Putting Holes In Happiness by Marilyn Manson Lyrics Meaning – Deciphering the Shadows of Love and Despair

You can view the lyrics, alternate interprations and sheet music for Marilyn Manson's Putting Holes In Happiness at Lyrics.org.
Article Contents:
  1. Music Video
  2. Lyrics
  3. Song Meaning


The sky was blond like her
It was a day to take the child
Out back and shoot it.
I could have buried all my dead
Up in her cemetery head
She had dirty word witchcraft
I was in the deep end of her skin.
Then, it seemed like a one car car wreck
But I knew it was a horrid tragedy.
Ways to make the tiny satisfaction disappear.

Blow out the candles
On all my Frankensteins.
At least my death wish will come true.
You taste like Valentine’s and
We cry,
You’re like a birthday.
I should have picked the photograph
It lasted longer than you.

Putting holes in happiness.
We’ll paint the future black
If it needs any color.
My death sentence is a story
Who’ll be digging when you finally let me die?
The romance of our assassination
If you’re Bonnie, I’ll be your Clyde.
But the grass is greener here and
I can see all of your snakes.
You wear your ruins well
Please run away with me to hell.

Blow out the candles
On all my Frankensteins.
At least my death wish will come true.
You taste like Valentine’s and
We cry,
You’re like a birthday.
I should have picked the photograph
It lasted longer than you.

Full Lyrics

In the chiaroscuro of the gothic rock landscape, Marilyn Manson’s ‘Putting Holes In Happiness’ emerges as a tapestry woven with threads of melancholy and existential dread. The track, a single from Manson’s 2007 album ‘Eat Me, Drink Me,’ serves as an exploration of the punctures that life—and love—can leave on one’s concept of happiness.

Manson, a master of dark poetic imagery, constructs a piercing anecdote on the facade of joy and the intimacy of sorrow through layered metaphors and haunting verses. The song’s intricate narrative is a labyrinth waiting to be navigated, with each line beckoning listeners closer to its arcane heart.

Eclipsing the Sun: A Dissection of Melancholy Metaphors

The lyric ‘The sky was blond like her’ immediately sets a strikingly vivid, yet disarming scene that converges the natural with the personal. Manson personifies the sky—vast and untouchable—assigning it characteristics of a woman whose radiance is both illuminating and incendiary. The expression carries an expectation of innocence that is quickly undermined by the forthcoming descent into darkness.

Throughout the piece, Manson interweaves themes of decay and the macabre with the image of a seemingly pure relationship. ‘She had dirty word witchcraft’ and ‘You wear your ruins well’ suggest a complex perception of a partner; they embody both Manson’s destruction and the allure that keeps him ensnared—bringing forth the paradoxical nature of toxic love.

A Dance with Death: Romanticizing the End

Manson’s lyrics flirt with the notion of finality and the freedom that comes from embracing it. References to ‘Blow out the candles on all my Frankensteins’ and the acceptance of a death wish becoming a reality touch upon the annihilation of one’s creations—whether they be literal monsters or metaphorical relationships—and the fervent desire for concluding a chapter.

Manson distills the essence of romantic tragedy into the phrase, ‘The romance of our assassination,’ linking love tightly with an almost Shakespearean demise. This desire for an emphatic end to suffering echoes loudly as Manson asks, ‘Who’ll be digging when you finally let me die?’—a plea for closure and a stark meditation on the relationship’s mortality.

Serpentine Pathways: The Song’s Veiled References

Manson’s lyrical masterpiece is riddle-laden with biblical and mythological allusions. ‘I can see all of your snakes’ might evoke the Garden of Eden’s original sin, hinting at the seductive yet dangerous quality of the forbidden and the intangible treacherous nature of his paramour.

Delving deeper, one can discern connections to the tales of Medusa and the vulnerability triggered by betrayal. Manson addresses this duplicity directly, using ‘snakes’ to denote the hidden threats lurking beneath deceptively benign exteriors, encapsulating the fear and fascination with that which has the power to wound us most deeply.

The Faded Festivities: Pondering the Personified Days

The recurring motifs of Valentine’s Day and birthdays permeate the song with a sense of melancholic celebration, turning joyous events into symbols of despair. Here, Manson captures the bittersweet nature of lamenting the loss of what once was, or perhaps, what never truly existed.

With emotional potency, he laments, ‘You taste like Valentine’s and / We cry, / You’re like a birthday.’ The poignant imagery makes the listener confront the often-fleeting nature of happiness, questioning the permanence of any happiness punched through with grief, much like the ephemeral quality of a holiday or personal milestone.

The Most Haunting Verses: Undying After-Images

Manson’s artistry is also found in the lyrics’ longevity—ensuring that specific verses remain etched in the memory of those who hear them. The line, ‘I should have picked the photograph / It lasted longer than you,’ forms a cinematic freeze-frame, capturing the torturous endurance of memory over a transient human connection.

Such words become poignant aphorisms for the nature of attachment and detachment in human relationships. It underscores the relentless passage of time and the agony of holding on to moments that slip from our grasp—forming holes in the very fabric of happiness we desperately try to uphold.

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