FRANKLYN V.E. SEALES: Life of an Artist

FRANKLYN V.E. SEALES. Life of an Artist By Jean M. Dorsinville "When I think of my uncle during the few stages of my life until he passed, my earliest.
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Seales in and are proud parents of Natasha and Dimitri, and grandparents of twins, boy and girl, Nadia and Benjamin IV. He would sit in front of his easel, focused, creating, expressing himself in beautiful ways Life of an Artist.

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He would sit in front of his easel, focused, creating, expressing himself in beautiful ways. I appreciated his ability to focus and lay bare himself in the medium of a painting, in the form of his acting. He lost himself in that room in front of his piece of unfolding art as well as in his performance roles. I realized that he put forth the same focus and love toward me in so many ways.

His expression of love came in many forms - calls, letters, gifts, visits. Houseman offered Seales a four-year Juilliard scholarship. Dorsinville also claims Seales was the first and so far the only student and graduate of Juilliard from St. Seales also studied at Houseman's Acting Company. Flipper, the first African-American graduate of West Point. That same year, he had a minor role in Star Trek: He came to do other television and became a regular on Silver Spoons which also starred Houseman , a situation comedy of the early s in which he portrayed Dexter Stuffins from to He also performed roles in Hill Street Blues and Amen.

In Los Angeles, Seales joined L. It intrigues him, too, that the former Republican candidate Mitt Romney's Mormon faith caused 'anxiety among the fundamentalists' within the electorate.


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McMahon can recall how no one much worried about it in , when Mitt's Mormon father, George Romney, ran for president. At other times - such as when he casually mentions how Nazi space scientists 'came down from the foothills, turned themselves into the Americans,' and went on to found NASA - McMahon can sound like a cracked conspiracy theorist. Until, that is, you remember that the top scientists from the Nazi rocket programme did indeed surrender to US troops before becoming the vanguard of the American space agency - and realise that McMahon is, as ever, simply saying what he saw.

Franklyn Seales The "TOTAL ARTIST" - About the Artist

And he's seen it all. In , McMahon was working as a freelance illustrator when, impressed with some images he had sent on spec, staff at Life commissioned him to go to Mississippi to produce courtroom sketches at a murder trial. The judge would make the decision, and generally speaking it wasn't allowed.

The trial in question was of the two white men accused of the murder of Emmett Till, a black year-old from Chicago.

While staying with his great uncle Moses Wright, Till had wolf-whistled - or done nothing at all; accounts differed depending on allegiances - at a white woman in a local shop. A few days later, he was brutally beaten, shot, and then thrown, attached to a weight with barbed wire, into a nearby river.

The two suspects, one of whom was the woman's husband, were acquitted by the all-white jury, but that only added to the public outcry over the case, which was as pivotal in generating support for the Civil Rights movement as Rosa Parks's later refusal to sit at the back of the bus.


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Watching events unfold in court, McMahon recalls, 'I wasn't thinking "history" - when I did the Till trial, I did it as a job. The magazine came out on the Monday, and the centre of McMahon's electric set of images of the trial was a powerful picture of Wright, slight of frame and stooped of posture, all his energy and weight seemingly channelled into the index finger with which he was defiantly pointing out the two suspects.

Franklin McMahon: the man who drew history

McMahon's artist's eye knew it was the pivotal moment in the story, even if his mind didn't have time to register why. Now he sees that, as he puts it, Wright had 'rose up and pointed them out - and that was the most important act of the trial, because he had the guts to go against years of history.

Aware that drawing the news was already an anachronism in the golden age of photography, McMahon knew he would have to work hard to keep getting such prestigious work. In he persuaded Look magazine to let him cover the first televised presidential debates, in which a telegenic John F.

Kennedy famously won on points over a haggard Richard M.

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They didn't want to realise that television was a turning point. McMahon, on the other hand, continued to be in the right places at the right times. Great change was afoot, and he was on the road, always somehow managing to arrive just in time. He drove to Cape Kennedy to draw the view from the control centre during the first manned space rocket launch in , returning to Alabama in time to see Martin Luther King's march for black enfranchisement finally reach the state capital of Montgomery two days later. In and , he covered the trial of the 'Chicago Eight', the judicial face-off between the establishment and the anti-war counterculture.