Problem: Povenmire was born in San Diego, California on September 18, 1963, and grew up in the city of Mobile, Alabama. A child prodigy, he began drawing at age two; by the time he was ten, his work was displayed in local art shows. His first efforts in animation included a series of flip books that he produced in his school text books. As a child, Povenmire considered animator Chuck Jones his hero; in a 2009 interview, he stated that "every drawing he [Jones] did was beautiful to look at and had so much energy in it".

Povenmire later became a director on Family Guy, starting with the season two episode, "Road to Rhode Island". Creator Seth MacFarlane granted Povenmire substantial creative freedom. Povenmire recalled that MacFarlane would tell him "We've got two minutes to fill. Give me some visual gags. Do whatever you want. I trust you." Povenmire praised MacFarlane's management style for letting him "have [...] fun."  Povenmire brought realism and material from his own experiences to the visual direction of Family Guy. For "One if By Clam, Two if By Sea" (August 1, 2001), several characters demonstrate Fosse-like moves in prison. To correctly depict the moves, Povenmire asked color artist Cynthia MacIntosh, who had been a professional dancer, to strike poses so he could properly illustrate the sequence. In the episode "To Love and Die in Dixie" (November 15, 2001), Povenmire drew on his childhood in the Deep South to create and sequence a background scene in which the redneck character nonchalantly kicks a corpse into the nearby river.  "Brian Wallows and Peter's Swallows" (January 17, 2002), a Family Guy episode which Povenmire directed, won the Emmy Award for Best Song. Creator MacFarlane, the recipient of the award, noted that Povenmire deserved to have received the award for the contribution the visuals made to the episode's win. Povenmire jokingly responded "That's a nice sentiment and all, but did he offer to give me his? No! And it's not like he doesn't already have two of his own just sitting in his house!" Povenmire was nominated for an Annie Award for Directing in an Animated Television Production for the episode "PTV" (November 6, 2005) but lost out to a fellow Family Guy director Peter Shin, who had directed the episode "North by North Quahog". Povenmire and several others were also nominated for their work on "PTV" in the Outstanding Animated Program (for Programming Less Than One Hour) category at the Primetime Emmy Awards. Povenmire also received the same nomination for "Road to Rhode Island."  During Family Guy's brief cancellation, Povenmire was offered a job as storyboard director of the series SpongeBob SquarePants. He wrote various musical numbers for the series, including "The Campfire Song Song" in "The Camping Episode" (April 3, 2004).

Who came up with the idea for Family Guy?

Answer with quotes: Creator Seth MacFarlane

Question:
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.
Answer this question using a quote from the text above:

What happened after 1914?

Answer:
As jazz migrated from its New Orleans origin to Chicago and New York City, energetic, suggestive dances traveled with it.