Features
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
Musings from Dizengoff Street – by Bruce Brown
(August 8, 2026)
Outside Basimta Café in Central Jerusalem. Love the red shirt against a tiny sea of black. Not sure I am shrugging because of the ultra-orthodox uproar over a Jerusalem café operating on Shabbat or the lack of an ultra-orthodox uproar over a Jerusalem café operating on Shabbat. For the last six weeks Israeli headlines shouted about the cafe chaos. With the ultra-religious blocking entrances and storming the café. While shouting ‘Shabbos! Shabbos!’ Upsetting the secular amongst us just wanting to enjoy our Saturday iced matchas. So the wife and I thought we would check it out. And. Yes. Buy something to support the business. Uproar. Not. Blocked entrances. Not. Storming the café. Not. Albeit there were police barriers separating the devout protesters from the coffee drinkers. The protesters being just a few dozen black clad, pious Jews. Mostly teenagers. And yes. Shouting ‘Shabbos! Shabbos!’ Certainly underwhelming in its reported mayhem. Reminds me of the famous saying misattributed to Mark Twain – “If you don’t read the newspaper, you’re uninformed. If you do, you’re misinformed.” But I did enjoy my iced matcha.
(August 6, 2026)
Here we go again. Another round of forever negotiations. As someone who negotiates for a living. The way things are going in the straits. If I had to recommend a book on the subject to a new hire. Between The Art of the Deal, A Presidential Edition by Donald J. Trump or The Real Art of the Deal by the Mullahs of Iran with a special forward by the IRGC. Well. I would choose the latter.
(August 3)
Bravo Yoav Segalovitz, Liberal Yesh Atid MK and Monsour Abbas, United Arab Ra’am MK and party head. For breaking a glass ceiling where a Jewish lawmaker joins an Arab political party. No less a political earthquake in my little shtetl. Which can significantly impact coalition block arithmetic and posturing and strategy in the upcoming elections. Now Ra’am can be considered a legitimate ‘Zionist’ partner when forming coalition blocks and potentially pushing the ‘center left/right’ party over the 60 seat majority threshold. In our crazy parliamentary democracy defined by a multi-party (about fourteen!!), proportional representation system. To paraphrase Winston Churchill, Israel’s proportional representation model of governance is the best parliamentary democracy system except for all other forms of working democracies. Stay tuned for more amateurish political musings as we move towards Israel’s 26th national election – five of them held since 2019.
(August 1)
Although both sides say they are open to diplomacy. Neither really trusts the other. And American military action, or its threat, continues. I read headlines in the middle of the night -it’s a nervous habit lately– that the Dynamic Duo of Trump and Netanyahu may again strike in unison. Possibly this weekend. Yikes! Prompting me, at 2:30 AM, to dash around the house stocking my safe room. Bottled water. Canned food. Medicines. Documents. The beat goes on….
If it’s crazy here. It’s insane in Italy. With a recent online ‘Jew Hunt’ in the Milan area. Before being removed, the digital forms urged reportings of Israelis and Italian Jews staying in local hotels. The infamous Global Sumud Movement -yes, the one coordinating ‘peace and humanitarian’ flotillas to Gaza- was somehow connected. Although they deny involvement?! This deranged decree was looking to identify Zionist tourism and Zionist neo-colonization in Italy. I’ll stick with stocking the saferoom.
Then there’s New York Mayor Mamdani, a Global Sumud Movement supporter, threatening to arrest Prime Minister Netanyahu if he comes to New York. But since discovered he has no legal right for such a grandstanding, antisemitic, anti-Israel, anti-Western, anti-democratic antic. Maybe Mandami should be arrested! Or at least impeached. For being a grandstanding, antisemitic, anti-Israel, anti-Western, anti-democratic mayor.
Here’s a post Bruce sent us Friday, July 31:
WARTIME MUSINGS
Should credible threats against FLOTUS and ‘FSOTUS’ (first son..) not be justification to attack first.
As for yesterday’s summit. Netanyahu really can’t win. Explainer. If Trump now attacks without victory its ’cause of Netanyahu. If Trump now attacks with victory its ’cause of Trump. And, in Israel, if Trump doesn’t attack -victory or not- Netanyahu failed in his eighth meeting with Trump. And if Trump does attack -victory or not- half the country will vilify Bibi anyway. Missing a permutation?
Ya. I know. Kinda’ need a definition of victory for that musing to work.
And here in my little shtetle. We go to sleep unsure if there will be a code red in the middle of the night. And if not. We wake up thinking it will be tonight. How do you define stress?
Seemed like an appropriate way to end this musing.
Bruce Brown is a former Winnipegger who made aliyah to Israel over 35 years ago. Bruce first began writing for us – in his own inimitable style, in 2012, during what was known as “Operation Pillar of Defense.” His occasional musings on aspects of life in Israel that were far from what you’d typically read in other reports from Israel were hugely popular – both in the print Jewish Post & News and on this website.
We’re now glad to report that Bruce is back writing for us – this time on a regular basis. We will post Bruce’s reports as they arrive – with the date of each post at the beginning of that post.
Here’s some information about Bruce – and awards he’s received for his writing:
Bruce Brown. Canadian born. Now living in Israel (for a long time). Bruce works in Israel’s hi-tech sector by day and, in spurts, is a somewhat inspired writer by night. He received the American Jewish Press Association’s award for writing excellence in 2019 and 2025. And wrote the 1998 satire, “An Israeli is….” Bruce’s musings are political, social, economic and personal. With lots of biting, contrarian, sardonic and irreverent insight.
Features
K-tip placement at Sets on Corydon
Precision K-Tip placement: Where art meets ultimate hair engineering. ✨
Every strand is custom-blended to achieve seamless movement, zero detection, and absolute freedom (yes, even high ponytails on day one). Precision styling takes patience and technical mastery—the result speaks for itself.
.
Features
Israel pavilion ambassadors – then and now
By BERNIE BELLAN Given that Folklorama is on again and the Israel pavilion – Shalom Square, is in full swing, I thought it timely to resurrect an article I first posted to this website in August 2023.
But before reading that article, I wanted you to see who this year’s ambassadors are for Shalom Square:
It was back in 2023, however, that I set out to answer a question that I had asked our readers to help answer: Where was the very first Israel pavilion located? Some readers had thought it was the Golden Age Club, which used to be located on Pritchard and Salter. But others weren’t so sure. Here then is what I wrote back in August 2023 – when, with the help of a librarian at the Winnipeg Public Library, I was able to solve the riddle of where the first Israel pavilion was located:
It was earlier in August 2023 that I had raised a number of questions about the history of the Israel pavilion at Folklorama.
Among those questions were: Where was the first Israel pavilion located and when did the Israel pavilion actually become a permanent fixture in the YMHA on Hargrave (before moving to its current home in the Asper Campus)?
As part of my search for answers to those questions I turned to David Cohen, who had long been the coordinator of the Israel pavilion when it was located on Hargrave, but who didn’t step into that role until 1975.
David thought that the Israel pavilion hadn’t moved to Hargrave until 1974, but he wasn’t sure where the first Israel pavilion had been located.
I tried to find information using the Winnipeg Public Library online digital archive. In case you didn’t know, anyone with a library card can access the library’s online archive. You can also have access to newspaperarchive.com through the library’s digital archive. Newspaperarchive.com is an invaluable reference tool for journalists especially – or anyone wanting to access old newspaper archives, for that matter, but ordinarily you would need a subscription to newspaperarchive.com in order to use it. For some reason, however, the search function in the Winnipeg Public Library’s digital search engine didn’t produce results when I entered the word “Folklorama.”
As a result I called the Winnipeg Public Library for assistance and received great help from someone by the name of Louis-Phillipe. After taking my information, Louis-Phillipe phoned me to say that he had found out that the library had compiled a file of press clippings related to Folklorama going back to the very first year, 1970.
Further, Louis-Phillipe said, he had found a list of the 22 pavilions in that first year of Folklorama, along with where they were located. It turns out that the Israel pavilion was actually located in two different venues that first year: the Rosh Pina and the Shaarey Zedek.
The next day I also heard from reader Phyllis Dana, who confirmed that the Israel Pavilion had been in both synagogues. Phyllis also remembered that the only food served that first year was honey cake.
But the pièce de resistance came when I heard from reader Marilyn Breitman (née Stitz), who now lives in Calgary, when she phoned me on Monday, August 21 (which is when she received the August 16 issue of the paper with my story about Folklorama).
Marilyn told me that, not only did she remember that the first Israel pavilion alternated between the Rosh Pina and the Shaarey Zedek, she had actually been the female representative of the Israel pavilion that first year. Her title, Marilyn said, was simply “Jewish.”
But, as you might also recall, the entire confusion over where the first Israel pavilion was located began with an email I had received from Roz Greenfeld, who had written to correct my mistake when I had written in the August 2 issue that the Israel pavilion had been located in the YMHA from the very beginning.
Roz pointed out that, in 1971, the second year of Folklorama, the Israel pavilion was located in “Council House” or, as it was better known, “The Golden Age Club,” on Pritchard and Salter. How did she remember that? Roz was the female representative of the pavilion that year. Her title, as I found out was “Miss Judea,” she said.
So, if the Israel pavilion was located at both the Rosh Pina and Shaarey Zedek in that first year of Folkorama, and in the Golden Age Club that second year, where was it after that?
It was left to Jewish Heritage Centre of Western Canada archivist Andrew Morrison to come up with the answer to that question. Andrew informed me that the Israel pavilion did indeed move to the YMHA in 1972 and remained there for the next 25 years, until it moved to the Asper Campus in 1997.
There was a further footnote to the story, which is when I decided to try my luck with the Winnipeg Public Library’s online archive one more time. This time, rather than searching for “Folklorama,” I tried searching for old copies of both the Free Press and the Tribune from August 1970. I did manage to get results for the Tribune and when I entered a specific search within the Tribune I found a picture of all the famale representatives of pavilions – in bathing suits.
It turned out – and this was corroborated by both Marilyn Breitman and Roz Greenfeld, the female representatives had to parade in unison – in bathing suits, as part of Folklorama festivities. Each year, as well, a queen of Folklorama was chosen. Neither Marilyn nor Roz was made queen, both of them told me, although Roz was voted “Miss Congeniality.”
In addition to finding out about the early days of the Israel pavilion, I also learned that the Chai dancers were not regular performers at the Israel pavilion in those early years – as they eventually did become. Chai performers would dance only one night in those first years, with other entertainment the other nights.
I did enlist Andrew Morrison’s help once again and did find that Chai performed only one evening during the first few years of Folklorama – from 1970 to 1976. In 1977 Chai began performing every night of Folklorama, but there were other performers on hand as well, including Jerry Maslowsky and Rabbi Yosel Rosenzweig. In 1978 the Chai Folk Ensemble was the featured entertainment every evening; however, a notice that appeared in our paper did say that whistler Harvey Pollock would “be on hand” to entertain – whatever that meant.
While some may wonder of what earth shaking importance all this is, I ask: Isn’t it fun to look back in time – for just a little while, instead of worrying about more immediate problems, such as global warming, inflation, terrorist attacks in Israel, and whether Donald Trump will be president while he’s in jail?
