instruction:
In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.
question:
Passage: Despite undergoing various changes of emphasis, Bush's music retained a voice distinct from that of any of his contemporaries. One critic describes the typical Bush sound as "Mild dominant discords, of consonant effect, used with great originality in uncommon progressions alive with swift, purposeful harmonic movement ... except in [Benjamin] Britten they are nowhere used with more telling expression, colour and sense of movement than in Bush".John Ireland, Bush's early mentor, instilled "the sophisticated and restrained craftsmanship which marked Bush's music from the beginning", introducing him to folksong and Palestrina, both important building blocks in the development of Bush's mature style. Daula comments that "Bush's music does not [merely] imitate the sound-world of his Renaissance predecessors", but creates his unique fingerprint by "[juxtaposing] 16th century modal counterpoint with late- and post-romantic harmony".Bush's music, at least from the mid-1930s, often carried political overtones. His obituarist Rupert Christiansen writes that, as a principled Marxist, Bush "put the requirements of the revolutionary proletariat at the head of the composer's responsibilities", a choice which others, such as Tippett, chose not to make. However, Vaughan Williams thought that, despite Bush's oft-declared theories of the purposes of art and music, "when the inspiration comes over him he forgets all about this and remembers only the one eternal rule for all artists, 'To thine own self be true'.".
answer:
What is the last name of the person who wrote that the composer who retained a voice distinct from that of any of his contemporaries "remembers only the one eternal rule for all artists, 'To thine own self be true'."?

question:
Passage: Adam, a medical student, is lured to a cabin far from civilization where he volunteers to be repeatedly killed and reanimated by Dr. Franklin Vick, through use of a mysterious serum. While "Subject Two" as he is initially successful, he begins to experience violent seizures and excruciating pain, begging Vick to kill him or committing suicide several times. Adam eventually gains complete immortality and near instantaneous regeneration, but as a consequence he loses the very sense of being alive; he can no longer feel things (including pain) and no longer can have emotions. His eyes turn snow white, and, to compensate for the gradual loss of his sense of self, he becomes violent and depressed, going so far as to kill a hunter that accidentally shoots him rather than risk him exposing the project. Eventually the student leaves Vick, only to become a walking ghost doomed to walk the earth for eternity. After returning home, "Vick" finds the real Dr. Franklin Vick, and it is revealed that the doctor for the course of the entire movie was his assistant, Subject One. Thinking that he had accidentally killed Dr. Vick, Subject One assumed his identity to continue the work, but finds that the serum was initially perfect, and it was only his tampering that gradually changed Adam. Dr. Vick scolds him before strangling him in a similar fashion to Adam, and thus begins the experiment cycle over again. It carries several obvious homages to Frankenstein but explores more the emotional effects of death and pseudo-life.
answer:
Whose eyes turn snow white?

question:
Passage: In New Orleans, Louisiana, a man named John arrives at a bar searching for the "evilest" prostitute he can take home. He is directed to Shirley, who agrees to leave with him for two-hundred dollars. At his home, he asks her to lie on a table. She undresses, and John re-enters the room in a robe and wearing a mysterious metal mask. He begins massaging her, and then ties her to the table and eviscerates her, removes her heart, and offers it on an altar in an Aztec sacrifice to the goddess Coatl.
Sergeant Frank Hebert and his partner are assigned to Shirley's murder case after her body is found on train tracks in the city. When questioning other local prostitutes, Hebert meets Sherry, and discovers from her that the man whom Shirley had left with the night she died wore an unusual gold ring.
Meanwhile, John continues to stalk local strip clubs and bars for further female victims, performing the same evisceration and sacrificial murders on them. Hebert eventually comes upon a delivery man who helps lead police to the apartment belonging to John, where he has three women held hostage for a ritual sacrifice planned for the Mardi Gras celebration.
The police raid the apartment and save the three women, but John escapes on foot, finds a car, and begins a high-speed chase that ends with him crashing in the Gulf of Mexico. When they pull the car from the Gulf, they find the ritual mask, but John is nowhere to be found.
answer:
Who offers two hundred dollars?