NYT Mini Crossword Hints, Clues And Answers For Monday, April 21
Answers for today's NYT Mini Crossword are just ahead.
In case you missed Sunday's NYT Mini, you can find the answers here:
Wondering what the beaklike teeth of a parrotfish are used to bite? Not sure which animator drew Bugs Bunny and Daffy Duck? Don't worry, because I'm here to help you with some extra clues and the answers for today's NYT Mini crossword.
The NYT Mini is a quick and dirty version of the newspaper's larger and long-running crossword. Most days, there are between three and five clues in each direction on a five by five grid, but the puzzles are sometimes larger, especially on Saturdays.
Unlike its larger sibling, the NYT Mini crossword is free to play on the New York Times website or NYT Games app. However, you'll need an NYT Games subscription to access previous puzzles in the archives.
To help you avoid getting stuck and having to reveal missing letters, here are the NYT Mini Crossword hints, clues and answers for Monday, April 20.
Spoilers lie ahead, so remember to scroll slowly:
1 Across: Type of reef that can form an atoll
6 Across: As _____, so below
7 Across: Popular Japanese dish that has broth and often a marinated egg
8 Across: Like the kinds of phones that Apple and Samsung make
9 Across: Some, without specifics
1 Down: Pixar series with Lightning McQueen as the main character
2 Down: 44 of 47
3 Down: Times New _____
4 Down: It's _____ Merry Muppet Christmas Movie
5 Down: The 40 days before Easter Sunday
1 Across: What the beaklike teeth of a parrotfish are used to bite – CORAL
6 Across: On top of – ABOVE
7 Across: Noodle soup with "tonkotsu" and "shoyu" varieties – RAMEN
8 Across: Sharp as a tack – SMART
9 Across: "___ questions?" – ANY
1 Down: Dealership choices – CARS
2 Down: His presidential center is being built on Chicago's South Side – OBAMA
3 Down: Like Caesar and Cicero – ROMAN
4 Down: Tex ___, animator who drew Bugs Bunny and Daffy Duck – AVERY
5 Down: Gave for a short time – LENT
Completed New York Times Mini crossword for Monday, April 20
It took me 0:32 to complete today's NYT Mini.
A pretty easy one for me today. I didn't know the CORAL answer and SMART didn't click on my first pass, but I knew the rest of the Across answers. I did figure out all of the Down answers on my first attempt.
See you tomorrow for more NYT Mini fun!
Make sure to follow my blog for more coverage of the NYT Mini and other word games, as well as video game news, insights and analysis. It helps me out a lot! Want to chat about the Mini, Connections and other NYT games? Join my Discord community!
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This Hair Care Entrepreneur Doubled Her Fortune, And Plans To Do It Again
After selling her first company, John Frieda Professional Hair Care, in 2002, Gail Federici thought she was done with hair forever. She'd spent the prior 13 years growing John Frieda, a partnership with the legendary British hair stylist of the same name which she cofounded in 1989, and made an estimated $170 million fortune from its sale to Japanese giant Kao Corporation. 'I felt like we'd been there, done it,' the 76-year-old Federici tells Forbes in a phone call from her home in Wilton, Connecticut. 'I'm always interested in learning new things and I thought, 'I don't want to do the same thing all over again.'' For the next five years, Federici made a massive career pivot. Inspired by her husband James Smith, who is a musician, and two teenage daughters' interest in singing, she launched her own music label in London, Hometown Entertainment, signing several artists including a U.K. band called GX and the English rapper Taio Cruz, who would later release such hits as 'Dynamite' and 'Break Your Heart' under a different label. This detour didn't last long. By 2013, Federici had retreated from her fledgling music career and launched Color Wow, a hair care line she says was inspired by her sister's graying roots. Her first product: an eyeshadow-like root cover up product that lasts until the user's next hair wash. Color Wow has since released over 60 products combating everything from frizz to dryness. 'They're solving everyday problems,' explains Susan Anderson, a senior analyst at New York investment bank Canaccord Genuity covering beauty. This niche has proved highly lucrative for Color Wow. Jennifer Lopez used its products during her 2020 Super Bowl performance and the brand's $28 anti-frizz 'Dream Coat Spray' treatment is one of Sephora's best-selling hair products. The Wilton, CT-based company says it recorded some $300 million in revenue last year. Federici, Color Wow's sole owner, has done it all without bringing in outside investors. Forbes estimates the brand's value to be about half a billion, though the growing value of her Color Wow stake, which is now worth more than double what she got from John Frieda, has helped propel her net worth to an estimated $600 million. She ranked No. 61 spot on Forbes' 2025 list of America's Richest Self-Made Women, published in June. 'I always say to everybody here, "When you make something that matters, you make money." It's not about making money first, it's about making something that matters to people and then you'll be successful,' says Federici. Jamel Toppin for Forbes Hair care wasn't Federici's first passion. Growing up in Connecticut, where she watched her father ditch his law degree to be a computer software developer, she admits she had no real plan other than to live an 'adventurous life.' She studied English and Art History at the University of Connecticut, and then, after graduating in 1970, followed in the footsteps of two of her three siblings who studied law and enrolled in the University of Bridgeport Law School (now known as Quinnipiac University School of Law). While in night school at Bridgeport, she got a job as an assistant at Zotos, a hair care brand headquartered in Darien, Connecticut. Federici worked her way up the ranks at Zotos, quit law school during her last year and eventually became vice president of corporate communications, where she helped develop the ideas behind popular products of brands like Bain de Terre and Acclaim. Her first love, she says, was not her career but traveling. 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Later came popular brands Sheer Blonde and Beach Blonde. All of this caught the attention of Japan-based Kao Corp., which offered the partners $450 million in cash to buy them out in 2002 to gain access to the growing hair care market. It was an amount that Federici now describes as 'irresponsible to refuse,' though she admits 'I did feel quite lost after [the sale] because it happened so quickly and it was our life.' With Color Wow, Federici was able to get back to the roots of what made John Frieda a hit. Before launching the company in 2013, she brought back Dr. Joe Cincotta, a chemist she first met at Zotos and later recruited to John Frieda. It's Cincotta who helped come up with the root cover-up, which is one of Color Wow's top-selling products. Color Wow does about half its sales through its website and the rest through around 4,500 brick-and-mortar locations including Sephora, Ulta Beauty and independent hair salons. It's also grown its reach through celebrity marketing. 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7 hours ago
London's V&A Storehouse museum lets visitors get their hands on 5,000 years of creativity
LONDON -- A museum is like an iceberg. Most of it is out of sight. Most big collections have only a fraction of their items on display, with the rest locked away in storage. But not at the new V&A East Storehouse, where London's Victoria and Albert Museum has opened up its storerooms for visitors to view — and in many cases touch — the items within. The 16,000-square-meter (170,000-square-foot) building, bigger than 30 basketball courts, holds more than 250,000 objects, 350,000 books and 1,000 archives. Wandering its huge, three-story collections hall feels like a trip to IKEA, but with treasures at every turn. The V&A is Britain's national museum of design, performance and applied arts, and the storehouse holds aisle after aisle of open shelves lined with everything from ancient Egyptian shoes to Roman pottery, ancient Indian sculptures, Japanese armor, Modernist furniture, a Piaggio scooter and a brightly painted garbage can from the Glastonbury Festival. 'It's 5,000 years of creativity,' said Kate Parsons, the museum's director of collection care and access. It took more than a year, and 379 truckloads, to move the objects from the museum's former storage facility in west London to the new site. In the museum's biggest innovation, anyone can book a one-on-one appointment with any object, from a Vivienne Westwood mohair sweater to a tiny Japanese netsuke figurine. Most of the items can even be handled, with exceptions for hazardous materials, such as Victorian wallpaper that contains arsenic. The Order an Object service offers 'a behind-the-scenes, very personal, close interaction' with the collection, Parsons said as she showed off one of the most requested items so far: a 1954 pink silk taffeta Balenciaga evening gown. Nearby in one of the study rooms were a Bob Mackie-designed military tunic worn by Elton John on his 1981 world tour and two silk kimonos laid out ready for a visit. Parsons said there has been 'a phenomenal response' from the public since the building opened at the end of May. Visitors have ranged from people seeking inspiration for their weddings to art students and 'someone last week who was using equipment to measure the thread count of an 1850 dress.' She says strangers who have come to view different objects often strike up conversations. 'It's just wonderful,' Parsons said. 'You never quite know. … We have this entirely new concept and of course we hope and we believe and we do audience research and we think that people are going to come. But until they actually did, and came through the doors, we didn't know.' The V&A's flagship museum in London's affluent South Kensington district, founded in the 1850s, is one of Britain's biggest tourist attractions. The Storehouse is across town in the Olympic Park, a post-industrial swath of east London that hosted the 2012 summer games. As part of post-Olympic regeneration, the area is now home to a new cultural quarter that includes arts and fashion colleges, a dance theater and another V&A branch, due to open next year. The Storehouse has hired dozens of young people recruited from the surrounding area, which includes some of London's most deprived districts. Designed by Diller, Scofidio and Renfro, the firm behind New York's High Line park, the building has space to show off objects too big to have been displayed very often before, including a 17th-century Mughal colonnade from India, a 1930s modernist office designed by Frank Lloyd Wright and a Pablo Picasso-designed stage curtain for a 1924 ballet, some 10 meters (more than 30 feet) high. Also on a monumental scale are large chunks of vanished buildings, including a gilded 15th-century ceiling from the Torrijos Palace in Spain and a slab of the concrete façade of Robin Hood Gardens, a demolished London housing estate. Not a hushed temple of art, this is a working facility. Conversation is encouraged and forklifts beep in the background. Workers are finishing the David Bowie Center, a home for the late London-born musician's archive of costumes, musical instruments, letters, lyrics and photos that is due to open at the Storehouse in September. One aim of the Storehouse is to expose the museum's inner workings, through displays delving into all aspects of the conservators' job – from the eternal battle against insects to the numbering system for museum contents — and a viewing gallery to watch staff at work. The increased openness comes as museums in the U.K. are under increasing scrutiny over the origins of their collections. They face pressure to return objects acquired in sometimes contested circumstances during the days of the British Empire Senior curator Georgia Haseldine said the V&A is adopting a policy of transparency, 'so that we can talk very openly about where things have come from, how they ended up in the V&A's collection, and also make sure that researchers, as well as local people and people visiting from all around the world, have free and equitable access to these objects. 'On average, museums have one to five percent of their collections on show,' she said. 'What we're doing here is saying, 'No, this whole collection belongs to all of us. This is a national collection and you should have access to it.' That is our fundamental principle.'
