niryuu/sni-each-converted huggingface dataset:
Passage: Christine is a housewife, who does not speak. Her husband works while she stays home with their three children. Andrea is an executive secretary in an office predominantly run by men. Annie is a jolly waitress at a local café. These three women have never met before until one day in a dress boutique. Christine attempts to shoplift a dress by slipping it into her bag. She is approached by the male owner of the store. After refusing to return the garment, Andrea and Annie join Christine in a circle around the man. Together, the three women brutally murder him as a group of women stand and silently but attentively watch. 
Female criminal psychiatrist, Janine, is appointed to the case of these three women by the court to determine if they are sane or crazy.  Janine takes the time to get to know each woman and their story. None of the three will say why they committed the crime, Janine comes to realize they were fed up with the strain of living in a patriarchy. After much deliberation, she concludes that they are all sane and finds herself identifying with them. Eventually tensions rise between Janine and her husband because he worries her statement in court will ruin his reputation. 
The court date arrives and Janine gives her professional opinion that the three women are in fact sane and that the court should take into consideration that the owner of the boutique was a male. Despite the prosecutors attempts to get her to change her opinion, she stands her ground. When the prosecutor suggests that the crime would have still happened if the owner were a woman, Christine, Andrea, Annie, Janine and the other women who witnessed the crime all laugh and exit the courtroom.
Output: What are the names of the people fed up with living in a patriarchy?
Passage: Christine is a housewife, who does not speak. Her husband works while she stays home with their three children. Andrea is an executive secretary in an office predominantly run by men. Annie is a jolly waitress at a local café. These three women have never met before until one day in a dress boutique. Christine attempts to shoplift a dress by slipping it into her bag. She is approached by the male owner of the store. After refusing to return the garment, Andrea and Annie join Christine in a circle around the man. Together, the three women brutally murder him as a group of women stand and silently but attentively watch. 
Female criminal psychiatrist, Janine, is appointed to the case of these three women by the court to determine if they are sane or crazy.  Janine takes the time to get to know each woman and their story. None of the three will say why they committed the crime, Janine comes to realize they were fed up with the strain of living in a patriarchy. After much deliberation, she concludes that they are all sane and finds herself identifying with them. Eventually tensions rise between Janine and her husband because he worries her statement in court will ruin his reputation. 
The court date arrives and Janine gives her professional opinion that the three women are in fact sane and that the court should take into consideration that the owner of the boutique was a male. Despite the prosecutors attempts to get her to change her opinion, she stands her ground. When the prosecutor suggests that the crime would have still happened if the owner were a woman, Christine, Andrea, Annie, Janine and the other women who witnessed the crime all laugh and exit the courtroom.
Output: What is the name of the woman who interviews the jolly waitress?
Passage: Christine is a housewife, who does not speak. Her husband works while she stays home with their three children. Andrea is an executive secretary in an office predominantly run by men. Annie is a jolly waitress at a local café. These three women have never met before until one day in a dress boutique. Christine attempts to shoplift a dress by slipping it into her bag. She is approached by the male owner of the store. After refusing to return the garment, Andrea and Annie join Christine in a circle around the man. Together, the three women brutally murder him as a group of women stand and silently but attentively watch. 
Female criminal psychiatrist, Janine, is appointed to the case of these three women by the court to determine if they are sane or crazy.  Janine takes the time to get to know each woman and their story. None of the three will say why they committed the crime, Janine comes to realize they were fed up with the strain of living in a patriarchy. After much deliberation, she concludes that they are all sane and finds herself identifying with them. Eventually tensions rise between Janine and her husband because he worries her statement in court will ruin his reputation. 
The court date arrives and Janine gives her professional opinion that the three women are in fact sane and that the court should take into consideration that the owner of the boutique was a male. Despite the prosecutors attempts to get her to change her opinion, she stands her ground. When the prosecutor suggests that the crime would have still happened if the owner were a woman, Christine, Andrea, Annie, Janine and the other women who witnessed the crime all laugh and exit the courtroom.
Output: Who does the jolly waitress help in the dress boutique?
Passage: Christine is a housewife, who does not speak. Her husband works while she stays home with their three children. Andrea is an executive secretary in an office predominantly run by men. Annie is a jolly waitress at a local café. These three women have never met before until one day in a dress boutique. Christine attempts to shoplift a dress by slipping it into her bag. She is approached by the male owner of the store. After refusing to return the garment, Andrea and Annie join Christine in a circle around the man. Together, the three women brutally murder him as a group of women stand and silently but attentively watch. 
Female criminal psychiatrist, Janine, is appointed to the case of these three women by the court to determine if they are sane or crazy.  Janine takes the time to get to know each woman and their story. None of the three will say why they committed the crime, Janine comes to realize they were fed up with the strain of living in a patriarchy. After much deliberation, she concludes that they are all sane and finds herself identifying with them. Eventually tensions rise between Janine and her husband because he worries her statement in court will ruin his reputation. 
The court date arrives and Janine gives her professional opinion that the three women are in fact sane and that the court should take into consideration that the owner of the boutique was a male. Despite the prosecutors attempts to get her to change her opinion, she stands her ground. When the prosecutor suggests that the crime would have still happened if the owner were a woman, Christine, Andrea, Annie, Janine and the other women who witnessed the crime all laugh and exit the courtroom.
Output: Who does the secretary help in the dress boutique?
Passage: The white-naped xenopsaris (Xenopsaris albinucha), also known as the reed becard and white-naped becard, is a species of suboscine bird in the family Tityridae, the only member of the genus Xenopsaris. It is found in South America, in humid subtropical and tropical savanna climates in most of the countries east of the Andes: Venezuela, Brazil, Bolivia, Paraguay, Uruguay, and Argentina. Living in open woodland and other open forest habitats, it is mostly sedentary, though some populations may be migratory. The species, which is closely related to becards and tityras, was thought to be either a tyrant-flycatcher or cotinga, before it was placed in Tityridae.
The bird is 12.5 to 13 cm (4.9–5.1 in) in length, with whitish undersides, a black crown, and grey-brown upperparts. The sexes are similar in appearance, though the females have duller upperparts. It feeds on insects in the foliage of trees and bushes, and sometimes on the ground. Nesting occurs in a simple cup nest placed in the fork of a tree. Both parents incubate the eggs and help feed the chicks. When the chicks fledge, the parents may divide up the brood to continue helping. The species is not common and little is known about it, but it is not considered in danger of extinction, and has been classified as of least concern by the International Union for Conservation of Nature.
Output: What are the common names of the animal that is mostly sedentary?
Passage: The white-naped xenopsaris (Xenopsaris albinucha), also known as the reed becard and white-naped becard, is a species of suboscine bird in the family Tityridae, the only member of the genus Xenopsaris. It is found in South America, in humid subtropical and tropical savanna climates in most of the countries east of the Andes: Venezuela, Brazil, Bolivia, Paraguay, Uruguay, and Argentina. Living in open woodland and other open forest habitats, it is mostly sedentary, though some populations may be migratory. The species, which is closely related to becards and tityras, was thought to be either a tyrant-flycatcher or cotinga, before it was placed in Tityridae.
The bird is 12.5 to 13 cm (4.9–5.1 in) in length, with whitish undersides, a black crown, and grey-brown upperparts. The sexes are similar in appearance, though the females have duller upperparts. It feeds on insects in the foliage of trees and bushes, and sometimes on the ground. Nesting occurs in a simple cup nest placed in the fork of a tree. Both parents incubate the eggs and help feed the chicks. When the chicks fledge, the parents may divide up the brood to continue helping. The species is not common and little is known about it, but it is not considered in danger of extinction, and has been classified as of least concern by the International Union for Conservation of Nature.
Output: What is the scientific name of the animal that has a black crown and whitish undersides?
Passage: The white-naped xenopsaris (Xenopsaris albinucha), also known as the reed becard and white-naped becard, is a species of suboscine bird in the family Tityridae, the only member of the genus Xenopsaris. It is found in South America, in humid subtropical and tropical savanna climates in most of the countries east of the Andes: Venezuela, Brazil, Bolivia, Paraguay, Uruguay, and Argentina. Living in open woodland and other open forest habitats, it is mostly sedentary, though some populations may be migratory. The species, which is closely related to becards and tityras, was thought to be either a tyrant-flycatcher or cotinga, before it was placed in Tityridae.
The bird is 12.5 to 13 cm (4.9–5.1 in) in length, with whitish undersides, a black crown, and grey-brown upperparts. The sexes are similar in appearance, though the females have duller upperparts. It feeds on insects in the foliage of trees and bushes, and sometimes on the ground. Nesting occurs in a simple cup nest placed in the fork of a tree. Both parents incubate the eggs and help feed the chicks. When the chicks fledge, the parents may divide up the brood to continue helping. The species is not common and little is known about it, but it is not considered in danger of extinction, and has been classified as of least concern by the International Union for Conservation of Nature.
Output: What is the scientific name of the animal that lives in open woodland?
Passage: The white-naped xenopsaris (Xenopsaris albinucha), also known as the reed becard and white-naped becard, is a species of suboscine bird in the family Tityridae, the only member of the genus Xenopsaris. It is found in South America, in humid subtropical and tropical savanna climates in most of the countries east of the Andes: Venezuela, Brazil, Bolivia, Paraguay, Uruguay, and Argentina. Living in open woodland and other open forest habitats, it is mostly sedentary, though some populations may be migratory. The species, which is closely related to becards and tityras, was thought to be either a tyrant-flycatcher or cotinga, before it was placed in Tityridae.
The bird is 12.5 to 13 cm (4.9–5.1 in) in length, with whitish undersides, a black crown, and grey-brown upperparts. The sexes are similar in appearance, though the females have duller upperparts. It feeds on insects in the foliage of trees and bushes, and sometimes on the ground. Nesting occurs in a simple cup nest placed in the fork of a tree. Both parents incubate the eggs and help feed the chicks. When the chicks fledge, the parents may divide up the brood to continue helping. The species is not common and little is known about it, but it is not considered in danger of extinction, and has been classified as of least concern by the International Union for Conservation of Nature.
Output: What is the scientific name of the animal that is 12.5 to 13 cm?
Passage: Rolling Stone named "Single Ladies" the best song of 2008, and wrote, "The beat ... is irresistible and exuberant, the vocal hook is stormy and virtuosic." "Single Ladies" ranked as the second-best song of the 2000s decade in the magazine's 2009 readers' poll, and Rolling Stone critics placed it at number 50 on the list of the 100 Best Songs of the Decade. "Single Ladies" was placed at number two on MTV News' list of The Best Songs of 2008; James Montgomery called it "hyperactive and supercharged in ways I never thought possible. It's epic and sexy and even a bit sad." "There is absolutely zero chance Beyoncé ever releases a single like this ever again", Montgomery concluded. Time magazine's critic Josh Tyrangiel, who called the song "ludicrously infectious", ranked it as the seventh-best song of 2008. Douglas Wolf of the same publication placed it at number nine on his list of the All-Time 100 Songs."Single Ladies" appeared at number six on the Eye Weekly's critics' list of the Best Singles of 2008, and at number six on About.com's Mark Edward Nero's list of the Best R&B Songs of 2008. On The Village Voice's year-end Pazz & Jop singles list, "Single Ladies" was ranked at numbers three and forty one in 2008 and 2009 respectively. Additionally, the Maurice Joshua Club Mix of the song was ranked at number 443 on the 2008 list. "Single Ladies" was named the best song of the 2000s decade by Black Entertainment Television (BET). Sarah Rodman, writing for The Boston Globe, named "Single Ladies" the fourth most irresistible song of the decade, and stated, "[Beyoncé] combined leotards with crass engagement-bling baiting into one delicious sexy-yet-antiquated package. The video had the whole world dancing and waving along via YouTube." VH1 ranked "Single Ladies" at number sixteen on its list of The 100 Greatest Songs of the 2000s. In his book Eating the Dinosaur (2009), Chuck Klosterman wrote that "Single Ladies" is "arguably the first song overtly marketed toward urban bachelorette parties". Jody Rosen of The New Yorker credited the melodies that float and dart over the thump for creating a new sound in music that didn't exist in the world before Beyoncé. He further wrote, "If they sound 'normal' now, it's because Beyoncé, and her many followers, have retrained our ears.".
Output: What publication listed the "ludicrously infectious" single as sixteenth on the 100 Greatest songs of the 2000s?
Passage: Rolling Stone named "Single Ladies" the best song of 2008, and wrote, "The beat ... is irresistible and exuberant, the vocal hook is stormy and virtuosic." "Single Ladies" ranked as the second-best song of the 2000s decade in the magazine's 2009 readers' poll, and Rolling Stone critics placed it at number 50 on the list of the 100 Best Songs of the Decade. "Single Ladies" was placed at number two on MTV News' list of The Best Songs of 2008; James Montgomery called it "hyperactive and supercharged in ways I never thought possible. It's epic and sexy and even a bit sad." "There is absolutely zero chance Beyoncé ever releases a single like this ever again", Montgomery concluded. Time magazine's critic Josh Tyrangiel, who called the song "ludicrously infectious", ranked it as the seventh-best song of 2008. Douglas Wolf of the same publication placed it at number nine on his list of the All-Time 100 Songs."Single Ladies" appeared at number six on the Eye Weekly's critics' list of the Best Singles of 2008, and at number six on About.com's Mark Edward Nero's list of the Best R&B Songs of 2008. On The Village Voice's year-end Pazz & Jop singles list, "Single Ladies" was ranked at numbers three and forty one in 2008 and 2009 respectively. Additionally, the Maurice Joshua Club Mix of the song was ranked at number 443 on the 2008 list. "Single Ladies" was named the best song of the 2000s decade by Black Entertainment Television (BET). Sarah Rodman, writing for The Boston Globe, named "Single Ladies" the fourth most irresistible song of the decade, and stated, "[Beyoncé] combined leotards with crass engagement-bling baiting into one delicious sexy-yet-antiquated package. The video had the whole world dancing and waving along via YouTube." VH1 ranked "Single Ladies" at number sixteen on its list of The 100 Greatest Songs of the 2000s. In his book Eating the Dinosaur (2009), Chuck Klosterman wrote that "Single Ladies" is "arguably the first song overtly marketed toward urban bachelorette parties". Jody Rosen of The New Yorker credited the melodies that float and dart over the thump for creating a new sound in music that didn't exist in the world before Beyoncé. He further wrote, "If they sound 'normal' now, it's because Beyoncé, and her many followers, have retrained our ears.".
Output: What is the last name of the author that said the single that placed at number two on MTV News' list of The Best Songs of 2008 is "arguably the first song overtly marketed toward urban bachelorette parties"?
Passage: Rolling Stone named "Single Ladies" the best song of 2008, and wrote, "The beat ... is irresistible and exuberant, the vocal hook is stormy and virtuosic." "Single Ladies" ranked as the second-best song of the 2000s decade in the magazine's 2009 readers' poll, and Rolling Stone critics placed it at number 50 on the list of the 100 Best Songs of the Decade. "Single Ladies" was placed at number two on MTV News' list of The Best Songs of 2008; James Montgomery called it "hyperactive and supercharged in ways I never thought possible. It's epic and sexy and even a bit sad." "There is absolutely zero chance Beyoncé ever releases a single like this ever again", Montgomery concluded. Time magazine's critic Josh Tyrangiel, who called the song "ludicrously infectious", ranked it as the seventh-best song of 2008. Douglas Wolf of the same publication placed it at number nine on his list of the All-Time 100 Songs."Single Ladies" appeared at number six on the Eye Weekly's critics' list of the Best Singles of 2008, and at number six on About.com's Mark Edward Nero's list of the Best R&B Songs of 2008. On The Village Voice's year-end Pazz & Jop singles list, "Single Ladies" was ranked at numbers three and forty one in 2008 and 2009 respectively. Additionally, the Maurice Joshua Club Mix of the song was ranked at number 443 on the 2008 list. "Single Ladies" was named the best song of the 2000s decade by Black Entertainment Television (BET). Sarah Rodman, writing for The Boston Globe, named "Single Ladies" the fourth most irresistible song of the decade, and stated, "[Beyoncé] combined leotards with crass engagement-bling baiting into one delicious sexy-yet-antiquated package. The video had the whole world dancing and waving along via YouTube." VH1 ranked "Single Ladies" at number sixteen on its list of The 100 Greatest Songs of the 2000s. In his book Eating the Dinosaur (2009), Chuck Klosterman wrote that "Single Ladies" is "arguably the first song overtly marketed toward urban bachelorette parties". Jody Rosen of The New Yorker credited the melodies that float and dart over the thump for creating a new sound in music that didn't exist in the world before Beyoncé. He further wrote, "If they sound 'normal' now, it's because Beyoncé, and her many followers, have retrained our ears.".
Output: What is the last name of the writer that said the song Rolling Stone named "Single Ladies" the best song of 2008 was fourth most irresistible song of the decade?
Passage: The frame story is narrated by a white father, who has recently returned from India, to his son. He explains that man's closest relative in nature is the orangutan, which translates literally as "man of the forest." He then tells the story of Ali and his son Bin, natives of Sumatra, who hunt in a jungle village. Ali wants to shoot a marauding tiger, but the orangutans Tua and his baby Rango get in the way, and Rango is almost grabbed by the tiger. While Ali prepares a tiger trap, the orangutans enter Ali's hut and feast on the stored goods. Dozens of orangutans join them, ransacking the hut. When Ali and Bin return to discover the havoc, Ali captures Rango and puts him on a chain. Later, Ali saves Tua from a black panther. 
In the night, a tiger enters the camp, and Rango warns Bin in time for him to shoot and scare the tiger away. At dawn, Tua comes for Rango and eats in the hut, while Bin tends the water buffaloes. After the tiger kills a deer, the orangutans scream warnings to each other and flee. Two male tigers approach and chase Bin, Rango and Tua. When Bin is cornered by a tiger, Rango comes to the rescue. The tiger kills Rango, who thus sacrifices his own life for the sake of his human friend, but the water buffalo fights the tiger and kills him. Ali and Bin embrace as Tua waits for Rango, unaware he will never return.
Output: What animal warns Bin about the tiger?
Passage: The frame story is narrated by a white father, who has recently returned from India, to his son. He explains that man's closest relative in nature is the orangutan, which translates literally as "man of the forest." He then tells the story of Ali and his son Bin, natives of Sumatra, who hunt in a jungle village. Ali wants to shoot a marauding tiger, but the orangutans Tua and his baby Rango get in the way, and Rango is almost grabbed by the tiger. While Ali prepares a tiger trap, the orangutans enter Ali's hut and feast on the stored goods. Dozens of orangutans join them, ransacking the hut. When Ali and Bin return to discover the havoc, Ali captures Rango and puts him on a chain. Later, Ali saves Tua from a black panther. 
In the night, a tiger enters the camp, and Rango warns Bin in time for him to shoot and scare the tiger away. At dawn, Tua comes for Rango and eats in the hut, while Bin tends the water buffaloes. After the tiger kills a deer, the orangutans scream warnings to each other and flee. Two male tigers approach and chase Bin, Rango and Tua. When Bin is cornered by a tiger, Rango comes to the rescue. The tiger kills Rango, who thus sacrifices his own life for the sake of his human friend, but the water buffalo fights the tiger and kills him. Ali and Bin embrace as Tua waits for Rango, unaware he will never return.
Output: Whose father is saved from a black panther?
Passage: Sir Osbert Lancaster, CBE (4 August 1908 – 27 July 1986) was an English cartoonist, architectural historian, stage designer and author. He was known for his cartoons in the British press, and for his lifelong work to inform the general public about good buildings and architectural heritage. 
The only child of a prosperous family, Lancaster was educated at Charterhouse School and Lincoln College, Oxford, at both of which he was an undistinguished scholar. From an early age he was determined to be a professional artist and designer, and studied at leading art colleges in Oxford and London. While working as a contributor to The Architectural Review in the mid-1930s, Lancaster published the first of a series of books on architecture, aiming to simultaneously amuse the general reader and demystify the subject. Several of the terms he coined as labels for architectural styles have gained common usage, including "Pont Street Dutch" and "Stockbrokers' Tudor", and his books have continued to be regarded as important works of reference on the subject.
In 1938 Lancaster was invited to contribute topical cartoons to The Daily Express. He introduced the single column-width cartoon popular in the French press but not until then seen in British papers. Between 1939 and his retirement in 1981 he drew about 10,000 of these "pocket cartoons", which made him a nationally known figure. He developed a cast of regular characters, led by his best-known creation, Maudie Littlehampton, through whom he expressed his views on the fashions, fads and political events of the day.
From his youth, Lancaster wanted to design for the theatre, and in 1951 he was commissioned to create costumes and scenery for a new ballet, Pineapple Poll. Between then and the early 1970s he designed new productions for the Royal Ballet, Glyndebourne, D'Oyly Carte, the Old Vic and the West End. His productivity declined in his later years, when his health began to fail. He died at his London home in Chelsea, aged 77. His diverse career, honoured by a  knighthood in 1975, was celebrated by an exhibition at the Wallace Collection marking the centenary of his birth and titled Cartoons and Coronets: The Genius of Osbert Lancaster.
Output: What is the last name of the person who was known for his cartoons in the British press?
Passage: Sir Osbert Lancaster, CBE (4 August 1908 – 27 July 1986) was an English cartoonist, architectural historian, stage designer and author. He was known for his cartoons in the British press, and for his lifelong work to inform the general public about good buildings and architectural heritage. 
The only child of a prosperous family, Lancaster was educated at Charterhouse School and Lincoln College, Oxford, at both of which he was an undistinguished scholar. From an early age he was determined to be a professional artist and designer, and studied at leading art colleges in Oxford and London. While working as a contributor to The Architectural Review in the mid-1930s, Lancaster published the first of a series of books on architecture, aiming to simultaneously amuse the general reader and demystify the subject. Several of the terms he coined as labels for architectural styles have gained common usage, including "Pont Street Dutch" and "Stockbrokers' Tudor", and his books have continued to be regarded as important works of reference on the subject.
In 1938 Lancaster was invited to contribute topical cartoons to The Daily Express. He introduced the single column-width cartoon popular in the French press but not until then seen in British papers. Between 1939 and his retirement in 1981 he drew about 10,000 of these "pocket cartoons", which made him a nationally known figure. He developed a cast of regular characters, led by his best-known creation, Maudie Littlehampton, through whom he expressed his views on the fashions, fads and political events of the day.
From his youth, Lancaster wanted to design for the theatre, and in 1951 he was commissioned to create costumes and scenery for a new ballet, Pineapple Poll. Between then and the early 1970s he designed new productions for the Royal Ballet, Glyndebourne, D'Oyly Carte, the Old Vic and the West End. His productivity declined in his later years, when his health began to fail. He died at his London home in Chelsea, aged 77. His diverse career, honoured by a  knighthood in 1975, was celebrated by an exhibition at the Wallace Collection marking the centenary of his birth and titled Cartoons and Coronets: The Genius of Osbert Lancaster.
Output: What is the last name of the person who was known for his lifelong work to inform the general public about good buildings ad architectural heritage?
Passage: Sir Osbert Lancaster, CBE (4 August 1908 – 27 July 1986) was an English cartoonist, architectural historian, stage designer and author. He was known for his cartoons in the British press, and for his lifelong work to inform the general public about good buildings and architectural heritage. 
The only child of a prosperous family, Lancaster was educated at Charterhouse School and Lincoln College, Oxford, at both of which he was an undistinguished scholar. From an early age he was determined to be a professional artist and designer, and studied at leading art colleges in Oxford and London. While working as a contributor to The Architectural Review in the mid-1930s, Lancaster published the first of a series of books on architecture, aiming to simultaneously amuse the general reader and demystify the subject. Several of the terms he coined as labels for architectural styles have gained common usage, including "Pont Street Dutch" and "Stockbrokers' Tudor", and his books have continued to be regarded as important works of reference on the subject.
In 1938 Lancaster was invited to contribute topical cartoons to The Daily Express. He introduced the single column-width cartoon popular in the French press but not until then seen in British papers. Between 1939 and his retirement in 1981 he drew about 10,000 of these "pocket cartoons", which made him a nationally known figure. He developed a cast of regular characters, led by his best-known creation, Maudie Littlehampton, through whom he expressed his views on the fashions, fads and political events of the day.
From his youth, Lancaster wanted to design for the theatre, and in 1951 he was commissioned to create costumes and scenery for a new ballet, Pineapple Poll. Between then and the early 1970s he designed new productions for the Royal Ballet, Glyndebourne, D'Oyly Carte, the Old Vic and the West End. His productivity declined in his later years, when his health began to fail. He died at his London home in Chelsea, aged 77. His diverse career, honoured by a  knighthood in 1975, was celebrated by an exhibition at the Wallace Collection marking the centenary of his birth and titled Cartoons and Coronets: The Genius of Osbert Lancaster.
Output: What is the last name of the person who an undistinguished scholar?
Passage: Sir Osbert Lancaster, CBE (4 August 1908 – 27 July 1986) was an English cartoonist, architectural historian, stage designer and author. He was known for his cartoons in the British press, and for his lifelong work to inform the general public about good buildings and architectural heritage. 
The only child of a prosperous family, Lancaster was educated at Charterhouse School and Lincoln College, Oxford, at both of which he was an undistinguished scholar. From an early age he was determined to be a professional artist and designer, and studied at leading art colleges in Oxford and London. While working as a contributor to The Architectural Review in the mid-1930s, Lancaster published the first of a series of books on architecture, aiming to simultaneously amuse the general reader and demystify the subject. Several of the terms he coined as labels for architectural styles have gained common usage, including "Pont Street Dutch" and "Stockbrokers' Tudor", and his books have continued to be regarded as important works of reference on the subject.
In 1938 Lancaster was invited to contribute topical cartoons to The Daily Express. He introduced the single column-width cartoon popular in the French press but not until then seen in British papers. Between 1939 and his retirement in 1981 he drew about 10,000 of these "pocket cartoons", which made him a nationally known figure. He developed a cast of regular characters, led by his best-known creation, Maudie Littlehampton, through whom he expressed his views on the fashions, fads and political events of the day.
From his youth, Lancaster wanted to design for the theatre, and in 1951 he was commissioned to create costumes and scenery for a new ballet, Pineapple Poll. Between then and the early 1970s he designed new productions for the Royal Ballet, Glyndebourne, D'Oyly Carte, the Old Vic and the West End. His productivity declined in his later years, when his health began to fail. He died at his London home in Chelsea, aged 77. His diverse career, honoured by a  knighthood in 1975, was celebrated by an exhibition at the Wallace Collection marking the centenary of his birth and titled Cartoons and Coronets: The Genius of Osbert Lancaster.
Output: What is the last name of the person who was determined to be a professional artist and designer from an early age?
Passage: Sir Osbert Lancaster, CBE (4 August 1908 – 27 July 1986) was an English cartoonist, architectural historian, stage designer and author. He was known for his cartoons in the British press, and for his lifelong work to inform the general public about good buildings and architectural heritage. 
The only child of a prosperous family, Lancaster was educated at Charterhouse School and Lincoln College, Oxford, at both of which he was an undistinguished scholar. From an early age he was determined to be a professional artist and designer, and studied at leading art colleges in Oxford and London. While working as a contributor to The Architectural Review in the mid-1930s, Lancaster published the first of a series of books on architecture, aiming to simultaneously amuse the general reader and demystify the subject. Several of the terms he coined as labels for architectural styles have gained common usage, including "Pont Street Dutch" and "Stockbrokers' Tudor", and his books have continued to be regarded as important works of reference on the subject.
In 1938 Lancaster was invited to contribute topical cartoons to The Daily Express. He introduced the single column-width cartoon popular in the French press but not until then seen in British papers. Between 1939 and his retirement in 1981 he drew about 10,000 of these "pocket cartoons", which made him a nationally known figure. He developed a cast of regular characters, led by his best-known creation, Maudie Littlehampton, through whom he expressed his views on the fashions, fads and political events of the day.
From his youth, Lancaster wanted to design for the theatre, and in 1951 he was commissioned to create costumes and scenery for a new ballet, Pineapple Poll. Between then and the early 1970s he designed new productions for the Royal Ballet, Glyndebourne, D'Oyly Carte, the Old Vic and the West End. His productivity declined in his later years, when his health began to fail. He died at his London home in Chelsea, aged 77. His diverse career, honoured by a  knighthood in 1975, was celebrated by an exhibition at the Wallace Collection marking the centenary of his birth and titled Cartoons and Coronets: The Genius of Osbert Lancaster.
Output: What is the last name of the person who studied at leading art colleges in Oxford and London?
Passage: Sir Osbert Lancaster, CBE (4 August 1908 – 27 July 1986) was an English cartoonist, architectural historian, stage designer and author. He was known for his cartoons in the British press, and for his lifelong work to inform the general public about good buildings and architectural heritage. 
The only child of a prosperous family, Lancaster was educated at Charterhouse School and Lincoln College, Oxford, at both of which he was an undistinguished scholar. From an early age he was determined to be a professional artist and designer, and studied at leading art colleges in Oxford and London. While working as a contributor to The Architectural Review in the mid-1930s, Lancaster published the first of a series of books on architecture, aiming to simultaneously amuse the general reader and demystify the subject. Several of the terms he coined as labels for architectural styles have gained common usage, including "Pont Street Dutch" and "Stockbrokers' Tudor", and his books have continued to be regarded as important works of reference on the subject.
In 1938 Lancaster was invited to contribute topical cartoons to The Daily Express. He introduced the single column-width cartoon popular in the French press but not until then seen in British papers. Between 1939 and his retirement in 1981 he drew about 10,000 of these "pocket cartoons", which made him a nationally known figure. He developed a cast of regular characters, led by his best-known creation, Maudie Littlehampton, through whom he expressed his views on the fashions, fads and political events of the day.
From his youth, Lancaster wanted to design for the theatre, and in 1951 he was commissioned to create costumes and scenery for a new ballet, Pineapple Poll. Between then and the early 1970s he designed new productions for the Royal Ballet, Glyndebourne, D'Oyly Carte, the Old Vic and the West End. His productivity declined in his later years, when his health began to fail. He died at his London home in Chelsea, aged 77. His diverse career, honoured by a  knighthood in 1975, was celebrated by an exhibition at the Wallace Collection marking the centenary of his birth and titled Cartoons and Coronets: The Genius of Osbert Lancaster.
Output: What is the last name of the person who coined the term "Pont Street Dutch"?
Passage: Sir Osbert Lancaster, CBE (4 August 1908 – 27 July 1986) was an English cartoonist, architectural historian, stage designer and author. He was known for his cartoons in the British press, and for his lifelong work to inform the general public about good buildings and architectural heritage. 
The only child of a prosperous family, Lancaster was educated at Charterhouse School and Lincoln College, Oxford, at both of which he was an undistinguished scholar. From an early age he was determined to be a professional artist and designer, and studied at leading art colleges in Oxford and London. While working as a contributor to The Architectural Review in the mid-1930s, Lancaster published the first of a series of books on architecture, aiming to simultaneously amuse the general reader and demystify the subject. Several of the terms he coined as labels for architectural styles have gained common usage, including "Pont Street Dutch" and "Stockbrokers' Tudor", and his books have continued to be regarded as important works of reference on the subject.
In 1938 Lancaster was invited to contribute topical cartoons to The Daily Express. He introduced the single column-width cartoon popular in the French press but not until then seen in British papers. Between 1939 and his retirement in 1981 he drew about 10,000 of these "pocket cartoons", which made him a nationally known figure. He developed a cast of regular characters, led by his best-known creation, Maudie Littlehampton, through whom he expressed his views on the fashions, fads and political events of the day.
From his youth, Lancaster wanted to design for the theatre, and in 1951 he was commissioned to create costumes and scenery for a new ballet, Pineapple Poll. Between then and the early 1970s he designed new productions for the Royal Ballet, Glyndebourne, D'Oyly Carte, the Old Vic and the West End. His productivity declined in his later years, when his health began to fail. He died at his London home in Chelsea, aged 77. His diverse career, honoured by a  knighthood in 1975, was celebrated by an exhibition at the Wallace Collection marking the centenary of his birth and titled Cartoons and Coronets: The Genius of Osbert Lancaster.
Output: What is the last name of the person who coined the term "Stockbrokers' Tudor"?
Passage: Sir Osbert Lancaster, CBE (4 August 1908 – 27 July 1986) was an English cartoonist, architectural historian, stage designer and author. He was known for his cartoons in the British press, and for his lifelong work to inform the general public about good buildings and architectural heritage. 
The only child of a prosperous family, Lancaster was educated at Charterhouse School and Lincoln College, Oxford, at both of which he was an undistinguished scholar. From an early age he was determined to be a professional artist and designer, and studied at leading art colleges in Oxford and London. While working as a contributor to The Architectural Review in the mid-1930s, Lancaster published the first of a series of books on architecture, aiming to simultaneously amuse the general reader and demystify the subject. Several of the terms he coined as labels for architectural styles have gained common usage, including "Pont Street Dutch" and "Stockbrokers' Tudor", and his books have continued to be regarded as important works of reference on the subject.
In 1938 Lancaster was invited to contribute topical cartoons to The Daily Express. He introduced the single column-width cartoon popular in the French press but not until then seen in British papers. Between 1939 and his retirement in 1981 he drew about 10,000 of these "pocket cartoons", which made him a nationally known figure. He developed a cast of regular characters, led by his best-known creation, Maudie Littlehampton, through whom he expressed his views on the fashions, fads and political events of the day.
From his youth, Lancaster wanted to design for the theatre, and in 1951 he was commissioned to create costumes and scenery for a new ballet, Pineapple Poll. Between then and the early 1970s he designed new productions for the Royal Ballet, Glyndebourne, D'Oyly Carte, the Old Vic and the West End. His productivity declined in his later years, when his health began to fail. He died at his London home in Chelsea, aged 77. His diverse career, honoured by a  knighthood in 1975, was celebrated by an exhibition at the Wallace Collection marking the centenary of his birth and titled Cartoons and Coronets: The Genius of Osbert Lancaster.
Output: What is the last name of the person whose books have continued to be regarded as important works of reference?
Passage: Sir Osbert Lancaster, CBE (4 August 1908 – 27 July 1986) was an English cartoonist, architectural historian, stage designer and author. He was known for his cartoons in the British press, and for his lifelong work to inform the general public about good buildings and architectural heritage. 
The only child of a prosperous family, Lancaster was educated at Charterhouse School and Lincoln College, Oxford, at both of which he was an undistinguished scholar. From an early age he was determined to be a professional artist and designer, and studied at leading art colleges in Oxford and London. While working as a contributor to The Architectural Review in the mid-1930s, Lancaster published the first of a series of books on architecture, aiming to simultaneously amuse the general reader and demystify the subject. Several of the terms he coined as labels for architectural styles have gained common usage, including "Pont Street Dutch" and "Stockbrokers' Tudor", and his books have continued to be regarded as important works of reference on the subject.
In 1938 Lancaster was invited to contribute topical cartoons to The Daily Express. He introduced the single column-width cartoon popular in the French press but not until then seen in British papers. Between 1939 and his retirement in 1981 he drew about 10,000 of these "pocket cartoons", which made him a nationally known figure. He developed a cast of regular characters, led by his best-known creation, Maudie Littlehampton, through whom he expressed his views on the fashions, fads and political events of the day.
From his youth, Lancaster wanted to design for the theatre, and in 1951 he was commissioned to create costumes and scenery for a new ballet, Pineapple Poll. Between then and the early 1970s he designed new productions for the Royal Ballet, Glyndebourne, D'Oyly Carte, the Old Vic and the West End. His productivity declined in his later years, when his health began to fail. He died at his London home in Chelsea, aged 77. His diverse career, honoured by a  knighthood in 1975, was celebrated by an exhibition at the Wallace Collection marking the centenary of his birth and titled Cartoons and Coronets: The Genius of Osbert Lancaster.
Output: What is the last name of the person who introduced the single column-width cartoon popular in the French press but not until then seen in British papers?
Passage: Sir Osbert Lancaster, CBE (4 August 1908 – 27 July 1986) was an English cartoonist, architectural historian, stage designer and author. He was known for his cartoons in the British press, and for his lifelong work to inform the general public about good buildings and architectural heritage. 
The only child of a prosperous family, Lancaster was educated at Charterhouse School and Lincoln College, Oxford, at both of which he was an undistinguished scholar. From an early age he was determined to be a professional artist and designer, and studied at leading art colleges in Oxford and London. While working as a contributor to The Architectural Review in the mid-1930s, Lancaster published the first of a series of books on architecture, aiming to simultaneously amuse the general reader and demystify the subject. Several of the terms he coined as labels for architectural styles have gained common usage, including "Pont Street Dutch" and "Stockbrokers' Tudor", and his books have continued to be regarded as important works of reference on the subject.
In 1938 Lancaster was invited to contribute topical cartoons to The Daily Express. He introduced the single column-width cartoon popular in the French press but not until then seen in British papers. Between 1939 and his retirement in 1981 he drew about 10,000 of these "pocket cartoons", which made him a nationally known figure. He developed a cast of regular characters, led by his best-known creation, Maudie Littlehampton, through whom he expressed his views on the fashions, fads and political events of the day.
From his youth, Lancaster wanted to design for the theatre, and in 1951 he was commissioned to create costumes and scenery for a new ballet, Pineapple Poll. Between then and the early 1970s he designed new productions for the Royal Ballet, Glyndebourne, D'Oyly Carte, the Old Vic and the West End. His productivity declined in his later years, when his health began to fail. He died at his London home in Chelsea, aged 77. His diverse career, honoured by a  knighthood in 1975, was celebrated by an exhibition at the Wallace Collection marking the centenary of his birth and titled Cartoons and Coronets: The Genius of Osbert Lancaster.
Output: What is the last name of the person who drew 10,000 "pocket cartoons"?
Passage: Sir Osbert Lancaster, CBE (4 August 1908 – 27 July 1986) was an English cartoonist, architectural historian, stage designer and author. He was known for his cartoons in the British press, and for his lifelong work to inform the general public about good buildings and architectural heritage. 
The only child of a prosperous family, Lancaster was educated at Charterhouse School and Lincoln College, Oxford, at both of which he was an undistinguished scholar. From an early age he was determined to be a professional artist and designer, and studied at leading art colleges in Oxford and London. While working as a contributor to The Architectural Review in the mid-1930s, Lancaster published the first of a series of books on architecture, aiming to simultaneously amuse the general reader and demystify the subject. Several of the terms he coined as labels for architectural styles have gained common usage, including "Pont Street Dutch" and "Stockbrokers' Tudor", and his books have continued to be regarded as important works of reference on the subject.
In 1938 Lancaster was invited to contribute topical cartoons to The Daily Express. He introduced the single column-width cartoon popular in the French press but not until then seen in British papers. Between 1939 and his retirement in 1981 he drew about 10,000 of these "pocket cartoons", which made him a nationally known figure. He developed a cast of regular characters, led by his best-known creation, Maudie Littlehampton, through whom he expressed his views on the fashions, fads and political events of the day.
From his youth, Lancaster wanted to design for the theatre, and in 1951 he was commissioned to create costumes and scenery for a new ballet, Pineapple Poll. Between then and the early 1970s he designed new productions for the Royal Ballet, Glyndebourne, D'Oyly Carte, the Old Vic and the West End. His productivity declined in his later years, when his health began to fail. He died at his London home in Chelsea, aged 77. His diverse career, honoured by a  knighthood in 1975, was celebrated by an exhibition at the Wallace Collection marking the centenary of his birth and titled Cartoons and Coronets: The Genius of Osbert Lancaster.
Output: What is the last name of the person who was determined to be a professional artist and designer, and studied at leading art colleges in Oxford and London?