Claire / Clare Mcglinn ..The Website about Ex Corrie , The Cops Goddess , Actress & General Good Gal Claire McGlinn

I don't wish to imply that there aren't good things about you or that you're not an extraordinary person but I'd rather let other people enjoy the surprise " .......George Tsargas "now that it's over"

Claire McGlinn. Download a free complete MP3 copy of the great Holly Near song "I Ain't Afraid" from Her " Edge " CD

Claire Mcglinn ..The Website does not indorse any loan company that may appear on banners..they are all parasitical bastards

<b><a4>Claire McGlinn</a4></b>

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"Don't forget if you keep on winning, you keep on travelling."

- Eamonn Holmes

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Claire Mcglinn In coMpleted Timescaler

2005 16 March " The Bill " playing "Eve Miller" (episode # 21.21)

2005 10 March " The Bill " playing "Eve Miller" (episode # 21.20)

2005 15 February "Holby City" playing "Clair Kelly" in episode: "Stick or Twist" (episode # 7.18)

2004 Tues 27th - Sat 31st January Dead of Night Queen's Theatre, Barnstaple Playing Maggie

2003-4 Dec '03 - 3rd Jan '04 : ROBIN HOOD & THE BABES IN THE WOOD, Grimsby Auditorium Playing Robin Hood

2003 Mon 3 - Sat 8 Nov , DEAD OF NIGHT Peterborough Key Theatre Playing Maggie

2003 MONDAY 20TH - SATURDAY 25TH OCTOBER, DEAD OF NIGHT , Civic Theatre, Chelmsford Playing Maggie

2003 September DEAD OF NIGHT Billington Forum Theatre's rep season Playing Maggie

2003 July 28 Essex County Council Recycling cans campaign Playing Herself

2003 Monday to Saturday July 26 The Edge of Darkness, Wycombe Swan Playing Emma Cranwell

2003 23rd - 28th June, The Edge of Darkness, Festival Theatre, Malvern Playing Emma Cranwell

2003 Tuesday 20 May Warrington high school. (Police station) Playing Herself

2002-3 13 Dec - 3 Jan : ROBIN HOOD & THE BABES IN THE WOOD, Grimsby Auditorium Playing Robin Hood

2002 14 November "The Bill" playing "Maggie" (episode # 18.73)

2002 June "Gets in a pit; with a python" playing "Herself"

2002 June "National Schools Environmental Art Competition" playing "Herself"

2002 Saturday, June 1st. "HTV stand ROyal Bath and West Show 2002 " playing "Herself/Charlie Ramsden" with Stephen Beckitt /(Dr Matt Ramsden )

2002 May C5 Shows Soap stars up a Mountain "Playing Herself (a.k.a Charlie Ramsden)"

2002 April Leaves Coronation Street "Playing Teacher Charlie Ramsden"

2002-1 December 12 to January 19 : ROBIN HOOD & THE BABES IN THE WOOD, BATH THEATRE ROYAL Playing Robin Hood

2001 Wednesday, 19th December: launched the National Schools Environmental Art Competition at Broadoak Primary School in Swinton Playing Herself

2001 Friday 07 December : Russell Street Project.Awards Keithley Playing Herself

2001 October: V.I.P W eeekend Belfast, Northern Ireland Playing Herself

2001 20 September "Nightfever Popquiz -C5" playing "Herself"

2001 5 September "Celebrity Who Wants To Be A Millionaire? -ITV " playing "Herself"

2001 19 July "The Big Breakfast" playing "Herself"

2001 July "Rescue's Ladies Handbag Manchester" playing "Herself"

2000 20 October joins Coronation Street"Playing Teacher Charlie Ramsden"

2000 Leaves/(Series Ends) "The Cops" BBC2 TV Series playing.... WPC/Sgt. Natalie Metcalf

1999 21 October 1999 until 6 November Perfect Pitch(by John Godber)Bolton Octagon Theatre Playing Steph

1998 Joins "The Cops" BBC2 TV Series playing.... WPC/Sgt. Natalie Metcalf

1993 September Singles.. Wakefield Cardigan Terrace Playing Bridget Fonda

(19**) Othello (Salford University Theatre) Playing 'Desdemona'

(19**) Commedia Dell Arte group (The Gobbi Players). Playing ?????

(19**) Le Theatre De La Main D'or, Paris.... Le Roi Et L'Eccuyer Sont Mort/ Director Maurice Insac Playing Various....

(19**) The Chapman Theatre, Manchester.... Othello/ Director Ron Dixon Playing Desdemona....

(19**) Whitworth Gallery,Manchester.... Three Birds ALighting on a Field/ Director Yvonne Murphey Playing Betty....

(19**) Stephen Joseph Theatre.... Live Like Pigs/.... Director Bob English Playing Old Croaker

(19**) Alhambra Theatre, Bradford.... Electronic Colours/ Director Peter Craig Playing Interface....

(19**) Bradford Playhouse.... Skirmishes Director Toby Rafferty Playing Jean....

(19**) Native Productions.... No Ordinary Joes/(Film) Director Joe Banister Playing Kate....

(19**) Knack Productions .... Hot Blood/(Film) Director Tony Smith Urban Playing Terry....

(19**) Woolsworths /(Corporate Video) Playing ?????....

(19**) Co Operatives Stores /(Corporate Video) Playing ?????....

(19**) European Enterprise Commission /(Corporate Video) Playing ?????....

(19**) Calpol & Manweb /(Commercial) Playing ?????....

1995 27 November - 1 December ,SALFORD UNIVERSITY THEATRE COMPANYDirectors Assistant;


(19**) LEEDS UNIVERSITY Leeds: BA Degree in Dramatic Arts

(19**)Bretton HallCollege of Performing Arts, , BA Hons in Dramatic Art

(19**) St Edmund Arrowsmith school ,Ashton in Makerfield ,

1969 Born

Ms. McGlinn ran the New York marathon to raise money for the charity ARMS Action and Research for Multiple Sclerosis. She has a degree in Performing Arts and my snout told me that she used to waitress at posh events like polo matches....John Smythe, Smythe & Co, London WC1

ASK nothing more of me , Sweet ;
All I can give you I give.
Heart of my heart , were it more
More would be laid at your feet ;
Love that should help you to live ,
Song that should you spur to soar .

All things wre nothing to give ,
Once to have sence of you more
Touch you and taste of you sweet ,
Think you and breathe you and live ,
Swept of your wings as they soar ,
Trodden by chance of your feet .

I that have love and no more
Give you but love of you , sweet :
He that hath more , let him give ;
He that hath wings , let him soar ;
Mine is the heart at your feet
Here , that must love you to live .

Mortals that would follow me,
Love virtue , she alone is free.
She can teach you how to climb
Higher than the sphery chime;
Or , If virtue feeble were ,
Heav 'n itself would stoop to her

i carry your heart with me(i carry it in
my heart)i am never without it(anywhere
i go you go,my dear;and whatever is done
by only me is your doing,my darling)
................................... i fear
no fate(for you are my fate,my sweet)i want
no world(for beautiful you are my world,my true)
and it's you are whatever a moon has always meant
and whatever a sun will always sing is you

here is the deepest secret nobody knows
(here is the root of the root and the bud of the bud
and the sky of the sky of a tree called life;which grows
higher than soul can hope or mind can hide)
and this is the wonder that's keeping the stars apart

i carry your heart(i carry it in my heart)

WHAT is gold worth , say ,
Worth for work or play ,
Worth to keep or pay ,
Hide or throw away,
.....Hope about or fear ?
What is love worth , pray ?
.....Worth a tear ?

Golden on the mould
Lie the dead leaves rolled
Of the wet woods old,
Yellow leaves and cold,
......Woods without a dove ;
Gold is but gold;
.......Love's worth love.

If I could hold on to just one thought
For long enough to know
Why my mind is moving so fast
And the conversation is slow.
Burn off all the fog
And let the sun through to the snow
Let me see your face again
Before I have to go.

I have seen you in the movies
And in those magazines at night
I saw you on the barstool when
You held that glass so tight.
And I saw you in my nightmares
But I'll see you in my dreams
And I might live a thousand years
Before I know what that means.

I don't believe in an interventionist God
But I know, darling, that you do
But if I did I would kneel down and ask Him
Not to intervene when it came to you
Not to touch a hair on your head
To leave you as you are
And if He felt He had to direct you
Then direct you into my arms

Into my arms, O Lord
Into my arms, O Lord
Into my arms, O Lord
Into my arms

And I don't believe in the existence of angels
But looking at you I wonder if that's true
But if I did I would summon them together
And ask them to watch over you
To each burn a candle for you
To make bright and clear your path
And to walk, like Christ, in grace and love
And guide you into my arms

Into my arms, O Lord
Into my arms, O Lord
Into my arms, O Lord
Into my arms

And I believe in Love
And I know that you do too
And I believe in some kind of path
That we can walk down, me and you
So keep your candlew burning
And make her journey bright and pure
That she will keep returning
Always and evermore

Into my arms, O Lord
Into my arms, O Lord
Into my arms, O Lord
Into my arms

Then as it was, then again it will be
An' though the course may change sometimes
Rivers always reach the sea
Blind stars of fortune, each have several rays
On the wings of maybe, down in birds of prey
Kind of makes me feel sometimes, didn't have to grow
But as the eagle leaves the nest, it's got so far to go

Changes fill my time, baby, that's alright with me
In the midst I think of you, and how it used to be

Did you ever really need somebody, And really need 'em bad
Did you ever really want somebody, The best love you ever had
Do you ever remember me, baby, did it feel so good
'Cause it was just the first time, And you knew you would

Through the eyes an' I sparkle, Senses growing keen
Taste your love along the way, See your feathers preen
Kind of makes makes me feel sometimes, Didn't have to grow
We are eagles of one nest, The nest is in our soul

Vixen in my dreams, with great surprise to me
Never thought I'd see your face the way it used to be
Oh darlin', oh darlin'

I'm never gonna leave you. I never gonna leave
Holdin' on, ten years gone
Ten years gone, holdin' on, ten years gone

Went out walkin' through the wood the other day
And the world was a carpet laid before me
The buds were bursting and the air smelled sweet and strange
And it seemed about a hundred years ago

Mary and I, we would sit upon a gate
Just gazin' at some dragon in the sky
What tender days, we had no secrets hid away
Well, it seemed about a hundred years ago

Now all my friends are wearing worried smiles
Living out a dream of what they was
Don't you think it's sometimes wise not to grow up?

Went out walkin' through the wood the other day
Can't you see the furrows in my forehead?
What tender days, we had no secrets hid away
Now it seems about a hundred years ago

Now if you see me drinkin' bad red wine
Don't worry 'bout this man that you love
Don't you think it's sometimes wise not to grow up?

You're gonna kiss and say good-bye, yeah, I warn you
You're gonna kiss and say good-bye, yeah, I warn you
You're gonna kiss and say good-bye, oh Lord, I warn you
And please excuse me while I hide away

Call me lazy bones
Ain't got no time to waste away
Lazy bones ain't got no time to waste away
Don't you think it's just about time to hide away?
Yeah, yeah!

College Pub -Wakefield

College Pub
138 Northgate
West Yorkshire

Tel: 01924 374392

I look out my window watch her as she passes by
I say to myself I'm such a lucky guy
To have a girl like her is a dream come true
And of all the girls in New York she loves me true

It was just my imagination, once again
Running away with me
It was just my imagination
Running away with me

Soon we'll be married and raise a family
Two boys for you, what about two girls for me
I tell you I am just a fellow with a one track mind
Whatever it is I want baby I seek and I shall find

I'll tell ya
It was just my imagination, once again
Running away with me
It was just my imagination
Running away with me

Every night I hope and pray
"Dear lord, hear my plea
Don't ever let another take her love from me
Or I will surely die"

Her love is ecstasy
When her arms enfold me
I hear her tender rhapsody
But in reality, she doesn't even know... me

" But that intimacy of mutual embarrassment, in which each feels that the other is feeling something, having once existed, its effect is not to be done away with. " ........ George Eliot

In mathematics and philosopy we find two concepts of infinity: potential infinity, which is the infinity of a process which never stops, and actual infinity which is supposed to be static and completed, so that it can be thought of as an object.

The cybernetic philosopy readily embraces the concept of potential infinity; in fact, it is hard to see how we can avoid it. We say that a process ends when it reaches a certain stage. In a particular case, we can define the end stage so that it never takes place. As every general notion, this is an abstraction: we have abstracted from the practical impossibilty to run any real process infinitely, and in fact, for very long. In this abstraction, no matter how long we have run the process, we always can do, or observe, the next step. This is why this infinity is called potential. At every specific stage the process involves no more than quite a finite reality; it is infinite only potentially.

For actual infinity we have no place in our system of concepts. On the intuitive level, we cannot imagine anything that would qualify as actual infinity, because neither we, nor our evolutionary predecessors never had anything like that in experience. When we try to imagine something infinite, e.g., infinite space, we actually imagine a process of moving form point to point without any end in sight. This is potential, not actual, infinity.

On a more formal level we can demonstrate the incompatibility of the concept of actual infinity with our cybernetic understanding of meaning. Indeed, suppose that some abstraction r represent the concept of an "infinite" object, and we use it while constructing a model. According to our semantics, there must exist an abstraction (representation) function F which recognizes whether a given state of the world belongs to this concept, an if so, results in r. Moreover, function F must, by definition, always require a finite time for coming up with a definite result. If the "infinite" object can be always recognized as such in a finite number of steps, it is not actually infinite, because it can be adequately replaced by a finite object. If, by the intuitive meaning of the "infinite" object r its recognition may require infinite time, then abstraction function will have to work, at least in some cases, infinitely, but then it is not a valid abstraction function. Thus we cannot use the concept of actual infinity at all.

As an example, consider the process of counting. We can imagine it going on infinitely if we do not count real sheep or apples, but simply produce concecutive numbers. Let us represent numbers (whole and positive) by strings of the symbol '1'; then the process is:

1, 11, 111, 1111, ... etc. infinitely.

When we say that this process is infinite, we mean that whatever is the current number, we can add one more '1' to it. Thus we deal with potential infinity.

To convert it into an actual infinity, we must imagine an object that includes in itself all whole numbers. We call it the set of all positive whole numbers. Suppose that such a thing exists. How would it be possible for an abstraction function F to distinguish it from other objects, e.g. from the set of all whole numbers with the exception of the number 10^{50}? Intuitively, F must examine the infinite number of the elements of the set. Since this is impossible to achieve in any finite time, the needed function F does not exist.

What we can do, however, is to create an objectification of the process which generates all whole numbers. A machine which initiates this process (and, of course, never stops) is such an objectification. This machine is a finite object. It can be made of metal, with an electric motor as the agent causing the process of work. Or we can describe it in some language addressing a human agent, but requirung only simple "mechanical" actions uniquely defined at each stage of the process. Such descriptions are known as {\algorithms}. If we use the English language for writing algorithms, the machine, to be referred to as N, could be as follows:

At the initial stage of the process produce the number '1'. At each next stage take the number produced at the preceding stage and produce the number obtained by adding '1' to it."

Now we can say that the set of whole numbers is N. We have no objections against sets defined in this way. Their meaning is crystal clear. Their infinity is still potential.

The problem with contemporary mathematics is that it operates with sets that cannot be represented by finite mechanical generators. They are uncountable.

The question of the nature and meaning of these sets is, in the eyes of contemporqry mathemticians and philosophers, wide open. Yet their usefulnes is abundantly demonstrated, and everybody believs that their use will never lead to contradiction. Thus it is important for us to interpret uncountable sets -- and the whole set theory -- in terms of our cybernetic, constructive philosophy. If we were unable to do this, it would undermine our claim that the basic principles on which we build our philosophy are universally applicable and sufficient.

Fortunately, we can interpret set theory, as well as classical and intuitionist logic, in our terms (Valentin F. Turchin, The Cybernetic Foundation of Mathematics, Technical report (170 pages) of the City College, City University of New York, 1983. ). Our interpretation assigns quite definite meanings, in our sense of the word, to the basic concepts of logic and set theory, and does it without any recourse to the concept of actual infinity

"That boy makes more noise than a skeleton on a tin roof"...Foghorn Leghorn

Love is like a mountain, hard to climb, but once you get to the top the view is beautiful......... - Daniel Monroe Tuttle -

" Giving Women the right to vote , Will destroy the whole election system " ........ H H Asquith (1852-1928)

e = mc>2

People all over the world (everybody)
Join hands (join)
Start a love train, love train
People all over the world (all the world, now)
Join hands (love ride)
Start a love train (love ride), love train
The next stop that we make will be soon
Tell all the folks in Russia, and China, too
Don't you know that it's time to get on board
And let this train keep on riding, riding on through
Well, well
People all over the world (you don't need no money)
Join hands (come on)
Start a love train, love train (don't need no ticket, come on)
People all over the world (Join in, ride this train)
Join in (Ride this train, y'all)
Start a love train (Come on, train), love train
All of you brothers over in Africa
Tell all the folks in Egypt, and Israel, too

Please don't miss this train at the station
'Cause if you miss it, I feel sorry, sorry for you 


People all over the world (Sisters and brothers)
Join hands (join, come on)
Start a love train (ride this train, y'all), love train (Come on)
People all over the world (Don't need no tickets)
Join hands (come on, ride)
Start a love train, love train
Ride, let it ride
Let it ride
Let it ride
People, ain't no war
People all over the world (on this train)
Join in (ride the train)
Start a love train, love train (ride the train, y'all)
People all over the world (come on)
Join hands (you can ride or stand, yeah)
Start a love train, love train (makin' love)
People all over the world ('round the world, y'all)
Join hands (come on)
Start a love train, love train

It was one of those nights
When you turn out the lights
And everything comes into view
She was taking her time
I was losing my mind
There was nothing that she wouldn't do
It wasn't the first
It wasn't the last
She knew we was making love
I was so satisfied
Deep down inside
Like a hand in a velvet glove

Seems like a touch, a touch too much
Seems like a touch, a touch too much
Too much for my body, too much for my brain
This kind of woman's gonna drive me insane
She's got a touch, a touch too much

She had the face of an angel
Smiling with sin
The body of Venus with arms
Dealing with danger
Stroking my skin
Like a thunder and lightnin' storm
It wasn't the first
It wasn't the last
It wasn't that she didn't care
She wanted it hard
And wanted it fast
She liked it done medium rare

Seems like a touch, a touch too much
Seems like a touch, a touch too much
Too much for my body, too much for my brain
This damn woman's gonna drive me insane
She's got a touch, a touch too much
Touch me

Seems like a touch, (touch too much)
You know it's much too much, (much too much)
I really want to feel you (touch too much)
Girl you know you're getting me (much too much)
Seems like a touch
Just a dirty little touch
I really need your touch
Cause you're much too much too much too much

Seems like a touch, a touch too much
Seems like a touch, a touch too much
Givin' me a touch, a touch too much
Baby got a touch, a touch too much
Seems like a touch, a touch too much
A touch too much
A touch too much
A touch too much

Touch, c'mon touch me

A Taste Of Claire McGlinn

e = mc>2