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A jingle inspired a show about dueling lawyers. Two synagogues helped bring it back to the stage.

(New York Jewish Week) — For any New Yorker, the background noise of the 2000s may well have been marked by the numbers 800-888-8888, the ubiquitous jingle for the Buffalo-based personal injury law firm Cellino and Barnes. 

The renown of Ross Cellino and Stephen Barnes grew even more when the pair contentiously split up in 2017. Their acrimonious business divorce included clashes over managing the business, a restraining order against Cellino, claims of “bullying” by Barnes and a complaint that Barnes refused to let Cellino hire his own daughter

Naturally, comedy writers Michael Breen and David Rafailedes needed to write a show about what might have gone down, including a scene about how that infamous jingle came into existence.

Breen and Rafailedes had performed the show, “Cellino v. Barnes,” a handful of times in New York in 2020 before the pandemic shut it down. Breen moved to California and Rafailedes headed to grad school and the play they wrote about a unique New York sensation almost faded into the ether. 

But this isn’t that story. This is the story of how two 25-year-old high school buddies and amateur theater producers made sure that didn’t happen — and how they leaned on their synagogues to get the job done.

David Pochapin and Cameron Koffman were 22 when they saw “Cellino v. Barnes.” They loved the show for the way it spoke to their sense of humor, their New York childhoods and their love of niche theater. The pair would eventually take on the task of producing the play and teaming up with Breen and Rafailedes to bring it to a wider audience, this time in a vacant office space in Manhattan to really give audiences the feeling of authenticity. 

Now 25 and a year into producing “Cellino v. Barnes: The Play,” Pochapin and Koffman are admittedly amateurs — Pochapin works a day job in FinTech and Koffman in city government. 

“When we are trying to get people to come see the show, we say, ‘we’re doing this not because we saw a business opportunity but because we genuinely saw a story that more people needed to see,’” Pochapin said. “It’s hard to imagine finding another project quite like this. It’s been a wild ride and we’re super excited for the show.”

(On Oct. 2, 2020, Stephen Barnes and his niece were killed in the crash of a private plane in upstate New York. Pochapin said there is “absolutely no comedy about the plane crash” and the show centers around the creation, success and break-up of the firm.)

Ahead of the show’s opening, the New York Jewish Week spoke to Koffman and Pochapin about why they love the show, how their synagogues and Jewish communities have supported them in this process and what changes they are most excited about. 

This interview has been lightly edited for length and clarity.

New York Jewish Week: How did you get involved as producers with the show?

Cameron Koffman: We first saw the show in January of 2020. We had no involvement — we had just seen an article from the Buffalo News: “Show about Cellino and Barnes is an 8.8888 out of 10.” It sounded fun and it was playing in New York City for just a couple shows in January at the Bell House in Gowanus. It was the absolute funniest thing. Then COVID hit, obviously, six, seven weeks later, and life moved on. 

I got an email from the venue that the show was back for two performances in August of 2021. David and I dragged more of our friends. It was a big group activity because we had been talking about the show for a year and a half at this point. I mean, it’s Cellino and Barnes, iconic New York names and a jingle that everybody recognizes. We saw it again and it was even funnier. 

We had a mutual friend with one of the actors and pushed to get a drink because we just really wanted to tell them, “We thought the play was so funny. It was so great that someone wanted to tell this story.” When we met up with him, we asked if he ever had aspirations to make a permanent run out of it. He said yes, but COVID happened, he ended up having a kid and the other co-writer and actor moved out to the West Coast. Basically, life got in the way. When we talked to [Breen and Rafailedes], it really just sounded like more than anything they needed people to help initiate the process, which we thought we would be able to handle. 

We certainly didn’t have experience in production, but we were so passionate about the story and we like to get our hands dirty with logistics. We just thought it was so fun that we wanted to take it to another level and really create a full run of this. We put our heads down, worked on a proposal and here we are. 

How did your Jewish communities step in to help get the show back on its feet again?

DP: When we first got into this, which was over a year ago now, we talked to everyone we could, every person that would hear us out and offer an opinion. We reached out to people at my synagogue and they offered to provide chairs for the audience and books for the set, so now we have chairs and books. We’re both very involved in our synagogues — mine is Sutton Place Synagogue and Cameron’s is Temple Emanu-El. My first exposure to theater at a young age was not only in school, but during the Purim spiels at my synagogue. It is because of our communities and our upbringing there that we have the confidence that we’ll be able to do this. 

CK: It really is. So many people that we know, that we rely on, that we talk to and the time that we spend with them have helped us put this show together. For example, I lead a couple of lay-led groups at Temple Emanu-El. Through that, I’ve become friendly with dozens of people, I’ve met other people through the young members circle, through becoming friendly with the rabbi and actually leading Shabbat once last year. So — for both of us — one of the main reasons we knew we could do this was because we’re deeply embedded in a large Jewish community and we knew that we could tap into people that would be able to sort of help and guide us with advice and knowledge along the way. Also, we knew we’d be able to blast out the show to a lot of people. David could tell you, one of the first people to buy a ticket for the play was the rabbi [Rachel Ain] from Sutton Place Synagogue, she and her whole family. 

As producers you have a little more control than you did as audience members. What changes are you most excited about since the first production?

CK: Not much had to change about the story. Breen and Rafailedes had done the play and certainly the story of Cellino and Barnes is still ever present in the cultural milieu of today. For a large swath of people, millions of people in the New York area, and even in California, where Cellino and Barnes worked too, that jingle just rings a bell and it seared itself into our brains, so our vision didn’t have to be focused on making sure there was name recognition.

When we saw it at The Bell House, the show was very bare bones. The venue had a stage, but it’s a big hall with 200-250 seats and you don’t really feel like you’re at a theater venue — you certainly don’t feel like you’re at an experiential venue. The space that we got on West 23rd is a vacant commercial space that feels like you’re actually in a law office. That was one of the key things we brought — we thought, “if we’re going to really lean on the vibe and the aura of Cellino and Barnes, we want to make you feel like you’re stepping into a dingy personal injury attorney’s office, with plaques on the wall and all of it.”

Why should people see it?

CK: I’m deeply passionate about my love for New York. A couple years ago, right out of college, I actually ran for the New York State Legislature. I love the city. It’s just such an amazing place. Cellino and Barnes is very much a part of New York’s cultural fabric. There are just certain things that resonate with all New Yorkers. It’s Roscoe the bedbug dog from Bell Environmental, it’s Sandy Kenyon from the Eyewitness News “movie minute” in the back of the taxi cab. All those sorts of things that people who grew up in New York or who have spent significant time here will know and recognize. 

So many people come from different backgrounds, but there are still these unifiers — everybody’s seen the billboards and subway ads. And although it is a very New York production, we do think that it can resonate with everybody. Every city seems to have their own version of Cellino and Barnes — the mysterious personal injury lawyer who’s on every billboard, on every bus, and who has their slogan.

DP: When you’re in the theater and you’re laughing at these two people that are so nostalgic and are two of the easiest people to laugh and make jokes about, it’s just an unforgettable night. It’s hilarious, and even though it’s a comedy it also makes you think. Cameron and I have had several discussions about who’s right or wrong and Team Cellino or Team Barnes.

“Cellino v. Barnes: The Play” opens on April 13 at 320 W 23rd St. Tickets start at $40.


The post A jingle inspired a show about dueling lawyers. Two synagogues helped bring it back to the stage. appeared first on Jewish Telegraphic Agency.

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Cyber Threats Spike 150% Since Oct. 2023, Israeli Healthcare Most Vulnerable

A hooded man holds a laptop computer as cyber code is projected on him in this illustration picture taken on May 13, 2017. Photo: Reuters / Kacper Pempel / Illustration.

i24 NewsFour years after the cyberattack that crippled Hillel Yaffe Hospital, the vulnerabilities of Israel’s healthcare system remain glaring. Since the outbreak of the war in October 2023, Israel’s digital domain has turned into a front line: by year’s end, authorities recorded 3,380 cyberattacks, a 150% surge compared to previous years.

More than 800 of them carried “significant damage potential,” according to ynet.

Microsoft’s 2025 Digital Defense Report places Israel as the world’s third-most targeted country after the United States and the United Kingdom. It is also the leading target in the Middle East and Africa, absorbing more than 20% of attacks in the region.

Iran remains the most aggressive adversary, directing roughly 64% of its cyber activity at Israel in attempts to gather intelligence, disrupt services, and spread propaganda.

The techniques used are familiar but highly effective: exploiting unpatched vulnerabilities, using leaked or stolen credentials, and launching basic phishing schemes that grant direct access to internal networks. Despite the prominent role of state-linked actors, financial gain still drives most activity: data theft accounts for 80% of attacks, and more than half involve ransomware.

For Amir Preminger, CTO of the Israeli critical-infrastructure security firm Claroty, the scale of the threat can no longer be ignored. His team has tracked 136 claimed attacks over the past three years, including 34 aimed at essential infrastructure and eight targeting healthcare systems. “Hospitals face the same risks as any organization, but their rapid digitalization leaves them uniquely exposed,” he warns.

The exploited weaknesses are often depressingly basic: weak or reused passwords, overdue software updates, and outdated systems. Preminger identifies two main types of state-sponsored operations: high-impact attacks designed to cause maximum shock, potentially endangering patients, and long-term infiltration efforts intended to quietly siphon off sensitive medical data.

Artificial intelligence is amplifying the threat. “AI tools are enabling inexperienced attackers to scale up quickly,” Preminger says. Some autonomous agents can already execute complex sequences of cyber operations, while healthcare institutions adopt AI faster than they can secure it.

Despite the escalating danger, Preminger argues that regulation has fallen behind. The state possesses advanced cyber capabilities but has limited authority to enforce standards or assist private-sector organizations.

The path forward, he says, must include education, awareness programs, financial support, and mandatory baseline security requirements, before the next major attack hits the core of Israel’s healthcare system.

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Exclusive: DOGE ‘Doesn’t Exist’ with Eight Months Left on its Charter

Elon Musk holds up a chainsaw onstage during the Conservative Political Action Conference (CPAC) in National Harbor, Maryland, US, February 20, 2025. Photo: REUTERS/Nathan Howard/File Photo

US President Donald Trump’s Department of Government Efficiency has disbanded with eight months left to its mandate, ending an initiative launched with fanfare as a symbol of Trump’s pledge to slash the government’s size but which critics say delivered few measurable savings.

“That doesn’t exist,” Office of Personnel Management Director Scott Kupor told Reuters earlier this month when asked about DOGE’s status.

It is no longer a “centralized entity,” Kupor added, in the first public comments from the Trump administration on the end of DOGE.

The agency, set up in January, made dramatic forays across Washington in the early months of Trump’s second term to rapidly shrink federal agencies, cut their budgets or redirect their work to Trump priorities. The OPM, the federal government’s human resources office, has since taken over many of DOGE’s functions, according to Kupor and documents reviewed by Reuters.

At least two prominent DOGE employees are now involved with the National Design Studio, a new body created through an executive order signed by Trump in August. That body is headed by Joe Gebbia, co-founder of Airbnb, and Trump’s order directed him to beautify government websites.

Gebbia was part of billionaire Elon Musk’s DOGE team while DOGE employee Edward Coristine, nicknamed “Big Balls,” encouraged followers on his X account to apply to join.

The fading away of DOGE is in sharp contrast to the government-wide effort over months to draw attention to it, with Trump, his advisers and cabinet secretaries posting about it on social media. Musk, who led DOGE initially, regularly touted its work on his X platform and at one point brandished a chainsaw to advertise his efforts to cut government jobs.

“This is the chainsaw for bureaucracy,” Musk said, holding the tool above his head at the Conservative Political Action Conference in National Harbor, Maryland, in February.

DOGE claimed to have slashed tens of billions of dollars in expenditures, but it was impossible for outside financial experts to verify that because the unit did not provide detailed public accounting of its work.

“President Trump was given a clear mandate to reduce waste, fraud and abuse across the federal government, and he continues to actively deliver on that commitment,” said White House spokeswoman Liz Huston in an email to Reuters.

TRUMP OFFICIALS HAVE BEEN SIGNALING DOGE’S DEMISE

Trump administration officials have not openly said that DOGE no longer exists, even after Musk’s public feud with Trump in May. Musk has since left Washington.

Trump and his team have nevertheless signaled its demise in public since this summer, even though the US president signed an executive order earlier in his term decreeing that DOGE would last through July 2026.

In statements to reporters, Trump often talks about DOGE in the past tense. Acting DOGE Administrator Amy Gleason, whose background is in healthcare tech, formally became an adviser to Health and Human Services Secretary Robert Kennedy in March, according to a court filing, in addition to her role with DOGE. Her public statements have largely focused on her HHS role.

Republican-led states, including Idaho and Florida, meanwhile are creating local entities similar to DOGE.

A government-wide hiring freeze – another hallmark of DOGE – is also over, Kupor said.

Trump on his first day in office barred federal agencies from bringing on new employees, with exceptions for positions his team deemed necessary to enforce immigration laws and protect public safety. He later said DOGE representatives must approve any other exceptions, adding that agencies should hire “no more than one employee for every four” that depart.

“There is no target around reductions” anymore, Kupor said.

FORMER DOGE EMPLOYEES MOVE ON TO NEW ROLES

DOGE staff have also taken on other roles in the administration. Most prominent is Gebbia, whom Trump tasked with improving the “visual presentation” of government websites.

So far, his design studio has launched websites to recruit law enforcement officers to patrol Washington, D.C., and advertise the president’s drug pricing program. Gebbia declined an interview with Reuters via a spokesperson.

Zachary Terrell, part of the DOGE team given access to government health systems in the early days of Trump’s second term, is now chief technology officer at the Department of Health and Human Services. Rachel Riley, who had the same access according to court filings, is now chief of the Office of Naval Research, according to the office’s website.

Jeremy Lewin, who helped Musk and the Trump administration dismantle the U.S. Agency for International Development, now oversees foreign assistance at the State Department, according to the agency’s website.

Musk shortly after Trump’s election said he had a mandate to “delete the mountain” of government regulations. He made undoing government regulations and remaking the government with AI two key tenets of DOGE, in addition to eliminating federal government jobs.

The administration is still working toward slashing regulations. The White House budget office has tasked Scott Langmack, who was DOGE’s representative at the Department of Housing and Urban Development, with creating custom AI applications to pore through US regulations and determine which ones to eliminate, according to his LinkedIn profile.

Musk, meanwhile, has reappeared in Washington. This week, he attended a White House dinner for Saudi Arabian Crown Prince Mohammed bin Salman.

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How Black music brought me closer to Judaism

Once, while my parents were away, my Grandma Min woke my three siblings and me at five in the morning to lecture us on the proper way to squeeze a toothpaste tube. Funny how effective that was. To this day, I can’t pick up a tube of Crest without thinking about how to squeeze it properly.

Toothpaste incident notwithstanding, I loved my Grandma Min. She was a rule-breaker and a rebel. Among the first Jewish women in Minneapolis to march for civil rights, she regularly hosted Black community leaders in her apartment and served them her own brand of soul food: blintzes, kugel, borscht, and mandelbrot. Everyone she touched — including me — was changed for the better. She’s the one who introduced me to the world’s greatest guitar teacher.

The author’s Grandma Min. Courtesy of Peter Himmelman

One Sunday afternoon, in the midst of a brilliant sun-shower, Lester Williams pulled up to our house in his pale-yellow Fleetwood Brougham. There’s little question that he was the first Black man to park a Cadillac on our block and walk to the door of a Jewish kid’s house for a guitar lesson.

It was Grandma Min’s idea. She’d seen Lester perform at a Hadassah luncheon, singing songs from Fiddler on the Roof with a big archtop Gibson and a tambourine balanced on his shoe. Afterwards, she asked if he’d teach me.

Lester, who was in his mid-70s at the time, wore a high-rise Don King hairdo and played in a style that was equal parts Texas blues and Yiddish theater. He taught me Sam Cooke’s ”You Send Me” and Lightning Hopkins riffs. When he sang, his eyes closed like he was singing for the Lord.

To this day, I’ve never opened my guitar case without thinking of Lester.

Back then, Jewish felt dorky; Black felt cool. In the early ’70s, a newly bar-mitzvahed kid playing funk and blues was an anomaly. Now, of course, the pop charts are built on it, but in the day it was the Eagles and Jethro Tull, not Kanye and Kendrick Lamar.

I was drawn to the groove and gravitas of Black music — Marvin Gaye, Curtis Mayfield, John Lee Hooker. It wasn’t only sound; it was a worldview. There was truth in that rhythm: sophisticated, sardonic, somehow sacred. It hovered between sex and Godliness. You could put a record on the stereo and feel righteous about reproducing the human species to it. To play that music, you had to become it, not just imitate it. I developed a lilting accent that slipped in naturally when I sang, like a thing that made down-in-the-bones sense. Every rock musician had done it in some form — Jagger, Van Morrison, the whole British Invasion.

The author’s father, David Himmelman. Courtesy of Peter Himmelman

It was a bridge to something larger, a way to escape the confines of white suburbia and begin what would become a lifelong expansion of my creative and spiritual boundaries. In retrospect, it may have been the first step on the path that led me to become an observant Jew.

Most of the kids around me seemed content inside their circumscribed worlds of hockey, keggers and Sadie Hawkins dances. I wanted to erase the margins someone else had drawn around my life. The times I could do that were rare, but they happened most powerfully when I was making music. It was then that the world lost its edges. The interplay between musicians could feel like one spirit inhabiting separate bodies. That’s how it felt when I first played with Wynston Robyns.

At my cousin Jeff’s house near Cedar Lake, we jammed in the basement — low ceiling, unused shuffleboard court in the floor, winter coats piled on the Ping-Pong table. Some older Black guys from the North Side brought their gear, a little weed, and some Ripple wine. I’d never tried Ripple before. I drank to excess.

Soon the room came alive: guitars tuned, reeds moistened, drums whacked, a few tentative chords tossed out. First rhythm, then flight. Jeff on the Fender Rhodes, me on guitar, all of us tearing it up. After an hour, the alto sax player, Jimmy, said, “You boys gotta meet Wynston Robyns.”

With Jeff’s parents away and my parents asleep and dreaming back at my house, we piled into Jimmy’s car and drove north, well past the safety of our suburb. By the time we reached Wynston’s place it was close to one in the morning. Dim light spilled from the basement windows, bass and drums rumbled from below. When Wynston finally opened the door, he filled its frame: barrel-chested, magnetic, with a half-smile suspended between welcome and menace.

The author, circa 1977, around the time of Soul SearchLyte. Courtesy of Peter Himmelman

We smoked more weed and played until God knows when. Some Stevie, some Lou Rawls. It was nearly dawn when Jeff and I became the new members of Wynston Robyns and Soul SearchLyte.

Rehearsals were constant — four nights a week, sometimes after school, sometimes before. Neither of us was old enough to have a driver’s license, so we took the city bus.

It took months for Soul SearchLyte to land just two gigs. The first was a corporate lunch my dad attended in a suit and tie. “Wynston seems like a really nice guy,” he said afterward, which was true…mostly. The second was New Year’s Eve at the Holiday Inn downtown. We were the “headliners,” scheduled for 1:00 a.m. — which everyone in the business knows means the time everybody has gone home to party. The real headliners went on at midnight. It was another North Side band, Champagne, featuring Morris Day, André Simone, and a diminutive guy with a large afro.

Jeff and I watched them in awe. André’s bass ran through a Mu-tron Funk Box that made every note sound like it came from the world’s best wah-wah. Morris Day’s drumming was tight, crisp, unstoppable. Wynston leaned toward me and shouted over the groove, “You see that guy? The way he chops out that rhythm? His name’s Prince. They say he’s got a record deal on Warners. Peter, that’s what you need to do if you wanna be more than just a basement guitar player.”

Himmelman, in a prayerful mode. Courtesy of Peter Himmelman

No offense to Soul SearchLyte, but Champagne was a brutal act to follow. By the time we went on at 3:00 a.m., only my Uncle Sonny and the bar staff were still around, mopping the floor while we played our hearts out.

A few weeks later, during rehearsal, our lead guitarist, Larry Crags, announced he was quitting.

“Wynston, I’m afraid I’m gonna have to leave the snap,” he said.

Wynston stared at him. “What the fuck did you just say?”

Larry shifted his weight. “My wife thinks it’s not a good idea — all this practice when we haven’t got any gigs lined up.”

Wynston stepped forward and jabbed his finger into Larry’s chest. “You sayin’ I’m not a man?”

It was strange. Larry hadn’t said anything of the sort.

Before Larry could answer, Wynston swung and caught him square in the face. Larry, who’d once told me in strictest confidence he was a Kung Fu master, fell hard, then rose, bloodied, into a fighting stance. Having been an ardent viewer of Kung Fu, the TV series, I waited for the mystical retaliation. It never came. Wynston hit him again, a clean right hook that sent him flying into my amplifier.

Larry crawled away, whimpering, up the stairs and out of the house. Jeff, maybe out of shock, started playing ”Rock-A-Bye Baby” on the high keys of his electric piano. From behind the drum kit someone said flatly, “Why don’t somebody shut off that amplifier?”

Wynston, panting hard, looked at me. “Peter, I suppose you wanna quit this snap too, since you’ve just seen a Black man beat up on a white dude.”

“No, Wynston,” I said. “I love being in this band.”

Hell yes, I did. I just became the lead guitarist.

Those nights in North Minneapolis — half teachable moment, half transcendence — were my first real taste of faith: the moment when music, spirit and belonging coalesced into one sound, one rhythm, one funky-ass pulse of Creation.

I’m positive Grandma Min would approve.

The post How Black music brought me closer to Judaism appeared first on The Forward.

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