The first was the publication of the book, They All Played Ragtime, in 1960, by Harriet Janis and Rudi Blesh. Some historians refer to this book as "The Ragtime Bible." Regardless, it was the first comprehensive and serious attempt to document the first ragtime era, and its three most important composers, Joplin, Scott, and Lamb. The second major factor was the rise to prominence of Max Morath. Morath created two television series for National Educational Television (now PBS) in 1960 and 1962: The Ragtime Era, and The Turn of the Century. Morath turned the latter into a one-man-show in 1969, and toured the U.S. with it for five years. Morath subsequently created different one-man-shows which also toured the U.S., that also educated and entertained audiences about ragtime. New ragtime composers soon followed, including Morath, Donald Ashwander, Trebor Jay Tichenor, John Arpin, William Bolcom, William Albright. In 1971, Joshua Rifkin released a compilation of Joplin's work which was nominated for a Grammy Award. In 1973, The New England Ragtime Ensemble (then a student group called The New England Conservatory Ragtime Ensemble) recorded The Red Back Book, a compilation of some of Joplin's rags in period orchestrations edited by conservatory president Gunther Schuller. It won a Grammy for Best Chamber Music Performance of the year and was named Top Classical Album of 1974 by Billboard magazine. The movie The Sting (1973) brought ragtime to a wide audience with its soundtrack of Joplin tunes. The film's rendering of "The Entertainer", adapted and orchestrated by Marvin Hamlisch, was a Top 5 hit in 1975. Ragtime – with Joplin's work at the forefront – has been cited as an American equivalent of the minuets of Mozart, the mazurkas of Chopin, or the waltzes of Brahms. Ragtime also influenced classical composers including Erik Satie, Claude Debussy, and Igor Stravinsky. Historical context Ragtime originated in African American music in the late 19th century and descended from the jigs and march music played by African American bands, referred to as "jig piano" or "piano thumping". By the start of the 20th century, it became widely popular throughout North America and was listened and danced to, performed, and written by people of many different subcultures. A distinctly American musical style, ragtime may be considered a synthesis of African syncopation and European classical music, especially the marches made popular by John Philip Sousa. Some early piano rags were classified as