Cellino Law Personal Injury Lawyers – For me, childhood is a blur. But it has a very memorable soundtrack. I still hear the unwavering and strange invitation: “Make your car a kidney cart!” “Sea breeze, come and enjoy your summer!” Promise: “Sweet dreams come true at City Mattress.” Most importantly, the caption: “There’s a place I know in Ontario where sea lions kiss, that’s the story!” Colleagues with diverse local heritage can sing to me about Stanley Steamers, Empire rugs, Kars4Kids and boring accessories behind the phone book.
If I put forward my theory about local jingles – the repetition creates nostalgia; that jingles harken back to a time when we didn’t have the power to choose consumers; that no one knows his best friend’s phone number, but anyone can call the used car dealer in his hometown; that it’s ugly but entertaining, a combination of publicity frenzy and social myth—for Western New York jingle writer Ken Kaufman, he told me, we’re only getting what the Catholic Church got centuries ago. I mean, people heard these songs from the time they were on the tube until they were rolling around.
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Kaufman knew about music theory and religion. He trained at the University of Rochester’s Eastman School of Music and has served as music director at several Catholic churches (though he insists he is Jewish, except for a few years as a Scientologist). Kaufman is a musician, who studied how music works as a child (his favorite professor at Eastman taught him theory based on Beatles songs).
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After school, he became the pianist in a rock band in Buffalo, New York, after meeting the band members at a Scientology center. Then he started writing jingles to make money. “The band doesn’t make much money, but the jingles… [with] the jingles, I can make some money.”
And he wrote quite a lot. “If I played all the jingles I played back then, you’d walk on the moon three times, you know? I have a demo reel that will drive you crazy.” He asked me to visit his website, AdSongsJingles.com, and “bathe in the riches” of Western New York commercial music.
But I’m most interested in one he wrote more than 20 years ago: the Cellino & Barnes jingle and how popular the two dubious personal injury lawyers’ local sales pitch became, now a relic.
Sketch titled “Legal Shark Tank” in March. Broadway actors, including Katharine McPhee, spontaneously decided to remove their covers, calling it the “Cellino & Barnes Challenge.” In 2017, the New York Times published an article entitled “Cellino Sues Barnes. Who Gets the Jingle?” as if the importance of this question was obvious.
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You can scroll through tweets about Cellino & Barnes songs for hours, although most are in the same vein, recently concluding: “I’m thinking about walking down the aisle to the Cellino & Barnes jingle over and over again.” The jingle – which read “Cellino and Barnes, personal injury attorneys, call 800-888-8888” – was not particularly popular for its content, but its place in the cultural imagination was also benign.
In 2015, the U.S. House of Representatives Legal Reform Institute released a report on law firm advertising spending, documenting that despite the TV advertising industry’s decline, lawyers spent $892 million annually, up nearly 70 percent from 2007. And Cellino and Barnes’ TV ads could be said to one of the most memorable legal commercials of all time, largely because of that little song.
“It echoes in your head. You hear in the middle of the night when you don’t want to hear anything.”
“Easy, easy, easy,” says Kaufman explaining why this jingle works so well. “There is something that has entered people’s minds. A song sticks in your mind through repetition, and once you hear it a few times, it becomes part of what the industry calls echo memory. Audio memory is auditory memory. Visual memories are iconic. Icons, just like on your computer… Echo memory is the sound. It echoes in your head. You hear in the middle of the night when you don’t want to hear anything.”
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Kaufman often worked with musicians, but Barnes came to him with all the lyrics ready. “They are injury lawyers. Not just a few personal injury attorneys or a few people. This is an original slogan that stands out. I have to give it to them.” In 2017, the New York Post reported that Cellino and Barnes spent $4.6 million on TV and radio play for the song tying them to the injury lawyer idea.
“They’re not afraid to spend a lot of money, like they did in Buffalo when they did their first ad campaign,” Kaufman said. “Long before I did this show, believe me, there was a multi-million dollar billboard campaign all over Western New York. Extraordinary. Everywhere you look, there are Cellino & Barnes billboards. In the poorest areas there are Cellino & Barnes billboards. They are everywhere.”
The Hollywood division that annoys me the most is still Cellino and Barnes. the song is good now. we have to unite them. what can we do — christine teigen (@chrissyteigen) April 10, 2018
Kaufman well remembers meeting Steve Barnes in the mid-1990s and calls him “probably one of the most famous bald men in America.” Barnes wanted his jingle to be “friendly” and to the point: just their name, what they do, and a phone number. It was 854-2020. Years later, when Cellino and Barnes expanded from Buffalo to Rochester, they wanted another phone number for the new city — 654-2020 — so they called Kaufman again.
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“I had the same two musicians travel to Rochester to record in my studio so I could record a word, ‘six,’ that fit there,” he said. (When I was in high school, the number was 454-2020 for some reason.)
Once known only to the Buffalo and Rochester areas, Cellino and Barnes spent two decades playing with the record and the sound, moving to New York City and much of California. Each lawyer reportedly earns tens of millions of dollars a year. But Cellino and Barnes have also been embroiled in a years-long legal dispute that began with various disputes over bias and workload and escalated to the point that Cellino’s name was removed from all of the law firm’s California offices. Cellino tried to end his relationship with Barnes completely, but the case was postponed several times. (Barnes accused Cellino of trying to ruin his career and being a lazy lawyer who was too concerned with “building houses on lakes [and] running tree plantations.”)
The play—far from being confined to the duo’s hometown—was the subject of New York magazine headlines and Brooklyn independent theater. The New York Post reported in August 2017 that Cellino sued Barnes to prevent him from using the signature jingle in California. In October 2017, Barnes apparently agreed, launching an advertising campaign for Barnes’ company without what the Buffalo News called “the sweet, sweet voice of 800-888-8888.” His new phone number, 800-800-0000, is worth more than $900,000, and unfortunately, the jingle isn’t very catchy.
Probably the first big commercial jingle was Wheaties, and Wheaties didn’t ask for it. In the 1920s, wheat grains and bran became secondary products offered by the Washburn Crosby Company, which had previously sold only flour. Two years after its launch, Wheaties sales are still poor everywhere except St. Louis. Louis.
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Apparently, 60 percent of wheat sales come from Minneapolis and St. Louis. Louis. Louis. in the 1919 song “Jazz Baby”. The singers were paid $15 a week for three years to sing the song live, a national campaign began and the Wheaties survived.
“At that time the media were not separate, and radio was the only real medium,” jingle writer Yeosh Bendayan, founder of Push Button Productions in Orlando, Florida, told me. “So by developing a certain type of music, if you get it on the radio enough, it will get attention.”
The jingle that started the decades-long craze was the Pepsi jingle in 1939, according to Tim Taylor, the book’s author.
“It got so much attention that a lot of companies decided they had to have a jingle.” At the same time, the Pepsi jingle especially the word “nickel” was mentioned repeatedly and was very annoying; New York Spectator
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