Master of an Infectious Universe

It has long been my dream that the worlds of Prince and Phish collide. I have never been in attendance for a Fishman-crooned “Purple Rain”. I was only 11 years old when the band performed “1999” at Madison Square Garden on New Year’s Eve 1998. I was most likely playing cards with my family at an aunt and uncle’s house in Central Wisconsin.

Last night, Phish once again played Prince’s “1999”. They jammed it for upwards of 14 minutes.

Dreams do come true.

I had a transcendent musical experience while seeing Prince perform live just one month before his untimely passing last year. I expect that concert to be the best non-Phish performance I witness in my lifetime. It was just Prince, a piano, and a microphone, and I was enthralled. In the hours following the show, I tried to expressed through writing what I saw and heard. It proved exceedingly difficult to pull that off, but I tried anyway. See my attempt to describe the first and only Prince concert experience I ever had below in this special, purple edition of “Spoof Sez”.

– Everlastin’ Spoof (Shawn)


Master of an Infectious Universe

‘Twas the night of March 4th, 2016,
all the creatures were stirring in Oakland, out east.
At Oracle Arena the spirits were high,
a pulsating patience, waiting for him to Arrive.

Crowds in the concourses, wondering can it be any longer?
Square stage center court, 4 candles each corner.
Lights down, curtains up, kaleidoscopes
Silhouette, piano and a microphone.

Slinks out, smooth saunter to the stage,
the altar of soul virtue in motion, ablaze.
Warm illusory lights come in,
focusing, sharpening, then softening.

A setting is painted in classical pastiche fresco flourishes
right through and into the next morphed scene,
a pump house blues piano-greaser,
and we stomp away and bounce about with high heads.

Deconstruction and reconstruction cool as Miles Davis, all casual-like,
One fleeting then reminds him of another theme
and there we are through the passage and at his fingertips.
On airy, passionate edge, a trance at the precipice of a grand hypnotic canyon,
offered up to spontaneity and unmediated co-creation.

The audience, His great third instrument, never a one man show,
brings the myth into our midst, the channel into contrast,
the captivation to a spiritually overwhelming level.

Encouraged, looped, remixed, then lifted up,
a level higher, brighter, and cleaner:
A level of elemental presence
with new ways of seeing and being;
a reminder that life and beauty is a human collaboration
and artists connect us to higher levels of truth and joy,
pushing the bounds of the musically and imaginatively possible,
and, as is often the case, the recent revelation of revealed possibilities
defies anything previously hoped for or envisaged –
what we call a transcendence of totally warped, mind-bending scale.

A multi-dimensional, multi-scopic happening
deeply intimate and naked and nascent,
yet grandiose and graceful and completely composed and collected,
then wildly willful and wise, wily ivoried funk,
slowed down and rich, playful and punchy,
then luscious lullabye sing along sighs,
swept up in a starry-eyed sequence of moons and
into the luminous, orbiting beyond,
constellations in motion and suns in song.

Our royal Prince rises in purple night fall
and rules with gentle genius and love for us all.

Now I have come to know what is meant by “larger than life.”

This jubilant night, I fell in love with music all over again
as if it were the very first time.


(3/5/2016 – Adams Point, Oakland, California)

(See more Everlastin’ Spoof writings at