Reading Marcus Garvey as a brilliant popular culture practitioner, this chapter situates Garvey vis-à-vis his Black contemporaries to challenge readings of Garveyism and the UNIA that have tended to repeat limiting narratives of rise and fall, tragedy and farce, and failure. Paying careful attention to the use of uniforms, pamphlets, parades, songs, speeches, and pageantry within Garveyism, Russell analyzes Garvey as a popular cultural artist before such a concept was even conceived. The chapter is particularly sensitive to the affective dimensions of performance within Garveyism. UNIA members across the African diaspora participated in performance as embodied futurity by marching, singing the anthem, and wearing UNIA uniforms, enacting a utopian vision of Black liberation and unity that facilitated the construction of what Benedict Anderson has called an “imagined community”.