This chapter shows how the very deadliness of the commodity form—its radical detachment from any traditional context—ultimately extends the affective range and reach of popular music. It argues that the rock counterculture was founded not against, but through technological manipulation, commercial standardization, and consumer desire, and thus provided fans with new, more thrilling ways of inhabiting a national scene defined by market identities and taste cultures. Somewhere between Marcel Duchamp's arty toss-off and Elvis Presley's tossed-off art, a certain indifference comes to infect popular culture at large. In the end, this chapter focuses on the experiences and emergent sites of fandom, arguing that, with each cut, the King presented his body as an affectively charged and fully mediated public body and that, with records, radio, television, and film, his revolt extended—from one savvy fan to the next—across the body politic at large.