This chapter addresses Sterling A. Brown’s essays and blues-based poems, particularly those appearing in his 1932 collection Southern Road, to raise questions of commodification in the context of the technologized recording and dissemination of African American musical forms, especially the blues. The chapter claims that in Brown’s work (and that of other commentators), the folksong collector emerges as a figure antithetical to the commodification of folk forms suggested by the phonograph. Brown’s attitude toward the phonograph was ambivalent: He embraced it at times, and at others dismissed it as an emblem of commodification and cultural appropriation. The phonograph, however, emerged within a shifting set of cultural practices in which the boundaries between live performance and recorded sound, as well as bodies and recording apparatuses, became permeable and negotiable. Thus, even when Brown’s poems celebrate the blues as an uncommodified oral cultural form indissociable from its social and material milieu in the folk community, as in his iconic poem “Ma Rainey,” the phonograph becomes a kind of vanishing mediator between the poem and its vernacular sources, as Brown’s poems’ constructions of orality are underwritten by its inescapable technologized presence.