Baskin-Robbins offering $1.99 scoops for parents this summer
From June 16-27, the beloved ice cream chain is launching its Parent Pass promotion, offering $1.99 scoops exclusively to Baskin-Robbins Rewards members at participating locations nationwide, the company announced in a press release Wednesday.
"The kids are home and the days are long," Baskin-Robbins' website reads. "Parents, you deserve a sweet break this summer. With Parent Pass, you can treat your child (and yourself) to $1.99 Scoops June 16-27 (M–F) with Baskin-Robbins Rewards."
In a statement included with Wednesday's press release, Nicole Boutwell, vice president of brand marketing and culinary at Baskin-Robbins, acknowledged the often chaotic gap between the end of the school year and the start of summer camps.
"The days between the last school bell and the first day of summer camp can be long, loud, and full of 5 a.m. wake-up calls," she said. "That's why we're giving parents a break with the Parent Pass. It's our way of saying, 'You've got this -- and we've got the ice cream to help you through it.'"
The company describes the Parent Pass as "your permission slip to keep things cool during summer's most unpredictable stretch," and reminds parents that "scoops are not just for kids -- enjoy one yourself."
The promotion follows the June 1 debut of Trolli Sour Blast, the chain's Flavor of the Month and its first-ever collaboration with Trolli candy.
Inspired by the iconic Sour Brite Crawlers, the limited-edition ice cream swirls sweet and sour flavors to evoke the nostalgic thrill of childhood summers.
Would you try the new Baskin-Robbins flavor of the month, Chick'n and Waffles?
"Our new lineup is a tribute to the bold, playful spirit of summer," Boutwell said of the new flavor, in a May 28 press release. "We all remember those carefree moments -- from grabbing candy at the corner store to hanging out with friends until the streetlights came on. The new limited-edition Trolli treats are a sweet way to reconnect with that energy and make new memories along the way."
In addition to Trolli Sour Blast, Baskin-Robbins also introduced Trolli Sour Blast Fizz and the Trolli Dirt 'n Worms Sundae to its summer menu.
Baskin-Robbins offering $1.99 scoops for parents this summer originally appeared on goodmorningamerica.com
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
3 days ago
- Yahoo
Why Mel Robbins Says Parents Must Fix Their Own Screen Time First
The author and podcast host gets candid about her own 'screen time' struggles and shares her best tips for parents to model a healthier digital Points Kids learn phone habits from parents, so modeling mindful and intentional use is the first step to creating balance. Simple family rules, like no phones in bedrooms or at the dinner table, help protect connection and presence. Using phones for shared fun, like a family group chat, can strengthen bonds while still setting healthy limits.I know I'm not alone when I say that Mel Robbins, the award-winning podcast host and New York Times best-selling author, has changed my life. After all, she is one of the most followed experts in mindset, behavior change, and life improvement. She often starts her bi-weekly podcast by saying, 'Hey, it's your friend Mel.' And, I truly feel like I'm about to hang out with and get advice from a friend who's not afraid of tough love, honest feedback, and deep inner reflection. From her 'Let Them' theory to 'a-ha' moments that have boosted my confidence, Robbins is a big presence in my life. So when I had the opportunity to chat with her before the Verizon Unplugged with Mel Robbins event in New York City, it was a bucket list moment. The event focused on a topic that almost every parent needs guidance on—creating healthy digital wellness habits and mindful phone use. It's part of Verizon's initiative to empower families to build safer, healthier relationships with technology. Robbins was even joined on stage for the first time with her son, 19-year-old Oakley, to share his honest perspective on how screen time has evolved in the Robbins household and how it affects his life as a college student. Breaking the Summer Screen Time Rules With back-to-school season upon us, screen time is a big topic of conversation in my own household. We've diligently put a daily, 90-minute timer on my 10-year-old daughter's iPad. During the school year, she's so busy that often, she doesn't even use the entire allotted time. But in the summer, it's a different story. Neither my schedule nor my husband's slows down because, so often, we cave and add extra time to keep the boredom at bay. I worry about my daughter pushing back when school starts in just a few weeks and screen time rules are back in place—which is where my conversation with Robbins began for Parents. 'I think the most important takeaway is that a lot of us, as parents, feel like we have completely lost control of the situation during the summer. You have to think about it in zones of time—because you said something really important, which is that during the school year, it's easier to enforce those types of boundaries during the week because you have school to lean on,' says Robbins. Parents, though, need to be modeling similar boundaries for themselves. 'It's very important to understand—even though it may not feel like it—that it starts with the parent. When we are always on our phones, or on our phones more than we'd like to be, it translates to our kids being that way. So the hard advice is that it starts with you,' she adds. Work Is Just An Excuse I thought of all the times that I gave my daughter extra screen time because I needed ten extra minutes to make a work call or answer "urgent" emails. My phone is where most of my 'work' often takes place, which Robbins immediately called out as an 'excuse,' citing her own experience. 'I was guilty of this. I would literally be like, 'I got to work,' and my phone was always in my hand. Then the second I was done answering emails, I put the phone down and would scream at everybody in my family [to put their phones down]—because they weren't putting it down on my timeline,' Robbins shares. 'We've started to tell ourselves we have to be available all the time. But when you're available to everything, you're actually not present to anything. Our kids think that we're doing on our phones what they're doing on theirs—and then just blaming it on work.' That really resonated with me. Being distracted by my phone has caused me to miss important conversations or not be fully engaged during precious family time. But it's also become a security blanket. I will mindlessly turn to my phone when I'm bored, uncomfortable or not in the mood to socialize in public."We've started to tell ourselves we have to be available all the time. But when you're available to everything, you're actually not present to anything." Mel RobbinsThe Grocery Store Test Robbins suggests a test to see just how dependent you are on your phone. 'Here's a test. Can you stand in line at the grocery store and not look at your phone?' Robbins asked me. Of course, I sheepishly admitted the answer was 'no.' Thankfully, Robbins understood all too well. 'A couple of years ago, I couldn't do it either because I would feel bored or stressed or nervous or distracted. That's using your phone mindlessly instead of mindfully. That's using it unintentionally instead of intentionally,' Robbins explains. 'So you, as the parent, before we even look at the kids, look at yourself. Can you stand in line? Do you have your phone at the table? If you do, it starts with you.' She suggests the best place to start is by enforcing a no-phone policy at the dinner table or when eating out at a restaurant. 'I looked around at restaurants and saw how many people go out to dinner with others and don't talk to them. It made me realize that my attention is really important. So, how do I start to protect it?' shares Robbins. 'How do I use the phone for all the things that are super important to use it for, but how do I also put it down so that I can be present with myself and present with the people that I care about?' Saying Goodnight to Phones One way Robbins has achieved that is by making sleep a priority and not allowing screens in the bedroom at night. In fact, Robbins suggested my husband and I start reversing my daughter's summer screen time habits by having the whole family start going to bed earlier and get back into the school year's evening routine in the weeks before school starts. 'One big rule that can be very simple and very helpful is when you go up to bed, the phone stays downstairs. When I tuck you in, I take the phone and I plug it in,' suggests Robbins. For those with older kids, Robbins says it's important to start looking at the phone with curiosity and not assume it's all bad, as it does serve a purpose. 'When you look at the phone, you need to see your child's best friend because that's who they're connecting with,' she explains. A New Connection Phones are how this generation connects. Robbins likens it to when your kids have a sleepover and you bang on the door at midnight because they're still up and being too loud. 'Well, that's what they're doing on their phones. They just want to hang out with their best friend,' says Robbins. That was one of the points that Robbins' son Oakley, made during the conversation portion of the event that really surprised me. He confirmed that he mainly uses his phone for connection and to be in touch with his friends. But Robbins says that as the parent of the house—you must make the rules and know it's okay to be the bad guy—with a little compassion. 'One thing that I didn't understand at first is that our kids get a lot of pressure from their friends to be available. But what's wonderful is you can tell them to blame you when it's time to get off the phone,' says Robbins. In fact, Oakley agrees it's really important for parents to know that it's okay to be the bad guy. He explained that he has friends who don't use their phones that often and feel bad when people complain they are hard to reach. But Oakley admits that secretly, kids like being able to blame their parents if they're not able to get to their phone, so they don't feel as bad about letting their friends down. Enter the Group Chat Because Robbins is all about balance, she encourages families to use their phones for fun, too. Her favorite way to do that is via the creation of a family group chat—complete with a really fun name. 'You know how you have a good friend who you share memes back and forth with? That's one of the things you should do in your family group chat,' says Robbins. Another thing Robbins loves is a 'roll call.' 'I have a daughter that lives in L.A., a daughter that lives in New York, a son in college, and my husband will go off into the woods hiking somewhere. All of a sudden everybody's replying with photos, and it makes you feel connected. It turns the phone into this incredible way to lean in and have fun,' explains Robbins. If the family group chat sounds good to you, of course, Robbins has an assignment. 'If you're reading this, you be the fun master and start the chat. Don't expect everyone to text immediately. But be the one that goes in there every day, calls people out, cheers for them, and sends funny photos,' she suggests. 'You'll be surprised. Within a week, those photos will start rolling in, and that family group chat will become this great place for you guys to connect and have fun.' Read the original article on Parents Solve the daily Crossword
Axios
3 days ago
- Axios
Jim VandeHei to Mel Robbins: Sorry!
Axios CEO Jim VandeHei writes: I owe a huge apology to Mel Robbins, author of the bestselling book in the world. Maybe it was author envy, or bad "blink" instincts, or both. But I must confess to hearing the premise of " The Let Them Theory" and thinking: No shit! "Let Them" argues that we need to stop letting others' actions or words bother and control us. The inner Jim's response: "Duh? If I could just let people be moronic, selfish and make-me-want-to stab-myself annoying, I would — but I can't!" Why it matters: I was wrong, at least about Robbins' book. I went down the Mel Robbins rabbit hole this past week and discovered how valuable her insights are. I get why she has sold 6 million copies in just under eight months — more books in a shorter time than any author in history. I also listened to her on several podcasts, including a visit to Kara Swisher's "Pivot." A few quick takeaways: Robbins' theories are persuasive and impressive. She provides specific tips and tools to flip the script and control things on your terms. Her examples resonate. She's normal and likable. People trust authenticity. She nails this with a mix of cursing, humility and self-deprecation. So much of self-help feels preachy or unrelatable. She listens. This is something most people, often including me, suck at. But she listens to her guests and seems to cling to what they say, without an urge to inject her own smarts or wisdom. It was as if Kara and Mel were talking to me, personally, when they made fun of dopes who dismissed her book as obvious. "The reason this is so successful is because I'm reminding you of what you already know to be true," she told Kara. Robbins gives credit to the Stoics and therapists and scientists who have said the same things in a different context. But there's magic in creating a modern template to put the oldest of thinking into a contemporary plan. "It's very easy to make something complicated," Robbins said. "It is extraordinarily difficult, and takes a lot of rigor, to distill complicated things and do a simple thing that anybody can use and you can remember." The big picture: Some people dismissed our first book, " Smart Brevity," as obvious. But the truth is: Writing shorter, without losing any value, is harder than people think. The book helps. With 350,000 copies sold, it's been a big success. It was self-evidently hypocritical of me to have a "no shit" reaction to Robbins' big idea. As an author who would relish her success, the smart response would be to learn from her. The bottom line: Mel Robbins' advice is useful. At Axios, we're obsessed with usefulness. It's an underrated gift: People listen, act and share something if it's truly useful and actionable. Her book and podcast often frame topics around specific, useful applications. I'll leave you with what she describes as one of the most meaningful conversations she has ever had, with Dr. Jim Doty, a Stanford neuroscientist and bestselling author who died last month. The topic: manifesting the outcomes you want. Three useful steps: Write it. Visualize it. Say it, silently and aloud. The repetition, pulling on — and in — three senses literally creates a neural network to force action. Shift out of fear mode. Fear triggers biological stress and makes it a lot harder to do what you're trying to do. Doty argues you need to downshift to "heart mode," where you are calm and open. If you can, your body has a literal physiological response that vastly enhances your chance of getting what you want. Lose the negativity. Your mind and body react positively if you spend more time thinking good things about yourself and others. No one can do this always. But everyone can do it more. 🎧 The first 30 minutes of the podcast are time very well spent. The full podcast is here.
New York Times
07-08-2025
- New York Times
Tiler Peck Knows Jerome Robbins, and Knows What She Wants
Tiler Peck is the kind of ballerina who makes dancing look easy. Known for her musicality, her virtuosity, her incisive technique and her spirit — guileless and wise, opinionated and sharp — she has been a sparkling principal at New York City Ballet since 2009. But early on she encountered a bump in the road. She was young — 17 or 18 — and cast as the woman in Pink in Jerome Robbins's ballet 'Dances at a Gathering,' set to Chopin. Her debut seemed to go well. She performed the right steps. And yet she wasn't ready for it. 'I didn't understand the simplicity of the ballet,' she said. 'So much of the Robbins work is understated. You really have to dig deeper into who you are as a person and bring that to the role.' That was one of the reasons she said yes to overseeing a Robbins festival, a presentation this month by the Joyce Theater Foundation initiated by the Robbins Rights Trust. His ballets, she said, taught her much about what it means to be a ballerina. Just because a dancer can fly, it doesn't mean that's all she can do. Peck can just walk. Simply and to great effect. For 'Ballet Festival: Jerome Robbins,' Aug. 12-17, Peck is giving a group of top-tier dancers the chance to find out more about themselves, too. Handpicked by Peck from City Ballet, American Ballet Theater, the Paris Opera Ballet and the Royal Ballet, these dancers won't be meeting in yet another star showcase or gala setting, but sharing the stage in a serious way. 'I wanted it to not only be something exciting for the audience, but I wanted it to be exciting for the dancers involved, selfishly,' Peck said, in a video interview from London, where she was performing in the musical 'Little Dancer.' She added, 'I wanted it to be growing experiences for all of us.' As far as the repertory is concerned, Peck worked with the trust — mainly with Jean-Pierre Frohlich, who is also a repertory director at City Ballet who assisted Robbins and stages his works. 'She knows what she wants and she knows what she likes,' Frohlich said. 'And that's really important. Plus, she has taste.' A festival highlight is Peck's debut in 'A Suite of Dances,' a solo created for Mikhail Baryshnikov. She's the first woman to dance the role. Two years ago, Peck asked Frohlich if she could learn the part. (She wasn't the first woman to ask.) The answer, then, was clear: no. It was reserved for male dancers. But now the trust has shifted its thinking. Casting at companies has become more open. At Pacific Northwest Ballet, Ashton Edwards, a nonbinary dancer, performs male and female roles. And in contemporary ballets, men and women have been known to switch parts, like the lead couple in 'The Times Are Racing' by Justin Peck. 'If we're going to do it, it should be now,' Frohlich said of 'A Suite of Dances.' And it's important to do it while the people who worked with Robbins are still here to coach and to supervise. Frohlich was in the studio when it was created. 'If it works, it works,' he said. 'If it doesn't work, it might not happen again. So we decided to go for it.' After spending time in the studio with Peck, he's feeling optimistic. Her femininity, he said, adds a different dynamic. Robbins choreographed 'Suite,' in which a solo dancer and cellist perform as partners, like an impromptu conversation, in 1994. While the ballet is difficult and an endurance test, it isn't necessarily gendered. 'It's funny because J.P., the first day he's teaching me, he's like, 'OK, so we're going to have to change some things,' and I said, 'Well, can I try?'' Peck said. 'And I'm doing all the same steps. I didn't want to get offered this and fix it! Literally, I want to do the part. That's what's important to me.' Peck's early jazz training has made it possible for her to execute the steps. She can perform as effortlessly in a flat slipper as a pointe shoe. 'If I didn't have my jazz training, I don't know if, honestly, I would be able to do the hops in second the way I can do them,' Peck said, referring to a challenging sequence of à la seconde turns. 'Also, it's very jumpy. And clearly I'm not able to jump as high as a male. But what you have to remember is when this was actually made on Misha, he was much older. It was in his later part of his career.' Peck is determined to dance the role as it was choreographed. 'I never want to get anything because I'm a female,' she said. 'I want to do it because I am the right person for it.' Frohlich has found the rehearsal process with Peck to be fascinating. 'I think if anyone is the one to do it, it's her,' he said. 'Her training and her musicality and her sensitivity and her understanding of Jerry. How you cannot force anything. For this ballet, it's like you're in a studio by yourself, listening to the music with your choreographer, and you're trying out steps.' In selecting repertory for the Joyce, a more intimate setting than Lincoln Center, Peck was constricted by music choices. 'It really was, 'Here are the ballets that we can do with a quartet, a piano' — that kind of thing — and I was given a list,' she said. 'They were pushing certain ballets, and I was like, 'There's a reason they don't go. I'm not going to put them on just because they haven't gone in a while.'' Peck may have been only 10 when Jerome Robbins died in 1998, but she knows her way around his dances. And she has an eye for who should interpret them and how that will advance their dancing in the future. As a choreographer, too — she will create her second work for City Ballet next year — she sees the bigger picture. She thinks like an artistic director. The Robbins festival is an extension of that. One ballet she is presenting, 'Rondo,' an elegant, subdued duet, was on the list and is 'one of the more interesting ballets,' she said. 'If you have two very interesting people, then the work is just going to be lifted even more.' Making her debut in 'Rondo' opposite Mira Nadon of City Ballet, is the American Ballet Theater principal Chloe Misseldine, who is new to Robbins. 'It's a crash course,' she said. 'I've never danced anything like it.' And as Peck said, 'Who doesn't want to see Mira and Chloe dance side by side?' A lesser-seen ballet that Peck wanted to bring back was 'Four Bagatelles,' which she danced years ago and thought would be a wonderful challenge for Emma Von Enck and David Gabriel, two gifted dancers at City Ballet. 'I found the choreography very different for Robbins, with some really interesting timing things, and it's very hard,' Peck said. 'It is the perfect time in their careers to tackle something like this. And the partnering is quite hard even though it doesn't look it. So it'll be good for David because it will help get him there.' For the trio 'Concertino,' she selected Dominika Afanasenkov, a rising corps de ballet member at City Ballet, as the female lead. 'They've pushed her a little bit at City Ballet, but I'm like, you need to keep it going to nurture that,' Peck said. 'You can't just give her one thing and then not give her something for so long. You have to keep building. I really wanted her to lead a ballet and keep going in that direction.' When the trust suggested another dancer, Peck recalled that she said: ''No, I really want Dominika. Is that OK?' And they were like, 'OK.' I said, 'Great.'' Peck is also a longtime fan of Cassandra Trenary, until last month a Ballet Theater principal, who will make her debut in 'Other Dances' with Roman Mejia just days before she joins Vienna State Opera. Trenary is thrilled. She's been wanting to learn 'Other Dances' for as long as she can remember. 'It's one of those pas de deux that is just dance if you can really find and capture that feeling of spontaneity and freedom,' she said. 'And of course it takes an insane amount of work to get to that point, and I don't expect to find all of that in the first go, but it's just a beautiful ballet. It's one of those pieces that I put on a pedestal and so I'm honored.' Peck is also proud that 'Dances at a Gathering,' the ballet that started her own transformation as a dancer, will be part of the festival. Normally it's an hour; following the model of a previous Robbins staging, she will present an excerpt with four of the five couples. Cast-wise, it wasn't bigger than some of the other ballets put forth as possibilities by the trust, but at first the answer was no. 'I said: Why? I don't understand,' she said. 'We are going to show these ballets in this intimate setting. We need to lean into that and not try to pretend we're just going to do pas de deux and trios. That's not interesting to me.' And it was never her vision. 'The point of this was to bring people together, to experience these ballets together,' she said. 'And so I didn't want it to look like a gala. I wanted it to look like a festival.'
