Uncategorized
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.
Uncategorized
Guinness World Records Starts Accepting Israeli Submissions Again Following Legal Pressure
People stand next to flags on the day the bodies of deceased Israeli hostages, Oded Lifschitz, Shiri Bibas, and her two children Kfir and Ariel Bibas, who were kidnapped during the deadly Oct. 7, 2023, attack by Hamas, are handed over under the terms of a ceasefire between Hamas and Israel, in Tel Aviv, Israel, Feb. 20, 2025. Photo: REUTERS/Ammar Awad
Guinness World Records (GWR) is once again accepting submissions from Israel and the Palestinian territories, following pressure from an association of British lawyers that claimed the policy was discriminatory and threatened the validity of Guiness’s registered trademarks.
GWR confirmed to UK Lawyers for Israel (UKLFI) via email that it ended its temporary pause on submissions from Israel and the Palestinian territories that was implemented in November 2023, shortly after the start of the war in the Gaza Strip following the Hamas-led Oct. 7 terrorist attack across southern Israel.
The exclusionary policy drew widespread condemnation in early December after Guinness World Records refused to accept a submission from the Israeli NGO Matnat Chaim, which was hoping to set a world record with an event in Jerusalem where 2,000 Israeli kidney donors will gather in one place.
GWR told Matnat Chaim at the time it was “not generally processing” record applications from Israel or the Palestinian territories “with the exception of those done in cooperation with a UN humanitarian aid relief agency.” Guinness denied claims that its policy against submissions from Israel or the Palestinian territories unlawfully excluded and discriminated against Israelis and Palestinians because the policy was based on location, not nationality or ethnicity.
In late December, UKLFI wrote to Guinness and warned that the company could face legal risks because of the policy and that it amounted to indirect discrimination. UKLFI noted that marketing publications under the title “Guinness World Records” while excluding records from in Israel or the Palestinian territories could be considered unfair commercial practice under consumer protection law. The policy could also risk the validity of Guinness’s registered trademarks, according to UKLFI.
Starting Jan. 15, GWR resumed its “routine acceptance” of applications, it told UKLFI in an email shared with The Algemeiner.
“We have continued to monitor the situation in the region carefully, reviewing the policy monthly,” GWR wrote. “The recent ceasefire and the return to a more stable environment have been key factors in these reviews. With these factors in mind … we recommenced our routine acceptance of applications for world records from Israel and the Palestinian Territories, including the application made by the Matnam Chaim charity.”
The company added that the decision to resume processing applications from the region was not an admission that its temporary pause had been unlawful or that its trademarks had been used improperly. Guinness also shared that several records set in Israel had in fact been recognized during the temporary pause. They included records for the fastest robot to solve a rotating puzzle clock, most backward somersault burpees in 30 seconds done by a male, oldest female person to perform a headstand, most sequences completed in a game of “Simon,” and tallest drag performer.
“Guinness World Records’ decision to resume accepting submissions from Israel and the Palestinian territories is welcome,” said UKLFI chief executive Jonathan Turner. “Excluding particular countries carries serious legal and commercial risks. Global organizations cannot present themselves as neutral and inclusive while applying exceptional policies to certain countries, particularly where this misleads consumers and disadvantages entire populations.”
Israeli Foreign Minister Gideon Sa’ar also commented on GWR’s change in policy, celebrating that the massive gathering of kidney donors in Jerusalem will be recognized.
“Two thousand Israeli kidney donors are making the largest donation ever, in a selfless act of solidarity and humanity,” Sa’ar posted on the social media platform X on Monday. “Good to see it finally receive the celebration it deserves by the Guinness World Records, which revoked their original distorted decision to deny Israeli kidney donors their rightful recognition.”
Uncategorized
California Theater Apologizes for Canceling Show by Israeli Comedian After He Refuses to Condemn Home Country
Illustrative: Bondi shooting survivor Chaya Dadon, 14, holds a pendant, in the shape of Israel, and a partial Star of David engraved on it, that she bought a few hours before the shooting in Sydney, Australia, Dec. 19, 2025. Photo: Reuters/Cordelia Hsu
The Fine Arts Theater in Beverly Hills, California apologized for canceling a show by Israeli stand-up comedian Guy Hochman after he declined the venue’s demand to issue a public statement denouncing “genocide, rape, starvation, and torture of Palestinian civilians.”
In a statement posted on Instagram and on the theater’s website over the weekend, Michael S. Hall, president of the Screening Services Group, acknowledged that canceling Hochman’s scheduled appearance on Tuesday at the Fine Arts Theater was poorly handled. He said the venue, which will host screenings as part of the 37th Israel Film Festival in February, has contacted Hochman’s representatives and is open to rescheduling his performance if “it can be done safely.”
The relationship between the theater and the Screening Services Group was not immediately clear.
Hall also admitted that the decision to cancel the show was made after he and the theater received several messages from the public, including threats of violence, related to Hochman’s performance.
“I want to apologize, especially to the Jewish community, for my statement and for how this situation was handled,” Hall wrote. “I understand that my decision caused harm and distress to many people in the community, and I take responsibility for that … I made the decision to cancel the show without giving the matter the careful thought and judgement it required. That was my mistake.”
He also acknowledged it was wrong to ask a performer “to make political or ideological statements as a condition of appearing” and that “imposing a litmus test of any kind was a mistake and should never have happened.”
“The Fine Arts Theater has supported and will continue to support Jewish and Israeli projects, artists, and community events,” Hall added. “I am committed to ensuring the theater remains a place for culture and expression without discrimination. I am already engaging with members of the local Jewish community and will continue to listen, learn, and work with community leaders moving forward.”
Hall’s apology follows a public statement from the venue that said Hochman was banned from the theater after he declined to issue a public statement denouncing “genocide, rape, starvation, and torture of Palestinian civilians.”
The statement also acknowledged that the venue could not corroborate accusations made against the comedian but still asked him to issue a public statement against Israel. Hochman talked about the venue’s demands in an Instagram video and said he will never condemn his home country.
The former Israel Defense Forces (IDF) soldier further told The Hollywood Reporter he does not accept Hall’s apology and refuses to return to the venue.
“Do I think he’s sincere? No. He’s doing it because he was pressured,” Hochman said of Hall. “He doesn’t care. He tested me, like a loyalty test. For me, my people come before my career. I don’t care about money. I will never say lies about my people. I will never say things like rape, starvation, or genocide. That is not the story, and I don’t believe it … Jewish pride comes before everything.”
Actress and comedian Amy Schumer came to Hochman’s defense on Sunday. In an Instagram story, she wrote that the venue’s demand for Hochman to publicly condemn his country was “straight up wrong.”
“They canceled his show, admitted there’s zero evidence, and only backpedaled after the backlash. No artist should sign a forced apology note just to perform,” Schumer wrote. “Last I checked, we don’t run like those dictatorship-run spots, demanding stars trash America before letting them on stage.” Hochman shared Schumer’s statement on his Instagram story.
Photo: Screenshot
Hochman’s stand-up comedy tour has faced protests in several cities, and his scheduled show in New York City last week was canceled over safety concerns. He was also detained for several hours by Canadian border officials earlier this month after the pro-Palestinian advocacy group Hind Rajab Foundation filed a legal complaint against him, accusing the comedian of war crimes and “incitement to genocide.” The comedian was released and not charged, but his Canadian visa was revoked. His scheduled performance in Dallas, Texas, this week was canceled because of a winter storm in the region.
Uncategorized
As with Cain and Abel, the blood of our brother Alex Pretti is crying out from the ground
We don’t have to quote Pastor Niemoller anymore.
Because Alex Pretti could have been any of us. He could’ve been me, you, your neighbor, or your rabbi. In fact, many of my rabbinic colleagues and friends are on the streets of Minneapolis at this very moment. They are brave, patriotic and principled, and having known some of them for many years, I know that they, like Pretti, would protect the most vulnerable, even at unfathomable cost.
And what was Pretti doing? He was protesting peacefully, recording ICE agents with his iPhone. He tried to protect a woman the agents were attacking. He never drew the gun that he legally carried in its holster. He was beaten, and once on the ground, he was shot 10 times. His last words were “Are you OK?”
No longer are “they” coming only for ‘illegal’ immigrants, legal immigrants arriving at their court dates, permanent residents, Latinos, Asians, Somalians, veterans, and Black off-duty police officers.
“They” are now coming for us.
And they hate us. They lie about us, calling us assassins and terrorists. Their rage is palpable, and egged on by right-wing podcasts and right-wing media. We hate America, we are rioters, we are terrorists, we are Antifa. “Have you not learned? This is why we killed that lesbian bitch,” an ICE agent said to a protester two weeks ago, referring to Renee Good.
Even after Pretti’s murder, the Fox News headline was “Minnesota ICE official warns of unrest ‘like nothing I’ve ever seen before.’”
Other than the murder itself, the lies have been the most disturbing part of this spectacle; the immediate rush to lie about and vilify Alex Pretti, a VA nurse described by everyone who knew him as kind, caring, altruistic, and just the sort of person who would put himself in harm’s way to protect a stranger.
Stephen Miller called him a “would-be assassin” and a “terrorist.”
Commander Gregory Bovino (who parades around in a military ‘greatcoat’ that is popular among neo-Nazis online) said that Pretti planned to “massacre law enforcement” and had “violently resisted” before his men killed him, despite the video evidence flatly contradicting the latter claim.
DHS Secretary Kristi Noem said “this looks like a situation where an individual arrived at the scene to inflict maximum damage on individuals and to kill law enforcement.” Yet Pretti had his iPhone out to record what the ICE officers were doing.
There are two reasons these lies are the second-worst part of this episode.
First, it is morally repellent to drag Pretti and his family through the mud — and, if Renee Good’s family is any example, expose them to doxxing, death threats and defamation. Just imagine what they will say about me if they kill me at a protest. Or you. Or your rabbi.
Second, this isn’t one ICE agent. This is an entire apparatus of dehumanization and deceit. And though polling says only 20% of Americans believe that Pretti deserved to be shot, large swaths of America believe this extremist propaganda. We all have targets on our backs, painted by the government and their media apparatus.
There is a teaching in the Torah about this. It is, in fact, the first teaching in the Torah about the violence people do to one another: the story of Cain and Abel.
You know the myth, in all its brevity and primal truth. Cain and Abel are brothers. Both have offered sacrifices to God, though the text suggests Abel gives of his best while Cain does not. And so, Abel’s sacrifice is accepted and Cain’s is not. Vayichar l’kayin me’od; Cain is infuriated, filled with rage. God speaks reprovingly to Cain, telling him in essence that he has gotten what he deserved, that he must curb his desires more. But Cain does not accept this lesson and kills his brother in jealousy and rage.
As we all know, God asks Cain where Abel is — though of course, God already knows. Cain replies “I don’t know. Am I my brother’s keeper?”
But God responds, “What have you done? The voice of your brother’s blood cries out to me from the ground.”
Read closely and see. Cain is lying, of course; he knows exactly what he has done. He also denies responsibility; it’s not his job, he says, to take care of Abel. Ha-shomer achi anochi, he asks. Literally, am I my brother’s guard? His protector? Am I supposed to keep him safe?
Cain’s lies are like those of Miller, Bovino, Noem, and the rest. They are transparently preposterous. We are not God, but we can all watch the videotape; we can all inspect the freeze-frames of Pretti lying on the ground being beaten and then being shot.
And we can all easily learn that Pretti, like Abel, was innocent. He was not violently resisting, he posed no threat to these officers. He was no more a “terrorist” than I am — indeed, the word ‘terrorist’ has now become just a slur, drained of actual meaning, as if a non-violent activist is no different from the Bondi Beach terrorist or the Tree of Life terrorist. What a disgusting side-note, that the government has rendered this word meaningless.
Pretti’s blood cries out from the ground. And it is louder than the lies of the murderers.
One final epilogue. There is a midrash (Genesis Rabba 22:9) that blames God for Abel’s murder, because God could have prevented it but chose not to do so. When God says that Abel’s blood is crying out, the midrash says, it is crying out at God.
This is a bold midrash, accusing the Almighty of complicity in murder. But it is aimed at us, not God. None of us individually has the power to stop the next murder in Minneapolis, or Iran, or Gaza, or anywhere else, but collectively, we have the power to rise up against this injustice. We are made in the image of God, and with that similitude comes responsibility. We cannot turn away anymore. The blood cries out from the ground – to each and every one of us.
The post As with Cain and Abel, the blood of our brother Alex Pretti is crying out from the ground appeared first on The Forward.