Her music was shamelessly pastiche and heavily synthesized and orchestrated. She sang happy songs in the Italian pop style of the sixties (Khalvat) and love songs in the style of French singer Mireille Mattiew and rock songs in English (like Carol King’s “Its too late”). She had what was considered a modern sound and an extraordinary ability to accompany it with meaningful gestures.
Although she repeatedly and enthusiastically sang in other languages, her big hits were all in a modern, simple but poetic Farsi that bestowed a certain classiness to the female desire that she expressed. The orchestrated, sythensized Western-style music and the modern poetry (shaer-e-nowe) along with her gestures, which were at once bold and restrained, provided a new language within which female sexuality and desire could be expressed without fear of sinking into vulgarity.
