This thesis closely reads black gay pornography and NeoSoul music from the 1990s to theorize the digital transformations of the adult entertainment and music industries during the commercialization and boom of the Internet. Acknowledging black sex workers and musical artists as knowers and agitators whose labor and artistry teased and troubled these transformations, I employ an American Studies analytic to archives and genres that highlights the economic and historical undergirding of black sexual economies in the United States. I argue that black musical artists and sex workers facilitate a mapping of black sexual economies and an ecosystem of labor and pleasure upended by the commercialization of the Internet that pronounces a dialogic relationship between the adult entertainment and music industries, black musical artists and sex workers, and black musical and pornographic genres. Through close reading and nut chasing methods, I intimately describe the musical and sexual performances of sex workers and musical artists in three pornographic films and one music video to analyze the complexities of instrumentation and cinematography during this technological era, how they narrativize sound and place, and the sensorial and physiological effects of witnessing and listening to these performances. In this project, I ask: how does porn and music remember sound and place, how does black music and black gay pornography narrate black sexual economies and geographies, and how did the commercialization of the Internet in the 1980 and 90s change black musical genres and (black) gay pornography?