In 2011, Rita, Israel’s top pop music diva, released an album of mostly Persian folk songs in her native Farsi. Although she had immigrated to Israel from Iran at age eight, and had fleetingly referenced this Persian heritage in earlier music, this was the first album in her thirty-year career in which she strayed completely from her Western-sounding Israeli pop fare. The album went “gold” within three weeks in Israel and garnered tremendous press in Israel at a period of utmost tension between Iran and Israel. Rita’s decision to return to the music of her childhood is understandable in the context of a decade in which Mizrahi pride is at an all-time high in Israel. Mizrahim experienced cultural discrimination from the Eurocentric Israeli establishment for the first few decades of Israel’s existence, but by the early 2000s a cultural shift had begun, and many second-generation Mizrahim began excavating their cultural roots for artistic inspiration. Rita, who recently turned 50, was undoubtedly influenced by these recent Israeli trends to return to her own Persian heritage. While the success of Rita’s album made sense in the Israeli context, its subsequent popularity as an underground favorite in Iran was more surprising. Though her album was banned in Iran (as all Western/Israeli albums are) thousands of fans in Iran have illegally downloaded her album and many of them have posted words of adoration on her Facebook page, on YouTube, and elsewhere on the Internet. Not all Iranians have responded favorably to Rita’s album, however. Members of the Iranian regime have posted comments stating that Rita’s music choices represent an Israeli conspiracy to win over Iranians. This cultural exchange, in particular, received significant attention in the global media, where Rita—who denies any political agenda behind her music—has been referred to as a “cultural ambassador;” in March 2013 she will perform at the United Nations General Assembly in New York. This paper seeks to apply an ethnographic approach to this transnational media—from Israel, Iran, and beyond—reflecting upon the meaning of such cyber musical encounters.