The revolutionary decision-makers, however, did not remain idle and sought to strip these singers of the identity of their music. For Mehdi Sepehr, who had risen—as he put it—from “the dark heavens to the heavens of light” through the song “Donyaye Rangin” (“Colorful World”), with lyrics by Asghar Vaghedi, a poet of the 1960s, this could have created a deep divide. He interpreted this divide as his compatriots’ “unawareness of nostalgia.” He believed that people had grown attached to whatever was readily available to them, had become immersed in the everyday, and had chosen to call that existence “life.”
As a result, the final years of his career were devoted to bridging the gap that the Revolution had created between the Sepehr of the 1970s and the present day—through a return to his earlier music and through innovations in arrangement in collaboration with his son, Navid, and Araz Trosian.
