The origin of North American rodeo can be traced to the festival pastimes in Mexico, which evolved into a quasi-sport form in the United States during the late 19th century. Yet, like other sport forms, sanctioned segregation and unwritten policies inhibited the full participation of African Americans prior to 1950. As a result, African Americans organized their own competitions and rodeo networks (e.g., "Soul Circuit"). The Soul Circuit or "Subterranean Circuit" (Pearson, 2004; Waitress, 1980) was reminiscently akin to the Negro Leagues during the era of segregated baseball in America. While discriminatory practices are no longer the norm, remnants of these practices have scarred rodeo at the highest levels of competition. Although the Professional Rodeo Cowboys Association (PRCA) contends that it is uncertain of the number of African American rodeo cowboys among its ranks, the figure is estimated to be approximately 150 of 10,000 members (Cowboys of Color, 2001). The legacy and spirit of the early Soul Circuit appears to exist through the “Cowboys of Color” rodeo series produced by Cleo Hearn and U2 Rodeo Productions. Hearn's goal has been to increase the number of African American rodeo cowboys competing at the PRCA level, while concurrently acquainting individuals with the oft-omitted contributions and forgotten legacy of the African American rodeo cowboy. Purpose: This multi-year study was designed to collect data to assess the perceived socio-cultural significance of U2 Rodeo's commitment to the legacy of African American rodeo cowboys. Methods: A “complimentary” research design (Creswell, 2005; Fraenkel & Wallen, 1996) consisting of qualitative (in-depth interviews and observational activities) and archival research (historical document and personal artifact reviews) methodologies was employed. Purposive and “snowball” sampling methods were used to identify and interview 27 “key informants” acquainted with U2 Rodeo Productions. This included rodeo production staff, contestants, and individuals intimately knowledgeable of U2 Rodeo Productions. In addition, several extensive interviews were conducted with Cleo Hearn. Approximately 375 hours were logged over a five-year period observing, collecting, and transcribing field notes. Analysis/Results: “Prolonged engagement” (Lincoln & Guba, 1985), as well as the use of multiple data collection techniques provided the triangulation requisite to analyze, confirm and/or disconfirm, the research findings. Conclusions: Results of the study suggest that U2 Rodeo Productions has had a salient impact on the socio-cultural significance of African American involvement in rodeo via the Cowboys of Color Invitational Rodeo Series, museum contributions, and PRCA visibility. Keyword(s): multiculturalism/cultural diversity, research, sport topics