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Satanism Today - An Encyclopedia of Religion, Folklore and Popular ...

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132 Jinn<br />

Samuel. Its Structure in Relation to <strong>An</strong>cient<br />

Near Eastern Dreams <strong>and</strong> Its Theological<br />

Significance. Lanham, MD: University Press <strong>of</strong><br />

America, 1984.<br />

Kramer, Kenneth P. Death Dreams. Unveiling<br />

Mysteries <strong>of</strong> the Unconscious Mind. New York:<br />

Paulist Press, 1993.<br />

Jinn<br />

According to the Muslims, the jinn (from which<br />

we get the English term genie) are invisible spirits<br />

made out <strong>of</strong> fire, who were created 2,000 years<br />

before Adam. Islamic thinkers postulated three<br />

orders <strong>of</strong> being beyond God: angels, jinn, <strong>and</strong><br />

humanity. The angels, who were created out <strong>of</strong><br />

light, are closest to God. The jinn, who are intermediate<br />

between angels <strong>and</strong> humanity, inhabit a<br />

subtly material or etheric realm. Like human<br />

beings, the jinn possess intelligence <strong>and</strong> free will,<br />

<strong>and</strong> are thus capable <strong>of</strong> being saved. For this<br />

reason, the Koran sometimes explicitly addresses<br />

itself to both humans <strong>and</strong> jinn. It is said that one<br />

night a group <strong>of</strong> jinn overheard the Prophet reciting<br />

the Koran <strong>and</strong> became believers. The spot<br />

where Muhammad later met with the jinns’<br />

leaders <strong>and</strong> accepted their allegiance is the site <strong>of</strong><br />

the Mosque <strong>of</strong> the Jinn in Mecca.<br />

Iblis, the Islamic Satan, was transformed from<br />

an angel into a jinn when he refused God’s<br />

comm<strong>and</strong> that he worship Adam (who was<br />

created out <strong>of</strong> mere clay). Subsequently, Iblis <strong>and</strong><br />

other angels who shared his viewpoint were<br />

removed from their stations. Iblis <strong>and</strong> the jinn<br />

were exiled from Eden <strong>and</strong> subsequently became<br />

demons. (Also included amongst the outcasts<br />

were five <strong>of</strong> Iblis’s sons.) Ejected from the presence<br />

<strong>of</strong> God, these former angels turned to trickery <strong>and</strong><br />

causing trouble for mortals.<br />

One example <strong>of</strong> good behavior by the jinn is<br />

when Aladdin, in the book Arabian Nights, is<br />

assisted by a friendly jinni (genie) when he rubs<br />

his magical lamp. The jinn were also referred to<br />

as good spirits in A Dictionary <strong>of</strong> Islam, by<br />

Thomas P. Hughes. The entry (under “Genii”)<br />

states: “The most noble <strong>and</strong> honorable among<br />

the angels are called the Ginn, because they are<br />

veiled from the eyes <strong>of</strong> the other angels on<br />

account <strong>of</strong> their superiority.”<br />

See also Iblis; Islam<br />

For Further Reading:<br />

The Encyclopaedia <strong>of</strong> Islam. Leiden: E. J. Brill, 1978.<br />

Glassé, Cyril. The Concise <strong>Encyclopedia</strong> <strong>of</strong> Islam. San<br />

Francisco: Harper San Francisco, 1989.<br />

Johnson, Robert<br />

One <strong>of</strong> the best-known legends in American folk<br />

music concerns the deal with the devil that bluesman<br />

Robert Johnson is said to have made at a<br />

Mississippi crossroads one midnight. At least one<br />

blues scholar maintains that the story is more<br />

urban legend than rural folklore—the romantic<br />

concoction <strong>of</strong> white blues fans decades later—but<br />

some evidence suggests that the tale was in circulation<br />

during Johnson’s lifetime.<br />

To many religiously inclined African-Americans<br />

in the South, the blues was the “Devil’s music,” <strong>and</strong><br />

those who performed it were placing their souls in<br />

peril. Some blues performers, however, happily<br />

took on the persona <strong>of</strong> the bad man in league with<br />

the Devil. Early bluesman William Bunch, for<br />

example, billed himself as Peetie Wheatstraw, the<br />

“Devil’s Son-in-Law” <strong>and</strong> the “High Sheriff <strong>of</strong> Hell”<br />

(Oliver 1975, 89). It was rumored that some, such as<br />

Mississippi’s Tommy Johnson (no relation to<br />

Robert Johnson) <strong>and</strong> the Carolinas’ Gary Davis<br />

(though the latter subsequently became a Christian<br />

minister), had sold their souls to Satan in order to<br />

attain superior musical skills. (On the other h<strong>and</strong>,<br />

the great Mississippi guitarist <strong>and</strong> Robert Johnson<br />

mentor Son House played blues <strong>and</strong> preached, even<br />

writing the classic “Preachin’ the Blues.”)<br />

Among the most influential figures in blues<br />

history, Robert Johnson, who usually played solo<br />

acoustic guitar, “made the instrument sound<br />

uncannily like a full b<strong>and</strong>,” in the words <strong>of</strong> Robert<br />

Palmer, “furnishing a heavy beat with his feet,<br />

chording innovative shuffle rhythms, <strong>and</strong> picking<br />

out a high, treble-string lead with his slider, all at<br />

the same time. Fellow guitarists would watch him<br />

with unabashed, open-mouthed wonder. They<br />

were watching the Delta’s first modern bluesman<br />

at work” (Palmer 1981, 117). Johnson was born in<br />

Hazlehurst, Mississippi, on May 8, 1911. He grew<br />

up in the Delta <strong>and</strong> spent a few years in Memphis<br />

before returning to Mississippi. He picked up the<br />

Jew’s harp, then graduated to the harmonica <strong>and</strong>

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