Background: According to author Edward A. Berlin, "One tenacious myth tells us that Joplin was born in Texarkana, Texas, on November 24, 1868. The location is easily dispensed with: Texarkana was not established until 1873." But, based on a letter discovered by musicologist John Tennison in 2015 in the December 19, 1856 edition of the Times-Picayune, it is clear that Texarkana was established as a place-name at least as early as 1856. Consequently, it appears possible that Joplin, born 12 years later, could have been born in Texarkana.
Context: The combination of classical music, the musical atmosphere present around Texarkana (including work songs, gospel hymns, spirituals and dance music) and Joplin's natural ability have been cited as contributing significantly to the invention of a new style that blended African-American musical styles with European forms and melodies, and first became celebrated in the 1890s: ragtime.  When Joplin was learning the piano, serious musical circles condemned ragtime because of its association with the vulgar and inane songs "...cranked out by the tune-smiths of Tin Pan Alley." As a composer Joplin refined ragtime, elevating it above the low and unrefined form played by the "...wandering honky-tonk pianists... playing mere dance music" of popular imagination. This new art form, the classic rag, combined Afro-American folk music's syncopation and 19th-century European romanticism, with its harmonic schemes and its march-like tempos. In the words of one critic, "Ragtime was basically... an Afro-American version of the polka, or its analog, the Sousa-style march." With this as a foundation, Joplin intended his compositions to be played exactly as he wrote them - without improvisation. Joplin wrote his rags as "classical" music in miniature form in order to raise ragtime above its "cheap bordello" origins and produced work that opera historian Elise Kirk described as, "... more tuneful, contrapuntal, infectious, and harmonically colorful than any others of his era."  Some speculate that Joplin's achievements were influenced by his classically trained German music teacher Julius Weiss, who may have brought a polka rhythmic sensibility from the old country to the 11-year old Joplin. As Curtis put it, "The educated German could open up the door to a world of learning and music of which young Joplin was largely unaware."  Joplin's first and most significant hit, the "Maple Leaf Rag", was described as the archetype of the classic rag, and influenced subsequent rag composers for at least 12 years after its initial publication thanks to its rhythmic patterns, melody lines, and harmony, though with the exception of Joseph Lamb, they generally failed to enlarge upon it.
Question: What was ragtime music?
Answer: Joplin refined ragtime, elevating it above the low and unrefined form played by the "...wandering honky-tonk pianists... playing mere dance music"

Background: Carl Dean Switzer (August 8, 1927 - January 21, 1959) was an American singer, child actor, breeder and guide. Switzer began his career as a child actor in the mid-1930s appearing in the Our Gang short subjects series as Alfalfa, one of the series' most popular and best-remembered characters. After leaving the series in 1940, Switzer struggled to find substantial roles owing to typecasting. As an adult, he appeared mainly in bit parts and B-movies.
Context: Switzer's tenure on Our Gang ended in 1940, when he was twelve. His first role after leaving the series was as co-star in the 1941 comedy Reg'lar Fellers. The next year, he had a supporting role in Mrs. Wiggs of the Cabbage Patch. Switzer continued to appear in films in various supporting roles, including in Johnny Doughboy (1942), Going My Way (1944), and The Great Mike (1944). Switzer had an uncredited role as Auggie in the 1943 film The Human Comedy. Switzer's last starring roles were in a brief series of imitation Bowery Boys movies. He reprised his "Alfalfa" character, complete with comically sour vocals, in PRC's Gas House Kids comedies in 1946 and 1947. By this time Switzer was downplaying his earlier Our Gang work. In his 1946 resume, he referred to the films generically as "M-G-M short product."  Switzer had small parts in both the 1946 Christmas film It's a Wonderful Life as Mary Hatch's (Donna Reed) date at a high school dance in the film's beginning and again in the 1948 film On Our Merry Way as the mayor's son, a trumpet player in a fixed musical talent contest. In the 1954 musical film White Christmas, his photo was used to depict "Freckle-Faced Haynes," an army buddy of lead characters Wallace and Davis (played by Bing Crosby and Danny Kaye) who was also the brother of the female leads the Haynes Sisters (played by Rosemary Clooney and Vera-Ellen).  In the 1950s, Switzer turned to television. Between 1952 and 1955, he made six appearances on The Roy Rogers Show. He also guest-starred in an episode of the American science fiction anthology series Science Fiction Theatre and The George Burns and Gracie Allen Show. In 1953 and 1954, Switzer co-starred in three William A. Wellman-directed films: Island in the Sky and The High and the Mighty, both starring John Wayne, and Track of the Cat, starring Robert Mitchum. In 1956, he co-starred in The Bowery Boys film Dig That Uranium followed by a bit part as a Hebrew slave in Cecil B. DeMille's The Ten Commandments. Switzer's final film role was in the film drama The Defiant Ones.  Besides acting, Switzer bred and trained hunting dogs and guided hunting expeditions. Among his notable clients were Roy Rogers and Dale Evans (Switzer's son's godparents), James Stewart, and Henry Fonda.
Question: What other acting did he do?
Answer:
He also guest-starred in an episode of the American science fiction anthology series Science Fiction Theatre and The George Burns and Gracie Allen Show.