In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Q: Passage: Although the publicity generated by Five Leaves Left was minor, Boyd was keen to build on what momentum there was. Drake's second album, 1971's Bryter Layter, again produced by Boyd and engineered by John Wood, introduced a more upbeat, jazzier sound.Disappointed by his debut's poor commercial performance, Drake sought to move away from his pastoral sound, and agreed to Boyd's suggestions to include bass and drum tracks. "It was more of a pop sound, I suppose," Boyd later said. "I imagined it as more commercial." Like its predecessor, the album featured musicians from Fairport Convention, as well as contributions from John Cale on two songs: "Northern Sky" and "Fly". Trevor Dann noted that while sections of "Northern Sky" sound more characteristic of Cale, the song was the closest Drake came to a release with chart potential. Cale used heroin during this period, and his older friend Brian Wells suspected that Drake was also using.Boyd and Wood were confident that Bryter Layter would be a success, but it sold fewer than 3,000 copies. Reviews were again mixed: while Record Mirror praised Drake as a "beautiful guitaristclean and with perfect timing, [and] accompanied by soft, beautiful arrangements", Melody Maker described the album as "an awkward mix of folk and cocktail jazz".Soon after its release, Boyd sold Witchseason to Island Records, and moved to Los Angeles to work with Warner Brothers to develop film soundtracks. The loss of his mentor, coupled with the album's poor sales, led Drake into further depression. His attitude to London had changed: he was unhappy living alone, and visibly nervous and uncomfortable performing at a series of concerts in early 1970. In June, Drake gave one of his final live appearances at Ewell Technical College, Surrey. Ralph McTell, who also performed that night, remembered: "Nick was monosyllabic. At that particular gig he was very shy. He did the first set and something awful must have happened. He was doing his song 'Fruit Tree' and walked off halfway through it."In 1971, Drake's family persuaded him to visit a psychiatrist at St Thomas's Hospital, London. He was prescribed antidepressants, but felt uncomfortable and embarrassed about taking them, and tried to hide the fact from his friends. He worried about their side effects and was concerned about how they would react with his regular cannabis use.Island Records urged Drake to promote Bryter Layter through interviews, radio sessions and live appearances. Drake, who by this time was smoking what Kirby described as "unbelievable amounts" of cannabis and exhibiting "the first signs of psychosis", refused. Disappointed by the reaction to Bryter Layter, he turned his thoughts inwards, and withdrew from family and friends. He rarely left his flat, and then only to play an occasional concert or to buy drugs. His sister recalled: "This was a very bad time. He once said to me that everything started to go wrong from [this] time on, and I think that was when things started to go wrong.".
Question: What is the last name of the person who agreed to include bass and drum tracks?

A: Northern Sky.
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Q: Passage: Throughout the early years of the July Monarchy, Alkan continued to teach and play at public concerts and in eminent social circles. He became a friend of many who were active in the world of the arts in Paris, including Franz Liszt (who had been based there since 1827), George Sand, and Victor Hugo. It is not clear exactly when he first met Frederic Chopin, who arrived in Paris in September 1831. In 1832 Alkan took the solo role in his first Concerto da camera for piano and strings at the Conservatoire. In the same year, aged 19, he was elected to the influential Societe Academique des Enfants d'Apollon (Society of the Children of Apollo), whose members included Luigi Cherubini, Fromental Halevy, the conductor Francois Habeneck, and Liszt, who had been elected in 1824 at the age of twelve. Between 1833 and 1836 Alkan participated at many of the Society's concerts. Alkan twice competed unsuccessfully for the Prix de Rome, in 1832 and again in 1834; the cantatas which he wrote for the competition, Hermann et Ketty and L'Entree en loge, have remained unpublished and unperformed.In 1834 Alkan began his friendship with the Spanish musician Santiago Masarnau, which was to result in an extended and often intimate correspondence which only came to light in 2009. Like virtually all of Alkan's correspondence, this exchange is now one-sided; all of his papers (including his manuscripts and his extensive library) were either destroyed by Alkan himself, as is clear from his will, or became lost after his death. Later in 1834 Alkan made a visit to England, where he gave recitals and where the second Concerto da camera was performed in Bath by its dedicatee Henry Ibbot Field; it was published in London together with some solo piano pieces. A letter to Masarnau and a notice in a French journal that Alkan played in London with Moscheles and Cramer, indicate that he returned to England in 1835. Later that year, Alkan, having found a place of retreat at Piscop outside Paris, completed his first truly original works for solo piano, the Twelve Caprices, published in 1837 as Opp. 12, 13, 15 and 16. Op. 16, the Trois scherzi de bravoure, is dedicated to Masarnau. In January 1836, Liszt recommended Alkan for the post of Professor at the Geneva Conservatoire, which Alkan declined, and in 1837 he wrote an enthusiastic review of Alkan's Op. 15 Caprices in the Revue et gazette musicale.
Question: Whose cantatas written for the competition, Hermann et Ketty and L'Entree en loge, have remained unpublished and unperformed?

A: Alkan.
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Q: Passage: Little documentary evidence of the games remains; contemporary and near-contemporary writings mostly record the major details and concentrate on the opening days. The poet Martial gives the most complete and only truly contemporary account in the form of his De Spectaculis ("On the Spectacles"), a somewhat sycophantic series of epigrams detailing the individual events of the games as an illustration of Titus' power and benevolence. Much of the work is concerned with praising Titus, and there have been difficulties with authenticating, dating and translating various portions, but Martial does give details of events not covered by other sources and the only known surviving complete record of a gladiatorial combat in the arena.The historian Suetonius was born in about AD 70, and started writing around AD 100. He was a child at the time of the games, but it is possible that he was born and raised in Rome, so he may have witnessed the inaugural games first-hand. His De Vita Caesarum (Lives of the Caesars, known also as The Twelve Caesars or Lives of the Twelve Caesars) probably completed around AD 117 to 127, includes some detail on the opening days of the games. Later in his history of Titus he reveals further information about the games. Suetonius' histories of the early Caesars have been criticised for being based on rumour and gossip rather than accurate historical sources, and he often reports from sources which contradict each other without attempting to analyse their quality or accuracy. However, he is generally regarded as a thorough scholar and has been praised for his balanced treatment of his subjects.The only other major source of information on the games is Cassius Dio who lived in the latter second and early third centuries. His History of Rome spans 80 books written in 22 years, but much of which are only fragments. He is noted for his attention to detail in administrative affairs, but for major events his writing can be merely impressionistic, with a greater emphasis put on his interpretation of the events' significance within the wider historical context rather than reporting details. His sources are varied: he relies on many of the major commentators but also seems to have paid close attention to public records. His account of the Titus games is not sourced.
Question: What is the full name of the person whose account of the Titus games is not sourced?

A:
Cassius Dio.
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