5150

"5150" is a candid exploration of mental instability, self-sabotage, and the turbulent nature of toxic relationships. The title itself is a direct reference to Section 5150 of the California Welfare and Institutions Code, which allows for the involuntary psychiatric hold of individuals deemed a danger to themselves or others. By adopting this code as an anthem, Machine Gun Kelly (MGK) reclaims the label of being "crazy," transforming a legal definition of crisis into an expression of internal chaos.

The lyrics delve into the duality of wanting connection while simultaneously pushing people away to protect them. The narrator perceives himself as "damaged goods" and explicitly asks "please don't fix me," a line that suggests a complex relationship with his own trauma—viewing it perhaps as an essential, albeit painful, part of his artistic and personal identity. It challenges the conventional narrative of recovery, proposing that some scars are permanent and that survival doesn't always mean being "cured."

Furthermore, the song touches on the cycle of romanticizing dysfunction. The lines about "romanticizing all the wrong things" highlight a self-awareness regarding his attraction to chaos, which leads to paralysis and trauma. The bridge's confessionals ("I'm a narcissist," "I was jealous") strip away the victimhood, revealing the narrator's active role in the destruction of his relationships. Ultimately, the song is a cry for help that simultaneously rejects the help offered, capturing the paradoxical mindset of a mental health crisis.

The song opens with a raw admission of fragility, where the narrator confesses that his emotional wounds are fresh and refusing to heal. He describes himself as perilously close to a breaking point, using the imagery of being just a few actions away from a fatal decision. He addresses a partner or observer, warning them that their presence might inadvertently contribute to his demise, casting them in the role of a 'gravedigger' if they stay too close to his instability.

A desperate plea follows, urging this other person to flee for their own safety. The narrator insists they leave immediately before his internal chaos spills over and causes harm to those around him. This leads into a chorus where he accepts the label of being 'crazy,' specifically invoking the code '5150,' which legally defines someone as a danger to themselves or others. He acknowledges his damaged state but defiantly—or perhaps resignedly—asks not to be 'fixed,' suggesting a fear of losing his identity or an acceptance of his brokenness.

As the narrative progresses, the narrator reflects on his past, realizing he has romanticized toxic behaviors and made poor choices for the wrong reasons. This reflection brings a sense of paralysis and trauma, creating a need to 'get even' with the world or himself. He reiterates the warning to his partner to leave, this time emphasizing that he is on the verge of hurting himself if they remain.

The bridge shifts to a confessional tone, a rapid-fire exchange of guilt and realization. He demands answers for hurtful words but quickly pivots to admitting his own faults, confessing to jealousy and narcissism. It is a moment of clarity amidst the mania, where he takes ownership of the toxic traits that fuel his condition. The song concludes with a metaphor of a card game, where he feels dealt a dangerous hand—the 'queen of hearts'—symbolizing a gamble on love or life that he is destined to lose, cementing his identity as a '5150'.

"5150" was released on March 25, 2022, as a track on Machine Gun Kelly's second pop-punk album, Mainstream Sellout. The song was co-written by Machine Gun Kelly (Colson Baker), Nick Long, and Travis Barker, the legendary blink-182 drummer who also produced the track. The collaboration continued the successful creative partnership established on MGK's previous album, Tickets to My Downfall, solidifying his transition from hip-hop to rock.

In an interview on The Howard Stern Show, MGK explained that while the song is not a literal account of being placed on a 5150 hold, it is a "fantasy" based on real emotions and near-misses with that reality. He remarked, "Thank God we got close a couple times," indicating that the intense mental states described in the song were drawn from genuine periods of crisis in his life. The song was designed to be a high-energy anthem that contrasts dark lyrical themes with uptempo, arena-ready instrumentation, a hallmark of the "new wave" of pop-punk he helped popularize.

The song employs a straightforward AABB and ABAB rhyme scheme typical of the genre, prioritizing clarity and impact over complexity. For example, in the verse: "overnight / trigger" (A/B) and "borderline / digger" (A/B) creates a satisfying, predictable flow. The rhythm is fast-paced, adhering to a 4/4 time signature with a high tempo (approx. 150-160 BPM) that mimics the racing heartbeat of anxiety.

The vocal delivery is rhythmic and staccato in the verses, blending MGK's rap background with punk vocals, before exploding into long, sustained melodic notes in the chorus. This shift in rhythmic delivery mirrors the transition from anxious rumination (verses) to an emotional outburst (chorus).

Musical Techniques: The track is a quintessential modern pop-punk production. It is driven by Travis Barker's signature drumming—fast-paced, precise, and heavy on the cymbals—which provides a frantic energy matching the lyrical content. The guitar work features distorted, chugging power chords that create a wall of sound, while the melody is catchy and anthemic, designed for stadium sing-alongs despite the dark subject matter.

Literary Techniques:
Confessional Narrative: The lyrics utilize a direct, second-person address ("You're crazy," "Leave me now"), creating an intimate dialogue between the narrator and his partner (or himself).
Repetition: The repeated chant of "51-50" in the chorus acts as a rhythmic hook, drilling the concept of insanity into the listener's mind.
Irony: The juxtaposition of the upbeat, major-key musical arrangement with lyrics about suicide and psychiatric detention creates a classic pop-punk irony, where the music sounds like a party but the words describe a breakdown.

"5150" played a significant role in cementing Machine Gun Kelly's status as a leading figure in the 2020s pop-punk revival. As a standout track on Mainstream Sellout, it resonated with a generation of fans grappling with mental health issues, making the term "5150" widely recognized among his younger demographic who might not have known the Van Halen album of the same name.

The song became a staple in his live performances, often featuring elaborate stage setups involving pyrotechnics and theatrical acting that emphasized the "asylum" theme. While the album itself received mixed critical reviews—with some critics praising the catchy hooks of songs like "5150" while others criticized the lyrics as juvenile—the track remains a fan favorite for its raw energy and relatability regarding mental health struggles.

The song relies heavily on medical and gambling metaphors to convey its themes of instability and risk.

• 5150: The central symbol, representing an involuntary psychiatric hold. It serves as a metaphor for a loss of control and the feeling of being a danger to oneself, effectively labeling the narrator's state of mind as a legal emergency.
• Gravedigger: The narrator refers to his partner as his "gravedigger." This morbid metaphor suggests that staying in the relationship is akin to assisting in his suicide or downfall, highlighting the toxic codependency where love becomes lethal.
• Bruises and Scars: Used to represent deep-seated emotional trauma that "don't heal overnight," indicating that his issues are chronic and systemic rather than temporary wounds.
• 52 Cards / Queen of Hearts: In the bridge, MGK sings, "I got 52 cards, I drew the queen of hearts." This metaphor compares life to a gamble where the odds are stacked. Drawing the "queen of hearts" is ironic; typically a symbol of love, here it represents a bad omen or a chaotic element that seals his fate as a "5150," suggesting that even his attempts at love are destined to result in madness.

"5150": This number is the primary motif, repeated constantly in the chorus. It acts as a badge of identity for the narrator. Its repetition transforms it from a legal code into a personal mantra of chaos.

"Please don't fix me": This phrase recurs as a counter-intuitive plea. In a song about being broken, this line is significant because it rejects the standard resolution of healing. It reinforces the theme that the narrator identifies with his trauma and perhaps fears who he would be without it.

"Leave me now": The repetition of this warning in the pre-chorus establishes a motif of pushing people away, underscoring the theme of self-isolation as a protective measure for others.