Gardening with God-Part 4-Cain's Misunderstanding of God-Pieter Weenink(Stellenbosch)

Gardening with God - Part 4 - Cain's Misunderstanding Of God - Pieter Weenink(Stellenbosch)

nadav ettlinger song
about: hiller hofri aflal
nickname: gimnogipus
place of birth: tzffat hospital rivka ziv
year of birth: 1983
from: half ayelet hashahar (his mom) half kibbutz yiftach (his dad boaz aflal is doctor for econnomics)

na na mix

Three high school students interviewed their teacher, a fellow student, and her mom. Why do parents respond differently to student pressures? Why do some amplify them through high expectations in academics and activities, while others prioritize balance and mental well-being? These approaches reflect shifts in parenting styles and views on success.

Parent Pressures

free your mind - freestyles mmixtape 
lets collab
lost thoughts gatrher

I don't ne3d

I don't believe enough "edITS"

Misunderstanding

Anti-content misunderstanding. Presence of the silence. Hypnotic rhythms of the algorithm thinking about itself.

Echoes of the Abyss

Intent

Met her by the fountain, heatwave in the air,
Said she’s from Italia, with sun in her hair.
Asked me for directions, I said “I’ll be your guide,”
She laughed like confetti — I nearly died.

Booked us dinner, picked the view,
Thought it was a date — rookie move, I knew.
Got my best shirt, tried my best charm,
She smiled so sweet... I raised alarm.

She said “You’re cute, you’re really kind,”
I said *“Let’s dance,” she said “What time?”
And just when I thought she’d be mine...
A guy shows up with a bottle of wine.

🎶 DORA, DORA — WAS! NOT! MINE!
🎶 She waved, I thought it was a sign...
🎶 I booked the night, she booked the ride,
🎶 And Mario showed up by her side!

🎶 DORA, DORA — WAS! NOT! MINE!
🎶 I brought the heart, she brought the guide.
🎶 She took the pics, I took the fall,
🎶 Now I’m cry-dancing at the disco hall.

She asked, “Is this the Rathaus?” I said, “That’s the tram.”
She said, “You’re funny,” I said, “I am.”
She said, “I love this city’s charm,”
While holding hands with some guy named Mario

I tried to play it chill and smooth,
But I was dying in my dancing shoes.
One espresso, two hearts broke,
She smiled — my hopes went up in smoke.

She said “You’re sweet, you’re such a friend,”
I said “Cool, I love dead ends.”
And while they posed for selfies three,
I bought myself a therapy spritz, times three.

🎶 DORA, DORA — WAS! NOT! MINE!
🎶 She waved, I thought it was a sign...
🎶 I booked the night, she booked the ride,
🎶 And Mario showed up by her side!

🎶 DORA, DORA — WAS! NOT! MINE!
🎶 I brought the heart, she brought the guide.
🎶 She took the pics, I took the fall,
🎶 Now I’m cry-dancing at the disco hall.

"You are so nice… I thought you were the tour guy."
"This is my boyfriend, Mario. Say hi!"

🎶 DORA, DORA — WAS! NOT! MINE!
🎶 I thought “ti amo,” she meant “online.”
🎶 I brought the vibe, she brought her man,
🎶 And I stood there with my travel plan...

🎶 DORA, DORA — WAS! NOT! MINE!
🎶 I read romance, she read the sign.
🎶 She found the sights, I lost my mind...
🎶 Ciao, Dora — girl, you crossed the line.

(fading chant: “Dora... Dora... Was not... mine…”)

[Outro – fading synths + defeated sigh]
“Ciao, Dora. Next time I charge for the tour.”

Dora Wasn't Mine

Arrived in Turku, off the slow grey boat
Breath smelled of salt, coat too thin for this coat
The wind said "Welcome" with a kick to the knee
And I thought — directions? That’d be key

She had a shopping bag full of rye
Eyes like clouds in a pastel sky
I said, “Anteeksi...” — barely got that word out
When she flinched like I’d just pulled a shiv from my pouch

She leapt like a seagull sensing doom
All I wanted was to find the bathroom
Or maybe just the number one tram
But to her I was Ragnar, back from a raid — damn

🎶 Hands up! Hands up!
Like I asked for money
Hands up! Hands up!
Turku, this ain't funny
Hands up! Hands up!
All I said was “Moi!”
Now I'm treated like
A criminal decoy 🎶

My Google Maps froze, like the Aura's face
Even the cobblestones judged my race
Every bike lane hissed "not for you"
And the cathedral chimed, "You're just passing through"

I sat on a bench near a plastic swan
Rethinking my life since Turku's gone
Full panic at a tourist "hi"
Where friendliness apparently comes to die

I just wanted directions, not a SWAT reply
But Turku saw me and chose to cry

🎶 Hands up! Hands up!
Not a mugger, not a threat
Hands up! Hands up!
Still I’m public enemy, yet
Hands up! Hands up!
Middle-aged fear parade
Couldn’t even get
To the Lidl arcade 🎶

Oh Turku, you're quiet and cute at first glance
But under the calm — no second chance
You give cold stares and supermarket dread
I only asked a question, not for the dead

🎶 Hands up! Hands up!
I surrender, I retreat
Hands up! Hands up!
You win, Baltic fleet
Hands up! Hands up!
Let the swans judge me true
Even they whisper,
“Don’t ask things here, boo.” 🎶

Hands Up In Turku

The metaphors are powerful: silences are seen as "cheap tricks," doubts as "ghosts" that torment the other, and every attempt to get closer ends in "scratches" inflicted by distrust. The image of being "torn to pieces" illustrates the profound emotional damage caused, The chorus emphasizes the existence of "high walls" and a "frayed faith" in the other person, causing the speaker's truth to be lost in this "sad ballad." The repetition of "¡Dices que miento!" (You say I lie!) with the heartbreaking response of "¡Miento! ¡Miento!" (I lie! I lie!) intensifies the feeling of despair and the futility of trying to communicate.

You say I lie

Someone standing in the chaos and confusion, doubting if the feelings were real.

Busy Street

Produced by LightzOut
Written by Joelle James, Pratt Terrence Devon, Jacob Quetant, Jeffrey Osborne Jr 

Recording Studio: Wings West Studio
Engineer: Jeffrey Osborne, Jr 
Mixing Engineer: Jacob Intricate Sound Quetant
Mastering Engineer: Matthew Grey

iSCREAM MiCRO MOViE MUSiC

Misundertstanding

"See Me!" is a haunting, slow-burning soul track that delves into the heartbreaking isolation of being misunderstood. The song is a plea for validation from a loved one who seems unable to look past a single mistake, eclipsing devotion and care. With a dim, melancholic backdrop and a soulful vocal performance, it explores the raw pain of having your soul "painted with colours of the past" while standing "unseen" in the present. This track is a powerful journey through regret, unconditional love, and the desperate hope that the echoes of the past can finally fade.

[Verse 1]
Underneath the soft glow of the moonlit sky,
I thought we had it all, love like a lullaby.
But whispers in the dark took you by surprise,
Moments lost in laughter turned to echoes, now I sigh.
Remember the nights we danced until dawn?
Each touch felt electric, but now it feels wrong.
A heart once so open, now caught in the grind,
You bring up the shadows that chill in your mind.

[Chorus]
And I would’ve given you everything, my dear,
But a voice in the night has filled you with fear.
Thought you knew me well, thought love would last,
Now you’re painting my soul with colours of the past.
The words spoken lightly, in a moment of cheer,
Are haunting your heart, turning love to despair.

[Verse 2]
I see you frowning, the spark in your eyes dimmed,
Once filled with brightness, now feels like a sin.
That night of mistakes, just a moment of pride,
Yet here we are now, with your heart full of doubt inside.
How could you overlook all the smiles, the care?
The love that we built, like castles in air.
Every promise I made, they danced on the breeze,
But now they’re just whispers that bring you to your knees.

[Chorus]
And I would’ve given you everything, my dear,
But a voice in the night has filled you with fear.
Thought you knew me well, thought love would last,
Now you’re painting my soul with colours of the past.
The words spoken lightly, in a moment of cheer,
Are haunting your heart, turning love to despair.

[Bridge]
I’d lay my soul bare to erase this dark stain,
If only you’d hold me through the joy and the pain.
But echoes keep ringing in the silence between,
Trapped in your head, while I stand here unseen.
Let’s look past the shadows, the stormy weather,
Find the shining heart from the love we tethered.
If you could just see through the hurt and the tears,
You’d find I’m still with you, embracing the years.

[Outro]
So here’s my heart, waiting under the stars,
Hoping you’ll see me, despite all the scars.
Let the echoes fade softly, return to the light,
Let’s rewrite our story, together, and right.
With every beat of my heart, I’ll keep loving you near,
Let’s silence the echoes and bring back the cheer.

See Me!



Written by Briyan Frederick Baker and Joe Maki
Published by Blind Mime Music, ASCAP & Jomah Kai Music, ASCAP
© Briyan Frederick Baker and Joseph Alan Maki. All rights reserved.
BFBMusic.com

Joe started this one with a piano instrumental he wrote initially some time ago and unearthed and revised on October 25, 2025. He described it like this:

“So I ran across a piano piece that needed fleshing out — I think it might be something. It’s called Hearth, or maybe Fall Ends. I’m deep in the autumn frame of mind, and it suggested a fire slowly dying with the frost creeping in. I had to use a different piano sound in the middle — not sure what I used originally.”

That set the tone. The piece immediately felt like late autumn — quiet, reflective, a little bit haunted by the chill of change.

When I took the inspiration for the lyric, I started from the word Hearth, but my mind wandered to Hearth and Home. The title felt familiar, almost comforting, yet the minor inflection in Joe’s music turned it away from any notion of simple warmth or nostalgia. It became something more complicated — a song about how we try to understand each other but rarely succeed.

The past week’s conversations with people crept into it too. It feels like everyone just wants to be understood and appreciated, but we’re all a little trapped inside our own heads. Words are blunt tools for delicate things. They don’t do us justice. So much gets lost in translation — and yet, we keep trying.

Hearth and Home

You’re stuck inside your head
Despite the universal truths
People are the same, but not the same
An extension of the fears that held their youth

But who am I but just someone
Another man who’s come undone
Unspun around the common thread
Stuck inside this great big head

After all is said and done
You never really know someone
You never know what you don’t know
You never know their hearth and home
You never know their hearth and home

It’s practically impractical
Before it gets dramatical
I’ll leave before the curtain calls
No, you won’t catch me after all… pretending
Words are dumb and never really know
The ending
Yet it’s always the same
It’s always the very same ending
And it’s such a shame

It’s such a shame!…

You’re stuck inside your head
Despite the universal truths
The brutes in us are winning
While all the ghouls in us come grinning

Through their masks at masquerades
They dance around the false facades
Mispronounced like lemonade
The credits roll, the image fades

After all is said and done
You never really know someone
You never know what you don’t know
You never know their hearth and home
You never know their hearth and home

About the Song
Hearth and Home sits in that fragile emotional space between intimacy and isolation — the quiet ache of realizing that even when we share our thoughts, we remain mysteries to one another. It’s a song about communication and disconnection, about the warmth we reach for and the chill that inevitably returns.

tags: piano, autumn, reflection, misunderstanding, communication, introspection, identity, masquerade, truth, perception, melancholy, relationships, humanity, masks, façade, emotion, nostalgia, isolation, connection, irony, lyrical, poetic


Hearth and Home

원곡 : 장예찬 - 오해야 (feat. 리플리)

내가 너에게 했던 답은 오해야
좋은 날 이게 뭐야 내가 문제야?
네가 나에게 준 상처도 오해야?
사과가 사과 같지 않은 노랫말

왜 너만 늘 변해?
옛날엔 안 그랬잖아 원래
그럴려 한 게 아닌데
오해가 꼬리를 물어 변해
난 변한 게 아닌데
아냐 넌 변했다고 말해
대체 네가 말한 난 누군데
과거의 나는 어떤 새끼였는지
너 빼고 다 몰라
하나부터 열까지
맘에 드는 게 없나 봐
난 맞아 바보야
난 될게 바보가
네가 전부는 아니지만
나는 바보야

내가 너에게 했던 답은 오해야
좋은 날 이게 뭐야 내가 문제야?
네가 나에게 준 상처도 오해야?
사과가 사과 같지 않은 노랫말

왜 자꾸 오해를 만들어 나에게
네가 했던 말 기억이나 할까
상처받은 마음에 너 변한 거 같다 말하면
네 반응은 뻔해
'다 미안해 그냥 내가 미안해
정말 몰랐었어 내가 그랬는지'
넌 다 잊고 나를 바보로 만들어
널 다 잊고 그만하고 싶어져 나

내가 너에게 했던 답은 오해야
좋은 날 이게 뭐야 내가 문제야?
네가 나에게 준 상처도 오해야?
사과가 사과 같지 않은 노랫말

내가 너에게 했던 답은 오해야

This one hits different. "Mrs. Petty" is the soundtrack to that late-night drive when you're trying to figure things out. It’s got that smooth, moody R&B feel with a lo-fi edge—think hazy synths over a beat that knocks.
This ain't just background music; it's a 101 connection to the real-life drama. The song is an open letter about the petty arguments, the confusion, and the deep-seated hurt that can mess up a good thing. It’s about being in the thick of the conflict ("Why you wanna fight?") and still pushing to hold it down ("I think that we could work it out").
If you’ve ever had to chase someone who’s ready to walk away, or if you’ve been fighting for that last chance at reconciliation, this track is your moment of honest reflection. Press play and feel that raw emotion.

Mrs.Petty

gone2soon

Psychotic Surge: 

Anti-music: One take sonic improvisation exploring the constrains and limitations of weird sounds

Switching from journaling to poetry and now lyrics for songs. A natural evolution for my experiences and reflections. Turning experiences, emotions, events and reflections into lyrics is a therapeutic process for me. My career path has given me a keen interest in human and social psychology, both in myself and others, which is reflected in some of my themes. The lyrics are my own but as I am not a performer I use AI to generate the music and vocals to provide an example of how I interpret the songs. As with any composed lyrics they are open to the interpretation of the performer.

The Architect of the Well: My Argument for Creative Integrity
As a songwriter and author, I have always believed that the heart of a song resides in its narrative DNA. My lyrics are my own; they are heartfelt, personal, and born from the salt and granite of my own experience. They are the "truth" I draw from An Tobár—the well of my heritage.
When I use Artificial Intelligence, I do not see it as a replacement for the artist. I see it as a digital session band.

The Lyric is the Master
In my process, the lyric is the primary source. Just as a poet remains the owner of a poem regardless of who recites it, I remain the architect of the song. AI cannot feel the "stony grey soil" of a Monaghan field or the mist on the Twelve Bens; it can only reflect the instructions I give it. The soul of the work is locked in the ink before the first note is ever generated.

The Art of the Veto
There is a fear in the industry that AI is a "push-button" solution. For me, it is an exercise in infinite interpretation. I often have a specific "ear" for how a song should sound—a certain grit, a particular lilt, or a haunting resonance. I might generate dozens of versions, rejecting them one by one because they lack the "mouth-feel" that I intend. My integrity lies in that selection. I am the conductor, the director, and the final judge. I only settle on the version that resonates with the truth of my words.

A Tool for the Modern Pilgrim
I consider my use of AI no different than choosing a specific guitar or inviting a friend to provide feedback on a melody. It is a tool for development. By "tuning" the algorithm to respect the phonetics and the pace of my tradition, I am ensuring that the technology serves the culture, rather than the other way around.
My journey is one of self-searching. I admire the greats like Kavanagh not by imitating their tools, but by mirroring their honesty. Whether my "interpretation" is played by a five-piece band or a neural network, the signature is mine. The heart remains human. The words remain "Naked."

Songwriter, Composer, Instrumentalist, Co-producer

Duo consisting of Briyan Frederick Baker of Gajoob and Blind Mime Ensemble, and Joe Maki of Driveway Static.

We want to help you discover the reality of Christianity!

Hi there — welcome to my corner of the web.

I’m here for one simple reason: to share my music with you.
Take a listen, explore, and I hope something here resonates with you. Enjoy the vibe!

A Berklee College of Music alum Joelle James unearthed her vocals to global audiences on YouTube, and found herself discovered by one special listener -- superstar Chris Brown. Chris signed Joelle to his imprint, CBE (Interscope Records). As Joelle stumbled on a voice deeper than her vocals -- her pen -- her purpose was revealed: "I realized the goal was telling a story, baring my soul for art,” and she signed a publishing deal with Roc Nation. Fresh off millions of streams from “SCREAM” featuring Chris Brown (from Kevin Hart's What Now? Mixtape via Motown/Artist Live) -- plus her written repertoire for Tamar Braxton, Ella Mai, Saweetie, and Justine Skye -- Joelle James is now unleashing her iSCREAM Playlist. 🍦

Tyson Finesse is the rare sort of artist who is happy to let his music do the talking for him. An enigmatic figure who has only just surfaced online with the release of his debut singles.Tyson has all the makings of a true icon. At just the age 26 years, Tyson has developed a promising blend of contemporary hip-hop vibes and flowing chillwave sounds, combining the two genres into a hazy and deeply expressive sound 

Follow me on Instagram @TysonFinesse_
For work inquiry  email me at Tysonfinesse@gmail.com

https://linktr.ee/Tysonfinesse

✝️

https://youtube.com/@makeouthere?si=U1dW7oSU_Dygckuf

New tracks tagged #MISUNDERSTANDING