’ll give you a fucking show. If you’ve come to see the jester drink himself into a slumber, I’ll give it to you.’ I felt like I’d become an idea as opposed to being a person.”

At one point, a fan shouted, “I love you, Matty!” He’s ashamed of his response. “What did I say to the poor fucking girl? ‘You don’t have the right to love me. You don’t know me. I love you but you don’t get to love me.’ Jesus. Can you imagine your favourite band shouting that at you? What a dickhead. What a horrible thing to say to a kid who fucking does love me.”

At the show’s end, Healy fell to the stage and refused to leave. “George carried me off, cos I would have stayed there, apparently. I just wanted to sit there and do something you don’t. It was so blurry and of such a particular colour: I remember everything as orangey yellow.”

The easy reaction to take – and one we see again and again when members of groups with startlingly passionate teenage followings hit a wall, as opposed to troubled stars with middle-aged male followings, like Wilco’s Jeff Tweedy – is to say: suck it up, pal. You’re in a band. People love you. You’re making money. Grow a pair.