Problem: Carl Franklin was raised outside of San Francisco, in Richmond, California. He never had the opportunity to know his biological father, who had died before Carl was born. Franklin was raised by his mother and stepfather. While Franklin speaks highly of his stepfather and has called him "very loving," he has spoken out about his stepfather's abusive tendencies, linking his outbursts to alcohol use.

Franklin supports the portrayal of African-American history in films, and has been quoted as saying "I am interested in the universal values of the black experience." However, just because Franklin is a filmmaker who is African American does not mean that all of his films are racially motivated. Not all of his films revolve around a central theme of culture: some of his films cover racial issues, while others do not. Franklin maintains a wide subject range in his films, choosing not to focus solely on his heritage. As a prominent African-American filmmaker, Franklin stands apart from the rest in his careful selection of projects. While many of his most notable films touch on the subject of racial climates and the struggles that ensue, Franklin does not hide behind his race. Explaining to The L.A Times, "My ethnicity is a plus, a tool. It gives me ammunition in terms of the way I view the world. There are certain stories in the black community that inform us all." Combining his humanitarian instincts and personal experiences, Franklin stands out as a visionary for community improvement through his films. However, a large part of Franklin's remarkable journey revolves around the fact that he is black. Discussing the realities for African Americans in the television and film industry, Franklin said: "When I came up, the only legitimate dramatic actor was Sidney Poitier, the bankable star was Richard Pryor and the other choice roles were action parts that went to Jim Brown. Even someone as good as Billy Dee Williams had a couple of great moments and then couldn't get a decent part." With a very small window of opportunity for African Americans at the time that Franklin was getting his start, his skills and educational background contributed to his success. Franklin is a standout filmmaker regardless of his race, yet he is often praised for his ability to overcome adversity, and is recognized for his highly regarded opinion as well as his relevant contributions. In February 2000, Franklin was featured as a Black History Month guest speaker at Indiana University's ''Black Film Center/Archive''. The group hosted an event called A Night with Filmmaker Carl Franklin, which gave Franklin the opportunity to talk about his experience in the movie industry as well as show a preview of his film Devil in a Blue Dress. Franklin's appearance was highly regarded by many students who were honored to meet him in person.

Did he do anything with any black charities?

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Problem: A big band is a type of musical ensemble that usually consists of ten or more musicians with four sections: saxophones, trumpets, trombones, and a rhythm section. Big bands originated during the early 1910s and dominated jazz in the early 1940s when swing was most popular. The term "big band" is also used to describe a genre of music. One problem with this usage is that it overlooks the variety of music played by these bands.

Before 1914, social dance in America was dominated by steps such as the waltz and polka. As jazz migrated from its New Orleans origin to Chicago and New York City, energetic, suggestive dances traveled with it. During the next decades, ballrooms filled with people doing the jitterbug and Lindy Hop. The dance duo Vernon and Irene Castle popularized the foxtrot while accompanied by the orchestra of James Reese Europe. One of the first bands to accompany the new rhythms was led by a drummer, Art Hickman, in San Francisco in 1916. Hickman's arranger, Ferde Grofe, wrote arrangements in which he divided the jazz orchestra into sections that combined in various ways. This intermingling of sections became a defining characteristic of big bands. In 1919, Paul Whiteman hired Grofe to use similar techniques for his band. Whiteman was educated in classical music, and he called his new band's music symphonic jazz. The methods of dance bands marked a step away from New Orleans jazz. With the exception of Jelly Roll Morton, who continued playing in the New Orleans style, bandleaders paid attention to the demand for dance music and created their own big bands. They incorporated elements of Broadway, Tin Pan Alley, ragtime, and vaudeville. Duke Ellington led his band at the Cotton Club in Harlem. Fletcher Henderson's career started when he was persuaded to audition for a job at Club Alabam in New York City, which eventually turned into a job as bandleader at the Roseland Ballroom. At these venues, which themselves gained notoriety, bandleaders and arrangers played a greater role than they had before. Hickman relied on Ferde Grofe, Whiteman on Bill Challis. Henderson and arranger Don Redman followed the template of King Oliver, but as the 1920s progressed they moved away from the New Orleans format and transformed jazz. They were assisted by a band full of talent: Coleman Hawkins on tenor saxophone, Louis Armstrong on cornet, and multi-instrumentalist Benny Carter, whose career lasted into the 1990s.

Was there any important figures for this music era?

Answer with quotes:
the new rhythms was led by a drummer, Art Hickman, in San Francisco in 1916.