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...loaded pistol in his back pocket, plus another Canadian passport. And when Scotland Yard's crack detective Tommy Butler took over, the alert immigration official's original suspicions were confirmed: fingerprints proved that Sneyd was, in fact, Illinois-born James Earl Ray, 40, alias Eric Starve Gait, the escaped convict accused of assassinating Dr. Martin Luther King Jr. on April 4 in Memphis...

Author: /time Magazine | Title: Assassinations: Arrested at Last | 6/14/1968 | See Source »

...late Roark Bradford, whose fanciful Negro folk tales about the creation, Of Man Adam an' His Chillun, were adapted by Marc Connelly into Green Pastures. He obviously has inherited his father's ear for dialect. On his own, he has the spontaneous gait and happy tone of a natural-born-if derivative-storyteller...

Author: /time Magazine | Title: Books: Through the Hedge | 6/7/1968 | See Source »

...course, does almost everybody else, but Capote's credentials make him worth listening to-wild though his theory may be. The FBI, he says, is looking for the wrong man. James Earl Ray, alias Eric Starvo Gait, was indeed in on the assassination plot-which Capote believes was carried out by "leftists, not rightists," for political gain. Ray did not, however, kill Martin Luther King. "I have studied his record very carefully, and in my experience with interviewing what I call homicidal minds [Capote has talked at length with 100 murderers in the past nine years...

Author: /time Magazine | Title: Opinion: The Assassination According to Capote | 5/10/1968 | See Source »

...Capote's reconstruction of the crime, in fact, Ray's only function was to throw the FBI off the assassin's trail, first by assuming the name of Eric Starvo Gait ("My theory is that there are two Eric Starvo Gaits"), and finally by planting his fingerprints on the gun that was later to be used for killing King...

Author: /time Magazine | Title: Opinion: The Assassination According to Capote | 5/10/1968 | See Source »

What holds Hair together is the score, which pulses with an insistent, primitive beat. With gleeful impertinence, the music by Gait MacDermot and the lyrics of Gerome Ragni and James Rado manage to release the pent-up yelps of the sons and daughters of the affluent society. A song like Ain't Got No ("Ain't got no class,/Ain't got no mother,/Ain't got no father,/Ain't got no culture") telegraphs the credo of the self-proclaimed have-nots of the '60s. Satire with a playful nip makes a treat...

Author: /time Magazine | Title: New Plays: Hair | 5/10/1968 | See Source »

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