Category Archives: general

The Quran-Reading Jinn

Nationality: American

Age: 18

Occupation: Student

Informant Information:

Age: 18
Date of Performance: 4/01/2025
Language: English
Nationality: American
Occupation: University Student
Primary Language: English
Residence: Los Angeles, California

Legend Text:
“Aight so lemme tell you this story I heard from a Sheikh, right? He was talkin’ about this boy who went to some Islamic boarding school. Real quiet dude—didn’t really vibe with nobody. Like, he’d just be sittin’ by himself all the time, barely said a word to anybody. Never played, never joked, nothin’. Just… there.

But here’s where it gets weird. At night, the other boys start hearin’ this scratchin’—like real scratchin’, on the walls, the floor, soundin’ like somethin’ tryna claw its way through or somethin’. And it wasn’t no small sound either—loud enough to wake ‘em up. So they all freak out, runnin’ to the teachers all panicked like, “Yo! There’s somethin’ in the room!” But every time the teachers came, it was just silence. Nothin’ there. No marks, no animals, nothin’.

Now guess who never woke up? That boy. Slept through all of it like a baby. No tossing, no turning—just peaceful as ever, like he ain’t hear nothin’. And that’s when folks started whisperin’—sayin’ maybe he was possessed or some jinn was up in him. But like, they couldn’t prove nothin’, so it was just rumors.

Then one night, one of the teachers starts recitin’ Quran out loud, tryna bless the room or calm folks down or whatever. And boom—the quiet kid just sits up outta nowhere and starts recitin’ too. But the crazy part? He was killin’ it. Like, word-for-word, smooth, no stumbles. Dude was recitin’ like he’d been doin’ it his whole life, maybe even better than the teacher. Everybody just froze. Like, how you doin’ that with no practice, barely even talkin’ during the day?

So now everybody really trippin’. Cuz now they don’t know—is he just mad gifted? Like, maybe God really blessed him with that kind of talent? Or is it somethin’ else? Cuz the way he spoke, man… it ain’t sound regular. It ain’t sound human. Gave folks goosebumps. After that, nobody really knew what to think. Was it a miracle? Or was it the jinn speakin’ through him?”

Context:
The informant is Muslim and heard this story during Ramadan, a spiritually heightened time when discussions of the supernatural are common in Muslim households. She believed it was told to create awe, fear, and moral reflection.

Analysis:
This legend explores the mysterious boundaries between divine giftedness and supernatural interference. The Jinn here is not malevolent in the traditional sense but instead creates confusion around spiritual authenticity. It highlights the complex role Jinns play in Muslim culture—not just as spirits of fear but as beings capable of deep religious knowledge. The setting in a Quranic school emphasizes the sacred nature of the space and the high stakes of interpreting spiritual phenomena.

Blue the Glue Ghost

Nationality: American

Age: 18

Occupation: University Student

Informant Information:

Age: 18
Date of Performance: 3/25/2025
Language: English
Nationality: American
Occupation: University Student
Primary Language: English
Residence: Hayward, California

Text:

“Once upon a time, there was a ghost named Blue who would steal people’s shoes. Every time he did, he left a trail of glue behind. The police followed these sticky clues from house to house and apartment to apartment until, after three weeks of shoe thefts, they finally found Blue. When they caught him, he was released back into the spirit world. And that was the end of Blue.”

Context:

The informant recalled that her mother used to tell her this tale before bed. It served as a form of childhood entertainment and likely helped ease the transition into sleep with its mysterious yet harmless narrative. She believes her mother created the story herself, indicating a form of generational oral creativity.

Analysis:

“Blue the Glue Ghost” functions as a bedtime folktale with mild suspense and whimsical absurdity. It demonstrates the creativity of parental storytelling and the way minor mischief (stealing shoes) is framed through a playful ghost figure. The use of rhyme and alliteration (Blue/glue/clue) adds charm and memorability, making it ideal for oral transmission. Though it lacks the typical “moral” of traditional tales, it emphasizes curiosity and resolution, which keeps children engaged.

Time Flies Like An Arrow, Fruit Files Like A Banana

The phrase is structured as follows:

“Time flies like an arrow. Fruit flies like a banana.”

This phrase plays on linguistic ambiguity and misinterpretation:

“Time flies” can mean both that time moves quickly and, in a literal sense, refer to “flies” (insects) related to time.
“like an arrow” uses a simile to indicate the speed at which time passes.
“Fruit flies” can refer to both the insects (fruit flies) and a subject-verb structure where “fruit” is the noun and “flies” is the verb.
“Like a banana” is where the humor solidifies—it forces the listener to reprocess the second phrase, realizing that “flies” is now a noun rather than a verb.

I heard this joke from my classmate C. We were having a conversation about jokes that rely on linguistic tricks, particularly ones that make the listener momentarily confused before the humor clicks. C mentioned that this kind of joke, which plays on multiple meanings of words in a single sentence, is similar to classic wordplay found in old Vaudevillian comedy routines.

This phrase is a great example of a garden path sentence, which is a sentence that leads the listener to interpret it one way before forcing a re-interpretation. The humor arises from the way English grammar allows multiple meanings depending on syntax and context.

The first part sets up a familiar phrase, while the second part twists expectations, making the listener realize that “flies” has been reinterpreted in an unexpected way. This kind of humor requires cognitive flexibility as it forces the brain to reconsider its initial assumptions about meaning.

Beyond simple wordplay, this phrase reflects the fluidity of language and the human enjoyment of wit and mental puzzles. It also highlights the role of misinterpretation in humor, which is a common theme in folklore, riddles, and even literary traditions. Additionally, it shows how oral traditions evolve, as variations of the phrase have been passed around, modified, and adapted for different contexts.

The joke’s endurance across generations suggests that linguistic playfulness is a universal human trait and that humor based on language is not just entertainment but also a demonstration of how deeply people engage with words and meaning.

Date of performance: 2/11/25
Language: English
Nationality: American
Occupation: Student
Primary Language: English
Residence: Los Angeles

Don’t B Sharp, Don’t B Flat, It’s Better to B Natural. (Gloss)

The phrase is a pun based on musical terminology:

“Don’t B sharp, don’t B flat, it’s better to B natural.”

This plays on the names of musical notes:

“B sharp” and “B flat” refer to accidentals in music.
“B natural” is both a musical note and a play on words encouraging someone to “be natural” in life.
The phrase suggests a balance—not being too extreme (sharp or flat), but being oneself (natural).

I first heard this phrase from M, the music director at my church. He used it in a lighthearted way while talking to the choir and musicians, emphasizing the importance of staying attentive in rehearsal with a positive attitude. He mentioned that he had heard variations of this pun before and liked using it as a joke to keep rehearsals engaging but also as a way to get members to self-check their presence in the rehearsal. Beyond the musical meaning, M explained it to me as a life lesson—encouraging people to avoid falling in uncontrolled extremes and instead be genuine and balanced. He uses this phrase both as humor and as a small piece of wisdom for his students and fellow musicians.

This phrase is a musical pun that also carries philosophical meaning. On the surface, it is a clever joke about musical notes, playing with the homophonic nature of “B” and “be” to create wordplay. However, beneath the humor, it conveys a message of authenticity and moderation.

Musically, being “sharp” or “flat” means being slightly out of tune—too high or too low in pitch. In a broader sense, these terms can symbolize extremes in behavior or emotions—being overly aggressive (sharp) or too passive (flat). By saying it’s better to “B natural”, the phrase suggests that the best approach in both music and life is to remain balanced, authentic, and in tune with oneself. As a musician who studies jazz at USC, this kind of wordplay is common in musician communities, where humor often arises from shared knowledge of musical terminology. It also reflects the tradition of using puns and idioms to pass down wisdom in a memorable way. In a church setting, this phrase could take on an additional layer of meaning, encouraging people to be true to themselves and their faith. Ultimately, this phrase highlights how language, music, and life lessons can intertwine, showing how humor can be used as both entertainment and a means of imparting wisdom.

Date_of_performance: 2/24/25
Language: English
Nationality: American
Occupation: Teacher
Primary Language: English
Residence: San Francisco, CA

Theatrical Folklore: The Macbeth Curse – “The Scottish Play”

In theatre folklore, it is considered bad luck to say the name “Macbeth” inside a theater unless one is performing the play. Instead, actors and crew refer to it as “The Scottish Play” to avoid invoking misfortune. The belief is that uttering the name in a theater will bring accidents, technical failures, or even personal injury.

If someone accidentally says “Macbeth,” there are traditional rituals to reverse the curse, which often include:

Stepping outside the theater, spinning around three times, and spitting over one’s shoulder.
Reciting a line from another Shakespeare play, often from Hamlet or A Midsummer Night’s Dream.
Knocking on wood or performing other symbolic actions to cleanse the bad luck.

Many theater professionals follow this superstition, even if they do not fully believe in it, simply out of tradition and respect for the craft.

I first heard about this superstition from M, the music director at my church, who has a strong background in both music and theater. He brought it up during our conversation. M explained that many actors and stage crews take the “Macbeth” curse seriously and will quickly perform a ritual if someone accidentally says the name inside a theater. He also mentioned that he has witnessed productions where, after someone said “Macbeth,” things started going wrong—props went missing, technical difficulties occurred, or performers forgot lines.

M sees the superstition as part of the camaraderie of the theater world, where traditions help create a sense of shared identity and respect for past performers. Even though he personally doesn’t believe in the curse, he follows the tradition out of habit and to avoid making fellow performers uneasy. The superstition surrounding Macbeth is an example of folklore that persists within professional communities, shaping behavior and reinforcing tradition. This belief connects modern theater practitioners to centuries-old customs, creating a sense of continuity in the performing arts.

There are several theories about the origin of the “Macbeth curse”:

One suggests that Shakespeare included real witches’ spells in the play, angering supernatural forces.
Another theory is that the play’s themes of violence, betrayal, and ambition create a chaotic energy, leading to an increase in accidents on stage.
Historically, Macbeth was often performed when a theater was struggling financially, leading to an association between the play and bad luck.

Psychologically, the curse may also function as a self-fulfilling prophecy—actors who believe in it may become anxious, increasing the likelihood of mistakes, which then reinforce belief in the superstition. This pattern reflects a broader human tendency to attribute misfortune to external forces rather than coincidence or human error. Beyond superstition, the tradition of avoiding “Macbeth” shows how rituals and beliefs create a shared cultural identity within a professional community. Even in a modern, rational world, folklore continues to thrive, especially in artistic settings, offering performers a sense of connection to those who came before them. Whether taken seriously or treated as a humorous ritual, the belief in “The Scottish Play” remains an enduring part of theater culture.