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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.
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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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When Hate Hides Behind Nuance, Babka and Protest Cannot Rise Half‑Baked
This weekend, a crowd wrapped around the corner of 63rd and Broadway in New York City, lining up for babka and bread at Breads Bakery. But this wasn’t the usual pre-Shabbat rush. It was a quiet show of solidarity with the Israeli-owned bakery, after union activists urged it to sever ties with Israel.
A line for pastries became a reminder that antisemitism doesn’t always announce itself with slurs or slogans. Sometimes it appears in smaller, more familiar spaces — through pressures and demands that seem benign on the surface.
When New York City’s new mayor, Zohran Mamdani, revoked a series of executive orders aimed at combating antisemitism, the justification was familiar: overly broad, insufficiently nuanced, potentially chilling to free speech. For many Jews in this city — especially those who are visibly Jewish or openly supportive of Israel — this reversal did not feel like balance restored. It felt like protection withdrawn.
New York is home to the largest Jewish population outside of Israel, and Mamdani’s decision came at a moment when antisemitic threats are rising nationally and globally, when synagogues and schools require armed guards, and when fear is not theoretical but lived.
One word — nuance — has stayed with me.
Not long before the mayor’s announcement, a friend objected to the International Holocaust Remembrance Alliance’s working definition of antisemitism: Too broad, too political, not nuanced enough. I had heard the argument before — but hearing it again, now, felt revealing.
Can we fight hate in the language of nuance?
For decades, we have treated language as a tool of moral repair. We revised terminology to be more inclusive, more precise, and more humane. We expanded our understanding of gender and identity. Language evolved to widen the circle of belonging.
Names matter. If language shapes how people are seen — and how they see themselves — then these changes matter.
But somewhere along the way, the project of inclusion began to drift.
Refining language stopped functioning as a starting point for justice and became a substitute for it. Linguistic correction began to stand in for moral and institutional accountability. We treated vocabulary changes as progress, even when the underlying structures remained unchanged.
We changed the words without changing the world.
As we focused on more delicate modifiers and culturally sensitive phrasing, we also became cautious in how we described injustice — so cautious that we often avoided confronting it at all. Language became a tool to minimize, camouflage, or justify inaction.
Nowhere is this clearer than in how we talk about antisemitism.
At a time when antisemitic incidents are rising, the insistence on narrower definitions and softer language feels less like rigor and more like retreat. Definitions tighten just as hostility becomes more explicit, more public, and more emboldened.
And the question lingers: Are we blurring the reality of antisemitism out of fear that naming it clearly will constrain legitimate criticism of Israel? Are we reinforcing old tropes equating Zionism with racism, legitimizing a wave of boycotts and, increasingly, outright acts of violence against Jews?
Would we ask other marginalized communities to soften the words used to describe the hatred aimed at them?
If we would not ask it of others, why do we ask it of Jews?
Outside of Breads Bakery, the protest didn’t sound like a protest. No bullhorns, no chants — just a line of New Yorkers waiting for pastries to push back against a union’s demand that the bakery cut ties with Israel. It turns out that you can fight antisemitism with babka.
But the gesture can be quiet only if the definition is not. We cannot fight what we don’t hear, and we cannot hear what we refuse to name. When antisemitism hides behind nuance, policy, or the polite language of activism, clarity stops being optional. Even a line for babka can become a battleground against hate — but only if the hate is named plainly. Buying bread may seem like a Beijing form of activism, but when the message it sends is clear, hate can no longer hide in the shadow of nuance.
Gillian Granoff is a New York–based writer focused on Jewish identity, the Israel–diaspora relationship, and the challenges of navigating antisemitism after October 7. Her work draws on personal experience and time spent in Israel, bringing cultural insight and emotional clarity to her essays. She holds a degree in Comparative Literature from Brown University and spent more than a decade as a senior reporter for Education Update, an award-winning New York education newspaper.
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Somali Regions Reject Mogadishu’s Move to Cut Ties With UAE
People hold the flag of Somaliland during the parade in Hargeisa, Somaliland, May 18, 2024. Photo: REUTERS/Tiksa Negeri
Three self-governing regions in Somalia that have close relations with the United Arab Emirates have dismissed a decision this week by the central government to sever ties with the UAE, a long-term sponsor.
On Monday Somalia annulled all agreements with the UAE, including in the field of security, accusing the Gulf country, which has trained and funded Somalia’s army and invested in its ports, of undermining Somalia’s national sovereignty.
Somalia did not provide further explanation of its reasons for the move. Mogadishu is investigating allegations that the UAE whisked a separatist leader out of Yemen via Somalia. Separately, the UAE has been linked to Israel’s recognition last month of Somaliland, a breakaway region of northern Somalia, as an independent state.
The UAE‘s Ministry of Foreign Affairs did not immediately respond to a request for comment on Somalia’s decision. The UAE has longstanding interests in the Horn of Africa and Red Sea regions, where it has frequently vied with other wealthy Gulf states for influence.
Somaliland and two semi-autonomous states, Puntland in the north and Jubbaland in the south, said they would not recognize the decision by Mogadishu to cut ties with the UAE.
“Somalia’s daydreaming changes nothing … The UAE is here to stay, no matter what a weak administration in Mogadishu says,” Khadar Hussein Abdi, Minister of the Presidency of the Republic of Somaliland, said late on Monday.
The Jubbaland regional government said Mogadishu’s decision was “null and void” and existing “security and development agreements will continue to exist.”
Puntland said the decision would have no impact on relations between it and the UAE, including over the coastal city of Bosaso where a subsidiary of the UAE‘s DP World has a 30-year concession to run the port.
EXPANDING INFLUENCE
The UAE has long leveraged its wealth to expand its influence across the Horn of Africa, using a mix of economic, military and diplomatic clout to exert regional power.
For decades Somalia’s federal government has possessed only limited authority across the country, and has failed to defeat Islamist militants, despite years of international support, including African peacekeepers and US air strikes.
The UAE trained hundreds of Somali troops from 2014-2018, and still covers salaries and provides logistics for around 3,400 Somali military police and special forces troops in and around the capital, according to senior Somali sources.
It has also forged bonds directly with regional governments, committing hundreds of millions of dollars to ports and military infrastructure on the coast along global shipping routes.
Two Somali officials, speaking on condition of anonymity to discuss sensitive diplomacy, told Reuters that in place of UAE military funding the country could turn to the UAE‘s wealthy Gulf rivals Qatar or Saudi Arabia for help.
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Syria’s Kurds Protest Aleppo Violence as Fears of Wider Conflict Grow
Syrian Kurds attend a protest in solidarity with the people in the neighborhood of Sheikh Maksoud and Ashrafiya, as the last Kurdish-led Syrian Democratic Forces (SDF) fighters left the Syrian city of Aleppo on Sunday, state-run Ekhbariya TV said, following a ceasefire deal that allowed evacuations after days of deadly clashes, in Qamishli, Syria, Jan. 13, 2026. Photo: REUTERS/Orhan Qereman
Several thousand people marched under the rain in northeast Syria on Tuesday to protest the expulsion of Kurdish fighters from the city of Aleppo the previous week after days of deadly clashes.
The violence in Aleppo has deepened one of the main faultlines in Syria, where President Ahmed al-Sharaa’s promise to unify the country under one leadership after 14 years of war has faced resistance from Kurdish forces wary of his Islamist-led government.
Five days of fighting left at least 23 people dead, according to Syria’s health ministry, and saw more than 150,000 flee the two Kurdish-run pockets of the city. The last Kurdish fighters left Aleppo in the early hours of Jan. 11.
On Tuesday, several thousand Syrian Kurds protested in the northeastern city of Qamishli. They carried banners bearing the logos of Kurdish forces and faces of Kurdish fighters who died in the battles – some of whom had detonated explosive-laden belts as government forces closed in.
FEARS OF WIDER CONFLICT
Other posters featured the faces of Sharaa and Turkish Foreign Minister Hakan Fidan, crossed out with red “X”s and carrying the caption “Killers of the Kurdish people.”
Turkey accuses the Syrian Democratic Forces – the main Kurdish fighting force which runs a semi-autonomous zone in northeast Syria – of links to the Kurdistan Workers’ Party, which Ankara considers a terrorist organization.
Many Kurds say last week’s bloodshed has deepened their skepticism about Sharaa’s promises to govern for all Syrians.
“If they truly love the Kurds, and if they sincerely say that the Kurds are an official and fundamental component of Syria, then the rights of the Kurdish people must be recognized in the constitution,” said Hassan Muhammad, head of the Council of Religions and Beliefs in Northeast Syria, who attended Tuesday’s protest.
Others worry that the bloodshed will worsen. Syria’s defense ministry on Tuesday declared eastern parts of Aleppo still under SDF control to be a “closed military zone,” and ordered all armed forces in the area to withdraw further east.
Idris al-Khalil, a Qamishli resident who protested on Tuesday, said the Aleppo violence reminded him of the sectarian killings last year of the Alawite minority on Syria’s coast and the Druze minority in the country’s south.
“Regarding the fears of a full-scale war – if they want a full-scale war, the people will suffer even more, and it will lead to division among the peoples of the region, preventing them from living together in peace,” Khalil said.

