Wendy Corr:
Well, hey there folks, welcome to The Roundup. We are a Cowboy State Daily podcast, and we focus on really interesting people here in the cowboy state.
And we have gotten so many comments and so much feedback from one particular story that reporter Renee Jean did about a medieval house that was built outside of Cheyenne, and we knew that we wanted to talk to the gentleman who built this house, who brought over the design for this house.
And so we decided that this was going to be one of our Roundup episodes. And I'm so pleased to introduce everybody to Cyning Meadowcroft. Cyning is here to share with us not just the story of the house, but the house itself. This is the magic of zoom, and this is the magic of all of this technology that we have, is that we can actually take a tour through this house. We get to meet his lovely wife, Christine, and talk about the daunting task of bringing to life an almost extinct style of building.
And so I'm going to start out by saying, hello. Cyning Meadowcroft, welcome to The Roundup. We're so glad you're here with us today.
Cyning Meadowcroft:
Thank you.
Wendy Corr:
Cyning, just really quickly start off with how you got to Wyoming. Because you were born, you're an Englishman. What brought you to Wyoming in the first place?
Cyning Meadowcroft:
Well, it's kind of odd, really. I was in New England in the mid 80s, and I was invited over by an aunt who lived in Salem, Massachusetts. And I was pretty enthralled with the enthusiasm of Americans who enjoy their history, especially in New England. And of course, I was very much interested in history too.
So I got involved very quickly in restoring and restoration of historical houses, buildings in Salem, Massachusetts, including their fences, which are very ornate. I started off in furniture making, so I was very much interested in this kind of woodwork.
And my ancestry is very much in that way too, my grandpa, My great grandpa and my great great grandpa. In fact, I have all their tools worn down as they may be, and so back in the mid 80s, something caught my eye, because property in England is just so outrageously expensive and highly restrictive to what you can do, that was then, let alone now.
And so I saw a tiny little article of land for sale in Wyoming. And yes, it might be titled under large acreage, but for $50 an acre was just insane. But, of course, that was back in the 80s, and I thought nothing more of it.
And so I went back to England and spent 10 years continuing where I left off in Salem, which is to get out of furniture, making so much, and go into restoring of buildings, houses, and whether it be a door, an addition or some fancy fence work.
And then from there, things got really bad in England regarding multiple situations, whether it be my marriage, the political situation in England, but mostly just the taxation and the restriction of what you can and cannot do over there. And so I said, If I ever came back to the US, I would choose the state, and for multiple reasons, I chose Wyoming, but something stuck out in my mind about that little ad back in the 80s, and it was just mind blowing.
So of course, I did all my research online, checking out the coasts, which were out out of the window for me, cost wise, I didn't want to live in the South because I had chronic health problems, which I didn't know at the time what they were about, but I knew it had to do with pollution being in and out London. It's very, very polluted.
In fact, the police officers in in Parliament Square can only spend two hours a day because of the fumes and in the traffic,
Wendy Corr:
I had no idea, that's so interesting.
Cyning Meadowcroft:
it's very, very, very bad to be there. And I was there for many hours, at least on Wednesdays, doing a political stance. But in any case, when I decided to come back to the US I wanted, somewhere where I could afford and have the freedom to do what I want.
And I had in mind, at that time, in 1999 and 2000 an idea of of building a home made out of crucks. And I was toying with the idea of a mead hall, as opposed to a cottage. A mead hall is a much larger project to take on because of the series of crucks.
If you make a cottage, it's just not as big of a problem, because when you have two crucks facing each other, a pair of crucks on either side, it wouldn't even matter if the building tapered wider at one end than the other, but as soon as you introduce a third, fourth, fifth and sixth, then you start weaving in and out, and becomes very, very difficult to start to get your lines all straight in the roof and the walls and so on.
Wendy Corr:
Can we just pause for just a moment for people who haven't read the article? Could you explain the whole idea of a cruck and where, where that comes from, and what exactly it is, you know, the one tree idea.
Cyning Meadowcroft:
So it's a bit like a boat, too. Boats are done in the same fashion that they will take an entire tree and utilize even the root and the leaning of the tree towards the outside of the forest into the light. So this wouldn't be a commercial tree in the center of the forest, growing straight up and utilizing the quality timber in that way.
And so a lot of peasants cottages were made out of these crucks, because it was wood not necessarily very popular with the Kings timbers, who were very precious for what they needed them for in ship building.
Although, like I say, they did use them in the main timber in the center of the boat, but it really wasn't pertaining to such large scales of ships that they were building. It just has an interesting parallel that they're looking for that bench shape.
So building a cruck cottage was very inexpensive. They would use the branches. They would use like, I say, the tree that leaned out to the light that was only fit for firewood, had no quality of number one timber and straight timber and so on.
So when they would make these cottages, you could literally pick them up from the four points of the base of each cruck blade and move the building walls, roof and all. So everything sat upon these crucks, the walls and the roof.
So to find these timbers, like I say, you would look on the edge of the perimeter of the forest, where the tree would curve towards the light, and that is the basis of a cruck. It is a cruck only when it goes from the apex, the ridge all the way to the floor of the building.
It's not really a cruck if you lay a truss on top of a cruck, otherwise every truss in the world would be labeled as a cruck. It is independent and everything sits upon it. So you can't create frames and stick them together and call it a cruck. A cruck is a piece of timber that goes from the apex all the way to the foundation, uninterrupted one timber.
And these you these are natural crucks. You can make man made ones. They have been made in the not so distant past, in recent times. But to find natural cruck is a is a real difficulty because, as in the ship building going on right now is Sutton, who they've been delayed, I think, by 18 months because the timbers that they picked, for the same reason I did for the COVID, turned out to be wrong.
I think they got some pith in it, and it disrupted the structure of the timber. And so they've had to go back into the forest and start all over again, because that's where you start with the boat, this is the keel board. The, I'm not a ship builder, is the main timber that runs from stern to bow, yeah, and so, so, so it's a real problem in finding the right timber for that structure.
And then, like I said, when you add multiple ones, now you're starting to weave in and out along the wall and along the route line. So it poses a real difficult problem. In my case, is the three foot variation. Three foot is good size of variation in the roof, and I took probably 98% of it out. Still has a slight role in it, but it's as good as it's going to get.
Wendy Corr:
Where did you find the wood that you used for your house? Because that's like you say, it's not something you find just anywhere. Where did you find the trees that you decided to use for your Wyoming mead hall?
Cyning Meadowcroft:
So there was somebody in town who was a teacher in woodwork in I think, think East High and he had a little side business called rattlesnake woods. I think he sold it subsequently, in recent years. But I contacted him because I wanted to know his opinion about where is the nearest place to get quality commercial oak.
Because I knew I was looking for something, especially for the main cruck in the hall, where it has no structure underneath it. It's not a gable end. It doesn't have any flooring to it. It's free standing on its own. And so that cruck definitely had to be as close as I could to a three foot in diameter at the base, because once you cut it in half, it's now only half the thickness.
So I'm looking for something about three foot, but it also has to be curved, leaning to the light. And so he said, When I contact he got talking, he said he had a cousin back in Southern Illinois, near Anna, near the border of Kentucky, and he said he had a farm and a mill, and he would be willing to accommodate such things.
Because my choices were west coast, which is even further away, and the nearest I knew would be like would be back in New England. That's the only knowledge I had. So since he had that connection, I took him up on it.
And lo and behold, when I got out there, he certainly had some trees that I was interested in. But nothing that his mill could handle in the song timber, because I needed two semi loads of Swan oak and two semi loads of natural cruck timbers. And he wasn't able.
But whilst I was in that location, I was able to look at, research local mills, for instance, the tie beams between the cruck blades, especially where I floored some of the days for apartments for us to live in, they had to be over 30 foot long.
And in fact, the last commercial mill that I found, they said, if I wanted anything bigger, because I was kind of interested in something bigger. And he said, 30 feet is max, maximum length that he could handle.
And then, as for the crucks, I was able to find them on this chap's cousin's farm. He had a large piece of the Stoney forest that spilled over into his farmland. So that's where I started, and looking through the forest, apart from chicks and chiggers and ticks I found, I found the crucks that I was looking for, not all perfect, but they worked.
And so it was a bit of a challenge, because this was a one shot deal, unlike Sutton, who shipbuilding that they're trying to recreate right now as we speak, I didn't have the funds to go back there and rebuy more timber, and I was very, very fortunate that the nine crucks that I assembled, it worked out.
But they couldn't have gone anywhere else, but where they went. For instance, the one cruck that I focused on that was the largest one could have only gone in the center of the hall, and then you have three Gable ends which have to be weathered. So those couldn't have any carpenter ant nests in them, no internal rot.
And luckily, I was able to pick and find three of them. And so that's four of them. And then the rest, of course, they could be put wherever they need to be for their look and for their strength. For instance, the real Gothic shaped one I kept that for the balcony, which you'll see in a moment when I scan and maybe, uh, some video up on shows.
Wendy Corr:
Yeah, actually, I was thinking that this might be a good time to do that. I know before we got started, we were thinking that we'd get your wife involved here at this point. But I think we'd rather do the tour right now.
So could you pick your phone up here and turn the camera around and take us on a tour so we can see what it is you're talking about with the crucks? Because I think this is just really a great opportunity for us to look and see where it is and what it is that we've been talking about with these crucks.
This has been, oh, there we go, all right, and we're in your study right now, correct?
Cyning Meadowcroft:
Yeah, this is where I do a lot of my drawings and studying of the subject. So we're leaving the study and we're going from the entrance hall here. I call this staircase the million dollar staircase because it was very complicated - I had seven points to miss. I already put the ceiling up. Sometimes it did things back to front, because I'm a one man show here.
So I tried to use the existing structure to help me support things. Like I put the walls up first, so had some extra anchoring for when I lifted the crucks in place. So not only I had a foundation to pick the crucks up into the building, but I had to get over a nine foot wall, which was necessary, so I had something to anchor to.
So it's three story. Obviously the second and third story is in the roof, but there's actually an area above the third floor, which I stand without touching the ceiling.
Wendy Corr:
So it's worth calling it the three stories. And so these big timbers are the crucks that you're talking about, these trees that were cut in half that make the bones, the bones of this house.
Cyning Meadowcroft:
So I'm going to go upstairs to the first floor, because I think it might be better. This one you're looking at right now, this one I liked because it had such a gothic shape to it, but it was meant to go on the west gable end.
But I couldn't, like I was saying before they all went, where they could only go. And the reason I couldn't use it in the gable end was because it wouldn't be very easily weathered. And I'm showing you the tasks that were at hand.
So when I split it, it had this enormous hole in it from where the carpenter ants were eating it while it was alive and living. So that would have been very difficult to keep from decaying because of the the problem of its structure being interfered with, with infestation, with carpenter ants, but it worked very well into inside here.
Now we're looking at the main hall and the crucks here. This one here is could have only gone here. It was the largest one I had, and it was in actually, ironically, in the middle of the forest, but it was still split.
But what happened, it was a perfectly large, almost three feet. I mean, it was 36 inches, or 33 and I took it because, although it was only split two thirds of the way up. The last length of it was the fork in the tree, and they were perfectly forked. Not one was leaning one way or the other.
So they have to meet up at the apex. And you, when you're laying these crucks out, you want them as flat as possible, because otherwise your Gable ends are going to be all over the place, and you just need them as as true as possible, and it's done with the naked eye.
Wendy Corr:
And these are the 30 foot beams that tied everything together that you were talking about, correct?
Cyning Meadowcroft:
Yes. Well, this one in particular arrived 47 foot long. I cut it down. So I kept them long, just in case, because you can measure the length of the cruck, but because of its curvature, you know, it changes. That's why I was saying the tape measure and spirit level virtually get thrown away, because everything is done by eye, a lot of it anyway.
And so, yeah, they could have only gone - like this one here we're looking at, it's a real decrepit one, but it has a very cool shape to it, because it winds back and forth. But it could have only gone here because it wasn't as thick and heavy duty as I would like, but you see how it goes from the front door, yes, and it just follows uninterrupted.
I mean, the heart that there is half lap joint, but behind that cross beam it continues, and it continues all the way up, arguably, four stories. Yes, because up there on that last tie beam, I stand clear of the beams.
Wendy Corr:
But how tall? How tall from the apex of the roof all the way to the ground? How tall is that?
Cyning Meadowcroft:
It's 33 feet from the floor to the apex on the inside. On the outside, it would be close to 34 feet, but that's not including the foundation. I think Lee Barnhall talks about other measurements, but I think they're referring to the foundation, because the foundation rises up from the floor by about two or three feet.
And so when they talk in reference to the building overall that they're referring to, you know, the whole stature of the building, for instance, the outside of the building. When I had to raise these crucks with a 1947 cable crane, no hydraulics, I had to not only deal with a 33 foot frame, but I also had to get it over a five foot foundation and a nine foot wall.
So the way I achieved that is I had the truck, the truck connected to one heel of the frame, and I tensioned it so it would pull so I'm going the wrong way. It would pull the frame and tilt it so one leg would be further up in elevation than the other. And then I would swing the crane over so it would get inside the - I'm going up to the third floor - so it would go up and over the nine foot wall plus Foundation.
And then once I got one leg in, I would twist it kitty cornered and drop in the other end of the frame and then twist it into place, swing it into place. This is the third floor.
Wendy Corr:
All these rooms are just charming. They're just amazing. You come around the corner and there's something new and there's something new. Did you have all this in mind already before you even began it? Did you have the floor plan laid out?
Cyning Meadowcroft:
No, I claim this as an experimental home, because the technology has been lost because of the unworldly unruly shape of the timbers. And so it becomes very difficult on this scale, that is, to align everything.
So one of the main things you have to use, if I point this here to the side of the cruck, there's a thing called a principal rafter. That's that timber that's nearer to the ceiling. So you have a common rafters behind the plaster, and then you have your principal rafter, which kicks out these horizontal pieces here, these horizontal pieces, and it kicks them out.
So the roof isn't following exactly the line of the cruck, but everything is still sitting upon the cruck. So if I show you that cruck there, on the same latitude of that tie beam right there. The ceiling is about 18 inches from the cruck. This one here, I can show in the corner here, maybe I can show it around. It's actually touching the ceiling. So there's 18 inches difference there that those principal rafters take out.
And then we look at this one, there's a desk in the way, but it's about three feet at one point away from the ceiling.
Wendy Corr:
And so that's just the organic nature of the fact that they're natural trees, right? Just the change in the shape of the natural trees?
Cyning Meadowcroft:
How they grew. Like, looking down there, that's a better view right there, above the front door, there's a right there's a three foot variation there above the door, if I've got that right.
And then when you look, I can't show you them all because they have structures in front of them, but if you look at this one down here, you can see it's a lot closer to the ceiling at the same. And so you're not just dealing with two crucks. You're not dealing with three, but you're dealing with six in a row, and it's a real challenge.
And that's why you can't really do it without that principle wrap to see where it goes. It goes from the wall plate, the top of the wall, and it goes, I think there from memory, a long time ago, I think from memory, I think they're closer to 20 feet long.
So here and they join at whatever point in the cruck, they joint in with a 10 on a long 10 on and then pegged. This building, in the main frame, it has no nails.
Wendy Corr:
No kidding?
Cyning Meadowcroft:
They’re just mortar and tenons and pegs.
Wendy Corr:
And you did that, obviously, because you wanted to stay true to the ancient the architecture and the ancient way of doing this, right?
Cyning Meadowcroft:
The main thing was the main frame, I wanted to keep that intact to how it was. For instance, this cruck down here, that little timber that goes from the cruck to the wall. It's a half laps notched out joint, so it kind of scarfs into the side, but it has like a V cut out of it, so it hooks onto the cruck, not just peg, so that the walls can't blow out or push in.
And then the other end is what they call a half lap secret dovetail. So all these tie beams that you're looking down on above the stained glass, when they meet the outside wall, they have what they call a secret half lap dovetail, so as the beam comes down on the wall, it locks into place with the shoulder and the dovetail so the wall can't go in and can't come out.
Wendy Corr:
and it just keeps the house that much more stable.
Cyning Meadowcroft:
Yes, and that was a challenge, because my neighbors were bewildered to how the structure stayed up, because it was a skeleton for so long. And what I did is I put six foot anchors. They use them for tying down trailer homes and structures.
Then they, these were about six foot long, and they, I just drove them into the ground, coiled them into the ground, and then you use one inch steel ropes that went up to the A frame of the structure and tied them off, bolted them in place, one on either gable end, so it went right through the main hall and then off to the garage.
So all three sides were anchored down so they couldn't move. But then once I've got all the modern materials on, because I wouldn't live long enough if I did what they call wattle and daub, which is in the walls. That's a process where you use Hazel sticks and you drill a series of holes, and you put the sticks in, and then you weave split Hazel sticks, weaving back and forth like a basket, and then you fill it with a concoction of mud and and and straw and so on.
And then with the roof, they would use boards, and if they didn't use boards, they would just go straight into thatching. And so you could literally see the thatch up through the rafters.
Wendy Corr:
I think that's what you expect with a house like this. You expect a thatched roof just because of the style of architecture and the era that this style of architecture came from. And Wyoming's winds, I don't think would probably lend too much to that.
I want to take just a moment and have you introduce us to the young ladies that I see there. And then we've got Christine as well. Tell us about who else lives in your house with you, this amazing house.
Cyning Meadowcroft:
Well, I have three daughters, Ethel, Hazel and Edith, and my wife, Christine,
Wendy Corr:
That's marvelous. And I love your fireplace. The fireplace is amazing. And there's Christine. Hello, Christine, how are you? I'm so glad to meet you. I'm so glad to meet Cyning and to meet your daughters here.
Cyning Meadowcroft:
They're homeschooled, they do have homeschool friends. And so yeah, they're pretty happy where they live.
Wendy Corr:
Well, it's very nice to meet all of you. I'd like to ask your mom a couple of questions. Christine, my understanding is that you joined the process part way through. So this was well underway when you and Cyning, first met and first started dating and came together.
What did you think when you first saw this, this skeleton that was being built, this amazing historical project. What was your first thought?
Christine Meadowcroft:
I thought it was pretty neat. It was nice to meet somebody who was motivated.
Wendy Corr:
Motivated for sure, yes. And so tell me what's the most interesting part of all of this, is it raising the girls in this piece of history come to life, or is there still so much to do? What's your part in this creative process, Christine?
Christine Meadowcroft:
I just kind of am here to help - and make people.
Cyning Meadowcroft:
That's not true, when we laid the floor, because there was no floor there was only sub flooring when we laid the great hall floor boards and right through the first floor, she complained a lot about getting splinters in her butt. Her job was to fill the screw holes with wood filler, yes, and there was thousands of them.
Christine Meadowcroft:
there's many days of scooting around on a bare wood floor and I got a lot of splinters in my butt.
Cyning Meadowcroft:
But she's also, a lot of the inter internal framework and plaster board and stuff like that. She's helped with a lot. I was dreading to do the cosmetic work. It's not my favorite. And so, yeah, doing all the sheet rock and doing the plastering and painting. She was very helpful in the helping me, in all the laboring.
Wendy Corr:
So let's just kind of shift back then towards the historical part of this house and what you're honoring with this house, the history and the era that you're honoring with this house. Tell us about what you're trying to do with all of the decor, with the stained glass, with the flags. What era of history are you honoring here?
Speaker 2 33:24
So I dedicated it to Alfred. Alfred the Great. Coincidentally, I don't know if you can see that the sun is blocking him out. There's a mural up there of Alfred the Great. And Alfred was, by many, including myself, considered the first king of England.
Some say his grandson was, but that would be a bit like saying George Washington wasn't the first president the United States because he didn't have the Louisiana Purchase or any of the other states. So Alfred pushed the Vikings out from the south and southeast of England and created the first state of England.
He was the first king to start referring not so much as the king of Wessex, but the English and King of the English. And so those references in conjunction with him making a national Navy, national army and National Sea Defense, he truly was the first king of England.
He may have not had the whole of it by pushing the Vikings out throughout the North of England, but he certainly had a great deal to do with the start of England, and he was first the king of Wessex.
I don't think you can see any of this writing.
Wendy Corr:
Yeah, we can't see the writing. But what does it say?
Cyning Meadowcroft:
Well, it wasn't something he wrote so much. He copied it, I think from, I forget who he was, a Pope or something, but it's only a portion of what was written. I have it on the website, but it basically says:
“Then I gathered for myself staves and props and bars and handles for all the tools that I knew how to use, and across bars and the beams for all the structures which I knew how to build, the fairest pieces of timber, as many as I could carry in each tree.
“I saw something that I required at home, he who advised me to whom the wood was pleasing may bring it past that I shall dwell at greater ease, both in this transitional habitation by this road, while I am in this World, and also in the eternal home which he has promised us - King Alfred.”
So those words are pertaining to structure, clearly, but he was no, you know, construction worker, by any means. They're metaphors for creating a country and building it, like George Washington and all of the forefathers of the United States. And so it's very important that people realize this mammoth task, just like the New Englanders pushed out the crown so that they could have greater control over their destiny.
Wendy Corr:
What an amazing piece of living history here, and a fantastic honor to your home country and yet to this period of time that so many of us have almost forgotten about.
This has been an amazing undertaking. You're located outside of Cheyenne. Do you mind if people drive by? Or is this something that your neighbors would rather not have a whole lot of people driving by and seeing what you've got there?
Cyning Meadowcroft:
No, not at all. In fact, the website invites people, and I built it so it could be a celebration of Alfred's achievement, but also it's a preservation of an era of England that I'm very proud of, but it's very historical. This is the golden age of the pre-Norman period.
So you know, Alfred the Great was a little earlier than I can prove that crucks were around, but they certainly were around in the 11th century. So it pertains only to England, these crucks. And so I found it very fitting to put together Alfred and the crucks. And I want people to enjoy it as well.
So yeah, people are invited to come by anytime. Especially, you know, I've had people knock on the door and they're not invited, and I welcome them in both when I was in the middle of building it and after its most finished work. I mean, I'm still working on it now.
But, you know, I've had people recently stop by and want to view and it is usually by course of friends and people that I know and get to know. But yeah, I mean, my phone number is on the website if they care to look for it. And so, yeah, the people are encouraged to come and visit it and enjoy it. That's what it's about.
Wendy Corr:
Cyning, this has been a fantastic opportunity for us to take a look at what you've built here. We're so grateful that you spent a little bit of time with us here on the Roundup. How much do you have left, do you think? What's your timeline to completely finish the interior walls and all those other things?
Cyning Meadowcroft:
Well, I have a couple of pieces outside I've left to do on this, on the siding, weatherization, between the timbers. I got a couple of pieces I missed before my heart surgery, I was trying to get all that done so my wife wouldn't have such a nightmare if things went terribly awry. But as it is, it was a success.
And I've still got a couple of panels to do outside to restore, because the first wave of infill between the timbers on the outside didn't work out. Like I said, it's very much an experimental deed, because they're called to just because they're black and white, but the tours did not create that. When they fetched off all the clad boards, they saw the frame, and they infilled between like her and bone brick style stucco and so on.
But it creates an enormous problem because of weatherization, which is one of the reasons why I was going to step outside briefly if I could, if we got time.
It also has the murals. So here's the cruck on the outside, Dragon on the end there. So here is the problem, is where the weather - you have the stucco overlapping or the brick infill, it's very difficult to get this weatherization. So I solved it. I had to rip it all out again and redo it.
I use liquid nail, screws and nails, and I put two by fours behind here, and they're liquid nailed in with nails. And then this is a - instead of a half inch, this is a three quarter inch moisture resistant OSB, and then for the surface, so it has the texture and look of stucco, I used a sand based paint. They use it on decking, but there's four coats, and I use 20 times concentration, meaning it's 20 times thicker, so it's really like putting on mud.
This is two years old, and there's not even a crack. There's not even a crack. And so I've successfully done it. Solved the problem. It's a horrendous problem. Here's the other mural insert, who shield the other, the other feature that I've done, which I don't if I can see here, but they inherently rot out in the in the mortise joint in the foundation down here.
So I drilled a little hole angled up to keep the joint dry and aired. These little details, I hope will ensure a much longer on the timbers, especially being in Wyoming, where it's dry. So I hope sure building will have a lot of people enjoying it for many time to come.
Wendy Corr:
Well, we are sure grateful that you took us on a tour of your amazing home, which is called Anglecynn Hall. Is that correct? And I'm going to make sure that we link to your website so that people can take a look at your processes and the things - the story of this really amazing home.
And we're just grateful, Cyning and Christine, that you were able to let us in on this window of your life and this piece of history that you've brought to life in Wyoming. Thank you for bringing this to Wyoming.
We're so grateful that you are here. So nice to meet you both! Folks, these are the kind of people that we have in Wyoming, and this is why we like to feature people like this on the Roundup. This has been just a real joy today.
Thank you folks for tuning into the Roundup, and we hope that you, if you have interesting people that you think we need to talk to here on the Roundup, that we can do things like this with. We'd sure love to do that - so Christine and Cyning, thank you very much. Roundup viewers, thank you very much.
You can find us in the future or on this, or all of our wonderful past episodes, on both the Cowboy State daily website, on any of the podcast apps that are out there or on YouTube. Feel free to look us up and make sure that you look up the Meadowcroft home, because it is something to see.
Thank you both. Thank you all. Have a wonderful week.
