B-Lovee — My Everything (Official Video)
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Behind “My Everything” was a coordinated release cycle connecting the artist, management, RECORDS and Columbia. RapDM founder Yasheen Vickers worked on the management and day-to-day team that helped keep those moving parts connected.[1]
Historical campaign-wide figures from Columbia’s May 31, 2022 recap. They reflect the combined work of the artist, label, management and campaign partners—not results attributed solely to RapDM. Radio audience is not a count of unique fans acquired by management.[8]
The management-side challenge was to support a fast-moving artist while keeping releases, media preparation, promotional appearances and label communication aligned.
A record can travel fast.
The work around it has to keep up.
The archive shows more than a radio campaign. It shows channel-access requests, production paperwork, trailer and video coordination, press-release reviews, coaching sessions, interview requests and multi-market promotional schedules. Those tasks ran across different departments, vendors and partner teams.[1][2][3][4][6]
Yasheen’s role was on the artist-management side of that system. He was a named operational contact, received the label’s radio reporting directly, completed a YouTube-access handoff, submitted corrected video paperwork and routed an inbound press opportunity to Columbia publicity.[1][2][3][6][8]
The strategic reading is straightforward: sustaining attention required more than promotion in isolation. It required an artist team able to connect the record’s public-facing moments with the practical work behind them.
The value was in the follow-through: connecting the artist’s side of the campaign to the people responsible for releasing, presenting and promoting the music.
When RECORDS requested access for Columbia’s digital-marketing contact, Yasheen completed the YouTube handoff. The label acknowledged the update. This is a concrete example of removing an operational barrier between the artist’s channel and the campaign team.[2]
Columbia sent management a rollout covering behind-the-scenes imagery, a trailer, video clips and fan-facing social activity. The publicity workflow also included “Out Of It,” “My Everything” and remix-related releases. Yasheen and Jelly were explicitly asked to review the A Boogie remix press release.[4][5]
Yasheen supplied a revised “My Everything” video invoice to meet the label’s processing requirements. RECORDS acknowledged that the corrected document was right. The exchange shows the administrative follow-through involved in moving production paperwork into the label’s processing workflow.[3]
The team coordinated media coaching with Harriette Cole while publicity fielded interview interest. Yasheen also forwarded a Rounders interview-and-shoot inquiry to Columbia’s publicist, who continued the conversation. This connected incoming press interest with the label’s publicity process and the artist’s preparation.[6]
After the April 23 Pennsylvania radio show, RECORDS’ promotion team wrote directly to Yasheen and Bri Bravo. The next-day acknowledgment confirmed the appearance and relayed positive feedback from the station and program director.[7]
Radio recaps went directly to Yasheen alongside senior label contacts. The wider correspondence continued into the “Misunderstood” press workflow and a June management agenda covering “Demon,” digital marketing, press and the Trendsetter tour. The work extended beyond a single release-day moment.[8][10]
The visible campaign was the record.
The less visible work was keeping the people, assets and timing connected.
From April 26 to May 31, 2022, the label’s weekly recaps document rising spins, audience and station support as “My Everything” moved from No. 15 to No. 4 on the Urban published chart.[8]
| Recap date | Urban chart | Weekly spins | 7-day audience | Stations |
|---|---|---|---|---|
| Apr 26, 2022 | #15 | 2,589 | 7.1M | 76 / 97 |
| May 03, 2022 | #14 | 2,709 | 7.5M | 79 / 97 |
| May 10, 2022 | #13 | 3,045 | 8.3M | 80 / 97 |
| May 17, 2022 | #10 | 3,919 | 10M | 82 / 97 |
| May 24, 2022 | #8 | 4,353 | 12M | 86 / 97 |
| May 31, 2022 | #4 | 4,618 | 13.5M | 88 / 97 |
Growth is calculated from the first and last totals shown. The figures are historical, label-reported campaign measurements; they are not current artist statistics or a controlled attribution study.
A substantial streaming base alongside the radio growth. The May 10 recap reported 51.7 million cumulative streaming-audio plays for “My Everything.” This is a cumulative campaign figure, separate from the five-week radio comparison—not new streams generated within that window.[8]
The release cycle developed through operational handoffs, artist preparation and promotion—from the 2021 release window into the 2022 radio expansion.
Yasheen confirms the YouTube-access update, allowing the label’s digital-marketing contact into the artist’s channel workflow.[2]
The Pennsylvania radio show takes place. The label’s next-day email confirms the event and reports a positive station response.[7]
Six weekly reports track the move from No. 15 to No. 4, with support growing to 88 stations and a 13.5 million seven-day audience.[8]
The management agenda covers “Demon” assets, digital marketing, press and the Trendsetter tour. The next release cycle remained part of the management-label conversation.[10]
The May 11 Columbia sheet put Atlanta radio and media activity, Philadelphia promotion and wider tour routing into one shared operational schedule. It named the management, marketing and touring contacts responsible for coordination.[1]
The May 31 recap listed new adds in Los Angeles and Miami, alongside airplay leaders in markets including Chicago, Augusta, Columbia and Tucson. The record’s supporting radio network extended well beyond its home market.[8]
An itinerary confirms coordination and scheduling. It is not, by itself, proof that every listed appearance was completed.
This case demonstrates founder experience at the intersection of artist management and label coordination: moving information to the right people, supporting release readiness, preparing the artist and following through on promotional obligations.
The lesson for the next release: keep the artist prepared, the material ready and the right people informed. Momentum needs a team that can move with it.
Connect with RapDM ↗01Role and schedule. Lisa Wiggins, Columbia Records, “B-LOVEE – ON TOUR & PROMO,” May 11, 2022. Names Yasheen Vickers under both management and day-to-day responsibilities; lists the campaign’s touring and promo schedule.
02Channel operations. Andrew Saltman, RECORDS, “Re: YT access,” September 28, 2021. Includes Yasheen’s completion reply and label acknowledgment.
03Production administration. Matthew Merkel, RECORDS, “Re: Invoice for B Lovee 'My Everything" Video Invoice,” October 26, 2021. Acknowledges Yasheen’s corrected video invoice.
04Digital rollout. Touré Ali Shiver, Columbia Records, “DIGITAL SET UP + ROLLOUT: B Lovee - My Everything,” November 3, 2021. Describes the video rollout and requests management feedback and final delivery timing.
05Release-review workflow. Bri Christian, Columbia Records, “For Approval: B-Lovee "Out Of It" PR,” September 22, 2021; A Boogie remix PR approval request, November 29, 2021; G Herbo remix-video PR draft, December 16, 2021 (U.S. date).
06Media preparation and liaison. Bri Christian, Columbia Records, “Re: B-Lovee Press Opportunities,” November 8, 2021; “Re: Rounders Magazine Shoot,” December 13, 2021. Documents a coaching session and Yasheen’s press handoff.
07Completed radio-promo event. John Strazza, RECORDS, “Re: 4/23 Loud 106.9 Radio Show Request for B-Lovee - Information request,” April 24, 2022. Post-event acknowledgment addressed to Yasheen and Bri Bravo.
08Radio and streaming measurements. Azim Rashid / Wilt Wallace, Columbia Records, “My Everything” Urban Radio Recaps dated April 26 and May 3, 10, 17, 24 and 31, 2022. Chart positions are the Urban published chart, not the Billboard Hot 100.
09Editorial recognition. Tyler Dito, Columbia Records, forwarded by Andrew Saltman, “B-Loveee "10 Rappers" Feature on Audiomack World,” October 29, 2021. Confirms a live feature and requests artist social support.
10Project continuity. Bri Christian, Columbia Records, “RE: For approval // B-Lovee Misunderstood Project,” April 7, 2022; Tim Washington, RECORDS, “Re: B-Lovee Management Meeting Agenda 6/6,” June 6, 2022, including the one-page agenda attachment.
11Original artwork. “My Everything B-Lovee.jpeg,” attached by Andrew Saltman, RECORDS, in the October 28, 2021 “My Everything” release-review thread. Existing campaign artwork supplied in the label archive.
Attribution and measurement. This case study draws on the historical Sony / Columbia / RECORDS correspondence available in Yasheen Vickers’s archive. Results are presented as the label reported them. Radio spins, radio audience, chart position and cumulative streaming plays measure different things and should not be added together. Proposed interviews, unverified attendance and pending opportunities are not presented as completed placements. Brand names describe the historical campaign context and do not imply a current endorsement of RapDM. Direct correspondence, private contact information and financial details are not reproduced in this version.