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How Robbie Robertson, a lead member of one of the greatest bands of all time, learned he was Jewish — and the son of a gangster The songwriter and lead guitarist for the Band died at 80
By SETH ROGOVOY August 9, 2023 (The Forward) Forward Editor’s note: Robbie Robertson, the lead guitarist and songwriter for the Band died August 9, at the age of 80. To honor his memory, we’re republishing this piece from April 2020, about how Robertson learned of his Jewish roots.
In the new documentary film, “Once Were Brothers: Robbie Robertson and The Band,” Robertson – The Band’s main songwriter and guitarist – tells the story of how he finally learned of his Jewish heritage and how his Jewish relatives in Toronto embraced him and opened a whole new world of “vision” to him.
Robertson had been raised in suburban Toronto as Jaime Royal Robertson without knowing that the man he called dad, James Patrick Robertson, was not his biological father. When his mother, Dolly Robertson – who was a Mohawk raised on the Six Nations Reserve southwest of Toronto – finally had had enough of James Robertson’s physical and emotional abuse, she sat her son down, explained that she was divorcing James, and revealed to him that his natural father, Alexander Klegerman, had died in a roadside accident before Robbie was born. She also told her bar-mitzvah age son that Klegerman was Jewish.
Or, as Ronnie Hawkins, the Arkansan rockabilly bandleader who, one by one, hired the five Toronto-area musicians who would become the Hawks and later on The Band, says with a modicum of glee in the documentary, “Robbie’s real dad was a Hebrew gangster.”
Robbie picks up the story. His mother introduced him to his father’s family, including his father’s brothers, Natie and Morrie Klegerman, who were prominent members of Toronto’s Jewish underworld. “They brought me into their world with tremendous love and affection,” recounts Robertson, who would occasionally do “errands” for his uncles.
Robertson describes how the typical dream of his schoolmates was to own their own bowling alley. Having already been bitten by the rock ‘n’ roll bug, including its ethos of rebellion against the conformity of suburban life, he could not relate.
“These relatives of mine … I’m understanding what’s been stirring inside of me all this time,” he says. “They understand vision. They understand ambition. When I told the Klegermans I had musical ambitions, they were like, ‘Rock ‘n’ roll? You don’t want to be in furs and diamonds?’ And then they were like, ‘Oh, you mean show business!” That they could understand, and they even helped young Robbie, who had his own rock combo, get gigs in Toronto nightclubs.
That vision and ambition would propel Robertson through good times and bad, and he became the main engine that would drive his fellow musicians in Ronnie Hawkins’s backup band – an incredibly talented assemblage of singers and musicians including Levon Helm, Rick Danko, Richard Manuel, and Garth Hudson – to head out on their own, first as a white R&B group called Levon and the Hawks, then as Bob Dylan’s backup group on his controversial “going electric” world tour of 1965-1966, and later as the Woodstock-based outfit The Band, for whom Robertson wrote signature hits including “The Night They Drove Old Dixie Down,” “The Weight,” and “Stage Fright.”
The Band built a bridge from late-1960s hippie-rock to a more soulful and cerebral 1970s roots music – what we now call “Americana.” The likes of Bruce Springsteen, Eric Clapton, George Harrison, Peter Gabriel, Van Morrison, Bob Dylan, and Taj Mahal pay tribute to the group in the film – which is now streaming on all the major rental platforms. Taj Mahal describes them as “the American Beatles”; Springsteen notes they boasted “three of the greatest white singers in rock history”; Clapton says he was “in great awe of their brotherhood.” Clapton recounts that upon hearing their debut album, “Music for Big Pink,” he broke up the English power trio Cream and traveled to Woodstock to try to get the group to hire him as a rhythm guitarist. (Needless to say, they declined, although Clapton did get all of them to play on his 1976 solo album, “No Reason to Cry,” which he recorded at The Band’s Shangri-la Studios in Malibu.)
For The Band’s penultimate studio album, 1975’s “Northern Light, Southern Cross,” Robertson wrote a song called “Rags and Bones,” which seems to pay tribute to one of the professions typically filled by Eastern European Jewish immigrants to North America – the ragman – and the sounds and music one would hear in those ghetto streets. The refrain goes:
Ragman, your song of the street/Keeps haunting my memory/Music in the air/I hear it ev’rywhere/Rags, bones and old city songs/Hear them, how they talk to me.
The Band would bow out in 1976 with the all-star concert, “The Last Waltz,” which became a live album and concert film directed by Martin Scorsese, who also appears in “Once Were Brothers.” That farewell project would cement a decades-long relationship between Scorsese and Robertson, in which Robertson would often serve as music supervisor for Scorsese’s films, as he did for last year’s “The Irishman.” Robertson would also enjoy a successful career as a critically lauded solo artist; his sixth solo album, “Sinematic,” came out last fall and included “I Hear You Paint Houses,” which served as the title track to “The Irishman,” as well as the song “Once Were Brothers,” his poignant tribute to his former Band-mates, all of whom have passed away with the exception of organist Garth Hudson.
In its loving remembrances of and tributes to his former, fallen Band-mates, “Once Were Brothers” serves as Robertson’s mourner’s kaddish for the group.
Seth Rogovoy is a contributing editor at the Forward. He is the author of Bob Dylan: Prophet Mystic Poet (Scribner, 2009) and the forthcoming Within You Without You: Listening to George Harrison (Oxford University Press).
Reprinted with permission from The Forward.
Features
Mobile Casino Trends in 2026: Usage Statistics – What Casino Online Westace Says
Mobile technologies simplify everyday life. They are used for payments, regular conversations, photos, and even gambling. Sites like casino online Westace leverage modern trends and do everything possible to maximize engagement. Adapting familiar gambling games to smartphones makes them more convenient. Visitors can launch slot machines or other entertainment with just a few taps on the screen. Quick rounds let you instantly see the results and choose a different game type. Interactivity is the main approach to development in 2026.
Usage Statistics in 2026
Online casinos are using mobile development technologies to adapt gambling games to smartphones and tablets. Now, almost every user has the opportunity to launch games to test their features in a convenient format. Sites like casino online Westace are not far behind and adapt to various screen layouts. The latest industry news also indicates significant developments:
More than 75% of players use online casino services via mobile devices. Statistics show significant steady growth compared to the figure of 65% in 2023.
It is predicted that revenue from mobile casinos in 2026 will exceed the mark of $ 60 billion. The figure is two-thirds of the market. Thus, positive trends can be identified among gambling software developers.
The younger demographic aged 18 to 35 years old is the most active user of mobile devices. They have twice the level of involvement compared to other categories.
80% of new casino accounts were registered through mobile apps or mobile-optimized websites. This indicates their convenience and widespread use.
Mobile development is a priority for online casinos. Operators work closely with developers to adapt all games to the relevant requirements.
Features of Mobile Casino Growth
Mobile versions of sites like casino online Westace are dominating in 2026 for a reason. Players can enjoy games with real dealers even from small screens. At the same time, the broadcast quality remains at a high level without delays.
All games are designed for touch use. Players can easily use portrait mode and adaptive layouts to launch a comfortable gameplay format. Biometric login and two-factor authentication are essential tools that protect transactions and accounts from unauthorized access.
Mobile gaming encourages more frequent play in small sessions. For example, a player can play one or two games of baccarat, and then later return to play slot machines. All progress is saved on any device. Yes, a player can start playing on a smartphone, save the results, and return via a browser on a computer.
All Interesting Facts to Know
Recently, sites like casino online Westace have been paying more attention to mobility. For example, seasonal slots are launched first through mobile versions, and then move to desktop. Regulators have also introduced mandatory responsible elements for smartphone users for greater control. Mobile players spend 20% more time playing with real dealers. This emphasizes the close attention to interactive formats and communication.
Ultimately, mobile casino versions occupy their own niche in the industry. Most players use smartphones to play on the go and enjoy fast games. Developers adapt to these requirements and improve services, adding relevant options to games.
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Important Keno Rules: Explained by Casino Online Glorion
Keno is a lottery game that originated in China 2,000 years ago. At that time, it was called baige piao, which translates to “white pigeon ticket” in English. Keno rules on sites like Glorion Casino are similar to those of games like lotto. The game involves choosing numbers in the hopes that they will match randomly selected values. In this article, we will discuss the important rules of online keno.
Understanding Keno Rules at Online Casinos
Keno is a game of chance in which players select 1 to 10 numbers from a table of 1 to 80, similar to bingo. After this, the numbers are drawn. The player’s payout depends on how many figures they match.
In classic keno, the drawing is done using a ball machine. The same equipment is used in bingo and lotteries. The host randomly draws 20 numbered balls. Players win if at least one of their chosen numbers matches the dealer’s draw. The more matching numbers, the larger the payout.
Online keno is played using a random number generator (RNG). Keno payouts on sites like Casino Online Glorionare similar to those in the classic game. The differences are due to the drawing procedure and the properties of different versions.
After users select their 20 numbers, the gambling software publishes its 20 figures, which determine the winner. Payout amounts vary across platforms, so users should check them before playing.
Basic Keno Stages in Online Casinos
Users planning to play keno at sites like Casino Online Glorion should be familiar with the gameplay process. Typically, it includes the following stages.
- Select a keno card. The ticket displays numbers from 1 to 80.
- Choose your numbers. In different versions, users select 10, 15, or 20 numbers before each draw. Each number is called a ‘keno spot.’ You can set the same numbers for multiple draws.
- Check the payout table. In the online version of the game, the table appears after selecting the numbers. It displays information about the payout amount if you guess correctly. The more numbers you match, the larger the payout.
- Calculate your bet. Determine how much you want to bet on each draw. Remember that the bet size affects the final payout.
- Start the game. All the drawn numbers will appear somewhere on the screen. Users can also view the “cold” and “hot” keno numbers. Hot numbers have been drawn recently, while cold ones haven’t won for a long time.
- Match the numbers. Experienced players use the term “catching a spot” when their chosen number is drawn. The number of spots you catch affects your payout.
Keno at websites like Casino Online Glorion offers engaging gameplay. Players can get generous prizes. They should learn the rules, odds, and prize structures to make rational decisions and boost their chances of winning. Chase the thrill, but play it smart.
Features
Joe Kent Suggests Israel Behind Charlie Kirk Assassination, Controls US Foreign Policy in Tucker Carlson Interview
Joe Kent Suggests Israel Behind Charlie Kirk Assassination, Controls US Foreign Policy in Tucker Carlson Interview
After Joe Kent, director of the US National Counterterrorism Center, resigned in protest of President Donald Trump’s military campaign against Iran, he appeared on Tucker Carlson’s podcast on Wednesday.
While on the podcast, Kent, who resigned from his position on Tuesday, argued that Israel dragged the US into the war against the Iranian regime, suggested that Israel may have been involved in the murder of conservative activist Charlie Kirk, claimed that Iran posed no imminent threat to the United States, and said that Iran was not pursuing a nuclear weapon.
Themes of Israel controlling US policy and conspiracy theories about Kirk’s assassination have become commonplace on Carlson’s podcast in recent months.
“We don’t know what happened with Charlie Kirk. I’m not saying the Israelis did this — I’m saying there are a lot of unanswered questions there, and there’s enough data to say there’s a good chance that President Trump feels he is under threat,” Kent said.
“The last time I saw Charlie Kirk on this earth was in June, in the West Wing stairway,” Kent said on Carlson’s podcast. “And he said very loudly to me … ‘Joe, stop us from getting into a war with Iran.’ Very loudly. He was single-minded.”
“So, when one of President Trump’s closest advisers who was vocally advocating against a war with Iran is suddenly publicly assassinated, and we’re not allowed to ask questions about that — it’s a data point. A data point that we need to look into,” Kent said, suggesting that Israel may have something to do with the assassination.
There has been no evidence to support claims of Israeli involvement in Kirk’s assassination. Tyler Robinson, 22, has been charged for murdering Kirk and potentially faces the death penalty. He was romantically involved with his transgender roommate, and prosecutors have reportedly argued that Kirk’s anti-trans rhetoric was a key factor that allegedly led him to shoot the Turning Point USA founder.
Kent also argued that the US is not really in charge of its own foreign policy: “Who is in charge of our policy in the Middle East? Who is in charge of when we decide to go to war or not?” he asked.
Ther former counterterrorism chief argued that Israel forced Washington’s hand by saying it would attack Iran and that the US would be forced to be caught up in Iran’s inevitable retaliation.
“The Israelis felt emboldened that no matter what they did, no matter what situation they put us in, they could go ahead and take this action, and we would just have to react. That speaks to the relationship — but also it just shows there was a lobby pushing for us to go to war,” Kent said.
In addition to claiming Israel was driving US foreign policy, he also claimed Iran was not close to achieving, or even pursuing, a nuclear-weapons capability. “No, they weren’t [on the verge of getting a nuclear weapon] — not three weeks ago when this started, and not in June [2025] either,” Kent said, referring to last year’s 12-day war between Iran and Israel
“The Iranians have had a religious ruling — a fatwa — against actually developing a nuclear weapon since 2004. That’s been in place since 2004. That’s available in the public sphere. But we also had no intelligence to indicate that that fatwa was being disobeyed or was on the cusp of being lifted,” Kent added.
Experts on Iran have widely dismissed the Iranian regime’s so-called fatwa against having nuclear weapons, noting Tehran has repeatedly lied about and tried to hide aspects of its nuclear program.
The interview occurred one day after Kent resigned from his senior intelligence position, saying he could not support the war and arguing Tehran posed “no imminent threat” to the United States. But it was Kent’s broader assertion, that pressure from Israel and pro-Israel voices influenced the decision to go to war, that especially drew swift pushback from the White House and national security experts.
In his resignation, Kent also drew parallels to the Iraq War, suggesting that similar dynamics shaped both conflicts by arguing that Israel pushed the US into the war.
“Iran posed no imminent threat to our nation, and it is clear that we started this war due to pressure from Israel and its powerful American lobby,” Kent wrote in his resignation letter.
The Trump administration forcefully disputed Kent’s claims, maintaining that the decision to strike Iran was based on credible intelligence about threats to US forces and interests in the region. Trump dismissed Kent as “weak on security,” defending the operation as necessary to deter Iranian aggression and protect American personnel and allies.
“When I read the statement, I realized that it’s a good thing that he’s out, because he said that Iran was not a threat,” Trump said. “Iran was a threat.”
Kent himself previously described Iran as a major threat that needed to be addressed.
In a September 2024 post on X, for example, he wrote that “Iran has been after Trump since January of 2020 after he ordered the targeted killing of the terrorist Qasem Soleimani. This isn’t a new threat.”
White House press secretary Karoline Leavitt lambasted Kent’s resignation letter as inaccurate.
“The absurd allegation that President Trump made this decision based on the influence of others, even foreign countries, is both insulting and laughable. President Trump has been remarkably consistent and has said for DECADES that Iran can NEVER possess a nuclear weapon,” she posted on social media.
Kent previously faced scrutiny during his US congressional runs in Washington state over links to far-right, antisemitic, and white nationalist figures, including Nick Fuentes.