Let's dive in — stay with me here, I'll make it snappy.
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She tells you to go find a Woolly Mammoth -- and to make it snappy.
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At 19A, "Hurry up!" you have an idiom from the century before last, I think: MAKE IT SNAPPY.
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" My feeling was, "You go, Granny, and better make it snappy, because the way you drive, you don't have long.
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Go check out all the listings, and make it snappy because the deal ends on Wednesday, November 16 at 11:59 EST.
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Make It Snappy was a musical revue that ran for 96 performances at the Winter Garden Theatre in the 1922–23 Broadway season. It ran from 13 April to 1 July 1922. It starred Eddie Cantor, who introduced the hit songs "Yes! We Have No Bananas" and "The Sheik of Araby".
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"Make It Snappy!" Carroll [IA] Daily Herald, Jan. 30, 1939, pg. 2. In this capacity Goode worked to shorten the length, and thus lower the cost, of Iowa legislative sessions by imposing an early deadline for the introduction of new legislation, a date which was to be moved to the last legislative day of February.
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A few years later, she moved to California to study scenario-writing, and she had soon sold over 18 scripts to various studios, including Universal. She also wrote a number of Western novels over the course of her career. As an actress, Campbell performed on Broadway in Ziegfeld Follies of 1921 and Make It Snappy (1922).
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"Yes! We Have No Bananas", a novelty song about a grocer from the 1922 Broadway revue Make It Snappy, is said to have been inspired by a shortage of Gros Michel bananas, which began with the infestation of Panama disease early in the 20th century. The Gros Michel has a higher concentration of isoamyl acetate, the ester commonly used for "banana" food flavoring, than the Cavendish.
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The men sing the "Mandalay Song", warning that love does not last forever, and urging those ahead of them to make it snappy. Scene 15: Fighting. The men flock to see a boxing match between Trinity Moses and Jim's friend Alaska Wolf Joe. While most of the men, including the ever-cautious Billy, bet on the burly Moses, Jim, out of friendship, bets heavily on Joe.
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Flyer for the Al Jolson vehicle Bombo (1921) staged by J.C. Huffman In February 1914 Huffman drew praise for the very modern stage settings used for Percy MacKaye's fantastic romance A Thousand Years Ago. Huffman also directed Al Jolson vehicles such as Robinson Crusoe, Jr. (1916), Sinbad (1918), Bombo (1921) and Big Boy (1925). Huffman was involved in many other Shubert musicals, particularly revues. In 1922 he staged Make It Snappy, a revue that starred Eddie Cantor.
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Frank appeared in a few episodes of Men in Black: The Series with virtually the same role as the first film. The man in the kiosk is different from the one in the first movie as he is revealed to be a robot in which Frank presses a button to make him talk ("Make it snappy, we're closing!"), this may also apply to the one from the first movie since he doesn't appear to move that much. Humorously, Frank's true alien form still resembles a pug, albeit with a dark green color, antennae, and a 3-pointed tail; however, the series is usually not considered canon, due to the release of Men in Black II. Frank is often shown denouncing his suit; Frank eventually replaced it with a similar suit, with minor cosmetic differences.
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Born on February 17, 1891 in South Berwick, Maine, "Hal" Murray served in the Merchant Marine during World War I. After the war and a short apprenticeship in vaudeville, he made his debut on the musical theatre stage as J. Harold Murray in out-of-town productions of Arthur Hammerstein's Always You and Frank Tinney's Sometime, both in 1920. He debuted on Broadway at the age of 30 in J.J. Shubert's, The Passing Show of 1921. During the rest of the decade, he starred in 10 musicals, and separately co-starred with Eddie Cantor (Make It Snappy, 1922), Fred Allen (Vogues of 1924) and Joe E. Brown (Captain Jinks, 1925). Other shows were: The Midnight Rounders of 1921, The Whirl of New York (1921), Springtime of Youth (1922), Caroline (1923), China Rose (1925) with Olga Steck, and Castles in the Air (1926) with Vivienne Segal.
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