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How a complete unknown created one of the most iconic music events of the 1970’s

“I’ve always been a stranger,” Ido Fluk told me when I met him in a near-empty conference room in a sleek, Nordic-designed hotel in Berlin this past February. It was the afternoon after the Berlin Film Festival’s world premiere of the Israeli director’s German-language film, Köln 75, a kinetic behind-the-scenes look at Keith Jarrett’s famous live album, The Köln Concert. Jarrett improvised the hour-long set at the Cologne Opera House on Jan. 24, 1975, on a substandard piano — a beat-up baby grand rehearsal piano instead of the 10-foot-long Bösendorfer Imperial he’d been promised.

The film has grossed over a million dollars at the German box office — no mean feat for a domestic production — and was nominated for four Lola awards (Germany’s version of the Oscars) including Best Picture.

Fluk, 40ish, with tousled hair and a thick mustache, stubble and round, dark-framed glasses, had a peripatetic upbringing. Born in Tel Aviv, he was raised both there and in Paris, where his family relocated for five years during his childhood. Just shy of 20, he moved to New York City to study at N.Y.U.’s Tisch School of the Arts.

John Magaro makes history as Keith Jarrett performing a late show in Cologne. Courtesy of Zeitgeist Films

He returned to Israel to shoot his first feature film, Never Too Late (2011) about a young Israeli man who comes home after eight years in South America and takes a road trip in his 1985 Volvo through the country he left behind. It holds the unusual distinction of being the first crowd-funded Israeli film and won the main prize at the Fribourg Film Festival. Fluk shot his next film, The Ticket (2016), about a blind man who regains his vision, in Kingston, New York. Köln 75 was filmed largely on location in Cologne.

“I’ve always been, like, moving around. So for me, it’s very natural to go to a new country to make a film,” said Fluk. “I also think it’s the story of cinema a little bit these days where art house cinema in the States is kind of a dying breed. You see more and more filmmakers from the U.S. traveling to Europe.”

“And, you know,” he added, “it’s also kind of the story of Keith Jarrett in the 70s, which is that jazz musicians were losing their audiences in the States, and they started coming to Europe, because in Europe they still found an eager audience for their work. So I could identify with that, in a way.”

Fluk was wearing a black T-shirt for the British punk rock band Idles that showed a man in a balaclava posing with a birthday cake. The image was captioned, “JOY STILL AN ACT OF RESISTANCE.” Fluk has a musical background. When he moved to New York, he played bass for “all these punk bands that never made it.” One band that sort of did was Elephant Parade, a lo-fi indie outfit that he formed with his now-partner, Estelle Baruch. They played legendary venues and festivals like CBGB and South by Southwest and even opened for Beirut.

“I’m not a good musician by any means,” he said, “but it helps you understand just how difficult what Jarrett is doing. It’s such a feat, what this man was doing in the 70s, which means driving in this tiny car, and every night showing up at a new city and playing a new thing that nobody’s ever heard before. He doesn’t think about it. He just starts playing.”

Ido Fluk was born in Tel Aviv and raised there and in Paris. At 20, he moved to the States to study at NYU. Photo by Getty Images

Despite, or perhaps because of, the respect that Fluk has for Jarrett (a reclusive artist, now 80, who had nothing to do with the film), the director did not set out to make a conventional biopic. Instead, the narrative and emotional center of the film, which Fluk also wrote, is Vera Brandes, the 18-year-old self-made concert promoter who, 50 years ago, signed Jarrett for the gig, sold out the venue, and convinced the reluctant pianist to perform on a subpar keyboard for the 1400-strong crowd that packed into the Cologne Opera House for the 11:30 pm concert. (The late hour was due to a performance of Alban Berg’s Lulu earlier that evening, a wonderfully strange detail that makes it into the film).

“There are a lot of movies about music that tell you the same story. It’s about the artist. It’s about his rise. There’s some complication, then there’s a comeback, there’s a big show at the end. And here was a story about the woman behind the scenes. It wasn’t a story about the artist so much as about the promoter and the invisible people behind the artist. I thought that was really interesting and fresh,” Fluk said. At the start of the shoot, Fluk invited Brandes, now 69, to visit the set, an event that he recalled as inspiring for him and the film’s team.

“She’s like a punk rock goddess from the 70s who, like, changed the world and never got a proper thank you. This was an opportunity to shine a light on her, because however good Keith Jarrett is, no Vera Brandes, no ‘Cologne Concert.’ If Keith Jarrett had the perfect piano on stage that night, the album wouldn’t sound the way it sounds, and it wouldn’t be as special as it is,” he said.

Mala Emde, a 29-year-old German actress, plays Brandes as a spirited and determined young woman striking out on her own, using her charm, enthusiasm and tenacity to navigate (and often bluff her way through) an exciting adult world that she cannot wait to enter. Emde carries the film on her capable shoulders. Jarrett, performed with brittle world-weariness by the American actor John Magaro, is another standout.

Köln 75 was in pre-production for four years and Fluk used that time to learn German. “By the time we were shooting, I already understood German. Now I can read, I can understand – I don’t like speaking it because I sound like an idiot — but it was enough for me to hear actors improvise, which was really important for me in this film, because it’s a film about improvisation and it needed to feel free,” he said. He added that Michael Winterbottom’s 2002 film 24 Hour Party People, about the birth of rave culture in late 1970s Manchester, was a key inspiration in terms of tone and energy, calling it “the spirit animal of this film.”

Fluk didn’t reveal too much about his upcoming projects, which include an HBO series based on the bestselling non-fiction book Empty Mansions and a legal thriller about the trial of Julius and Ethel Rosenberg, which Fluk described as “a really beautiful script and really important story about American Jews and the way they were perceived in America.”

With so many stateside projects lined up, can we expect Fluk to film again in Europe or Israel in the future?

“If the story I want to tell is located there? Absolutely,” he said. “I am very agnostic about territory. I have a film, and the film says where it needs to be shot, then we go there and shoot it.”

Köln 75 begins its theatrical run at the IFC Center in New York on Oct. 17. (It opens a week later in Los Angeles).

The post How a complete unknown created one of the most iconic music events of the 1970’s appeared first on The Forward.

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Hanukkah After Bondi Beach: We Must Not Retreat

Police officers stand guard following the attack on a Jewish holiday celebration at Sydney’s Bondi Beach, in Sydney, Australia, Dec. 15, 2025. Photo: REUTERS/Flavio Brancaleone

The attack at Sydney’s Bondi Beach took place at a public Hanukkah celebration — an openly Jewish gathering marking a holiday meant to symbolize continuity, restraint, and survival. Candles were lit. Families had gathered. Jewish life was visible and unhidden. Violence arrived anyway. That fact matters. This was not random disorder that happened to occur near Jews. It was an assault on Jews gathered publicly as Jews.

For Jewish communities around the world, the message was immediate and chilling: a basic assumption — that peaceful religious celebration in a public space is protected — no longer feels secure.

Bondi Beach was not an aberration. It was a signal that even the most ordinary expressions of Jewish life now take place against a backdrop of heightened risk and weakened moral confidence.

Since October 7, 2023, Jewish communities have been forced to absorb a series of shocks that, taken together, reveal something deeper than a temporary spike in antisemitic incidents.

Jews have watched crowds chant “death to Jews” in major Western cities. We have seen synagogues, schools, and community centers require armed security as a baseline condition of existence. We have watched public officials hesitate, equivocate, or retreat into procedural language when confronted with explicit calls for Jewish death.

In that context, even violence that is not explicitly ideological is experienced differently. Bondi Beach occurred in a world where rage, intimidation, and public disorder have been steadily normalized — and where antisemitism is too often treated as a contextualized grievance rather than a moral emergency. It is no coincidence that Hanukkah celebrations across Europe, North America, and Australia this year are being guarded as potential targets rather than assumed civic fixtures.

For Jews, these are not abstract concerns. They shape daily life in quiet but consequential ways. This Hanukkah, many Jews will decide whether to light publicly or privately, whether to post photos or remain discreet, whether to wear a kippah or tuck it into a pocket, whether to gather openly or behind security checkpoints.

These are not acts of panic. They are acts of realism — born of a recognition that the social consensus protecting Jewish life is weaker than it once was. I have felt this calculation myself, not as fear but as prudence — an awareness that Jewish visibility now requires forethought in ways it did not a decade ago.

Hanukkah is often softened into a generic story about “light in dark times.” But that framing misses its harder truth.

Hanukkah commemorates a moment when Jews confronted a society that had lost its sense of limits — when desecration was tolerated, when power displaced law, and when public authority proved unwilling or unable to defend moral boundaries. The Maccabees did not revolt because they rejected pluralism. They revolted because pluralism had collapsed into coercion.

That distinction matters now.

Across Western democracies, restraint is increasingly treated with suspicion. Rampage violence is explained as inevitable. Public disorder is described as expressive. Antisemitic chants are reframed as political speech. Leaders and institutions speak fluently about process and context, but struggle to say plainly that some acts are beyond the pale.

The result is a dangerous permission structure. Not a conspiracy. Not a single ideology. But a cultural habit of hedging when clarity is required — of explaining rather than condemning, of balancing rather than drawing lines. Violence thrives in that space. So does antisemitism.

Sociologist Émile Durkheim warned that societies depend on shared moral frameworks to restrain individual impulses. When those frameworks weaken, violence becomes expressive rather than exceptional. Rampages become signals — not just of individual breakdown, but of collective uncertainty about what can and should be enforced.

Jews recognize this pattern because history has trained us to. Antisemitism rarely begins with laws or decrees. It begins with atmospheres. With what is tolerated. With what is explained away. With what authorities are reluctant to name because naming it might require action.

The Bondi Beach attack belongs to this broader moment. It targeted a Jewish holiday gathering, but it also reflected a wider failure to defend basic moral boundaries in public life. Violence does not emerge in a vacuum. It feeds on ambiguity — on the sense that enforcement is conditional and outrage selective.

Hanukkah offers a counterpoint to that ambiguity.

The story of the oil is not a story about optimism. It is a story about responsibility. Someone chose to protect what was sacred when it would have been easier to surrender it. Someone insisted that desecration was not normal, that collapse did not deserve accommodation, and that continuity required effort.

That insistence feels increasingly countercultural.

In recent years, Western elites have grown uncomfortable making firm moral judgments. Everything must be contextualized. Everything must be balanced. Everything must be filtered through the language of grievance. But pluralism does not survive without boundaries. And minorities suffer first when those boundaries dissolve.

For Jews, the post-October 7 world has made something painfully clear: condemnation of antisemitism has become conditional. Calls for Jewish death are weighed against political narratives. Jewish fear is treated as inconvenient. Jewish safety is discussed as a variable rather than a nonnegotiable.

Hanukkah rejects that logic entirely.

The holiday is not only about light. It is about continuity — the refusal to disappear quietly when the world becomes less hospitable. It is about maintaining Jewish presence, practice, and confidence even when public space feels uncertain.

Lighting the menorah is not an act of provocation. It is an assertion that Jewish life does not require permission to endure.

Bondi Beach will be remembered as one more moment when Jews understood something before others were ready to say it plainly: a society unwilling to enforce moral limits cannot protect its most vulnerable members. Rampage violence and chants of “death to Jews” are not separate phenomena. They are different expressions of the same failure.

A society that cannot say, without hesitation, that calling for Jewish death is beyond the pale is not morally neutral. It has already chosen sides.

The menorah burns not because darkness recedes on its own, but because someone insists — again and again — that darkness does not get the final word.

Samuel J. Abrams is a professor of politics at Sarah Lawrence College and a senior fellow at the American Enterprise Institute.

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Australia’s ‘Hanukkah Massacre’ Is Worse Than You Think

Australian Prime Minister Anthony Albanese speaks during a press conference at the Parliament House in Canberra, Australia, June 17, 2024. Photo: Lukas Coch/Pool via REUTERS

Chabad’s “Hanukkah by the Sea” event near Bondi Beach in Sydney, Australia, turned into a bloody massacre on Sunday: 15 murdered and dozens more injured, as of the latest update.

Far from being an isolated incident, this nightmarish display of terror is only the latest symptom of a dangerous and systematic attack by the Australian government against its own Jewish population.

According to news sources, the terrorists were Sajid and Naveed Akram: a father and son of Pakistani origin who had pledged allegiance to ISIS shortly before carrying out their antisemitic bloodbath.

In one rare bright spot, Ahmed Al Ahmed, an immigrant from Syria, heroically risked his life to disarm one of the terrorists, likely saving many innocent lives in the process. Al Ahmed survived several gunshots and is recovering in hospital.

In the aftermath of this modern day pogrom, Australian Prime Minister Anthony Albanese issued a statement in which he made no mention whatsoever of Jews, antisemitism, Hanukkah, Islamic extremism,terrorism, or ISIS.

Albanese referred to the massacre merely as “shocking” and “distressing,” and said that his thoughts were with “every person affected.”

Within hours, Israeli Prime Minister Benjamin Netanyahu utterly excoriated Albanese, accusing him of “pouring fuel on this antisemitic fire,” and noting that he had sent Albanese a letter last August, warning of the very conditions that had brought about this attack, a warning that had gone unheeded.

In tandem with the Israeli Prime Minister’s vigorous public scolding, Albanese held a press conference, in which he finally condemned the Bondi attack as antisemitic.

However, Albanese continued to avoid any mention of Islamic extremism, despite Australian law enforcement having already publicly confirmed that the terrorists had pledged allegiance to the Islamic State terror organization (ISIS), and that they were carrying an ISIS flag in their vehicle.

According to reports, the Mossad had been warning Australia regularly for months about terror plots against the local Jewish community. Local police deny there were specific warnings about this particular attack, but Israeli leaders from all sides of the political spectrum countered that Australia had ignored “countless warning signs.”

Australia’s national failures are reminiscent of the Dutch pogrom of November 2024, in which local Muslim attackers violently hunted Israeli soccer fans through the streets of Amsterdam — after Dutch police ignored urgent warnings from Israeli intelligence.

The conditions for a similar massacre are currently shaping up in New York City, where the incoming mayor responded to a highly threatening antisemitic protest by accusing the local Jewish community of “violations of international law.” (I previously addressed both topics in depth at The Algemeiner).

For the past two years since the October 7 massacre, not only has Australia seen a massive rise in violent antisemitic attacks, but local Jewish leaders have consistently objected to the government’s permissive atmosphere toward attacking Jews, such as failing to apply appropriate penalties and needed protections.

Examples include frequent and enormous marches calling to “Globalize the Intifada” (a phrase that the United States Congress officially recognizes as a call for violence against the Jewish people), public calls to “gas the Jews,” as well as Australia’s recognition of a Palestinian state last September, a move widely regarded in the Arab world as a reward for the October 7 massacre.

Like most countries with free speech protections, Australia also has numerous federal and local laws against incitement, which authorities have routinely failed and refused to enforce in protection of Australia’s Jewish communities.

Prime Minister Albanese has promised to respond to the massacre by tightening Australia’s gun laws. Ironically, Australia already has among the strictest gun control regimes in the entire world. Apparently, gun laws are not enough when a country permits and ignores massive hatred, incitement, antisemitism, ongoing violence, and affiliations with international terror organizations.

Who knew?

Given Australia’s ongoing commitment to a failing “strategy,” its continued protection of Islamist extremists, and its continuing systematic neglect of Jewish safety, it is safe to assume that this is only the beginning of more attacks to come.

Daniel Pomerantz is the CEO of RealityCheck, an organization dedicated to deepening public conversation through robust research studies and public speaking.

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Are We at a Tipping Point? Will Larger Numbers of Jewish Americans Make Aliyah?

New immigrants arrive in Israel in 2019, many coming alone to serve in the nation’s military. Photo: courtesy of Nefesh B’Nefesh.

In The Arc of a Covenant (2022), a comprehensive book about the history of the relationship between the US and Israel, Walter Russell Mead points out that, if not for the persecution and expulsion of Jews from Arab lands to Israel after the 1948 war, Israel might not exist.

At best, it would be a smaller, demographically weaker country, with about one-half the Jewish population that it has today.

Recent attacks and hate marches across the world (from chanting “gas the Jews” in Sydney, which led directly to Bondi, and so many other incidents) have had me wondering if history was going to repeat itself. Will these events result in a new wave of immigration of Jews to the Jewish State, particularly from the US, where the largest number of Jews outside of Israel live?

One particularly notable event was an anti-Israel protest at a New York City synagogue (the Park East Synagogue), which included violent antisemitic threats, like “we need to make them scared.” That the protesters targeted an event by Nefesh B’Nefesh, a non-profit organization that has helped thousands of North American Jews immigrate to Israel, makes it clear that demographics are crucial in the struggle between Israelis and Palestinians.

Statistics indicate that 3.5 million Jews have made Aliyah since 1948, when the Jewish State was established. The vast majority were Jewish survivors of the Holocaust and Soviet pogroms, and those from the Arab/Muslim world, as previously mentioned. Yet, despite the large number of Jews in the US, the number that have immigrated to Israel is quite small — approximately 135,000, less than four percent of the total.

The question is: will the unsettling events targeting Jews across the world be enough to reach a critical threshold, so that large numbers of American Jews decide that enough is enough?

American Jews have done very well in all respects, perhaps better than any other diaspora in the history of the Jewish people. Yet, when it comes to personal safety for Jews, it seems that even America is not an exception.

The new mayor of New York City, Zohran Mamdani, was disappointingly equivocal in his comments about the protests that took place at the Park East Synagogue, saying a house of worship should not promote Nefesh B’Nefesh events. Clearly, he has his own ideas about where Jews should and should not live.

This is not new. In the 1930s, the German antisemitic board game Juden Raus! told Jews to go to Palestine. Today, they are told to go back to Europe.

Israel is the ancestral home of the Jewish people, a home they never abandoned, spiritually or physically. Those Jews who reside in Israel are there by right, not on sufferance. Many made Aliyah for various reasons: religious, ideological, and economic. But the single most important driving force has been antisemitism. Those who seek Israel’s destruction should reflect on the fact that their own hatred has been the catalyst for Israel’s remarkable rebirth.

Jacob Sivak, a Fellow of the Royal Society of Canada, is a retired professor, University of Waterloo.

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