G-Dep Tries to Shakes Off His Troubled Past**

Posted on February 20, 2007 by


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Young kids with talent who dream of hooking up with moguls like Jay-Z, P. Diddy and Russell Simmons should know the sad, infuriating story of rapper G. Dep, whose real name is Trevell Coleman.

Dep sat down to talk with me last week — two days after getting released from jail — about the ups and downs that took him from the top of the music charts to a cell on Rikers Island.

We met at the Daily News Harlem Bureau, better known as Amy Ruth’s Home-Style Southern Cuisine on 116th St. near Lenox Ave. Dep was with a neighborhood pal, Eddie Gibbs, who is acting as his manager.

I could hardly believe the quiet, wary man across the table from me was the same G. Dep who made the hip-hop classic “Special Delivery,” which carried an infectious beat and a video that introduced the world to the wiggly dance called the Harlem Shake.

Go online, and you can find videos of kids from Korea to the suburbs of Connecticut doing the Harlem Shake. I figured Dep would be rich, or at least comfortable, and a long way from his tough upbringing in East Harlem’s James Weldon Johnson housing projects.

That’s not how it turned out.

When I met him, Dep had just spent 23 days on Rikers after a Jan. 15 arrest for grabbing and breaking a display-model cell phone during an argument with a T-mobile salesman in a Manhattan store. Dep’s bail was only $750, but he stayed in Rikers because he couldn’t raise the cash — a sign of how far he’d tumbled since the heyday of the Harlem Shake.

Like all too many performers, Dep fell victim to the three-headed monster of drugs, illusory wealth and slick record execs who talked him into a contract almost guaranteed to leave him broke.

Dep signed a contract to create five albums for Diddy’s Bad Boy record label for $350,000 — what seemed like a princely sum at the time. Dep’s first album, “Child of the Ghetto,” came out in 2001 and did respectably.

But industry experts say it takes about two years, on average, to create and launch a new album, partly because the creative process can’t be rushed and partly because an artist’s sales slump when radio stations and fans get flooded with too many albums to choose from.

Dep’s five-album deal, in reality, was more like a 10-year employment contract — the equivalent of making $35,000 a year working for somebody else. Actually, it’s worse than that, because the money’s gone now — but any new music Dep wants to record will belong to the label.

Read the article in its entirety here

Excerpt of a piece that appears in the Feb. 17, New York Daily News.

Related: **Check out HIP HOP: BEYOND BEATS AND RHYMES ON PBS**

 

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Posted in: Music