Question:
Riya Sen (born Riya Dev Varma; 24 January 1981) is an Indian film actress and model. Riya, who comes from a family of actors including her grandmother Suchitra Sen, mother Moon Moon Sen and sister Raima Sen, began her acting career in 1991 as a child actress in the film Vishkanya. Her first commercial success in her film career was with Style, a 2001 Hindi low-budget comedy directed by N. Chandra. Some of her other notable films include producer Pritish Nandy's musical film, Jhankaar Beats (2003) in Hinglish,
Riya first appeared as a child artist in the film Vishkanya in 1991, where she played the role of the young Pooja Bedi. At the age of 19, she did National Film Awards winning director Bharathiraja's Tamil film, Taj Mahal (2000), which did not achieve commercial success. She was scheduled to make her Bollywood film debut in Love You Hamesha, opposite actor Akshaye Khanna; however, the film was stalled, and she finally made her debut in N. Chandra's Style in 2001. This low-budget comedy was the first commercial success in over a decade for the director. A launch pad for Riya, cast in the female lead along with fellow-newcomers, Sharman Joshi, Sahil Khan and Shilpi Mudgal, the film pioneered a trend of commercial success for small budget films in India. Riya and the second female lead of the film were replaced by aspirant actresses Sonali Joshi and Jaya Seal in Xcuse Me'. Her next success was Jhankaar Beats, comedy revolving around the music of legendary composer R D Burman, which saw her playing a small and glamorous role alongside Shayan Munshi, Juhi Chawla, Rahul Bose, Rinke Khanna and Sanjay Suri. Produced by Pritish Nandy, publishing director of The Times of India, the film was made on a budget of Rs. 25 million (US$525,000), marking the sixth in a row of small to medium budget films made by Pritish Nandy Communications (PNC). Despite being part of a wave of offbeat films that mostly failed to make an impact at the box office, it drew public attention upon its release, which led to a commercial success among a restricted audience targeted by a selective release in twenty cities. It was one of the first films made in Hinglish, a mixture of Hindi and English. In 2005, she starred in Shaadi No. 1, which had no female lead. This comedy, based on the theme of modern marriage, was directed by David Dhawan, a renowned film director from this genre. Although films like Style and Jhankar Beats succeeded commercially, most of her later films have generated less revenue. A number of them remained unfinished. While many of her appearances have been item numbers and cameos, few of her leading roles have been in low-budget films. Though she had small roles in Dil Vil Pyar Vyar (2002), Qayamat (2003) and Plan (2004), attention was drawn to her item numbers in all three, especially the one in Qayamat that featured her in a bubble-bath. Besides this, she performed another item number in James (2005) on director-producer Ram Gopal Varma's behest, who has a history of casting aspirant actress-models like Sameera Reddy, Isha Koppikar and Koena Mitra in similar roles. Furthermore, she took part in a dance number for Sajid Khan's Heyy Babyy (2007) that featured several mainstream Bollywood actresses.
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What was a successful movie that she as in?

Answer:
her debut in N. Chandra's Style in 2001. This low-budget comedy was the first commercial success

Question:
Innervisions is the 16th studio album by American musician Stevie Wonder, released August 3, 1973, on the Tamla label for Motown Records, a landmark recording of his "classic period". The nine tracks of Innervisions encompass a wide range of themes and issues: from drug abuse in "Too High", through inequality and systemic racism in "Living for the City", to love in the ballads "All in Love Is Fair" and "Golden Lady". The album's closer, "He's Misstra Know-It-All", is a scathing attack on then-US President Richard Nixon, similar to Wonder's song a year later, "You Haven't Done Nothin'".
Although Innervisions was recorded and released before Wonder's accident, most people associated it with the musician's fast recovery. As with both Music of My Mind and Talking Book the previous year, Innervisions was received warmly by music critics. Wonder's versatile musical skills were praised by critics. Billboard published that "the liner credits Stevie with playing all the instruments on seven of the nine tunes. So in essence this is a one-man band situation and it works. His skill on drums, piano, bass, and arp are outstanding, and all the tracks work within the thematic framework." The New York Times wrote, "Stevie identifies himself as a gang and a genius, producing, composing, arranging, singing, and, on several tracks, playing all the accompanying instruments. But Stevie Wonder, you see and want to know more. At the center of his music is the sound of what is real. Vocally, he remains inventive and unafraid, he sings all the things he hears: rock, folk, and all forms of Black music. The sum total of these varying components is an awesome knowledge, consumed and then shared by an artist who is free enough to do both." Many others also praised the variety of musical styles and themes present in the album. One reviewer from Playboy wrote, "Stevie Wonder's Innervisions is a beautiful fusion of the lyric and the didactic, telling us about the blind world that Stevie inhabits with a depth of musical insight that is awesome. It's a view that's basically optimistic, a constant search for the 'Higher Ground', but the path is full of snares: dope ('Too High'), lies ('Jesus Children of America') and the starkly rendered poison of the city ('Living for the City'). Wonder seems to say that all people delude themselves but have to be well to pay their dues and existentially accept the present. 'Today's not yesterday,/And all things have an ending' is the way he puts it in 'Visions,' the key tune of the album--pretty yet serious, harmonically vivid. There's a lot of varied music here--Latin, reggae, even a nod to Johnny Mathis ('All in Love is Fair')--but it's all Stevie, unmistakably." Some reviewers were less enthusiastic. Jon Tiven from Circus argued that there was a lack of memorable material: "Just when Stevie had some momentum going, he went and put together a concept album of homogeneous music and rather typical lyrics. Unlike his last two albums, there are no real low spots on this album, which I suppose is an improvement, but there are no songs on Innervisions which are truly outstanding either. There's no 'Superstition,' no 'I Believe (When I Fall in Love It Will Be Forever).' By constructing a solid ground from which to work, Stevie has lowered the ceiling, and put a damper on his talents." Musicians also showed consummate respect for the achievements of the album, with Roberta Flack saying to Newsweek that "It's the most sensitive of our decade ... it has tapped the pulse of the people." Innervisions won Grammy Awards for Album of the Year and Best Engineered Non-Classical Recording in 1974, while "Living for the City" won the Grammy for Best R&B Song.
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What else can you tell me interesting

Answer:
Musicians also showed consummate respect for the achievements of the album,