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Creative lyricism has always been part of the flow—introduced during elementary poetry and chorus classes. From the Big Apple (NY) to the Big Peach (GA), Dawn Love formed rap groups and entered school talent shows. Testing skills at Atlanta’s club “The Phoenix” led to opening for Kurtis Blow in Athens, GA.

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In 1986, shortly after returning home, Jesus began His transformation in her life—what she now calls “the beauty and the beast project.” Baring a seed, under siege, domestic violence, deliverance—declare it so. That fire and desire concentrated the pen to spiritual hems: written pearls hidden under carpets for safekeeping. “A hidden hope that revealed that my vision would only rise in Him: The Lord Jesus Christ.”

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The Lord found her and gave way to praises sung on The Young Adult Choir of The Church of God in Christ, in Queens, NY. Hallelujah! Reborn. This quiet storm in Blakniss brought in Dawn. She performed with Eulice Mason of The Velours at SSA job functions in Queens and Brooklyn HS. Back in the DooWop era, The Velour's released hits like “C’est La Vie” and “Can I Come Over Tonight.” Dawn reclaimed rap with a twist of jazz/R&B. She vibed out of Queens, working on small projects with Mad Men Productions, Gifted Rhythms, and NJ-based Strictly Street Records. Living in Queens, she witnessed great producers like Jazz and Tony Rome (who produced tracks on Large Professor’s 1996 compilation Mad Scientist).

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In January 1997, she was chosen from auditions to join an R&B rap group. Showcasing at “Downtime,” a Friday night Redd Alert spot in NYC, was love—but the aspiration was to bring Blakniss to Dawn. She began working with bass player/producer Frankie Carr. Together, they formed Euphoric Productions and allied with Brooklyn’s Mac Sound Music, completing her first four-song demo. In October 1998, she signed a managerial contract with Jam-Neek Productions out of Long Island. Shortly after, she teamed up with a partner who shared similar music interests. Their differences worked well together. Tamiko laced soulful R&B while Blakniss covered contemporary hip-hop. Writing lyrics and arrangements, Aces of Spade worked out of BK with Jazz of Side Room Productions and in Queens with producer Joaquin. On February 26, 1999, the duo auditioned with Sheltzer Studios in NYC. Organized by Taylor Made Management and Seger Entertainment, the audition led them to work with Taj, who had worked with early Fugees. As Ruff House slowed down, so did we—bringing it back to doe.

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After a strategic move back to GA, Blakniss managed an aspiring rap group. Her tracks reached Roc, CEO of RaRa Enterprises/Rataktics Records. Dedication and experience led to a recording contract and a VP opportunity with the independent label. “Buttah, they called me, as we thugged it—paving the bricks, rocking shows, and networking. Famship came out of it, but tasking times became the dissolving traits of the arrangement.” 

 

Now Dawn and STIM bring the first love into glorification. “Revelation that came informing me to glorify HIM brings full fulfillment.” STIM—Spiritual Truth Inspiring Movement—desires all to live in the fullness of His grace through acknowledgment of the Word. “I was born and raised in NYC. My preconceived artist contributions would be to express the joys, struggles, and pains of life and the grace of Christ.

 

Mrs. Pointer was a true inspiration—not only the mother of the late violinist Nole Pointer, but a BK music teacher with a heart of gold. At Brooklyn’s Lefferts JHS, she encouraged every student in her music class. Having attended Bernice Johnson Dance School, Wilfred Academy for Cosmetology, and explored sketching and clothes design with no formal training, I consider myself creative. My greatness, I hope, is the encouragement I give, and the legacy of Spiritual Truth Inspiring one to Move into their greatness in HIM”

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