Annie Norris Interview | 17 years in the Industry | Episode #018
I had to sit down with Annie Norris after her incredible 2018. She won business and instructor awards, travelled the world competing, ran her successful studio, looked after her 3 sausage pups and even managed to squeeze in getting married amongst other things!
I also asked her some questions from the members of the Off The Pole Community Group
Sarah: Welcome, Annie Norris to my podcast! Thank you so much for giving some of your morning. We've been planning this for about a year, and keep missing each other. I finally got you, and who's your little friend who's joining you?
Annie: This is Frank, he's my manager, he looks after me.
Sarah: He looks very business today.
Annie: Frank, I named him after a sausage.
Sarah: Obviously. Your sausage dog is so cute. Mine's snoring behind so hopefully the microphone won't pick that up. He doesn't really like being famous unless I'm training then it's all about him. Other than that, so thank you for giving me some of your time because you've had an insanely busy year. You've been pretty much all over the world. You've gotten married, you've been doing competitions, you've won awards, what are some of your highlights? I've kind of listed off a few things you've done in the intro, but what have been some of your highlights this year?
Annie: So I always forget to mention this one, so I'm going to start with this one, getting married.
Sarah: That's number one, so number one not a pole thing.
Annie: It was great because Kieran's my best friend, so that was the best day. Sharing it with your bestie and just having fun. Eating loads of food, people helping me pull my wedding dress up when it kept slipping down, things like that. It was just the best day ever and it was just so warm, as well. The dogs were there and they wore little things around their necks and stuff. So that was number one.
Annie: Then I think the second best thing was getting through to IPC. I was in the elite females, my one pole idol, as well. Then won instructor of the year, so that was just amazing. It was like a dream come true. I remember seeing my name on social media and I was like no, no. I didn't tell anyone for two days because I was like I'm obviously going to pull out, there's no point in doing that is there? Going to Australia, the comp was ten days before the wedding as well in Australia.
Sarah: I like it, it'll be fine.
Annie: It'll be fine, and it was.
Sarah: Fly around the other side of the world, yeah.
Annie: Yeah. That was that. It was just crazy, but it was great. It was just amazing. So good.
Sarah: I must say you've done a million things this year. How do you find because you have a full-time studio as well, which seems hugely popular? We did the Off the Pole Awards in April, and your students were on it. We're going to nominate everybody, we're going to do spreading it around. Whenever there's anything about awards, or getting involved, or doing showcases you always seem to have ... your students are very involved. They seem to follow you around the world and have a huge support system. Are you good at time management, do you just kind of wing it, is there any kind of thing that you think, that has to be put on the back burner, or this is gonna be a priority? How do you manage studio time, competing, performing, planning weddings? Like, how have you managed it?
Annie: So, I like a good spreadsheet. I love a good spreadsheet. That is a good question. I have a really great team at the studio. So the other instructors that work there are amazing, and they treat it like it's their own, so that's really helpful when it comes to the studio, because I'll be like, "Right, I've got through to this comp, I need to go to South Africa for two weeks. Cheers, then!" They look after it, they're amazing-
Sarah: That's a good team. You have a good team. I think that's really, really important. And hard to find. I think a lot of people struggle with building the team around them, a lot of people have other full-time jobs, or they're trying to do it full-time and you don't have enough classes for them and then it's the balance between how much you work versus they work. Yeah. I mean, how long has your studio been running now?
Annie: So I've been running for 13 years.
Sarah: So fairly stable job, now.
Annie: Yeah, stable job. Although people still say to me, "Oh, are you still doing the dancing thing?" And I'm like, "Yeah, you still doing like the lawyer thing?" Because mine is also a job, but I've had to go through some not so good instructors. You know, you have to go through them, and then ... When I say not so good, just as in like, they can't ...
Sarah: It has to be the right fit. So maybe they're not the right fit for the studio.
Annie: That's a much better way of putting it, yeah. Literally, every instructor we've had has always been amazing, they've been friendly, and just generally lovely people, but they've had their own things that need to come first. The team that we've got at the moment are just amazing. So yeah, good team, and then just being good with your time. When you have things you want to do, like, I dunno ... I'm rewriting our instructor manuals at the moment. I've been rewriting those for about two years now. So, things like that get put on the back burner.
Sarah: Definitely. It's difficult to find the balance sometimes. Especially the work-life balance, and even the work-training balance. So fitting in your own training around your class plans and things like that. Because you definitely ... you didn't compete for a few years and then you ramped up your competing. You did Pole Art South Africa as well, you did Dance Filthy this year, you've done a huge amount. And they're all quite different styles as well, so have you found it ... did you have to really mark out, right, this is when I'm gonna train for myself, or did you just grab it whenever you could?
Annie: No, I had to get quite good with that this year. So when I was booking in, say, private lessons, I would make sure that they were all one end of the day, so that I can come in at 11:00 and train til 1:00, and that I knew those two hours were for me. I purposely chose competitions that were really different as well because I've just really, really enjoyed kind of just playing with different movement and just seeing what I can do with that, and keeps it really interesting. I think if it was all tricks, I'd be really injured by now, or if it was all something else I'd probably be bored by now, but, yeah.
Sarah: Yeah, good to have a bit of variation. Well, I did a post on the Off the Pole community group that you were gonna be coming on, and I got loads of questions. Some of them were maybe more, you know, the ones from Dan Rosen, we can do those at the end... Something about husband versus dogs, which I don't want to put you on the spot, you can let that one percolate for a bit.
Sarah: But Rachel Storey said, "Have you always been confident at exotic style, or did you have to break through any awkward personal barriers? If so, how was the process of unleashing that confidence?" We had a lot of questions about your performance and confidence, and then Karen Curry put a good question about like, how do you make it seem like the audience ... like you're only looking at ... everyone in the audience thinks you're just looking at them. Has that always been in there, or have you had to build that up over time?
Annie: So the exotic question is quite interesting because actually I never saw myself as an exotic pole dancer, like I don't dance in heels that much. I've always felt slightly uncomfortable in heels, I felt like Bambi on ice, and I don't really like my boobs very much, so I was always like, oh, just, I'm an arty pole dancer or whatever. Actually, when I did Dance Filthy, I was like, "Oh my god, I love this shit! Like what? This is great, this is really good! I'm gonna get my boobs out, I'm gonna do it!" That was-
Sarah: We all really appreciated it, it was amazing.
Annie: Yeah, it was great. I just ... I felt like totally alive, it was incredible. I've always been, according to my mother, I've always been a bit of a show-off. I'm really, really shy when it comes to group situations, so when we're all at pole comps and stuff and I see people I know, I get really overwhelmed, and I've got really bad eyesight as well so I can't always see people. And then people have waved at me and I've not noticed and I feel bad. But then when I'm onstage, I just feel like this is my time to show off a little bit and show people what I've been working on. I want people to enjoy it. My main thing is I want people to feel something from my performance. I don't really see a point in getting onstage and doing something unless they really felt something. Not everyone, but hopefully some people. So that's where I like the eye contact. So I'll look at someone, and yeah, I want them to think I'm dancing for them.
Sarah: They do. I think that ... I've been sat front and centre for Dance Filthy because I was judging. You make really good eye contact like it's not just about kind of glancing across, you hold the gaze of the audience as well, which is really nice. And it draws you in. You can't ... I was like, oh, I'm meant to be writing stuff down! Because you're just ... You're very captivating when you're onstage. I think people forget about that when they're maybe putting their routines together, they think a lot about the movement, but I think bringing the personality across in their routine is something that ... do you have to choreograph that? Do you practise in a mirror, or do you turn away so you're not used to looking in a mirror? I've heard both things from different people. They say they always look in the mirror and they practise their face, and other people say, "No, I can't look in the mirror because then I'll get used to watching myself back". Do you have any tips on that?
Annie: Well, the main thing I like to try and explain to people is that, you know when you have a conversation with someone and they're not listening and they're on their phone, they're like, "Yeah, yeah, yeah, sorry, what did you say?" And they're not really listening. I find that really irritating, even though I'm sure I've done it to people before. But I feel the same with dancing. So I feel like when you're on stage, it's almost like you're having a conversation with someone and you want them to listen. And if you can get them to maybe forget to write just for a second and connect with them ... So I don't think I necessarily practise by looking in the mirror. I would never ... I don't look at myself in the mirror, really, I try and look at other people in the room, so I'll get people to watch me train. Not train, that sounds weird-
Sarah: "Watch me train! You sit there and you watch me train!"
Annie: Just watch me train!
Sarah: Diva!
Annie: I have to have an audience. No, but when you do the run-throughs, you know. But definitely that thing, as I said, I want people to feel something, and it's not just a case of, "Hey, look what I can do, look at this trick, look at that movement!" I want to tell them ... I want them to listen, and I want to have a conversation with them. So when I'm talking, dancing on stage, or when they're looking back at me, I'm then listening to them. I know that all sounds a bit airy-fairy but it's really what I feel when I'm onstage so that ... I think if you can focus on one person, and you move that eye contact, but if you can focus, you suddenly feel the room kinda do this. I've been on the UK PPC stage when it sold out before, and that's 800 people and it felt like the room was kind of like this. That we were all together and we were kind of like listening to the story.
Sarah: Yeah, I think that's a really nice way of putting it. I think if you have a good mindset and you're thinking that when you're performing, that's why it comes out onstage. It's funny, it doesn't come easy for everybody and it's nice to know that there's a conscious choice of like, right, I'm going to make an active decision to make it a conversation, rather than just I'm gonna look up and do my tricks and then it's gonna have the same effect. I think that's a really good way of putting it.
Sarah: Karen Curry, I had to look up the question that she put, 'cause she did ask about, "How does she manage to make everyone in the audience feel as she only has eyes for them?" But she also put, "How in the name of all the pole gods and goddesses is she able to combine her lady in the street but a freak on the pole persona? She's so sweet when you're chatting to her in normal life, but then she turns into this unbelievable sex kitten when she's poling. How does she do it?" Well, I think a lot of that is kind of answered in there, but it's ... when you first put up that you were doing Dance Filth and you said it's your first competition in heels, I think we were all collectively really surprised 'cause we've always just kind of ... We, the community, have always seen you as a really sexy dancer as well as an artistic dancer. It's not to say that you can't have both, but I think everyone was really surprised to see that that was actually your first heels one. But you've been posting a lot more heels Instagram videos now, so we're all pretty happy about that.
Annie: It's really interesting, I was actually speaking to Andi Active Cherry about it, because she's been in the industry for a long time as well, and I think what it was is that when we first started, it had just come out of the strip clubs and we were told, this is a fitness. And we were like, this is a fitness! No, we don't dance in heels. We are not sexy. We are strong women only. It's just been like part of me for a while I think, where I've been like, "Ooh, no. To prove that pole dancing is good, I have to do it this way". Even though I knew that wasn't true. Actually, the last six months I've been like, you know, there's not a lot of people that can walk in these shoes, let alone dance in them, that's pretty hardcore as well. So, yeah.
Sarah: Yeah, I think there's definitely been a big surge in the more exotic, sexy stripper style. There's a lot of kind of like the hashtags that are being used. A lot of people are coming out of the woodworks and enjoying that side of it more, which I think is great, and I think it's awesome that there are so many different styles now. That we've got a huge increase in the pole sport, we've got a huge increase in the heels work, and I think everyone can just use it like a pole, you can do what you like with it now, rather than it being like ... also, you can do multiple, you don't have to be put in a box of you just can do pole fitness, or can just do sexy pole. We can spread ourselves around however we like, which is the best way to be.
Annie: Absolutely.
Sarah: Let me have a little look at all these questions.
Sarah: So... Lindsey Anne Pacey wanted to know 'What style is in fashion at pole competitions?' I know you do a lot of judging as well. Do you see a specific style that people are using? Because not all of them are specific sexy competitions.
Annie: Um ...
Sarah: It's quite a hard question.
Annie: Yeah, I dunno. I do still think like we just did UKPPC, I do still think that big tricks are in vogue. Doing really big, and doing them well.
Sarah: Do you have a nemesis pole trick or pole move? Is there anything you have worked on, or has taken you a long time to like, "Right, I'm gonna get this trick"? Or have you had anything that you've got maybe like planned? Do you plan any big tricks out?
Annie: Yeah, so I ... always, yeah, I've been working on my aerial cartwheel, which is like a bicep grip up and over. And then I nailed it and I was really happy, and then I just got scared of it and started hooking my leg on. And then I was all like, oh, no, it's cool, I'll just unhook my leg again at some point and I didn't. And then I'm working on that again. Anything that's scary, really. I just get scared. I don't know if you've seen my big mats that I have at the studio, they're like ...
Sarah: They're awesome. But I think it's good to be cautious. I say this in my workshops when people put themselves down, I'm like, the human race has survived for a long time for being cautious. It's good that you don't want to throw yourself upside down on a metal object and try and catch yourself with your foot. Like, it's good. But I think as long as people are trying to do them safely and they have big mats down, and they're getting the right technique and they're not just putting them into these routines for the sake of them, like there's a point to put them in, then I'm all for them. But I'm with you, I'm a total coward. I only do stuff where there's no risk of death. I don't-
Annie: But no, your latest post with your knee grip, your upside down spinney knee grip, and you could like-
Sarah: But that's Brass Monkey, that's old school. I could Brass Monkey all day, all day every day. I could chill out there. People don't really do a lot of Brass Monkeys nowadays.
Annie: No.
Sarah: You know, we were talking about this the other ... I can't remember who I was talking about it with...But yeah, old school tricks. They are the basis of a lot of the newer tricks now, and then people wonder why they're so difficult. But if they haven't got that foundation of doing a leg hang for five years because that was the only thing we could do, then ... Now it's easy, I think, for the older polers, because we literally had so many fewer tricks to learn. Whereas there's a lot of pressure now to be like, new trick, new trick, new trick. I've got ... I could just do Brass Monkeys all day I think. I've got another video of a Brass Monkey trick, I'm like, I can't post that. The last three videos I've posted have been based on a Brass Monkey. I'm just-
Annie: But you're right. I find that actually, that helps me with being a good teacher as well, because it's like for years ... like you said, for years all we did was sort of leg hangs and knee grips and things like that. So it's actually the basis of a lot of moves. So when someone comes to me and goes, look at this thing on Instagram I want to learn, I'm like, "Cool". I can dissect it all the way back to where it started, what they need to work on, because that's intrinsic in us, we know that stuff. So I actually find that it's really quite helpful with teaching.
Sarah: Definitely. Like reverse engineering stuff back, to be like, actually, that kind of looks like this. I mean, everything's a variation on a variation now. There's nothing really that's massively new. I think ... unless it's like contorting, and putting something where I shouldn't do. I don't count those 'cause I can't do any of those. But yeah, I definitely think it helps, and if people did just put in a little bit more of the base work, of the base tricks into their training, I think they'd actually find that they progress a lot quicker. And I like the old school stuff. Like, I did a knee hold the other day in a routine-
Annie: I know! I saw it, that was ... it was at Dance Filthy, you a knee hold, and I was like, "Yes!"
Sarah: It gets the same amount of applause as something really, really difficult, and I'm like, I'm gonna stick the the intermediate stuff. This stuff rocks, and I won't die.
Annie: Hey, back in the day, a knee hold was like, the ... one of the most advanced moves.
Sarah: Minds blown. You're holding on with your knees? Even like a layback was super popular, because you're like, how are you holding on? The physics. You used to do death lays as well in comps, I remember, didn't you used to do ... Like Pole Divas, didn't you used to do death lays?
Annie: Maybe like, one or something. But that move-
Sarah: I'm sure I remember someone doing a death lay, and I'm sure it was you. That was always like ... people would go absolutely crazy for a death lay. Bring back the death lay, that's what I say! But maybe change the name, because it sounds quite negative. I dunno.
Annie: But it makes it sound harder than it is, then, so, you know.
Sarah: I need to get more ... I only remember the old school names, and even ... everyone's changing them now. I'm useless at names, I just call them all variations. Which is not helpful.
Sarah: Lorna Blackwell from the group wanted to know, "Have you always been fab from the beginning of your pole journey, or did it take a little extra effort?" Like, were you a quick learner, or did you have to spend a long time doing stuff? And it kind of segued to what we were talking about.
Annie: I think we all know the answer to that. I mean-
Sarah: Amazing from the beginning. Move on.
Annie: Exactly. No, I was really, really bad when I first started. But, I say I was really, really bad, but-
Sarah: But were you though? Were you? That's subjective.
Annie: Well, I started seventeen years ago, so, like back then-
Sarah: Seventeen!
Annie: Seventeen. I don't look old enough, is that what you're thinking?
Sarah: Yes.
Annie: But back then, when we learnt to go upside down, we went three steps back from the pole, and like, ran at it. So, I was really bad, but I think pole was really bad. Do you know what I mean?
Sarah: I mean, well, yeah. I think the teaching has got a lot better know, as well as the people are learning a lot quicker. And there was a lot of trial and error.
Annie: Yeah.
Sarah: Yeah. Because people are like, oh, did you pick that stuff up really quick? And I'm like, no, but you know, I took a long time to learn a front hook spin and now people get it on their first class, so, you know ...
Annie: Yeah, so I don't really know the answer to that. I don't know. I don't think I was spectacularly good back then, but I just loved it.
Sarah: Do you take an classes now? Are you a good student, or do you do all self-learning?
Annie: I do a lot of self-learning but I also train. I've got lots of training buddies. I don't really go to workshops anymore because I find that I get really shy and I don't really know ... I don't know, I just get a bit shy and a bit nervous in a big group setting, so I'd much rather have one to one. I've been to [inaudible 00:20:28] for a one to one, I like Heidi Coker, and once I find someone that I like, I'll go and have private lessons because I think me personally, I just get more out of a private lesson. And you can work on specific things that you're working on. But all of my students, I'm always like, go to this workshop, go to that workshop, because generally, they're the best thing ever. But I think just, I get a little bit like, "Aah!"
Sarah: No, I can see that. I'm not a very good student in group classes. I tend to ... it'll be like, "Oh, I'll just do that later".
Annie: Yes!
Sarah: I'll just try that, I'll just try that ... I'm just going to film it, then try it later. I think there's ... I feel like quite a lot of pressure, like expectation.
Annie: Yup.
Sarah: Because I like to watch and try and watch and try and watch and try, so it takes me a few tries to get something and start to feel really comfortable with it. And I tend to find like yeah, group settings, I feel like people are watching and seeing if you're gonna do it first time or not, so yeah. But that's based ... that's just on myself, they don't care, they're doing their own thing, you know. People don't ... they're not even bothered what you're doing. But no, I'm the same. I think I'd probably go to privates but I like doing choreo classes, though. Choreo classes in a group are always really good fun-
Annie: Yes.
Sarah: 'Cause you can kind of get lost a bit more.
Sarah: Another good question was from Ruth Jayne Battersea. She asked, "Given the fact that Annie is a legend and performed on so many stages, what makes a performance memorable from your own perspective and also when you're watching others?" I thought that was a good question.
Annie: So when I watch other people, things that make it memorable is eye contact. And it doesn't have to be eye contact, it's projection. So I get that some people's pieces aren't about looking at people in the eyes, but as long as they're projecting their emotion in a certain way somewhere, that's good. And if it's not a deeply emotional piece, eye contact is good. And then, interesting transitions and cleanliness. They've my favourite. I can see a thousand tricks that are done sort of messily and it doesn't ... I think it's really strong, and I'm still impressed, but it doesn't leave that imprint on me.
Sarah: Yup. Yup, I think that's a really good thing to push, especially from a judge's perspective, like yourself. You've done so many judging shows over the years, it's that people do want to put in that one big trick they've been practising for the last six months, but unless you can do it and breathe and talk and put it in the middle of a three, four, five minute routine every single time be consistent, it's just not worth it, because your whole time you're going to be worrying about that one big trick, and if it goes wrong, then everything else just gets ... everyone remembers that one thing that you slipped up on, rather than putting in something that's a little bit easier, like a knee hold, and probably getting the same reaction than a bloody Marchenko, so-
Annie: I would-
Sarah: I'm not saying a Marchenko is as good as a knee hold, but whatever, it's fine.
Annie: Well we all know the knee hold is...
Sarah: Way hotter. Way more impressive. I just ... I could do a Marchenko, but I just choose not to. That's, I just-
Annie: Well, you know, you've gotta something for someone else, haven't you? You can't do everything.
Sarah: It's not even on my list of to-do. Not even ever. Never even written it down as a potential. I'm just ... I appreciate, and I move on.
Annie: Well, Bendy Kate had a conversation with me the other day. Apparently years ago, me and her had a bet about who would get it first, and-
Sarah: Who won? Did you do it?
Annie: No, I guess no one knows whether mine got there first, but-
Sarah: No one knows.
Annie: I don't know why I did that bet. Maybe I was just-
Sarah: What was the bet?
Annie: Bet was that the other person has to give the other one a private lesson. So I now owe her a private lesson because she got her Rainbow first, so, she's a lucky girl.
Sarah: There you go.
Sarah: Let's see if there are any more questions that have ... Well, we could cover the Dan Rosen one now that you have had a bit of time to think-
Annie: Okay.
Sarah: Which is that if you had to choose between your husband or your dogs, which would you choose?
Annie: That genuinely is a really hard question, because I don't look at these things like funny and light-hearted. I go really like, shit-
Sarah: What would I do?
Annie: What would I do?
Sarah: That's a mean question, Dan. I don't really think that you should ... we could throw that right back at him, and I doubt he'd want to answer that either. But he'll probably jump on this in the comments and be like, "Well actually ... " I wouldn't want to guess which one he was doing though.
Sarah: And who was your inspiration and favourite pole dancers?
Annie: Oh my god!
Sarah: That's from Anne-Marie, by the way.
Annie: Of course, so many. So to begin with, it was Pantera back in the day.
Sarah: Back in the day. Where did she go?
Annie: Strong, powerhouse, amazing. And then it's kind of changed. It just ... it depends. It literally changes from month to month and what kind of thing I'm looking at. I always love your stuff, I save all of your stuff, I'm like, "I'm gonna do that". I love Yvonne Smink, she's so creative but also then makes me feel really bad because I'm just like, my god, she's so creative, I can't create like that, but she's incredible. Love the way Marlo Fisken moves. Heidi Coker, she's a special girl. She's ... if you've not had a lesson with her, I recommend ... her teaching is immense. And then ... and I know this all sounds a bit airy-fairy, but my students, and anyone that comes to workshops and stuff, because they put in 100 per cent most of the time.
Sarah: Most of the time!
Annie: Most of the time. I mean, I'll walk into the studio and then I go, ooh, I've gotta do that paperwork, ooh, oh god, I must do this. And they just come in and they work so hard. I've got a couple of students like this one girl called Claire, she works so hard. She just inspires me all the time. And she always tells me I work hard, and then I look at her, and I'm like, hon, you work hard. So yeah, my students. But, yeah, pole dancers, you and Marlo and Yvonne and ... there's probably loads more that I've just missed that are greatly inspiring to me, but-
Sarah: So, that almost concludes the podcast because I feel like we've ... yeah, I've taken up enough of your time already, and you've obviously got so many deliveries coming in that you just-
Annie: It's probably loads of shoes. It was all the Black Friday deals, so I was like, "Okay".
Sarah: I know, I know, it's ... I didn't want to get suckered in, but I did.
Sarah: Is there anything that you want to tell the people? What's coming next year? So I know you've had an incredibly busy year this year. What have you got planned for next year? Not like everything, because you've probably got a million things, but-
Annie: Okay. I started working for Xpert, which is exciting. That has been amazing. That was a highlight of this year as well, so I'm looking forward to doing more of that. I've been booked for some workshops here and there, so I'm excited to do a few more of those. I've had an offer of teaching at a camp as well, which is really exciting, that was on my goals, to always get asked to work at a camp, so that's really cool.
Sarah: That's exciting.
Annie: Yeah. Just that. And I know, again, what I'm gonna say might just sound a bit of a blanket statement, but everyone that I work with, I want them to build their confidence, and I want them to start believing in themselves a little bit more, because I know a lot of people come to pole as a confidence boosting thing, and that's the main thing that I want people to take away from anything, any time they work with me, is to build their confidence. About their body, but just about themselves, really.
Sarah: That's definitely a very positive thing, I think. And that's why it's so funny when people look at pole as such like a ... "Oh, people are just throwing themselves around half naked round a pole", but the impact that it has on people, and the confidence that it gives people is so incredible. And I think more and more people like yourself that people are seeing like they've kind of been with you along your whole journey in pole, and I think it's fantastic that you're absolutely smashing it, and competing and business and Expert. It's awesome to see. So we want more of you next year. And where can people find you? I know you're plastered over social media but give us some ... so like, Facebook, Instagram, and if they want to get hold of you for workshops and stuff, what's the best way to get hold of you?
Annie: So Facebook me for workshops, that's probably best. Instagram ... you can follow me, I just keep posting loads of exotic pole at the moment because I'm just feeling ... I'm really feeling that.
Sarah: Do it.
Annie: Still do some other pole as well. I've got just my feet on on some of the posts.
Sarah: Just my feet on!
Annie: Just my feet on. Today I put the shoes on, tomorrow I put my feet on. So that's @annienorrispole on Instagram. Yeah, I think they're the two main things. I don't have a Facebook page.
Sarah: No, that's kind of dying out now. People don't want to use them as much, but I'll link to everything in the show notes and all the blogs and things that I link you on, so people will be able to get hold of you there. But thank you very much for answering all our questions, and I'm sure we'll have you on again soon, next year when you've done more amazing stuff.
Annie: If we start organising it now, this time next year should work out!
Sarah: Exactly! That's a very good point. Yeah, go us and our organisation.
Annie: Yeah.
Sarah: So thank you, Annie!
Annie: Thank you!
Thank you for joining me again. I hope you enjoyed this episode. I'm hoping to bring out this podcast every two weeks and would love to hear your feedback. If you could leave a review on iTunes I would be eternally grateful
Sarah Xx
