One of more compelling developments in contemporary sociocultural anthropology is its increasing attention to the imagination. From most spectacular fantasies to most mundane reveries, imagining world as it is and as it might be seems to be a rapidly expanding form of activity. Such imaginative acts are now held to be relevant-indeed necessary-not only to such predictable endeavors as consumption and leisure but to fields as diverse as construction of civil society (Comaroff and Comaroff 1999a), production of biomedical knowledge (Martin 1998), and nuclear proliferation (Gusterson 1999). This move towards all things has further been characterized by an important kind of reflexivity, as exploring complexities of imagined requires exercise of imagination. Indeed, even a cursory review of current ethnographic observations might lead us to conclude that nothing is now unimaginable. In this article I will examine imaginative implications of contemporary Tanzanian economy and society for a select, but by no means peripheral, group of young men living and working, mostly in barbershops, but also in other businesses in city of Arusha, one of largest cities in Tanzania. The expansion of this informal sector in urban Tanzania and diverse modes of imagining that characterize it are clearly emergent under conditions of what has been described as globalization, and it is intersection of these rubrics-the imaginary and the global-that I intend to explore. I would suggest as a point of theoretical departure that analytical coupling of to processes of globalization has often obscured ways that imaginative acts are in fact materially grounded in social activities. While calls for localization and attention to lived experience have been legion, too often act of imagining is unmoored from specific forms, times, and places through which persons project their possible lives. Thus, it is possible for Abu-Lughod to insist that viewers of Egyptian soap opera are part of same cultural worlds we inhabit-worlds of mass media, consumption, and dispersed communities of imagination (Abu-Lughod 1997:128). Surely forms of global connectivity exemplified by soap opera establish, or at