Sasy Mankan: Repentance or a New Strategy?
WANA (Mar 12) – In recent days, a wave of criticism and protests has emerged on social media against Sasan Heidari Yafteh, better known as Sasy Mankan, an Iranian singer living abroad.
This singer, who has long been controversial due to the style and content of his works, has once again become the center of attention among users and critics following the release of two new tracks—Marmoolak (Lizard) and Tobeh (Repentance).
From Repentance to New Controversy
A while ago, Sasy Mankan posted videos on his Instagram page expressing regret for his past actions and claiming that he had taken a new path. This move sparked mixed reactions; some users saw it as a publicity stunt to attract an audience, while others welcomed his change.
However, just a few days later, he released a track titled “Tobeh”, leading many to interpret his actions as a tactic to appeal to religious audiences.
Sasy’s “Tobeh” music video. Social media/ WANA News Agency
A while after “Tobeh”, Sasy released another track titled “Marmoolak”. The teaser for this piece is designed in such a way that, at first glance, it appears to be a continuation of the “Tobeh” music video.
However, he transitions from one place to another, entering a new space and world, while the content is entirely different and even contradictory to the concept of “Tobeh”.
At the end of this new track, the name of one of the Shiite Imams, Imam Hasan al-Mujtaba (peace be upon him), is mentioned, and an oath is sworn by him—an issue that has sparked significant controversy about using the name of such an honorable person in an inappropriate music.
In this regard, hashtags such as #Imam_Hassani_Am (dubbed in English: I am from the lineage of Imam Hassan) trended among Iranian users to express protest.
The Thin Line Between Vulgarity and Art
Critics believe that the use of religious symbols alongside the seemingly daring content of this work reflects a form of disrespect toward religious beliefs.
Moreover, some of the words used in the song are perceived as a direct insult to the status of the religious teacher—an individual who plays a key role in education and cultural development in many societies.
Iranian social media users’ stories on Instagram showing protest to Sasy’s music content. Social media/ WANA News Agency
Some cultural experts argue that music, especially when its audience consists of young people and teenagers, should adhere to the moral and cultural values of society.
The presence of models and dancers in Sasy Mankan’s music videos – including married women and mothers – has also been a subject of criticism. However, this is not a new issue in his music videos; he has previously used actors with a history of appearing in adult films.
Influence on the Young Generation
This is not the first time that Sasy Mankan’s works have become a social concern. Previously, his song “Gentleman” was played in schools in Iran, and its videos were shared on social media.
This event raised concerns among officials and parents due to its content, as it indicated that his songs have a significant influence among students and teenagers. However, this singer claims that his music is produced for adult audiences, even though vulgarity has no age limits.
Even objections to the content of Sasy Mankan’s new song have reached opposition media outlets of the Islamic Republic of Iran, such as Iran International.
During a live broadcast, Iran International viewers stated, “One should not listen to Sasy’s songs because they negatively affect the mind and character! Sasy seeks fame by using sexual and controversial content!” They also argued that “Sasy is deliberately targeting children, intending to inject vulgarity into this age group.”
Opposition media outlets of the Islamic Republic of Iran, Iran International, live broadcast. Social media/ WANA News Agency
From Engineering to Underground Music
Sasan Yafteh, born on November 18, 1988, in Ahvaz, was a computer engineering student at Navab University in Qazvin before entering the world of music.
However, he dropped out of university to pursue a career in singing. His music, initially recognized within Iran’s underground scene, gradually became part of the Persian pop music movement abroad but has consistently faced criticism regarding its content.
Iranian critics argue that Sasy Mankan’s musical style and content specifically target Iranian society and are not merely the work of a single singer, but rather the product of a group with deeper underlying objectives.
Some view this style of music as a symbol of changing tastes among the younger generation, while others see it as a factor undermining cultural and social values—an alarming shift from prioritizing intrinsic values to superficial and sexual desires.
During this time, many criticisms have been directed at the weak performance of Iran’s cultural officials for not supporting singers who could have been influential against such groups and the main point raised on social media is that “do not turn opportunities (which are the effective artists) into threats.”
Amir Tataloo: From Fame to Oblivion
WANA (Oct 24) – The story of Amir Hossein Maghsoudloo, Iranian singer known as Tataloo, symbolizes a dazzling rise and a painful fall within the realms of music and fame. Once recognized as a pioneer of underground music in Iran, Tataloo’s name is now more associated with the controversies and scandals that have surrounded him. […]
