Soundoks Mix Review: This Loud-Ass Party Speaker Almost Got Me High AF
Party speakers aren’t really my thing. It’s not that I don’t like to party—I do. Not in a “friends and family surprise you at your house for a serious talk” kind of way, but in a “mid-30s, I have sh*t to do in the morning” kind of way. Really, I just don’t like to annoy people more than I have to.
New York City isn’t known for its serenity, but it takes a certain level of decorum to get along, and party speakers, with their inherent obnoxiousness, break a very tenuous code. They’re big (not great for small living spaces), loud (not great for proximate neighbors), and expensive (not great for paying rent on time). They’re, in many ways, antithetical to what most New Yorkers (and other urban-dwelling people) look for in personal audio.
They’re also, as I learned in my experience using the 21-pound Soundboks Mix party speaker, actually a great way to make friends.
Soundboks Mix
The Soundboks Mix is a party speaker that’s loud and portable with decent sound.
Loud!
Still pretty portable despite its size
Sound is pretty good
Sound is good but not great
No way to get battery readings from the app
Underwhelming EQ options
Party speakers are pricey and so is the Soundboks Mix
This speaker goes to 11
Party speakers are first and foremost meant for parties, and the $800 Soundbox Mix is no different. Soundboks is known for its Bluetooth speakers and, in particular, for making ones that get ridiculously loud. In case you had any doubt about the loudness, the Soundboks Mix even has a volume dial on the side that goes to 11 instead of 10, Spinal Tap-style.
To test out that volume, I went to Washington Square Park in Manhattan and let loose. The Soundboks Mix is indeed loud, folks. It didn’t quake the Earth upon which we walk or anything like that, but it’s got juice. I tested the party speaker at a range of volumes playing music across different genres—mostly rock, but some electronic music and soul—and the park got an earful. I can’t say for certain, but I’m pretty sure I chased off two guys hitting a volleyball around. You heard it here first: if you hate people playing volleyball, the Soundboks Mix is a repellent.
It’s hard to quantify volume into words, but if I were to try, I would say that the Soundboks Mix is loud enough for a graduation party or a medium-sized quinceañera. It’s not going to bring down the house like a full PA, but if you’re outside within a frisbee distance of the speaker, you’re going to hear it. I also tested the Soundboks Mix briefly at full volume in my office playing Creed’s “One Last Breath,” and it was loud enough to make me feel like we could get kicked out, both for the Creed and the volume.
Maybe I’m masochistic, but I was actually expecting it to be a little louder—maybe I’m just old and have bad hearing, though. I guess it’s good that it isn’t. Permanent hearing loss isn’t high on my list of occupational hazards.
One thing you’ll be happy to know is that the Soundboks Mix isn’t just loud; it also manages to stave off distortion even at high volumes. Even at 11 out of 11, the Soundboks Mix sounded pretty clear, both from close up and from about 30 feet away. This isn’t the most impressive speaker I’ve heard in the sound department—you’re not getting Sonos outside—but for a party, where people need volume and not necessarily fidelity, it does the trick.
I played a few Steely Dan songs at 50% volume and was pleased with the soundstage. There’s a tasteful amount of low end that doesn’t drown out mids and highs. Vocals were clear, and I never felt like I was sorely lacking in any frequency range. Likewise, when I played songs like “Digital Love” by Daft Punk, the bass was present and tangible without overpowering, and auto-tuned vocals didn’t sound tinny or cheap. Using a party speaker outside isn’t the most high-fidelity way to listen to anything, but for what the experience is, I think the Soundboks Mix is pretty solid.
If you absolutely need more volume and you have the budget, you can also couple the Soundboks Mix with another Soundboks speaker and use them in pairs in stereo mode. I was only sent one speaker for review, so I didn’t get a chance to test that feature out, but I assume it kicks everything up a notch, as celebrity chef Emeril Lagasse would say.
Loudness and audio quality aren’t the only things you have to consider when you’re looking at party speaker. You also have to think about rolling joints.
Portability is friendability
If there’s one thing that party speakers aren’t known for, it’s being easy to carry around. To get loud, they have to be big—that’s literally just how physics works. But how big is too big? It’s difficult to strike a balance between giving you enough oomph to really project into a party and enough portability so that you don’t feel like you need to rent an ATV just to drag the speaker down the beach. Having carried the speaker from my office to Washington Square Park, which is about 0.3 miles according to Google Maps, I can say for certain that the experience wasn’t so bad.
There’s a built-in handle, which helps, but to be honest, it does weigh 21.4 pounds, so putting all the weight on one hand is a bit much. If you’re moving the Soundboks Mix over longer distances, I would recommend either holding it to your chest like a baby or buying one of Soundboks’ first-party straps that can hook to the speaker, allowing you to sling it over your back. Soundboks didn’t send over a strap for me to try, so I went with the baby method, which was fine, if not ideal.
Its portability also helped make me a friend, who asked me to play some music while he rolled joints. I don’t smoke weed because it makes me feel like the world is ending, but my new friend did offer to share, which was a nice gesture. His first sound request was Beyoncé’s “Me, Myself, and I,” which honestly sounded pretty good at full volume.
The whole thing was kind of heart-warming, really. It’s how I imagine people felt about boomboxes back in the day, when portable ways to play weren’t easy to come by. And I assume the experience is a lot better than it used to be from a convenience standpoint—especially because of the battery.
One cool thing about the Soundboks Mix is that it has a removable battery that you can just pull out and top up with USB-C. That also means you can hot swap it if you really need a new battery ASAP, though you’ll have to buy an extra for $150. There’s also an app for convenience, but it’s pretty barebones.
I like that you can adjust volume from the Soundboks app as well as EQ—there are presets for indoor and outdoor as well as custom EQ if you’re feeling picky. I’ll be honest, I didn’t hear a huge difference between the outdoor and indoor EQs, but according to the bars, the outdoor EQ brings down the mids just a tad, letting bass and treble take the lead.
There is,however, a way to get quick battery readings, which is just odd. Soundboks claims that the Mix gets 8 hours of battery at full volume, though it was hard to get a read since the only way to monitor battery life was to use one of the five circular light indicators on the battery itself. You have to press the button and then just go off those increments and vibes. It’s not ideal. I played the Soundboks Mix for an hour at 60% volume, and none of the five circles dropped out, so take that for what you will.
Outside of volume adjustment and EQ, you can also turn the Soundboks Mix off through the app and initiate the “TeamUp” feature to pair the Mix with other Soundboks speakers. It’s nice to be able to adjust the volume remotely, but to be honest, the built-in volume dial on the Soundboks mix feels so nice and premium (it’s metal and there’s plenty of resistance) that I didn’t want to adjust the volume any other way. Button-wise, there’s also a power button and a button for the TeamUp feature that allows you to pair speakers together. There’s also a “Bond” button that can cycle through modes when you’re using TeamUp and Bluetooth connections. Lastly, there’s a 3.5mm aux in if that’s your thing.
The Soundboks Mix keeps things pretty simple design-wise, but one nice touch is the inclusion of rubber balls on the bottom of each corner, which makes setting it down feel safe and easy. You also won’t have to worry about the Soundboks Mix getting fried in the rain, either. The speaker is IP65-rated, meaning it’s resistant to dust and water, and if you get caught in the rain, you should be fine.
Listen, $800 is a lot of money to spend on a speaker, even if it can get as loud as a chainsaw. This isn’t something that you’re going to want to use all the time, and it certainly isn’t the most versatile speaker in the world, but no party speaker really is. If you’re looking for something that gets loud, sounds good, and can be built out to get even louder and more obnoxious, the Soundboks Mix is not a bad pick. It helps that it’s still somewhat portable despite its loudness, too, so if you plan on hauling this to the beach or something, it’s not an insurmountable task.
Party speakers aren’t for everyone, but if they’re for you, then the Mix might be a great way to make friends and maybe get a little high on someone else’s supply.
Party speakers aren’t really my thing. It’s not that I don’t like to party—I do. Not in a “friends and family surprise you at your house for a serious talk” kind of way, but in a “mid-30s, I have sh*t to do in the morning” kind of way. Really, I just don’t like to annoy people more than I have to.
New York City isn’t known for its serenity, but it takes a certain level of decorum to get along, and party speakers, with their inherent obnoxiousness, break a very tenuous code. They’re big (not great for small living spaces), loud (not great for proximate neighbors), and expensive (not great for paying rent on time). They’re, in many ways, antithetical to what most New Yorkers (and other urban-dwelling people) look for in personal audio.
They’re also, as I learned in my experience using the 21-pound Soundboks Mix party speaker, actually a great way to make friends.
Soundboks Mix
The Soundboks Mix is a party speaker that’s loud and portable with decent sound.
Loud!
Still pretty portable despite its size
Sound is pretty good
Sound is good but not great
No way to get battery readings from the app
Underwhelming EQ options
Party speakers are pricey and so is the Soundboks Mix
This speaker goes to 11
Party speakers are first and foremost meant for parties, and the $800 Soundbox Mix is no different. Soundboks is known for its Bluetooth speakers and, in particular, for making ones that get ridiculously loud. In case you had any doubt about the loudness, the Soundboks Mix even has a volume dial on the side that goes to 11 instead of 10, Spinal Tap-style.
To test out that volume, I went to Washington Square Park in Manhattan and let loose. The Soundboks Mix is indeed loud, folks. It didn’t quake the Earth upon which we walk or anything like that, but it’s got juice. I tested the party speaker at a range of volumes playing music across different genres—mostly rock, but some electronic music and soul—and the park got an earful. I can’t say for certain, but I’m pretty sure I chased off two guys hitting a volleyball around. You heard it here first: if you hate people playing volleyball, the Soundboks Mix is a repellent.
It’s hard to quantify volume into words, but if I were to try, I would say that the Soundboks Mix is loud enough for a graduation party or a medium-sized quinceañera. It’s not going to bring down the house like a full PA, but if you’re outside within a frisbee distance of the speaker, you’re going to hear it. I also tested the Soundboks Mix briefly at full volume in my office playing Creed’s “One Last Breath,” and it was loud enough to make me feel like we could get kicked out, both for the Creed and the volume.
Maybe I’m masochistic, but I was actually expecting it to be a little louder—maybe I’m just old and have bad hearing, though. I guess it’s good that it isn’t. Permanent hearing loss isn’t high on my list of occupational hazards.
One thing you’ll be happy to know is that the Soundboks Mix isn’t just loud; it also manages to stave off distortion even at high volumes. Even at 11 out of 11, the Soundboks Mix sounded pretty clear, both from close up and from about 30 feet away. This isn’t the most impressive speaker I’ve heard in the sound department—you’re not getting Sonos outside—but for a party, where people need volume and not necessarily fidelity, it does the trick.
I played a few Steely Dan songs at 50% volume and was pleased with the soundstage. There’s a tasteful amount of low end that doesn’t drown out mids and highs. Vocals were clear, and I never felt like I was sorely lacking in any frequency range. Likewise, when I played songs like “Digital Love” by Daft Punk, the bass was present and tangible without overpowering, and auto-tuned vocals didn’t sound tinny or cheap. Using a party speaker outside isn’t the most high-fidelity way to listen to anything, but for what the experience is, I think the Soundboks Mix is pretty solid.
If you absolutely need more volume and you have the budget, you can also couple the Soundboks Mix with another Soundboks speaker and use them in pairs in stereo mode. I was only sent one speaker for review, so I didn’t get a chance to test that feature out, but I assume it kicks everything up a notch, as celebrity chef Emeril Lagasse would say.
Loudness and audio quality aren’t the only things you have to consider when you’re looking at party speaker. You also have to think about rolling joints.
Portability is friendability
If there’s one thing that party speakers aren’t known for, it’s being easy to carry around. To get loud, they have to be big—that’s literally just how physics works. But how big is too big? It’s difficult to strike a balance between giving you enough oomph to really project into a party and enough portability so that you don’t feel like you need to rent an ATV just to drag the speaker down the beach. Having carried the speaker from my office to Washington Square Park, which is about 0.3 miles according to Google Maps, I can say for certain that the experience wasn’t so bad.
There’s a built-in handle, which helps, but to be honest, it does weigh 21.4 pounds, so putting all the weight on one hand is a bit much. If you’re moving the Soundboks Mix over longer distances, I would recommend either holding it to your chest like a baby or buying one of Soundboks’ first-party straps that can hook to the speaker, allowing you to sling it over your back. Soundboks didn’t send over a strap for me to try, so I went with the baby method, which was fine, if not ideal.
Its portability also helped make me a friend, who asked me to play some music while he rolled joints. I don’t smoke weed because it makes me feel like the world is ending, but my new friend did offer to share, which was a nice gesture. His first sound request was Beyoncé’s “Me, Myself, and I,” which honestly sounded pretty good at full volume.
The whole thing was kind of heart-warming, really. It’s how I imagine people felt about boomboxes back in the day, when portable ways to play weren’t easy to come by. And I assume the experience is a lot better than it used to be from a convenience standpoint—especially because of the battery.
One cool thing about the Soundboks Mix is that it has a removable battery that you can just pull out and top up with USB-C. That also means you can hot swap it if you really need a new battery ASAP, though you’ll have to buy an extra for $150. There’s also an app for convenience, but it’s pretty barebones.
I like that you can adjust volume from the Soundboks app as well as EQ—there are presets for indoor and outdoor as well as custom EQ if you’re feeling picky. I’ll be honest, I didn’t hear a huge difference between the outdoor and indoor EQs, but according to the bars, the outdoor EQ brings down the mids just a tad, letting bass and treble take the lead.
There is,however, a way to get quick battery readings, which is just odd. Soundboks claims that the Mix gets 8 hours of battery at full volume, though it was hard to get a read since the only way to monitor battery life was to use one of the five circular light indicators on the battery itself. You have to press the button and then just go off those increments and vibes. It’s not ideal. I played the Soundboks Mix for an hour at 60% volume, and none of the five circles dropped out, so take that for what you will.
Outside of volume adjustment and EQ, you can also turn the Soundboks Mix off through the app and initiate the “TeamUp” feature to pair the Mix with other Soundboks speakers. It’s nice to be able to adjust the volume remotely, but to be honest, the built-in volume dial on the Soundboks mix feels so nice and premium (it’s metal and there’s plenty of resistance) that I didn’t want to adjust the volume any other way. Button-wise, there’s also a power button and a button for the TeamUp feature that allows you to pair speakers together. There’s also a “Bond” button that can cycle through modes when you’re using TeamUp and Bluetooth connections. Lastly, there’s a 3.5mm aux in if that’s your thing.
The Soundboks Mix keeps things pretty simple design-wise, but one nice touch is the inclusion of rubber balls on the bottom of each corner, which makes setting it down feel safe and easy. You also won’t have to worry about the Soundboks Mix getting fried in the rain, either. The speaker is IP65-rated, meaning it’s resistant to dust and water, and if you get caught in the rain, you should be fine.
Listen, $800 is a lot of money to spend on a speaker, even if it can get as loud as a chainsaw. This isn’t something that you’re going to want to use all the time, and it certainly isn’t the most versatile speaker in the world, but no party speaker really is. If you’re looking for something that gets loud, sounds good, and can be built out to get even louder and more obnoxious, the Soundboks Mix is not a bad pick. It helps that it’s still somewhat portable despite its loudness, too, so if you plan on hauling this to the beach or something, it’s not an insurmountable task.
Party speakers aren’t for everyone, but if they’re for you, then the Mix might be a great way to make friends and maybe get a little high on someone else’s supply.
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#Soundoks #Mix #Review #LoudAss #Party #Speaker #High
One Iran-linked outlet, Explosive News, can reportedly turn around a two-minute synthetic Lego segment in about 24 hours. The speed is the point. Synthetic media does not need to hold up forever; it only needs to travel before verification catches up.
Last month, the White House added to that confusion when it posted two vague “launching soon” videos, then removed them after online investigators and open source researchers began dissecting them.
The reveal turned out to be anticlimactic: a promotional push for the official White House app. But the episode demonstrated how thoroughly official communication has absorbed the aesthetics of leaks, virality, and platform-native intrigue. Even when official accounts adopt the aesthetics of a leak, questioning whether a record is real or synthetic is the only defensive move left.
Real vs. Synthetic: The New Friction
A zero digital footprint used to signal authenticity. Now, it can signal the opposite. The absence of a trail no longer means something is original—it may mean it was never captured by a lens at all. The signal has inverted. Truth lags; engagement leads.
Open source investigators are still holding the line, but they are fighting a volume war. The rise of hyperactive “super sharers,” often backed by paid verification, adds a layer of false authority that traditional open source intelligence (OSINT) now has to navigate.
“We’re perpetually catching up to someone pressing repost without a second thought,” says Maryam Ishani, an OSINT journalist covering the conflict. “The algorithm prioritizes that reflex, and our information is always going to be one step behind.”
At the same time, the surge of war-monitoring accounts is beginning to interfere with reporting itself. Manisha Ganguly, visual forensics lead at The Guardian and an OSINT specialist investigating war crimes, points to the false certainty created by the flood of aggregated content on Telegram and X.
“Open source verification starts to create false certainty when it stops being a method of inquiry—through confirmation bias, or when OSINT is used to cosmetically validate official accounts or knowingly misapplied to align with ideological narratives rather than interrogate them,” Ganguly says.
While this plays out, the verification toolkit itself is becoming harder to access. On April 4, Planet Labs—one of the most relied-upon commercial satellite providers for conflict journalism—announced it would indefinitely withhold imagery of Iran and the broader Middle East conflict zone, retroactive to March 9, following a request from the US government.
The response from US defense secretary Pete Hegseth to concerns about the delay was unambiguous: “Open source is not the place to determine what did or did not happen.”
That shift matters. When access to primary visual evidence is restricted, the ability to independently verify events narrows. And in that narrowing gap, something else expands: Generative AI doesn’t just fill the silence—it competes to define what’s seen in the first place.
Generative AI Is Getting Harder to Spot
Generative AI platforms have been learning from their mistakes. Henk van Ess, an investigative trainer and verification specialist, says many of the classic tells—incorrect finger counts, garbled protest signs, distorted text—have largely been fixed in the latest generation of models. Tools like Imagen 3, Midjourney, and Dall·E have improved in prompt understanding, photorealism, and text-in-image rendering.
But the harder problem is what van Ess calls the hybrid.
One Iran-linked outlet, Explosive News, can reportedly turn around a two-minute synthetic Lego segment in about 24 hours. The speed is the point. Synthetic media does not need to hold up forever; it only needs to travel before verification catches up.
Last month, the White House added to that confusion when it posted two vague “launching soon” videos, then removed them after online investigators and open source researchers began dissecting them.
The reveal turned out to be anticlimactic: a promotional push for the official White House app. But the episode demonstrated how thoroughly official communication has absorbed the aesthetics of leaks, virality, and platform-native intrigue. Even when official accounts adopt the aesthetics of a leak, questioning whether a record is real or synthetic is the only defensive move left.
Real vs. Synthetic: The New Friction
A zero digital footprint used to signal authenticity. Now, it can signal the opposite. The absence of a trail no longer means something is original—it may mean it was never captured by a lens at all. The signal has inverted. Truth lags; engagement leads.
Open source investigators are still holding the line, but they are fighting a volume war. The rise of hyperactive “super sharers,” often backed by paid verification, adds a layer of false authority that traditional open source intelligence (OSINT) now has to navigate.
“We’re perpetually catching up to someone pressing repost without a second thought,” says Maryam Ishani, an OSINT journalist covering the conflict. “The algorithm prioritizes that reflex, and our information is always going to be one step behind.”
At the same time, the surge of war-monitoring accounts is beginning to interfere with reporting itself. Manisha Ganguly, visual forensics lead at The Guardian and an OSINT specialist investigating war crimes, points to the false certainty created by the flood of aggregated content on Telegram and X.
“Open source verification starts to create false certainty when it stops being a method of inquiry—through confirmation bias, or when OSINT is used to cosmetically validate official accounts or knowingly misapplied to align with ideological narratives rather than interrogate them,” Ganguly says.
While this plays out, the verification toolkit itself is becoming harder to access. On April 4, Planet Labs—one of the most relied-upon commercial satellite providers for conflict journalism—announced it would indefinitely withhold imagery of Iran and the broader Middle East conflict zone, retroactive to March 9, following a request from the US government.
The response from US defense secretary Pete Hegseth to concerns about the delay was unambiguous: “Open source is not the place to determine what did or did not happen.”
That shift matters. When access to primary visual evidence is restricted, the ability to independently verify events narrows. And in that narrowing gap, something else expands: Generative AI doesn’t just fill the silence—it competes to define what’s seen in the first place.
Generative AI Is Getting Harder to Spot
Generative AI platforms have been learning from their mistakes. Henk van Ess, an investigative trainer and verification specialist, says many of the classic tells—incorrect finger counts, garbled protest signs, distorted text—have largely been fixed in the latest generation of models. Tools like Imagen 3, Midjourney, and Dall·E have improved in prompt understanding, photorealism, and text-in-image rendering.
But the harder problem is what van Ess calls the hybrid.
#Internet #Broke #Everyones #Bullshit #Detectorspropaganda,artificial intelligence,open source,satellite images,iran,war,politics">How the Internet Broke Everyone’s Bullshit Detectors
Lego-style propaganda videos alleging war crimes are flooding online feeds, echoing the White House’s own turn toward cryptic teaser clips and meme-native visuals. This is not just content drift. It is a new front in the information war, one where speed, ambiguity, and algorithmic reach matter as much as accuracy.
One Iran-linked outlet, Explosive News, can reportedly turn around a two-minute synthetic Lego segment in about 24 hours. The speed is the point. Synthetic media does not need to hold up forever; it only needs to travel before verification catches up.
Last month, the White House added to that confusion when it posted two vague “launching soon” videos, then removed them after online investigators and open source researchers began dissecting them.
The reveal turned out to be anticlimactic: a promotional push for the official White House app. But the episode demonstrated how thoroughly official communication has absorbed the aesthetics of leaks, virality, and platform-native intrigue. Even when official accounts adopt the aesthetics of a leak, questioning whether a record is real or synthetic is the only defensive move left.
Real vs. Synthetic: The New Friction
A zero digital footprint used to signal authenticity. Now, it can signal the opposite. The absence of a trail no longer means something is original—it may mean it was never captured by a lens at all. The signal has inverted. Truth lags; engagement leads.
Open source investigators are still holding the line, but they are fighting a volume war. The rise of hyperactive “super sharers,” often backed by paid verification, adds a layer of false authority that traditional open source intelligence (OSINT) now has to navigate.
“We’re perpetually catching up to someone pressing repost without a second thought,” says Maryam Ishani, an OSINT journalist covering the conflict. “The algorithm prioritizes that reflex, and our information is always going to be one step behind.”
At the same time, the surge of war-monitoring accounts is beginning to interfere with reporting itself. Manisha Ganguly, visual forensics lead at The Guardian and an OSINT specialist investigating war crimes, points to the false certainty created by the flood of aggregated content on Telegram and X.
“Open source verification starts to create false certainty when it stops being a method of inquiry—through confirmation bias, or when OSINT is used to cosmetically validate official accounts or knowingly misapplied to align with ideological narratives rather than interrogate them,” Ganguly says.
While this plays out, the verification toolkit itself is becoming harder to access. On April 4, Planet Labs—one of the most relied-upon commercial satellite providers for conflict journalism—announced it would indefinitely withhold imagery of Iran and the broader Middle East conflict zone, retroactive to March 9, following a request from the US government.
The response from US defense secretary Pete Hegseth to concerns about the delay was unambiguous: “Open source is not the place to determine what did or did not happen.”
That shift matters. When access to primary visual evidence is restricted, the ability to independently verify events narrows. And in that narrowing gap, something else expands: Generative AI doesn’t just fill the silence—it competes to define what’s seen in the first place.
Generative AI Is Getting Harder to Spot
Generative AI platforms have been learning from their mistakes. Henk van Ess, an investigative trainer and verification specialist, says many of the classic tells—incorrect finger counts, garbled protest signs, distorted text—have largely been fixed in the latest generation of models. Tools like Imagen 3, Midjourney, and Dall·E have improved in prompt understanding, photorealism, and text-in-image rendering.
But the harder problem is what van Ess calls the hybrid.
Like the original Connections, the game is all about finding the “common threads between words.” And just like Wordle, Connections resets after midnight and each new set of words gets trickier and trickier — so we’ve served up some hints and tips to get you over the hurdle.
If you just want to be told today’s puzzle, you can jump to the end of this article for the latest Connections solution. But if you’d rather solve it yourself, keep reading for some clues, tips, and strategies to assist you.
The NYT‘s latest daily word game has launched in association with The Athletic, the New York Times property that provides the publication’s sports coverage. Connections can be played on both web browsers and mobile devices and require players to group four words that share something in common.
Each puzzle features 16 words, and each grouping of words is split into four categories. These sets could comprise anything from book titles, software, country names, etc. Even though multiple words will seem like they fit together, there’s only one correct answer.
If a player gets all four words in a set correct, those words are removed from the board. Guess wrong and it counts as a mistake — players get up to four mistakes before the game ends.
Players can also rearrange and shuffle the board to make spotting connections easier. Additionally, each group is color-coded with yellow being the easiest, followed by green, blue, and purple. Like Wordle, you can share the results with your friends on social media.
Can Follow Minnesota — LYNX, UNITED, VIKINGS, WILD
Starts With Part of the Body — ARMY, EARTHQUAKES, LEGACY, LIVERPOOL
Don’t feel down if you didn’t manage to guess it this time. There will be new sports Connections for you to stretch your brain with tomorrow, and we’ll be back again to guide you with more helpful hints.
Like the original Connections, the game is all about finding the “common threads between words.” And just like Wordle, Connections resets after midnight and each new set of words gets trickier and trickier — so we’ve served up some hints and tips to get you over the hurdle.
If you just want to be told today’s puzzle, you can jump to the end of this article for the latest Connections solution. But if you’d rather solve it yourself, keep reading for some clues, tips, and strategies to assist you.
The NYT‘s latest daily word game has launched in association with The Athletic, the New York Times property that provides the publication’s sports coverage. Connections can be played on both web browsers and mobile devices and require players to group four words that share something in common.
Each puzzle features 16 words, and each grouping of words is split into four categories. These sets could comprise anything from book titles, software, country names, etc. Even though multiple words will seem like they fit together, there’s only one correct answer.
If a player gets all four words in a set correct, those words are removed from the board. Guess wrong and it counts as a mistake — players get up to four mistakes before the game ends.
Players can also rearrange and shuffle the board to make spotting connections easier. Additionally, each group is color-coded with yellow being the easiest, followed by green, blue, and purple. Like Wordle, you can share the results with your friends on social media.
Can Follow Minnesota — LYNX, UNITED, VIKINGS, WILD
Starts With Part of the Body — ARMY, EARTHQUAKES, LEGACY, LIVERPOOL
Don’t feel down if you didn’t manage to guess it this time. There will be new sports Connections for you to stretch your brain with tomorrow, and we’ll be back again to guide you with more helpful hints.
#NYT #Connections #Sports #Edition #hints #answers #April #Tips #solve #Connections">NYT Connections Sports Edition hints and answers for April 11: Tips to solve Connections #565
Today’s Connections: Sports Edition is tricky! There are some red herrings you’ll have to avoid.
As we’ve shared in previous hints stories, this is a version of the popular New York Times word game that seeks to test the knowledge of sports fans.
Like the original Connections, the game is all about finding the “common threads between words.” And just like Wordle, Connections resets after midnight and each new set of words gets trickier and trickier — so we’ve served up some hints and tips to get you over the hurdle.
If you just want to be told today’s puzzle, you can jump to the end of this article for the latest Connections solution. But if you’d rather solve it yourself, keep reading for some clues, tips, and strategies to assist you.
The NYT‘s latest daily word game has launched in association with The Athletic, the New York Times property that provides the publication’s sports coverage. Connections can be played on both web browsers and mobile devices and require players to group four words that share something in common.
Each puzzle features 16 words, and each grouping of words is split into four categories. These sets could comprise anything from book titles, software, country names, etc. Even though multiple words will seem like they fit together, there’s only one correct answer.
If a player gets all four words in a set correct, those words are removed from the board. Guess wrong and it counts as a mistake — players get up to four mistakes before the game ends.
Players can also rearrange and shuffle the board to make spotting connections easier. Additionally, each group is color-coded with yellow being the easiest, followed by green, blue, and purple. Like Wordle, you can share the results with your friends on social media.
Can Follow Minnesota — LYNX, UNITED, VIKINGS, WILD
Starts With Part of the Body — ARMY, EARTHQUAKES, LEGACY, LIVERPOOL
Don’t feel down if you didn’t manage to guess it this time. There will be new sports Connections for you to stretch your brain with tomorrow, and we’ll be back again to guide you with more helpful hints.
Even with the campaign, getting qualified individuals through training and into the role may still be a challenge: according to the Department of Transportation’s Office of Inspector General (OIG), the FAA is facing “considerable challenges with training, including a shortage of qualified instructors, training capacity limitations, an outdated curriculum, and high training failure rates.”
An FAA video full of clips of things like Madden NFL, Fortnite, League of Legends esports, and the Xbox One stinger from commercials promises an average salary of $155,000 per year after three years and says that “you’ve been training for this.”
In a press release, the FAA says that air traffic controllers said in exit interviews that gaming was an influence on “their ability to think quickly, stay focused, and manage complexity.” The FAA’s website about the application process encourages applicants to “level up” their career. However, the Trump administration isn’t the first to target gamers for the role; according to The New York Times, the Biden administration launched a “Level Up” recruiting push in 2021, encouraging gamers as well as women and members of minority groups to become air traffic controllers.
Getting more air traffic controllers has been a focus for Sean Duffy, President Trump’s secretary of transportation, and he announced a plan to “supercharge” hiring shortly after he was sworn in for the job last year. That campaign closed in March 2025 and “attracted more than 10,000 applications,” resulting in about 600 trainees entering the Controller Training Academy, the OIG says. And the GAO says that some attrition during the air traffic controller hiring process “may be preventable,” noting that the hiring process can be “difficult to navigate” and that applicants may have already accepted other jobs by the time they get an employment offer.
The National Air Traffic Controllers Association (NATCA), the union representing air traffic controllers, “welcomes innovative approaches to expanding the candidate pool,” including “outreach to individuals with high-level aptitude skills such as gamers,” according to a statement from NATCA president Nick Daniels.
Even with the campaign, getting qualified individuals through training and into the role may still be a challenge: according to the Department of Transportation’s Office of Inspector General (OIG), the FAA is facing “considerable challenges with training, including a shortage of qualified instructors, training capacity limitations, an outdated curriculum, and high training failure rates.”
An FAA video full of clips of things like Madden NFL, Fortnite, League of Legends esports, and the Xbox One stinger from commercials promises an average salary of $155,000 per year after three years and says that “you’ve been training for this.”
In a press release, the FAA says that air traffic controllers said in exit interviews that gaming was an influence on “their ability to think quickly, stay focused, and manage complexity.” The FAA’s website about the application process encourages applicants to “level up” their career. However, the Trump administration isn’t the first to target gamers for the role; according to The New York Times, the Biden administration launched a “Level Up” recruiting push in 2021, encouraging gamers as well as women and members of minority groups to become air traffic controllers.
Getting more air traffic controllers has been a focus for Sean Duffy, President Trump’s secretary of transportation, and he announced a plan to “supercharge” hiring shortly after he was sworn in for the job last year. That campaign closed in March 2025 and “attracted more than 10,000 applications,” resulting in about 600 trainees entering the Controller Training Academy, the OIG says. And the GAO says that some attrition during the air traffic controller hiring process “may be preventable,” noting that the hiring process can be “difficult to navigate” and that applicants may have already accepted other jobs by the time they get an employment offer.
The National Air Traffic Controllers Association (NATCA), the union representing air traffic controllers, “welcomes innovative approaches to expanding the candidate pool,” including “outreach to individuals with high-level aptitude skills such as gamers,” according to a statement from NATCA president Nick Daniels.
#FAA #gamers #answer #air #traffic #controller #shortageEntertainment,Gaming,News,Policy">Now the FAA says gamers are the answer to its air traffic controller shortage
The Federal Aviation Administration (FAA) has struggled for years to have enough air traffic controllers to address shortages, with the US Government Accountability Office (GAO) saying in January that the number of people in the job in the US has declined by around 6 percent “in the last decade.” Now the Trump administration is rolling out a recruiting campaign targeting gamers ahead of the opening of the annual air traffic control hiring window on April 17th.
Even with the campaign, getting qualified individuals through training and into the role may still be a challenge: according to the Department of Transportation’s Office of Inspector General (OIG), the FAA is facing “considerable challenges with training, including a shortage of qualified instructors, training capacity limitations, an outdated curriculum, and high training failure rates.”
An FAA video full of clips of things like Madden NFL, Fortnite, League of Legends esports, and the Xbox One stinger from commercials promises an average salary of $155,000 per year after three years and says that “you’ve been training for this.”
In a press release, the FAA says that air traffic controllers said in exit interviews that gaming was an influence on “their ability to think quickly, stay focused, and manage complexity.” The FAA’s website about the application process encourages applicants to “level up” their career. However, the Trump administration isn’t the first to target gamers for the role; according to The New York Times, the Biden administration launched a “Level Up” recruiting push in 2021, encouraging gamers as well as women and members of minority groups to become air traffic controllers.
Getting more air traffic controllers has been a focus for Sean Duffy, President Trump’s secretary of transportation, and he announced a plan to “supercharge” hiring shortly after he was sworn in for the job last year. That campaign closed in March 2025 and “attracted more than 10,000 applications,” resulting in about 600 trainees entering the Controller Training Academy, the OIG says. And the GAO says that some attrition during the air traffic controller hiring process “may be preventable,” noting that the hiring process can be “difficult to navigate” and that applicants may have already accepted other jobs by the time they get an employment offer.
The National Air Traffic Controllers Association (NATCA), the union representing air traffic controllers, “welcomes innovative approaches to expanding the candidate pool,” including “outreach to individuals with high-level aptitude skills such as gamers,” according to a statement from NATCA president Nick Daniels.
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