Background: Jose Julian Marti Perez (January 28, 1853 - May 19, 1895) was a Cuban National Hero and an important figure in Latin American literature. During his life, he worked as a poet, essayist, journalist, translator, professor, and publisher. He was very politically active, and is considered an important revolutionary philosopher and political theorist. Through his writings and political activity, he became a symbol of Cuba's bid for independence against Spain in the 19th century, and is referred to as the "Apostle of Cuban Independence."
Context: The modernists, in general, use a subjective language. Marti's stylistic creed is part of the necessity to de-codify the logic rigor and the linguistic construction and to eliminate the intellectual, abstract and systematic expression. There is the deliberate intention and awareness to expand the expressive system of the language. The style changes the form of thinking. Without falling into unilateralism, Marti values the expression because language is an impression and a feeling through the form. Modernism mostly searches for the visions and realities, the expression takes in the impressions, the state of mind, without reflection and without concept. This is the law of subjectivity. We can see this in works of Marti, one of the first modernists, who conceives the literary task like an invisible unity, an expressive totality, considering the style like "a form of the content" (forma del contenido). The difference that Marti established between prose and poetry are conceptual. Poetry, as he believes, is a language of the permanent subjective: the intuition and the vision. The prose is an instrument and a method of spreading the ideas, and has the goal of elevating, encouraging and animating these ideas rather than having the expression of tearing up the heart, complaining and moaning. The prose is a service to his people. Marti produces a system of specific signs "an ideological code" (codigo ideologico). These symbols claim their moral value and construct signs of ethic conduct. Marti's modernism was a spiritual attitude that was reflected on the language. All his writing defines his moral world. One could also say that his ideological and spiritual sphere is fortified in his writing. The difference between Marti and other modernist initiators such as Manuel Gutierrez Najera, Julian del Casal, and Jose Asuncion Silva (and the similarity between him and Manuel Gonzalez Prada) lies in the profound and transcendent value that he gave to literature, converting prose into an article or the work of a journalist. This hard work was important in giving literature authentic and independent value and distancing it from mere formal amusement. Manuel Gutierez Najera, Ruben Dario, Miguel de Unamuno and Jose Enrique Rodo saved the Martinian articles, which will have an endless value in the writings of the American continent. Apart from Martinian articles. essay writing and literature starts to authorize itself as an alternative and privileged way to talk about politics. Literature starts to apply itself the only hermeneutics able to resolve the enigmas of a Latin American identity.
Question: Who did Marti spread this idea too?
Answer: Without falling into unilateralism, Marti values the expression because language is an impression and a feeling through the form.

Problem: Background: Mary Mary are an American gospel duo composed of sisters Erica Atkins-Campbell and Trecina Atkins-Campbell. Formed in 1998, Mary Mary was launched into mainstream recognition following the release of their best-selling debut album, Thankful (2000), which contained the hit single "Shackles (Praise You)". Their followup album Incredible (2002), reached number one on the Top Gospel Albums chart. Their third album, Mary Mary (2005), which contains themes the public interpreted as a channel to the group's experience, contains the worldwide hits "Heaven", "The Real Party", and "Yesterday".
Context: The Atkins sisters, born Erica Monique and Trecina Evette, grew up in a large family with seven siblings in Inglewood, California. Their mother, Thomasina Atkins, is an evangelist and choir director at the Church of God in Christ. Their father, Eddie A. Atkins, was also a member of the Church of God In Christ, and a youth counselor, before he died in 2013. Due to their proximity in age, the two sisters grew up closer to one another than to any of their siblings: Darrell Atkins (born 1965, the only living boy- the second boy died as a child), Maliea Atkins (born 1967), Erica (born 1972), Tina (born 1974), Delisa Atkins-Brown (born 1977), Thomasina Atkins (born 1979), Alana Atkins-Jamison (born 1985), and Shanta Atkins (born 1986). Later, they would work creatively with over half of their siblings; Thomasina, Alana, Delisa and Shanta Atkins all sing background on Mary Mary's albums and during stage performances and Delisa was originally a member of the group but left before they started recording professionally due to pursuing college. Eventually, all eight Atkins children united on the Bobby Jones Gospel show on BET. During this time, Erica and Trecina entered the world of church choirs, traveling gospel shows, and television productions. The sisters enrolled at El Camino College to study voice. There they encountered the division between rigorous academic study of music versus the popular musical world. "We had to study classical and sing arias, which was fine," Erica told Times, "but the teachers would tell us if we sang anything else it would damage our instrument." In 1995 the two toured with Michael Matthews' traveling gospel shows, Mama I'm Sorry and Sneaky. Each sister subsequently toured as a backup singer for a variety of R&B acts, including Brandy.
Question: Where did the members of Mary Mary get their start in music?
Answer:
During this time, Erica and Trecina entered the world of church choirs, traveling gospel shows, and television productions.