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By Chordia, Sarkar

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There’s Jack, there’s Herb, and there’s Dionne. I know them all. One night Herb was working, and I walked up to the registration desk. As I came in, Herb said, ‘‘Mr. de Soto, good to see you. ’’ Then Herb did the usual check-in and said, ‘‘Mr. ’’ That surprised me. I said, ‘‘Promptly as usual. ’’ And he said, ‘‘I mean Mr. ’’ So I took out my credit card and realized that after all these years, Herb, that North American, never really trusted me. He trusted my credit card, which of course is knowledge by description.

The Board regulated and taxed the music business out of existence. Today there is no music in Ghana except techno-pop; techno-pop being computer-generated music that uses no musicians or musical instruments (Collins, 2000). Daniel Wu¨ger (2004) describes a similar outcome in Ethiopia. The government of Ethiopia authorized the Ethiopian Musicians Association as the agent to license and charge fees for the use of folkloric music. The Association interpreted its authority as extending into popular music that had roots in folkloric music.

It’s a world of descriptions. It’s a world of connections that qualifies me such that you can now trust me. It’s what makes the hotel worker, Herb, trust me, because I did get my room at the hotel. And I did get into the United States. 8 HERNANDO DE SOTO Descriptions are what really establish who I am, my identity. My identity is not born in my body, but rather my identity actually travels in this passport. And my creditworthiness is definitely not established by the fact that I can smile at you or that I do not twitch or tremble.

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