South African rapper Yugen Blakrok was in Berlin, Germany with her producer and DJ, Kanif The JhatMaster, when she got an email from Top Dawg Entertainment asking her to jump on a track. “I didn’t know what it was for, or who would be on it,” she recalled while preparing to record a verse for her upcoming sophomore album. “It was a ‘Hey, we came across your work, it’s good stuff’—you know, that kind of thing.”
Blakrok recorded the verse for TDE which was included on a song called “Opps” featuring Vince Staples, while she was still on tour. 
Then, when she got back to South Africa, Blakrok got an email from TDE saying the track would be used on the Black Panther soundtrack. “For me, it was really hard to believe—but also not, because you put your work out there for it to be found,” Blakrok says. “So when it happened, it was mind-blowing that it would lead to that.”
Then, when she got back to South Africa, Blakrok got an email from TDE saying the track would be used on the Black Panther soundtrack. “For me, it was really hard to believe—but also not, because you put your work out there for it to be found,” Blakrok says. “So when it happened, it was mind-blowing that it would lead to that.”
Blakrok’s inclusion on the soundtrack is a game-changing moment for contemporary South African music. Though the rapper has a niche fanbase there, South African hip-hop is still a narrow field, so anyone not on mainstream radio or TV usually has a tough time getting noticed. Despite the recent notoriety, Blakrok isn’t in it for the fame. “I’m not an advertising promotional machine,” she says. “I’m an independent artist, pushing a certain lifestyle that may not be conducive to what is being pushed on TV. We’ve submitted tracks and videos to South African stations and international ones, and got a solid no. ‘No, this is not what we are looking for, for our channel.’ Not based on quality, it just doesn’t fit with what they’re trying to push at the moment.”
In South Africa, almost every mainstream rapper has an endorsement deal with an alcohol brand. In turn, the music tends to promote materialism and hedonistic behavior. Blakrok hopes to shift the conversation. “Not to say my music’s not for getting down or for having a good time—it is,” she says. “Mine is just saying there’s more than one way to have a good time, more than one way to turn up. There are many people who are in tune with this kind of vibration, and they want to see it in mainstream media. What are the forces that are stopping it? It’s not that we are all one-dimensional. So it gives you a lot to think about.”
Blakrok’s debut album—2013’s Return of the Astro-Goth—is the antithesis of mainstream rap in South Africa. Her lyrics are packed with similes and metaphors that reference astronomy, astrology, and ancient knowledge. “It’s a connect-the-dots kind of game with me,” she says. “I love puzzles, I love putting things together. I enjoy the research part of my job. I’m a curious person. I think that will translate in everything that I do—even the style of writing. Even the movies and books I love. There’s something for you to figure out as the listener, clues to a story that you already know, you’re just being urged to remember it; fill in the blanks for yourself.”
As she prepares to hit the booth and record those verses for the new album, Blakrok takes another moment to reflect upon her journey. “Things are finally happening,” she says, “all the stuff that we’ve always wanted.”
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