As an underground musician who simply refrained from allowing the state apparatus to enjoy control over my art, I did not feel particularly burdened by censorship in Iran. Of course, I did not enjoy the right to certain privileges that artists may have in other less restrictive societies, such as organizing live concerts. Nevertheless, those of us born in the ‘70s and ‘80s in Iran who experienced the Iran-Iraq war, and grew up in the aftermath of that war, learned not to have too many expectations in general. What bothers me more than the Iranian state censorship is what I think is a form of neo-orientalist framing of the Middle East in international media. In light of the 9/11 terrorist attacks, international media became keenly interested in capturing certain local prototypes in the Middle East to solely highlight the region’s repressive fabric, and the stories of those who would heroically challenge this repression. I benefited from the media’s hunger for such stories in the region, and was given the appealing title of “the first female rapper of Iran”. However, I soon realized that my media value closely correlates with my gender and nationality. Much to my dismay, I quickly realized that I am far less appealing to international media as an artist who is simply a person and a global citizen. To be honest, this type of framing, or censorship perhaps, agitates me more than the state-sponsored censorship in today’s Iran.