The Cool Kids split from label

The Cool Kids — the one time up and coming Chicago hip hop duo who have seemingly fallen off the radar due to their inability to ever dish out an actual studio album — have split with their longtime label, Chocolate Industries. Cool Kid Chuck Inglish confirmed the news via his Twitter last night, writing, “Yo! Were free agents.. The cool kids are out of record label jail… Let’s cheers to that.”

Inglish also explained the duo’s long-delay debut effort, When Fish Ride Bicycles, has yet to see release because, “We were dealing with some shit we couldn’t control in a short amount of time…But me and [bandmate Mikey Rocks] stood up for ours. and in return… We get what we wanted. Freedom to make our music. Without the BS.”

Since forming in 2005, The Cool Kids have released two EPs along with a slew of mixtapes, including this year’s Tacklebox. There’s no word on what’s next for the group, but I hear longtime collaborator Kanye West is pretty good at the whole label thing. Just saying.

THROWBACK HIP-HOP DUO THE COOL KIDS CALL IT A DAY

Illinois hip-hop outfit The Cool Kids are no more.

The fresh-faced duo of Chuck Inglish and Sir Michael Rocks came to public attention in 2007 with their shamelss brand of Golden Age revivalism and no-frills boom-bap. One of the more successful rap acts to build a following on MySpace, the pair got an early push from Diplo, and signed to Fool’s Gold for their gold-plated ’88′ single. Accruing buzz for their The Bake Sale EP, the pair signed to XL and toured with the likes of M.I.A. The momentum dissipated, however: debut LP When Fish Ride Bicycles was expected to come out in 2008, but didn’t emerge until 2011. Their last mixtape was 2010′s Tacklebox.

As AllHipHop report, Inglish and Rocks have decided to retire The Cool Kids as an entity. Rocks stressed that the group were finished, although kept the door open to the possibility of them recording again together under another name:  “I don’t think we’re gonna come out again as The Cool Kids. We might come together as something else different, but as The Cool Kids, no, because we’re not the same people, we’ve changed and evolved into two different artists. We can’t come back and do the same thing again, you know?

“We’ll probably do something else, but as The Cool Kids and as Shark Week, no, those ideas are done, and we’re on to something different now. I wouldn’t do that; I think that would be a step backwards to go back and do that right now, so as far as I know for now, no I wouldn’t see us doing another Cool Kids project as “The Cool Kids.”

Both rappers have stayed busy with their solo projects: Inglish dropped the WRKOUT tape earlier this year, and Rocks put out theLap Of Lux disc. ’88′ is below.

Cool Kids to Release New Album on Mountain Dew Imprint

Since 2008, Mountain Dew's Green Label Sound has given fans the opportunity to download free tracks from up-and-coming artists.

But now the PepsiCo soda brand is preparing to launch an iTunes storefront that will allow listeners to purchase music from certain Green Label Sound artists -- and Mountain Dew is waiving the usual label share of the revenue, leaving all income, minus iTunes processing fees, to the artists.

The first act to be part of the initiative is Chicago hip-hop group the Cool Kids, one of the first talents featured on Green Label Sound, which will release the group's new full-length, "When Fish Ride Bicycles," in the spring. (A release date hasn't yet been set). It will be the act's first album since its 2008 debut, "The Bake Sale" (Chocolate Industries), which reached No. 8 on Billboard's Heatseekers Albums chart and has sold 61,000 units in the United States, according to Nielsen SoundScan. New track "Bundle Up" will be released as a Green Label Sound single for free download on Feb. 23.

"Labels suck," the Cool Kids' Chuck Inglish says with a laugh. "What can they do that Pepsi can't do? We had a good experience with Green Label Sound -- we got more from that single than we got from our previous album. I was tired of the album sitting around and just wanted to get it out."

Regarding the generous iTunes deal, Inglish says, "We totally got the best deal in the world -- by accident."

Cornerstone, the agency that runs Green Label Sound for PepsiCo, will work with Mountain Dew to "create assets and do PR and paid media around the album," Cornerstone executive VP of creative and strategy Jeff Tammes says.

The Cool Kids will also get additional publicity at South by Southwest, playing a showcase March 18 at La Zona Rosa with MNDR and Chromeo, which have also released singles through Green Label Sound.

While Green Label Sound has always strived to direct fans to new music, "it's been hard to direct people to do that and pay for it," Mountain Dew director of marketing Brett O'Brien says. "But now with this partnership we have the perfect opportunity to do that."

O'Brien says the Cool Kids are natural partners. "They've been part of Green Label Sound for a long time," he says. "We've maintained a relationship with them and they came to us with what was then an EP and no label. We loved the tracks and decided to help them master what they had done and brought in production. They also did several more tracks so we'll be releasing the album as a full-length record."

While other brands, including Nike, have dedicated iTunes storefronts, O'Brien says Green Label Sound didn't model its plans on what other brands have done. He says Mountain Dew is still figuring out how to direct traffic to the iTunes storefront and where it will post links. For example, a user might download a free track at the Green Label Sound site and then be directed to a link to the iTunes store to purchase the entire album.

"We are still working out exactly what it will all look like," O'Brien says. "We do know Green Label Sound will be the label name."

Parents and kids going vintage to bond the old-fashioned way

PARENTS are bridging the generation gap with their kids through a shared interest in all things vintage and retro.

From shopping together at op shops for vintage clothing, scouring record shops for vinyl albums and embracing stamp and coin collections - what's old is new and cool again.

"There are few intergenerational connections these days, but vintage create shared points of interest between kids and their parents," said demographer Mark McCrindle. "It's nostalgia for the parents and something new for the young."

Kate Parker and her daughter Annabelle, from Murrumbeena in Victoria, have bonded through a love of vintage fashion.

"Sometimes we don't see eye to eye, but shopping brings us together," Mrs Parker said.

Annabelle, who will soon be 21, is drawn to the fashions of her mother's era - the '70s and '80s - and the interest allows Kate to share her childhood with her daughter.

"We recently found clothes with the 80s puffed shoulders," Kate said. "It was great to share that past."

Salvos Stores are reporting a ten per cent increase in customers on last year and a 3.9 per cent increase in sales, while the retail average is just 1.2 per cent.

Tracey Maloney, from Sunshine in Victoria, is one of four generations of women who shop for vintage clothes together.

"It's a pilgrimage for us," Tracey explained. "I have a deep appreciation for the things I had as a child and I am able to share that."

And it also allows the younger women to develop an identity and share their interest with the older women.

"I watch my daughter and granddaughter construct their own identity through the things they find," said Tracey. "It's amazing."

Many fathers too are finding a love of old music can help them connect with their kids.

"We especially see dads buying vinyl records for their kids," said Paul Cook from Heartland Records in North Melbourne.

Vinyl record sales are at their highest since 1991 with 127,000 12" vinyl albums sold last year totalling $1.9 million in sales, despite the format once being thought dead. The intergenerational connection has helped bring it back from the brink.

"Dad's vinyl connection makes him cool and listening to the record through the shared sound of the speakers is a chance to connect," said Mr McCrindle.

It's thought to take between 15 and 20 years, one whole generation, for something to become so retro it is fashionable again.

Scooby Doo and Cabbage Patch Kids are the rage in children's toys and The Smurfs and Teenage Mutant Ninja Turtles will soon be back on cinema screens.

And even collecting footy cards, stamps and coins are back in vogue for Aussie kids.

"Kids are starting collections and it is something parents are encouraging because they can relate to it," said Mr McCrindle. "It is something we haven't seen for decades."

The 100 'Greatest Books for Kids'

The 100 "Greatest Books for Kids," ranked by Scholastic Parent & Child magazine:

1. Charlotte's Web by E.B. White

2. Goodnight Moon by Margaret Wise Brown

3. A Wrinkle in Time by Madeleine L'Engle

4. The Snowy Day by Ezra Jacks Keats

5. Where the Wild Things Are by Maurice Sendak

6. Harry Potter and the Sorcerer's Stone by J.K. Rowling

7. Green Eggs and Ham by Dr. Seuss

8. The Diary of a Young Girl by Anne Frank

9. The Giving Tree by Shel Silverstein

10. Frog and Toad Are Friends by Arnold Lobel

11. Anne of Green Gables by L.M. Montgomery

12. The Very Hungry Caterpillar by Eric Carle

13. Madeline by Ludwig Bemelmans

14. The Wind in the Willows by Kenneth Grahame

15. The Dot by Peter H. Reynolds

16. Tuck Everlasting by Natalie Babbitt

17. Pat the Bunny by Dorothy Kunhardt

18. When Marian Sang by Pam Munoz Ryan

19. Knuffle Bunny: A Cautionary Tale by Mo Willems

20. Where the Sidewalk Ends by Shel Silverstein

21. Bud, Not Buddy by Christopher Paul Curtis

22. Corduroy by Don Freeman

23. The Phantom Tollbooth by Norton Juster

24. The Little Engine That Could by Watty Piper

25. The Giver by Lois Lowry

26. Where the Mountain Meets the Moon by Grace Lin

27. Black on White by Tana Hoban

28. Don't Let the Pigeon Drive the Bus! by Mo Willems

29. Are You There God? It's Me, Margaret. by Judy Blume

30. My Rotten Redheaded Older Brother by Patricia Polacco

31. The Mitten by Jan Brett

32. The Runaway Bunny by Margaret Wise Brown

33. The Hunger Games by Suzanne Collins

34. Swimmy by Leo Lionni

35. Freight Train by Donald Crews

36. The Secret Garden by Frances Hodgson Burnett

37. The Little Mouse, the Red Ripe Strawberry, and the Big Hungry Bear by Don & Audrey Wood

38. Diary of a Wimpy Kid by Jeff Kinney

39. Zen Shorts by John J. Muth

40. Moo, Baa, La La La! by Sandra Boynton

41. Matilda by Roald Dahl

42. What Do People Do All Day? by Richard Scarry

43. The Lion, the Witch and the Wardrobe by C.S. Lewis

44. Good Night, Gorilla by Peggy Rathmann

45. The Composition by Antonio Skarmeta

46. Not a Box by Antoinette Portis

47. Brown Bear, Brown Bear, What Do You See? by Bill Martin Jr. and Eric Carle

48. Hatchet by Gary Paulsen

49. Martin's Big Words by Doreen Rappaport

50. Sarah, Plain and Tall by Patricia MacLachlan

51. Sylvia Long's Mother Goose by Sylvia Long

52. The Lightning Thief by Rick Riordan

53. The House at Pooh Corner by A.A. Milne

54. Through My Eyes by Ruby Bridges

55. Smile! by Roberta Grobel Intrater

56. Living Sunlight by Molly Bang & Penny Chisholm

57. The Bad Beginning by Lemony Snicket

58. Harvesting Hope: The Story of Cesar Chavez by Kathleen Krull

59. Dear Juno by Soyung Pak

60. Head, Shoulders, Knees, and Toes… by Annie Kubler

61. The Lion and the Mouse by Jerry Pinkney

62. Diary of a Worm by Doreen Cronin

63. The Invention of Hugo Cabret by Brian Selznick

64. My Truck Is Stuck! by Kevin Lewis

65. Birds by Kevin Henkes

66. The Maze of Bones by Rick Riordan

67. Esperanza Rising by Pam Munoz Ryan

68. Counting Kisses: A Kiss & Read Book by Karen Katz

69. The Magic School Bus at the Waterworks by Joanna Cole

70. Blackout by John Rocco

71. Bridge to Terabithia by Katherine Paterson

72. Are You My Mother? by P.D. Eastman

73. Tea With Milk by Allen Say

74. Owl Moon by Jane Yolen

75. Holes by Louis Sachar

76. Peek-a Who? by Nina Laden

77. Hi! Fly Guy by Tedd Arnold

78. Mrs. Frisby and the Rats of NIMH by Robert C. O'Brien

79. Llama Llama Red Pajama by Anna Dewdney

80. What Do You Do With a Tail Like This? by Steve Jenkins & Robin Page

81. Lincoln: A Photobiography by Russell Freedman

82. Ivy + Bean by Annie Barrows

83. Yoko by Rosemary Wells

84. No No Yes Yes by Leslie Patricelli

85. Tales of a Fourth Grade Nothing by Judy Blume

86. Interrupting Chicken by David Ezra Stein

87. Rules by Cynthia Lord

88. Grumpy Bird by Jeremy Tankard

89. An Egg Is Quiet by Dianna Hutts Aston

90. Puss in Boots by Charles Perrault

91. Team Moon: How 400,000 People Landed Apollo 11 on the Moon by Catherine Thimmesh

92. What Shall We Do With the Boo Hoo Baby? by Cressida Cowell

93. We the Kids: The Preamble to the Constitution of the United States by David Catrow

94. I Took the Moon for a Walk by Carolyn Curtis

95. A Single Shard by Linda Sue Park

96. Gossie by Olivier Dunrea

97. The Adventures of Captain Underpants by Dav Pilkey

98. First Words by Roger Priddy

99. Joyful Noise: Poems for Two Voices by Paul Fleischman

100. Animalia by Graeme Base

Cool Kids campaign with Houses of Hope celebration

BALTIMORE, Md - With nearly 13,500 kids a year, in the United States, diagnosed with cancer communities are stepping up their efforts are to do more for these children.

The White Marsh Mall will be welcoming the Cool Kids Campaign’s “House of Hope” for the second year. Children who are current or former cancer pediatric patients have painted handcrafted birdhouses that reflect their journeys.  The birdhouses will be on display from August 1 until the 18 in the Lower level Center Court.

White Marsh Mall will also host a special event for the artist and their family on Family Fun Day on August 6. During the event there will be crafts for all children and a presentation to recognize each of the artists.

You can vote for your favorite bird house and be entered for a chance to win a $100 shop ETC. mall gift card.

The New Cool Kid on the Block: How Food Trucks Evolved From Roach Coaches to Cultural Phenomena

During the hectic lunch hours in New York City, people of all ages and backgrounds form a long queue in front of Korilla BBQ, a food truck serving Korean-style burritos. Once the workers completely sell out of food, they shout, "That's a wrap!" and drive their mobile truck away to stock up on ingredients. While on the road, Chef James, the brainchild behind the business, takes out his iPhone and sends a Tweet to his 22K+ followers: "Korilla @116th & Amsterdam open for dinner service at 5pm!"

Food trucks, such as Korilla BBQ, have gained remarkable popularity in recent years. For my senior thesis, I am exploring the emergence of this new U.S. market for food trucks, a rapidly growing business that in 2011 accounted for 37 percent of the $1.4 billion in street revenue nationwide. My research delves into the transformation of the public's attitude towards food trucks from denigrated "roach coaches" to pop culture phenomenon, and more broadly, the change in the landscape of American food culture. The research explores two interrelated factors that helped to change the image of New York City's food trucks: the evolving customer base and unique marketing strategy via social media.

Most food trucks emerged in the late 2000s at the start of the economic recession as customers began demanding quick and inexpensive meals. With their relatively low marketing and operational costs, food trucks proved to be extremely prosperous; within a couple of years, the business solidified as a lucrative venture that chefs lauded as being more rewarding and financially feasible than maintaining brick-and-mortar restaurants.

But economics only partly explain the transformation of the food truck business. Perhaps an even bigger factor is the change in its customer base, which can be noted by the type of food served in these food trucks as well as the role of social media in spreading their popularity.

French sociologist Pierre Bourdieu specifically talks about class-related tastes, arguing that tastes in food depend on the idea each class has about the effects of food on the body. Bourdieu describes the eating habits of the working class and the professions, with the former being "more attentive to the strength of the body than its shape, and tend to go for products that are both cheap and nutritious," while the latter opts for "products that are tasty, health-giving, light, and not fattening." Likewise, the quality of food in food trucks has also improved -- no longer are these trucks serving defrosted, instant meals, but gourmet food prepared by former chefs of upscale restaurants.

In addition, the world of food has become increasingly entwined with the world of technology. Social media marketing has enabled food trucks to interact directly with their customers to foster a sense of community and to create brand loyalty. Indeed, with close toa billion people on Facebook, marketers are beginning to realize the power of social media as a tool to build personal brand image and establish consumer trust. GIS social media platforms, such as Twitter, have been particularly useful for food truck vendors because they can communicate to specific, local audiences about their latest locations or special menu items. Social media also allows customers to engage in a thrill of "the chase" as they track the location of their favorite food trucks.

Over a period of three months this summer, I attempted to find out all I can about the food trucks business by following different trucks at multiple locations and interviewing as many customers and operators as I could. As the mecca of U.S. food culture, New York City seemed liked the opportune destination for my research, especially given the city's sheer number of food trucks due to its population density.

Because food trucks used to be considered the nadir of culinary achievement, catering to people in blue-collar professions, I first wanted to understand the customer demographics of NYC's popular food trucks. Why did customers of higher income and social status start eating at food trucks? Second, I wanted to examine how food trucks use social media tools like Twitter to announce their location changes and new menu items, as well as to build brand awareness and customer loyalty. Finally, I wished to analyze whether there is a segmented market for food trucks, with those still serving the traditional working class customers and others catering to higher income customers. Do these food trucks have different customer bases, media and marketing strategies, and even different food? Is there a correlation between class and food?

As I flip through many pages of notes, transcribed interviews, and audio recordings I have collected over the summer, I have a sudden epiphany that my thesis is actually coming into fruition. Certainly, I still have to do a lot of analytical work to digest all the information into a cohesive piece of work, but in the meantime, I think I will take a little break and grab a bite from my favorite food truck in the city.