I’ll never forget the first time I heard a Zaytoven beat. I was entering my sophomore year at Marietta High School, on the way to a summer workout with the football team. I didn’t have a car, and back then we all used to pile into whoever’s whip had the most space as we carpooled from our neighborhoods to the weight room on campus. This particualr time, I was riding shotgun in Tyler Jones’ old Infiniti as we rolled through Carriage Oaks, when he adjusted his radio and Gucci Mane’s “Bricks” came on.
Having been born and raised in Queens, New York, I’d grown up listening to more lyrical, hardcore hip-hop records from the likes of 50 Cent, Fat Joe, and Jay-Z. I was still relatively unfamiliar with—and to be honest, quite ambivalent toward—the more melodic, hook-driven sound of Southern hip-hop. But something was different about this song. The bounce was inescapable. The basslines gave the record this gritty, aggressive feel, but it was juxtaposed by a softer, nursery rhyme-esque combination of hi-hats and synths. I could even hear what sounded like an xylophone layered in the mix somewhere. Gucci Mane rode the beat masterfully, forcing me to bob my head as he spouted braggadocious, comical bars about his conquest in the dope game. I loved it immediately.
Much to my excitement, I recently had the opportunity to speak to the publicist behind one of the most iconic producers in hip-hop. Tamiko Hope has worked with Zaytoven for nearly a decade, connecting with him several years after his emergence on the scene in the mid-aughts. Our discussion revolves around not only the role she’s played in raising Zaytoven’s profile and turning him into a household name, but also the hard work, discipline, and hustle it takes to make it in the entertainment industry.
Zaytoven is a name synonymous with Atlanta, hip-hop, and the trap music genre. What were things like when you first met him, and how did that happen?
I met Zay back in 2009. I remember that at that time, every song I heard on the radio was produced by him. I felt like I needed to know him. I ended up meeting him at Gorilla Zoe’s Don’t Feed da Animals album release event at the Atlanta Zoo. At the time, we exchanged information, but that was it. There was actually a long period where we would stay in touch, but didn’t actually work together. Then one day he told me he needed a bio written, and we’ve worked together ever since.
Prior to meeting him, what experience did you have in the public relations field? What attracted you to it?
Well, I always knew I wanted to be in the entertainment industry. For a minute I wanted to be in front of the camera, but as I got older, being behind the scenes seemed like the way to go. With the skills I had, PR seemed like the right career for me.
I got started in hip-hop by writing for media outlets such as XXL, Upscale Magazine, MTV, and a few others. Then I got an internship at LaFace records. Laface really started it all, because that’s where I built relationships and started working with artists like Goodie Mob and Outkast, followed by Usher. When Goodie Mob disbanded, I went to L.A. for a little while, then came back and started a PR firm.
For those who may not be familiar with the field, how would you describe the role a publicist plays in the career of an artist or brand?
Being a publicist is essentially like being a glorified salesperson. In order to be successful, you really have to believe in whoever it is you’re promoting, and do everything in your power to heighten the public’s awareness of them. Whether it be in print, on the internet, doing radio interviews, or whatever, it’s your job to connect anything that’s aligned with the artist and their project to the audience they’re targeting. It’s similar to management in a way. I come from the mentality that wherever there’s an opportunity, whether it’s your job title or not, go after it and do it.
You clearly have a longstanding history with the music scene in Atlanta, and have created some strong relationships over the years. Why do you think Atlanta is such a hub for talent, especially in regard to Black entrepreneurship and creativity?
Atlanta is the place where you can do you. At one point it was non-pretentious. Nobody cared about what you drove, what you had on, things like that. It was about what you brought to the table creatively. To a degree I believe we still embrace that; it’s like uncultivated land here. You can come here from another city and see the potential. The cost of living is low in comparison to other major cities, and the airport makes it easy to get anywhere in the world. You can work on your craft while working your day job to make things happen.
I think what really sets us apart is the strong sense of community here, where people prioritize working together. For example, I met Sonny Digital and Metro Boomin when they were 18 and 19-years-old, sleeping on each other’s couches and sharing the studio. I’ve loved watching them come up together, and many of the producers in Atlanta do the same thing. People work separately in other places; here people really embrace one another and collaborate to create something better.
You’ve been around during several eras of hip-hop in Atlanta. What do you think of the music scene currently, specifically in regard to Atlanta’s influence and place in hip-hop culture?
I’m really proud of Atlanta. The younger artists get a lot of flak for the music they’re making in comparison to the artists that came before them, but I still think it’s great because it allows Atlanta to continue to dominate. If you’re a hip-hop artist serious about making it in the industry, this is the place to be. The music alone, thanks to artists like Future and the Migos, has brought so much attention to the city. I would just say don’t judge the music too much, because it’s merely their interpretation of the world they’re living in.
What advice do you have for a producer who wants to follow Zaytoven’s model of success, but is struggling to make a name and generate income? Likewise, what advice do you have for aspiring publicists?
Well, the first thing I’d say is that you should always be making beats, and always be sending them out. Send them to any and everybody, because if someone uses the beat and the song becomes hot, they have to come back to you and pay you for it. So don’t worry about the money in the beginning. Just make good music and put it out. Don’t be afraid to go out and network. Lots of people think that because they have the internet, they don’t need to get out and meet people. When there’s an opportunity to meet someone important, be there. Align with artists you feel are promising, and make yourself accessible at all times.
For aspiring publicists, I’d say that sometimes you just have to work for free until you get to the point where you have consistent clientele. If you have the chance to work with a high-quality client that can lead you to more opportunities, do it. Be aware of what people need, look at your skill set, and ask yourself, ‘what is it that I do, and what problem do I solve?’ Once you offer something that there’s a demand for, opportunities begin to present themselves.
I’d also advise not to overlook the people hustling alongside you in your generation. When we were working with artists like Outkast and Goodie Mob, we had no idea how successful anyone was going to be. But we knew who was working hard and hustling, and we kept them around. So stay down with the people you know who are working hard. It all starts with using what you have and taking advantage of your creativity.
What are some of the biggest lessons you’ve learned working in the industry?
Don’t get super attached to anything or anybody. Clients come and go. While you may build strong familial relationships with the people you meet, you still have to be able to quickly detach and move on when the working relationship comes to an end. I’ve also learned that if you get into a situation where you’re working with multiple clients, it’s better to maintain 2-3 solid clients rather than 5-10 clients you just get the check with. It’s not really about how many people you have on your roster, it’s about the quality of their work and where they’re headed. Never spread yourself too thin.
Can you recall a particular moment where you really came through and delivered for Zaytoven, helping to elevate him to another level in his career?
When I co-authored his book From A to Zay: The Indie Guide to Music Production with him. I noticed people were always asking him questions on social media, and I felt like he had so much knowledge to give that it was time for him to write a book. We came together in 2013 and started working on it, and since publishing it he’s been seen in a different light. Now he’s able to offer the book at his beat camps and help the next generation find their way.
Many people don’t know this, but Zaytoven embodies the complete opposite of many of the stereotypes that surround hip-hop. He’s a married man, doesn’t drink or smoke, and avoids a lot of attention that many individuals in the industry seek. What insight do you have for people who have to navigate environments that don’t necessarily align with their values?
Just because you’re involved with something doesn’t mean you’re of it. For him, he’s always felt like he’s the light in the darkness. He doesn’t hide his light, and he’s always made the music industry fit into his own lifestyle. He never changed who he was; he still plays the organ at church every Sunday, and has always been a family man. He has the ability to make the industry change. When he first met Gucci Mane, they were nothing alike, living completely different lifestyles. Now, Gucci is a completely different person, and it’s amazing to see the types of conversations they’re able to have now.
You mentioned writing a book with Zaytoven a few years ago. Are there any other ventures you’re pursuing outside of public relations? Why is it important to pursue other avenues, no matter what your craft is?
Well, on my website there are three other books that I’ve written, that are all music industry based. I’ve got a few more coming out, as well as a fiction book. I also have the Experience Hope podcast, which is a motivational series revolving around different people’s experiences in the industry. I also represent a few other artists, including Sonny Digital, Nick Grant, and Brie.
I think it’s important to diversify so you’re not reliant on just one thing. I focused on public relations for many years, then was able to take the skills I developed there to other practices. Diversifying not only gives you multiple streams of income, it also keeps you relevant and working in new spaces. A lot of us get stuck in one area, and if that well runs dry, we go dry. Having your hands in several pots protects you.
How important is it to you that we have more female representation in hip-hop?
There’s always room for more female representation in hip-hop, especially in executive level positions. Social media has allowed more women to come out of the gate with their own brands, and I think that’s great. When you see an executive board or team of powerful people in the industry, best believe there’s a woman somewhere in there that’s helping run the empire. Things are really starting to shift and change.
Time for a shameless plug. Is there anything Zaytoven is working on that we should be on the lookout for?
Zay’s got the Birds of a Feather 2 movie on the way, which he’ll be starring in. He also has the Trap Holizay album and tour coming up soon as well.
Tamiko Hope will be a featured speaker at Level Up Atlanta’s monthly Connecting the Dots educational event series this Sunday. To RSVP and get more information, follow this link.
More Info
Web: tamikohope.com
Facebook: @tamiko.hope
Instagram: @tamikohope
Twitter: @TamikoHope