We chose a band name as a consciously self-definitional act. By controlling what we would be called, we took control of our artistic identity, rather than have this work done for us by people who may or may not share our vision and aesthetic.

No es una historia interesante, pero aquí va: "Farces" es una palabra real en ingles. "Wanna" es una palabra del lunfardo, pero no es una palabra oficial, digamos. "Mo" no es una palabra en ningún sentido. El nombre refleja el descenso desde algo con sentido a una tontería. Pienso que nuestras canciones varían entre el sentido (letras literales) y el sin sentido (puro ruido) de una manera similar.
Actualmente en este año de Napster y Yahoo, el nombre puede ser algo bueno. Cuando vas a buscar en la computadora "Farces Wanna Mo" encuentras la banda fácilmente, sin tener que pasar por sitios extraños. Por supuesto, no pense realmente en esto cuando puse el nombre de la banda allá en 1989.

Where? Do you like it? Any special moments?

No. n/a. n/a. Yes.

Short answer: amazing, thus-far-untapped, potential to revolutionize music.
The first aspect of the untapped potential of the MP3 format is the potential
for band’s to distribute music at little cost to themselves and little or no
cost to the consumer. At some point, an Internet album will be hailed as the
best album of the year by a critical consensus. That album may be out there
right now. Maybe it is even a Farces Wanna Mo album.
However, as of right now there are two operative facts: (1) most of the free
music is crap; and (2) music critics do not really see it as their duty to
wade through the crap. Fact (1) will not change, but Fact (2) will. It will
only take a stellar album or two available only over the Internet. The
migration of paid, commercially distributed music (e.g., i-Tunes) will help
this to occur. As distribution costs go down, it will become clearer that
record companies are bad gatekeepers of cred and credence. Enterprising and
talented critic will be surrounded by a rising tide of crap and will begin to
exercise the full scope of what should be their true responsibilities. No
more piggybacking on the artistic judgments of the record companies!
This means critics will need to work a lot harder, listening to great gobs of
yucky music, but, for the talented ones, the rewards will be great. Nobody
realizes this now, but there will be a revelation. What The Beatles did for
the LP, some wonderful band will yet do for the MP3 release. It may or may
not be a hip-hop band, but it will happen.
The second aspect of untapped potential is the potential for increased remote
collaboration between co-writers of song. This is highly familiar turf for
FWM -- we never had any problem merely mailing cassettes of partially-finished
songs from, say Palo Alto to Cincinnati. However, many bands consider that
kind of thing to be a pain. Lazy, lazy! Digital distribution will get people
working together on songwriting in more ephemeral and geographically diffuse
ways. On the latest record “If Not Why Not?” many of the instruments were
delivered over the Internet. Things like T-Racks (an Italian mastering
program), AcidWav, Hammerhead Rhythm and Internet Audio Mix.
Frankly, the results of this new kind of digital songwriting collaboration
have been less than overwhelming to me so far. Public Enemy’s album of fan
mixes simply doesn’t compare to “It Takes A Nation . . .” Professor
Lessig is very good about citing digital songwriting collaborations on his
blog, but so far nothing earthshaking. Once, again, it will just take one
great album to change everybody’s perceptions in this area. I can’t wait!

This hypothetical is outlandish to the point of rendering profound my cognitive dissonance.

Grammar, word origins, the question of who has time to build infrastructure, drunkenness in divorce, the fate of abandoned banks, sub-Little League baseball for minors, soft drinks, call waiting, daguerrotypes, Al Capone, Dennis Alcapone, El Cajon, eye surgery, the intellectual property theories of Stanford University Law Professor L. Lessig, sadness & sobbing, love, Gary Sandy (of WKRP fame), the successes & failures of the Prime Minister of Japan, and, well, we are only up to song 10 (of 15), but you prob’ly get the idea . . .

Mejores bandas del momento...
Eudean: Neal Stephenson. Farces Wanna Mo es lo que Steely Dan podría haber sido si ellos fueran una banda de garage.
Dave W.: Daniel Johnston. The Art of Noise. Half Japanese. La historia de Half Japanese, llamada "The Band That Would Be King" esta disponible ahora en DVD. Es una película donde es duro decidir entre la versión del director y la versión regular. Las mejores bandas no están tocando: The Fall, The Minutemen.

Lemmerockia, Chaggakkhhann

How could a band that recorded twelve records between 1990 and 2002 take three years on a follow up? Maybe we got depressed about nine-eleven. Or maybe, just maybe, the ready availability of radical new recording expedients like T-Racks, Audiotools, Acid WAV, Internet Audio Mix and all the rest of those wonderful tools from the brief magical moment of cheap downloadable software primed our ambitions and pumped our ability to bring it all across.

To the extent that specific publications are discussed above in this Background section, these discussions should not be taken as an admission that the discussed publications (e. g., patents) are prior art for patent law purposes. For example, some or all of the discussed publications may not be sufficiently early in time, may not reflect subject matter developed early enough in time and/or may not be sufficiently enabling so as to amount to prior art for patent law purposes.