NYT Connections answers and hints for June 5, 2025: puzzle #725 solved with Grammy winners, car parts, clever clues, and tricky wordplay decoded
NYT Connections June 5 answers challenge players with clever wordplay, tricky categories, and pop culture twists. Puzzle #725 included themes like precipice terms, plumbing tools, car exterior parts, and female Grammy winners. Some words—like 'snake' or 'spoiler'—had multiple meanings, making it tough to group them. The hardest set involved spotting last names of famous singers like Tina Turner and Fiona Apple. This human-like breakdown helps fans understand the logic behind today's groups. If you're stuck or want to improve your game, these NYT Connections June 5 hints and answers will definitely help you crack tomorrow's puzzle better.
Tired of too many ads?
Remove Ads
What are the hints for today's NYT Connections puzzle?
What is the yellow group in today's NYT Connections puzzle?
Brink
Cusp
Eve
Verge
Tired of too many ads?
Remove Ads
Which plumbing tools were hiding in the green group?
Pipe
Plunger
Snake
Wrench
What car parts made up the blue group in NYT Connections today?
Bumper
Grille
Rim
Spoiler
Which famous singers were featured in the purple group?
Tired of too many ads?
Remove Ads
Apple (Fiona Apple)
Crow (Sheryl Crow)
Summer (Donna Summer)
Turner (Tina Turner)
Why was today's NYT Connections puzzle tricky for many players?
The purple group used last names, requiring background knowledge of music awards.
The yellow group had abstract, metaphorical meanings that could overlap with other categories.
Some terms like 'snake' and 'spoiler' have double meanings, making it easy to misgroup them.
How can you improve your NYT Connections strategy?
Look for double meanings – Many words can belong to multiple groups.
Group by part of speech or category – Nouns, tools, emotions, celebrities, etc.
Use elimination – If three fit one theme, test the fourth.
On today's NYT Connections puzzle for June 5
🟨 Precipice – Brink, Cusp, Eve, Verge
🟩 Plumbing equipment – Pipe, Plunger, Snake, Wrench
🟦 Car modifications – Bumper, Grille, Rim, Spoiler
🟪 Grammy-winning singers – Apple, Crow, Summer, Turner
FAQs:
NYT Connections puzzle #725 for June 5 is finally here, and it's got just the right mix of fun, confusion, and a little brain burn. If you're struggling to spot the hidden links between today's words, you're not alone. This Connections game is all about finding four groups of four words that are tied together in clever, unexpected ways. Today's categories include everything from Grammy-winning artists to auto parts—plus a few wordplay twists that could throw even experienced players off. Don't worry, we've got all the hints, clues, and full answers to help you solve it without spoiling the fun too soon.If you need a nudge before diving into the full solution, here are four subtle clues to help guide you. The yellow group is all about being precise. The green category points to popular Grammy winners. For the blue set, think mechanical and moving—yep, we're talking car parts. And the purple group? It's filled with playful twists that explore puns and wordplay. These hints won't give away the answers, but they'll definitely point you in the right direction before the full reveal. Ready to guess the links? Let's break them down.PrecipiceThe easiest group to identify today was the yellow group, where all the words hinted at being on the edge of something — whether literally or figuratively. If you sensed a theme around standing at a tipping point, you were on the right track.These words often appear in contexts like 'on the brink of war,' 'the cusp of change,' 'the eve of the event,' or 'on the verge of collapse.' All signal that something is about to happen.Plumbing EquipmentMoving to the green group, these items are common in any plumber's toolkit. Recognizing them might've required some hands-on experience (or at least having dealt with a clogged sink before).From the trusty plunger to the flexible snake, these tools represent a full DIY plumbing arsenal. If you've ever twisted a wrench under the sink or cleared a pipe, this group might've clicked quickly for you.Ways to modify a car's exteriorToday's blue group brought us into the world of car customization. If you've ever watched Pimp My Ride or spent time in a garage, this set probably made sense early on.Blue group answers:Each part plays a role in either protecting the car or giving it flair. Whether it's a sporty spoiler, stylish rim, or a customized grille, these are all ways drivers love to personalize their vehicles.Best Female Rock Performance Grammy WinnersThis was arguably the hardest category in today's puzzle — and that's common for the purple group. It involved recognizing last names of iconic women in rock who've won Grammy awards.Without music knowledge, this group might've looked random. But all four women are celebrated artists with Grammy wins under 'Best Female Rock Vocal Performance.'Several reasons made today's puzzle more challenging than usual:This level of ambiguity is what makes Connections addictive — and sometimes infuriating.If you're aiming for a perfect streak or just want to get better, here are a few quick strategies:Also, once you've played, consider using the NYT Connections Bot, now available for logged-in players. It tracks your progress, win rate, and even your 'perfect game' streak.The New York Times Connections for June 5, 2025 (#725) had a mix of logic, pop culture, and wordplay. Whether you breezed through or got stuck on that last elusive group, remember — every puzzle's a new chance to sharpen your pattern-recognition skills.Missed the answers? Here's the full recap once more:The answers include brink, pipe, bumper, and Turner.Fiona Apple, Sheryl Crow, Donna Summer, and Tina Turner.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
News18
34 minutes ago
- News18
Beyonce's Cowboy Carter Tour Hits London With A Dazzling Versace Moment
Last Updated: For the first Cowboy Carter concert in London, Beyonce opted for a custom Versace bodysuit that was adorned with dramatic frills and fringe. Beyoncé is currently on the European leg of her Cowboy Carter tour. For her June 6 show in London, the Grammy-winning singer paid homage to country music in her style. The show left her fans swooning over her talent and her concert ensemble. For Day 1, Beyoncé channelled cowboy glam in an extravagant custom Versace ensemble. Beyoncé embodied the ultimate Versace muse at the concert, commanding attention in a custom silver bodysuit. The striking outfit featured a reverse sweetheart neckline with double shoulder straps, while metallic gold latches added flair to the inner bralette details. The hand-embellished crystal bodysuit hugged her figure perfectly, accentuating her curves with a sharply cinched waist. A dramatic white belt adorned with edgy, spiked accents elevated the look further. Donatella Versace shared a video of Beyoncé's look on her Instagram. She wrote, '@beyonce – you looked stunning in custom @versace last night in London. Hundreds of hours of work by our incredible Atelier…each fringe and crystal sewn by hand! I cannot wait to see you on stage soon. Love always, Donatella." Take a look at the post shared by Donatella here. The most eye-catching part of her ensemble? The white faux fur chaps. Flowing down from the belt and brushing against her feet, these extravagant additions came alive with tassel-like frills and fringe, creating a bold, textured effect. She finished off her glamorous Western-inspired look with elegant white opera gloves. Beyoncé also shared a series of pictures from the concert. Take a look at them here. For the accessories, the pop icon accessorised with stacked gold bands around her waist and a statement multi-layered gold choker that added a fierce, high-fashion touch. Her glittering sunglasses mirrored the sparkle of her outfit, while an oversized white cowboy hat tied into the concert's theme. As always, she wore her signature glam with ease – bronzed skin, smokey eyes dusted with glitter, and a nude lip. Her voluminous blonde curls flowed freely, adding just the right touch of wild elegance. As Beyoncé gears up for her next London concert on June 7, fans are on the edge of their seats, anticipating yet another unforgettable fashion statement and an electrifying performance. First Published: June 07, 2025, 08:41 IST
Scroll.in
an hour ago
- Scroll.in
Tragic idiom: Reading Banu Mushtaq in Kannada for the context and themes of her ‘rebellion' stories
Banu Mushtaq's International Booker Prize-winning short story collection Heart Lamp is littered with a gamut of affecting objects and people: callous husbands, self-serving mutawallis, loving children, and women of all stripes. These women are, by turns, sexy, demanding, obstruse, and suffering. Kate McLoughlin notes in the Times Literary Supplement: 'here are wicked in-laws, bedazzled officials, revered mother figures,' and no doubt Mushtaq's is a literary space where 'feuds fester until families are left rancid' and where 'the gossip is radioactive.' Amidst all this action, however, it was a mango tree in the story 'High-Heeled Shoe' that really stood out to me as exemplary of what Mushtaq's stories capture: the quiet brutality of the everyday life of its characters, particularly Muslim women across different class contexts in Karnataka. In the story, Nayaz Khan's ancestral home has a large mango tree in front. It has formed a cornerpiece of his childhood memories with his brother. Over the years, he has gained from the solicitude enabled by it: 'he would give baskets upon baskets of the fruit to his colleagues'. He has also made money by selling the fruit, but he is now increasingly irritated by the fact that it occupies monetizable real estate. Its felling triggers copious tears from his wife Arifa, as the tree's sour fruit had fed her first pregnancy's cravings, and builds a tomb over his brother's memories of the tree's cool shade. Around the felled mango tree, simmering tensions in the family come to a boil, resulting in an irreconcilable breakdown of communication and relationships. Reading from Bangalore Similar tragedies prevail in nearly every story in Mushtaq's work, whether in the translated collection or in the six Kannada short story collections from which Deepa Bhasthi curated the final prize-winning set. I procured the original set from the popular Bangalore bookstore Bookworm, which I have frequented since their original location in a small alley of MG Road in the 2000s before their move to a bigger, leafier location on Church Street. The celebration and jubilation about the prize that has followed in the state – covered extensively by local newspapers such as the Kannada Prajavani, and the English daily Deccan Herald – has meant that Mushtaq's publishers have worked double-time to fulfil the demand for her work. Bookworm, for one, has had to restock the Kannada collected edition of all her short fiction since the win. Aside from the global audience who are only just discovering Mushtaq's brilliance, it is not only the non-Kannadiga audiences in India who have joined this belated circle of cheerleaders, but also Kannada readers who were largely unaware of Mushtaq's impressive oeuvre before the win. Many readers are asking about the Kannada original of Banu Mushtaq's Heart Lamp. Copies of ಹಸೀನಾ ಮತ್ತು ಇತರ ಕಥೆಗಳು are available with us at ₹675/- after discount. Kindly visit us for your copy or whatsapp to 9845076757 for home delivery (all-India). — Bookworm Bookstore, Blr (@bookworm_Kris) May 22, 2025 When I told my mother about Mushtaq's win, she raised her eyebrows quizzically in response to the International Booker Prize's existence. She is only an occasional reader of Kannada fiction, and mostly works by women writers, if at all. My mother is also from Mushtaq's hometown, Hassan, which is about three hours from Bangalore. When asked about her work, she reminisced: 'I haven't read her, but I've heard of her. When I was staying in my sister's house in Hassan just before marriage, around 1987, there was a girl in my neighbour's house who was named Banu. Whenever my uncle visited our house, he would ask her, 'Yen samaachara Banu Mushtaq?' (What's the latest news, Banu Mushtaq?) because she was very outspoken. She was quite well known in Hassan even then.' The last time I caught her reading anything at all was when she was squinting at her phone, engrossed in the Kannada stories on the Pratilipi website. After I ordered the Kannada consolidated collection, my mother refused to read the stories because she resolutely believes the only reasonable justification for reading fiction is to turn its way for the purpose of delight – and firmly away from the tragedies of real life. But my idea of strategically placing the thick tome in our living room seems to have resulted in her reluctance thawing. 'I started reading the first story and had to go away to do some work, and I lost the page. Of course I'll read the book – what do you mean?' she asked me indignantly, miffed at my presumptuousness when I prompted her again after a respectable interval. I hope she will read it with an open mind, as it is tragedy which is the dominant theme in Mushtaq's work. The story 'Stone Slabs for Shaista Mahal' narrates a snapshot in the life of the eponymous character Shaista, who succumbs to the rigours of multiple pregnancies. Her husband's hyperbolic declarations of love are belied by his choice to replace her in a trice with a second wife after her death. Another story, 'Black Cobras,' recounts the plight of Aashraf, whose husband, Yakub, abandons their family after the birth of three successive daughters. She is then seen literally and metaphorically 'banging on the grand door of Allah's house' for justice. This story's original, 'Karinagarugalu,' was adapted into the movie Hasina by auteur Girish Kasaravalli. The movie earned a National Film Award for the Kannada actress Taara, alongside two other National awards for best costume design and best film on family welfare. For readers unable to read Kannada, it is an excellent way to experience the language's spoken form in Mushtaq's stories. (It is available to watch in full, with English subtitles, on YouTube.) As Bhasthi notes in her translator's note at the end of the book, 'Against Italics,' Mushtaq's work shows an easy 'code-switching between the three-four languages [Mushtaq and Bhasthi] engage with daily [which] results in a delightful mix of Kannada, Urdu, Arabic, Dakhni and a Kannada spoken by specific communities in specific localities of the Hassan region'. At home, Mushtaq speaks Dakhni, 'often wrongly identified as a dialect of Urdu,' as Bhasthi notes, 'but which in fact is a mix of Persian, Dehlavi, Marathi, Kannada, and Telugu,' [whereas] 'Kannada is Banu's language at work and what she encounters on the street'. The Kannada story 'Aaspathreya Ondu Dina' ('A Day at the Hospital') is interesting in this regard. It appears in Hejje Moodida Haadi (The Path Where the Footprints Appeared), the first collection in the consolidated Kannada edition Hasina Mattu Itara Kathegalu (Hasina and Other Stories), which was first published in 2013, and later republished by Abhiruchi Prakashana in 2025 after the inclusion of a sixth collection of short stories, Hennu Haddina Swayamvara (A Female Eagle's Swayamvara). The story narrates a day in the life of a writer named Sudha visiting her friend and doctor, Sheela, at a district hospital in Karnataka. The various registers of Kannada, and the code-switching seen in this story, capture the social disparities visible in everyday encounters between the characters who populate these contexts. Two impoverished women approach Sheela to acquire a certification of disability which will enable them to access government welfare funds, but are thwarted by bureaucratic red tape. These women speak in a clipped version of Kannada with compound words and colloquial truncation, reflecting a rural spoken register. ('Avva! Idu nannakka. Nammavva nodkanthidlu, sathhodlu. Eega namthava bandavle.' 'Madam! This is my elder sister. My mother used to look after her, but she died. Now she has come to us.') On the other hand, the writer and the doctor speak in a mixture of Kannada and English. Revelatory of their class status, this is also emblematic of the use of English in professional contexts across many parts of Karnataka. (Sudha tells Sheela at one point, 'Aitu bidu, you are not answerable to me. Heege 'casual'aagi vichariside.' 'Leave it, you are not answerable to me. I enquired casually.') The only story Bhasti has picked from this collection is 'Stone Slabs for Shaista Mahal.' Four are from Mushtaq's second collection, Benki Male (Fire Rain), three from Yedeya Hanathe (Heart Lamp), one from Safira, another from Badavara Magalu Hennalla (A Daughter of the Poor is Not a Woman), and two from her final collection, Hennu Haddina Swayamvara. Many of the female protagonists of Mushtaq's stories are educated figures who often act as ethical custodians, imparting knowledge of the world to illiterate or underprivileged counterparts, while informing them about their rights. The protagonist of 'A Day at the Hospital' is one such writer-sentry, as is Zulekha Begum in the story 'Black Cobras.' Aashraf is a domestic worker in her house, where she can be found reading 'fat-fat books' all day long. She encourages Aashraf to write a petition to the mosque to address the injustice she has suffered at her husband's hands. Women and rebellion These characters, in particular, appear as author surrogates channelling Mushtaq's own fiery lawyer-activist literary persona, which evolved in the context of a larger literary, cultural and political movement in the state, captured in the Bandaya and Dalita Sahitya of the 1970s and the 1980s. Bandaya Sahitya – rebellious or protest literature – in Kannada was a subversive response to the more politically conservative Navya (modernist) literary movement in Kannada. Its domination by male and upper-caste Hindu voices was vigorously contested by radical Dalit and Muslim voices, which included Mushtaq. This is not to say that some of the better-known canonical modernist Kannada writers, such as UR Ananthamurthy or Girish Karnad, failed to be conscious of the violence enacted by hierarchies of gender and caste. (Aside from their general popularity, their works continue to circulate in popular English translations and are frequently included in undergraduate and graduate literature curricula in India and abroad.) If you momentarily set aside the more recent rise to fame of Vivek Shanbhag's Ghachar Ghochar (2015) in Srinath Perur's English translation, Ananthamurthy's Samskara (1972), translated by the multilingual literary giant AK Ramanujan, is probably the best-known work of Kannada in translation the world over. A powerful critique of the caste system from the vantage point of a male Brahmin protagonist, it nevertheless fails to offer full humanness and interiority to other subaltern characters. As Srikar Raghavan points out, female characters like Chandri in the novel do not have a completely developed inner world. Hindu women writers such as Triveni and MK Indira also had to wait a long time to be given their due in the Kannada publishing industry. Raghavan's recently published Rama Bhima Soma (2025) is a rigorously-researched cultural investigation of modern Karnataka, and a fantastic primer for the probing reader invested in understanding the political contestations that underpinned the emergence of Muslim women writers such as those of Mushtaq and Sara Aboobacker. The combative and multi-faceted cultural icon and writer P Lankesh first gave space to both writers in his weekly publication Lankesh Patrike. In her foreword to her reprinted Kannada collection, Mushtaq expresses gratitude to him and the Bandaya writer and veteran Baraguru Ramachandrappa for 'giving her writing a direction and expanding the boundaries of her thinking.' Mushtaq's literary expression denotes a clearing of space in the Kannada cultural sphere on many counts. As a Muslim Bandaya writer, her work is opposed not only to normative, Hindu upper-caste, male-dominated literary production in Kannada during the latter half of the 20th century, but also within the domain of political critique in and about Muslim communities in Karnataka. Her work in talking truth to power about the hypocrisies of religious orthodoxy in these communities, their oppressive and highly patriarchal religious norms, further opened a conduit to articulate a women-centric experience, which prominent male Muslim writers in Kannada also often hesitated to voice. Her call for internal reform in relation to women's rights in these spaces landed her with a fatwa in 2000, leading to her social boycott. Her activism highlights the complex socio-cultural positionality of women in these hyper-local communities. It emphasises the need both to be uncompromising about women's rights within them, while also bringing attention to how internal divisions have made them vulnerable to Hindu fundamentalism in contemporary India, in turn, causing a suppression of Islamic habits and practices. As much as her writing is politically fearless, it is also deeply personal. The title piece of her prize-winning collection, Heart Lamp, tells the story of Mehrun who tries to kill herself after her family life goes horribly wrong. She is saved in the nick of time by her daughter who senses in her demeanour that something is seriously off. This harrowing story is perhaps an autobiographical echo of Mushtaq's own brush with death after a long spell of depression post-marriage, which she has recounted with brutal honesty in a recent interview. The women characters in Mushtaq's stories are acutely aware of their oppression, and offer a reckoning of freedom within patriarchal contexts as a willed and continued negotiation. The story 'Love Bird' from Mushtaq's first collection is a case in point. It depicts the protagonist Sujatha switching from starry-eyed love to bitter regret and compromise after she realises the true nature of the man she chose to marry in spite of warnings from her family. The story ends with her resignation: 'Thanu ondu nela, bhadrate, gaurava mattu hana – ivugaligagi avanannu ashrayisabeku. Ishte tammibbara sambandha. Kevala vyavaharika!' (She would have to give him refuge in her life for a residence, security, respect, and money. That was the extent of their relationship. Only transactional!') Yet another story, 'Ardha Aakashada Mauna' (Half a Sky's Silence) is epistolary in form, with the letter writer Nabeela conscientiously demanding accountability from her ex-fiancé when he chooses to marry someone else after a long engagement. The letter spells out how her desires and dreams have been shattered, and their failed relationship underscores the systemic way in which patriarchy and religion keep women reliant on men for economic and social legitimation. After the Prize Following the public reception of the book after the prize has been particularly interesting for me as a comparative scholar of English and Kannada writing: I am especially curious about how Kannada literature travels in translation around the anglophone world through the flows and circuits of the global prestige economy. The journalist and critic Deepanjana Pal recently observed that these are stories 'written about and for women' and have characters which 'are often unabashedly sentimental and dramatic, wailing at the world that restrains them, and also challenging what is considered respectable.' The title of one of Mushtaq's stories, 'Be a Woman Once, O Lord!' exemplifies this drama. But Pal also feels, 'this is a volume that doesn't draw you in as much as guilt you into finishing it…[and] the selection feels monotonous rather than diverse…[The stories] follow predictable arcs and are populated by characters who become a sad, unidimensional blur.' Interestingly, as I was scouring the internet to gauge general opinion about the book in the lead-up to the prize announcement, this was a view that was at least partly echoed by many social-media reviewers of the International Booker Prize shortlist. Some dismissed the short story collection with a terse description of its importance – noting little else than that it captured the situated experiences of women in a socio-culturally specific landscape in Karnataka. Or assumed that a short story collection would never win the prize. Banu Mushtaq's overwhelmingly tragic narratives certainly owe an affective debt to the political objectives of the Bandaya Sanghatane, but I suspect there is more to be explored in how it speaks to an existing cultural idiom of sentimentality in Kannada literature and popular melodramatic cinema. Particularly in movies starring the superhit actresses Shruti and Sithara in the decades parallel to Mushtaq's literary production, this was the predominant emotional overlay which framed how similar women protagonists were portrayed in Kannada cinema, doubly condemned by their biology and patriarchy. But this is not the right place for that excursive analysis. The discourse around the politics of its translation has also been equally fascinating, where some of my friends and translators reading the Kannada and English together have wondered what the translation choices in the work say about questions of 'authenticity' or 'exoticism' – even though this is, admittedly, a reductive binary. As the Booker Prize judges noted, the translation is indeed powerful because it 'ruffles language to create new textures in a plurality of Englishes.' However, for me, more than estrangement and novelty, it demonstrates the ways in which many of the characters populating Mushtaq's stories easily inhabit a continuum of hybrid, multilingual ethno-religious spaces in Karnataka. To quote the bilingual intellectual Sugata Srinivasaraju, the stories embody various forms of 'rooted cosmopolitanism' in the Kannada public sphere – and there isn't a better example of this than Banu Mushtaq and Deepa Bhasthi on the International Booker Prize stage.
Hans India
2 hours ago
- Hans India
‘Sri SriSriRajavaru': A smoky tale with a message
After the success of 'Mad Square', NarneNithin's 'Sri SriSriRajavaru' is a drama helmed by Satish Vegesna, known for his National Award-winning ShatamanamBhavati. Inspired by the Malayalam hit Theevandi, the film takes on the theme of personal transformation against a rural backdrop. Let's see how it fares at box-office. Story: Set in the quaint village of Atreyapuram, the story revolves around Raja (NarneNithin), a chain smoker whose addiction puts a strain on his budding romance with Nitya (SampadaHulivana) and tarnishes the reputation of his respected father. As pressure mounts from both personal and public fronts, Raja must choose between his vice and his future. The film explores his journey of self-realization with emotional and comedic elements interwoven throughout. Performances: NarneNithin makes an impressive entry into Tollywood, confidently carrying his role with charm and composure. He shines in action sequences and holds his own in emotional scenes. SampadaHulivana complements him well with her graceful screen presence and delivers an earnest performance. Senior actors like Naresh and Rao Ramesh lend credibility to their roles, with the latter delivering his signature authority-driven character. Sudhakar, in a comedic cameo, adds a few laughs. Technicalities: Director Satish Vegesnaoffers a sincere attempt at blending social commentary with light-hearted cinematography captures rural Andhra Pradesh beautifully, giving the film a visually pleasing setting. Kailash Menon's music, though not standout, provides subtle emotional support. Editing by Madhu could have been tighter, especially in the second half, where the pace tends to lag. The production values are decent, reflecting the film's grounded, village aesthetic. Analysis: Sri SriSriRajavaru offers a story rooted in a meaningful theme — the struggle to overcome addiction — layered with familial and societal expectations. While the screenplay occasionally leans on predictable tropes and some dialogues feel overly didactic, the core message remains relatable and relevant. Satish Vegesna, despite not reaching the emotional highs of his previous works, succeeds in crafting a film that promotes introspection without resorting to vulgarity or sensationalism. The film concludes on a thought-provoking note, emphasizing transformation and redemption. Despite a few narrative hiccups, Sri SriSriRajavaru is a watchable family drama that introduces NarneNithin as a promising new face. Its message-driven plot, clean storytelling, and rustic charm may appeal to audiences looking for a film with heart and sincerity.
