input: For reasons yet unknown, Sage leaves Sunspot's side and travels to England to join forces with the newly reformed New Excalibur. She helps them on various missions such as battling the Shadow King, and returning to ancient Camelot to prevent it from being prematurely destroyed. In a more subtle use of her observation abilities, Sage is instrumental in her teammate Nocturne's recovery from a debilitating stroke.  In order to learn more about a mysterious new foe, Albion, and thwart his attempt to conquer Britain, Sage creates the new cover identity and persona of Diana Fox. This persona appears to be fully devoted to Albion and his goals. However, this bothers her teammate Wisdom as he fears she might fail the mission, similar to her time with the Hellfire Club. Her Diana Fox persona climbs up the rank of Albion's Shadow Captains as Britannia, and develops a rivalry with Lionheart. Like the rest of Albion's army, Sage is given a suit that emphasizes loyalty to him, as well as equipping her with flight and superhuman physical strength. Although she has the opportunity to kill Albion, one purpose of her infiltration, she is struck by an errant pulse from an ancient item used by Albion to extinguish power in England. Though Lionheart suspects her betrayal, Albion believes she was only trying to protect him.  Wisdom's fears are realized after this when the Diana Fox persona takes complete control and Sage becomes fully committed to Albion's side. During this time, she slays two of New Excalibur's former allies in Shadow-X, Dark Cyclops and Dark Beast. A direct confrontation with her teammates in New Excalibur helps reassert Sage's original personality. Together with New Excalibur, Shadow-X, and now Lionheart, Sage defeats Albion and his Shadow Captains.

Answer this question "What happens after this persona is released?"
output: Her Diana Fox persona climbs up the rank of Albion's Shadow Captains as Britannia, and develops a rivalry with Lionheart. Like the rest of Albion's army,

Problem: Background: A choir () (also known as a quire, chorale or chorus) is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform. Choirs may perform music from the classical music repertoire, which spans from the Medieval era to the present, or popular music repertoire. Most choirs are led by a conductor, who leads the performances with arm and face gestures.
Context: Composers of the late 18th century became fascinated with the new possibilities of the symphony and other instrumental music, and generally neglected choral music. Mozart's choral works, though not as numerous as his works for other media, stand out as some of his greatest (such as the "Great" Mass in C minor and Requiem in D minor, the latter of which is often considered the greatest Requiem Mass of all time). Haydn became more interested in choral music near the end of his life following his visits to England in the 1790s, when he heard various Handel oratorios performed by large forces; he wrote a series of masses beginning in 1797 and his two great oratorios The Creation and The Seasons. Beethoven wrote only two masses, both intended for liturgical use, although his Missa solemnis is probably suitable only for the grandest ceremonies due to its length, difficulty and large-scale scoring. He also pioneered the use of chorus as part of symphonic texture with his Ninth Symphony and Choral Fantasia.  In the 19th century, sacred music escaped from the church and leaped onto the concert stage, with large sacred works unsuitable for church use, such as Berlioz's Te Deum and Requiem, and Brahms's Ein deutsches Requiem. Rossini's Stabat mater, Schubert's masses, and Verdi's Requiem also exploited the grandeur offered by instrumental accompaniment. Oratorios also continued to be written, clearly influenced by Handel's models. Berlioz's L'enfance du Christ and Mendelssohn's Elijah and St Paul are in the category. Schubert, Mendelssohn, and Brahms also wrote secular cantatas, the best known of which are Brahms's Schicksalslied and Nanie.  A few composers developed a cappella music, especially Bruckner, whose masses and motets startlingly juxtapose Renaissance counterpoint with chromatic harmony. Mendelssohn and Brahms also wrote significant a cappella motets. The amateur chorus (beginning chiefly as a social outlet) began to receive serious consideration as a compositional venue for the part-songs of Schubert, Schumann, Mendelssohn, Brahms, and others. These 'singing clubs' were often for women or men separately, and the music was typically in four-part (hence the name "part-song") and either a cappella or with simple instrumentation. At the same time, the Cecilian movement attempted a restoration of the pure Renaissance style in Catholic churches.
Question: Any particularly notable musics from this style/era?
Answer: A few composers developed a cappella music,

Question: Rascal Flatts is an American country band formed in Columbus, Ohio in 1999. It is composed of Gary LeVox, his second cousin Jay DeMarcus and Joe Don Rooney. DeMarcus is also a brother-in-law of country music singer James Otto, and formerly one-half of the Christian music duo East to West. They are best known for performing a cover of Tom Cochrane's "Life Is a Highway".

Rascal Flatts' founding was at Fiddle and Steel Guitar Bar in Nashville, Tennessee. Gary LeVox and Jay DeMarcus are second cousins from a musical family. DeMarcus moved to Nashville in 1992, earning his first record deal as part of a Christian group called East to West; his brother-in-law, James Otto, is also a country music singer. In 1997, DeMarcus called LeVox, and convinced him to come to Nashville and provide some harmonies on Michael English's album Gospel, which he was producing. They engineered the album together, and became English's back-up band.  At the same time, DeMarcus had become the bandleader of Chely Wright's band, where he met Joe Don Rooney, the guitarist in that band. DeMarcus and LeVox were working in a Printer's Alley nightclub and when their part-time guitarist could not make it one night, DeMarcus invited Rooney to join them. Jim Riley was the drummer and bandleader for the band. The group covered the hit Shenandoah single The Church on Cumberland Road that night. To the group's recollection, a bond was formed instantly.  Singer Mila Mason recommended the group to record producers Mark Bright and Marty Williams, who played Lyric Street Records A&R Doug Howard a three-song demo and Howard thought they were "just incredible." After he'd heard the demos, the band went into the Lyric Street offices the next day, sat down with acoustic guitars, and played a couple of songs. According to Howard in an interview with HitQuarters: "The vocals and harmonies, it was all there--I was just blown away. The lead singer has such a unique and compelling voice." The band was signed to Lyric Street in late 1999.

Using a quote from the above article, answer the following question: How long was he with that group?
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Answer:
In 1997, DeMarcus called LeVox, and convinced him to come to Nashville and provide some harmonies