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
How Hit And Run Accidents Highlight The Need For Stronger Road Safety Measures
A sudden impact followed by the screech of tires fading into silence leaves a person in a state of shock and confusion. These incidents occur across modern road networks and can profoundly affect victims, especially when the responsible party leaves without rendering aid.
Why does this behavior persist despite modern surveillance technology and increased legal penalties? These incidents highlight gaps in infrastructure and the need for stronger safety protocols to better protect vulnerable road users and improve accountability.
What Role Does Infrastructure Play In Preventing Driver Flight?
Designing roads that naturally encourage slower speeds and higher visibility can significantly reduce the likelihood of a driver attempting to flee. Proper engineering promotes lower speeds and better visibility, supporting safer behavior and easier incident documentation.
Improving Street Lighting Systems
Visibility is a primary factor in both accident prevention and suspect identification. Bright, well‑placed LED lighting can improve visibility for witnesses and cameras, making identification more feasible at night.
Implementing Traffic Calming Measures
Speed humps, roundabouts, and narrowed lanes are associated with lower speeds in pedestrian‑heavy areas. When vehicles move more slowly, impact severity tends to decrease, and immediate flight becomes more difficult.
Expanding Automated Enforcement Cameras
License plate recognition technology acts as a silent sentry on busy intersections. These systems can furnish critical investigative leads, increasing the likelihood of identifying vehicles involved in recorded incidents.
Why Do Hit-and-Run Incidents Increase Despite Modern Technology?
Even with expanded surveillance in many areas, some drivers believe they can avoid consequences after a collision. In cities like Charlotte, where traffic crashes rose by 9 percent in 2025, the psychological urge to flee often overrides logic when panic or impairment sets in. Practitioners frequently observe cases where split-second decisions lead to prolonged legal proceedings, underscoring that technology can aid investigations but does not always prevent offenses. A Charlotte hit-and-run accident lawyer reconciling with precision at StewartLawOffices.net provides a way for victims to understand the available legal avenues, as nationwide fatalities have risen significantly over the last decade.
Furthermore, current data suggests that while high-definition cameras capture more incidents, they often lack the immediate deterrent effect needed to stop a driver from leaving the scene in the heat of the moment. This disconnect between surveillance and behavioral prevention highlights a significant gap that technology alone has yet to bridge. Locals in Charlotte, facing such trauma, can visit Stewart Law Offices, located at 2427 Tuckaseegee Road, on 6 minutes drive from 4th Street Ext, near Frazier Park, for a free consultation, or can call 704-521-5000 to seek guidance on their situation.
Which Misconceptions About Hit And Run Investigations Persist?
A common myth is that if there are no witnesses, the driver will never be found. Many believe that “no face, no case” applies to collisions on quiet streets. However, modern forensics and digital footprints tell a very different and more complex story.
Paint transfer, vehicle parts, and other physical evidence can help narrow vehicle make/model and potentially identify suspects when combined with other investigative leads. The idea that a driver can simply disappear into the void is a dangerous fallacy that ignores the complexity of modern investigation techniques and the ubiquity of digital evidence.
How Can Better Public Policy Improve Survival Rates?
Legislative changes can bridge the gap between a collision and life-saving medical intervention. Policies that improve rapid emergency response during the “Golden Hour” can positively influence outcomes for injured parties.
Mandatory Good Samaritan Education
Including basic first aid and emergency reporting in driver education can improve public readiness and may encourage more responsible behavior after collisions.
Enhancing Alert System Integration
Similar to Amber Alerts, “Yellow Alerts” can be broadcast to notify the public about a vehicle involved in a hit and run. This rapid dissemination of information turns every citizen into a potential witness.
Increasing Penalties For Non-Compliance
Sentencing guidelines, higher fines, and license consequences can align penalties with offense severity and may deter some would‑be offenders.
What Practical Steps Should Be Taken Immediately After A Collision?
Safety is the priority. If a vehicle strikes another and flees, move to a secure location if possible. Calling emergency services promptly initiates a report and can expedite medical assistance.
Elizabeth VonCannon, a Charlotte hit and run accident lawyer, emphasizes that documenting the scene with photos of the damage and the surrounding area can provide clues later. Even small details, like the direction the fleeing car headed or the color of its paint, can be the missing piece for law enforcement to find them.
Frequently Asked Questions
Does insurance cover damage if the other driver is never found?
Uninsured motorist coverage may apply to repairs and medical expenses in hit‑and‑run cases, depending on your jurisdiction and policy terms.
What information is most helpful to record after an accident?
Try to note the license plate, vehicle make, model, color, and the direction the driver fled the scene.
Can a driver be charged with a felony for fleeing?
Yes, if the accident involves serious bodily injury or death, the act of fleeing is often classified as a felony.
Features
So, what’s the deal with the honey scene in ‘Marty Supreme?’
By Olivia Haynie December 29, 2025 This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
There are a lot of jarring scenes in Marty Supreme, Josh Safdie’s movie about a young Jew in the 1950s willing to do anything to secure his spot in table tennis history. There’s the one where Marty (Timothée Chalamet) gets spanked with a ping-pong paddle; there’s the one where a gas station explodes. And the one where Marty, naked in a bathtub, falls through the floor of a cheap motel. But the one that everybody online seems to be talking about is a flashback of an Auschwitz story told by Marty’s friend and fellow ping-ponger Béla Kletzki (Géza Röhrig, best known for his role as a Sonderkommando in Son of Saul).
Kletzki tells the unsympathetic ink tycoon Milton Rockwell (Kevin O’Leary) about how the Nazis, impressed by his table tennis skills, spared his life and recruited him to disarm bombs. One day, while grappling with a bomb in the woods, Kletzki stumbled across a honeycomb. He smeared the honey across his body and returned to the camp, where he let his fellow prisoners lick it off his body. The scene is a sensory nightmare, primarily shot in close-ups of wet tongues licking sticky honey off Kletzki’s hairy body. For some, it was also … funny?
Many have reported that the scene has been triggering a lot of laughter in their theaters. My audience in Wilmington, North Carolina, certainly had a good chuckle — with the exception of my mother, who instantly started sobbing. I sat in stunned silence, unsure at first what to make of the sharp turn the film had suddenly taken. One post on X that got nearly 6,000 likes admonished Safdie for his “insane Holocaust joke.” Many users replied that the scene was in no way meant to be funny, with one even calling it “the most sincere scene in the whole movie.”
For me, the scene shows the sheer desperation of those in the concentration camps, as well as the self-sacrifice that was essential to survival. And yet many have interpreted it as merely shock humor.
Laughter could be understood as an inevitable reaction to discomfort and shock at a scene that feels so out of place in what has, up to that point, been a pretty comedic film. The story is sandwiched between Marty’s humorous attempts to embarrass Rockwell and seduce his wife. Viewers may have mistaken the scene as a joke since the film’s opening credits sequence of sperm swimming through fallopian tubes gives the impression you will be watching a comedy interspersed with some tense ping-pong playing.
The reaction could also be part of what some in the movie theater industry are calling the “laugh epidemic.” In The New York Times, Marie Solis explored the inappropriate laughter in movie theaters that seems to be increasingly common. The rise of meme culture and the dissolution of clear genres (Marty Supreme could be categorized as somewhere between drama and comedy), she writes, have primed audiences to laugh at moments that may not have been meant to be funny.
The audience’s inability to process the honey scene as sincere may also be a sign of a society that has become more disconnected from the traumas of the past. It would not be the first time that people, unable to comprehend the horrors of the Holocaust, have instead derided the tales of abuse as pure fiction. But Kletzki’s story is based on the real experiences of Alojzy Ehrlich, a ping-pong player imprisoned at Auschwitz. The scene is not supposed to be humorous trauma porn — Safdie has called it a “beautiful story” about the “camaraderie” found within the camps. It also serves as an important reminder of all that Marty is fighting for.
The events of the film take place only seven years after the Holocaust, and the macabre honey imagery encapsulates the dehumanization the Jews experienced. Marty is motivated not just by a desire to prove himself as an athlete and rise above what his uncle and mother expect of him, but above what the world expects of him as a Jew. His drive to reclaim Jewish pride is further underscored when he brings back a piece of an Egyptian pyramid to his mother, telling her, “We built this.”
Without understanding this background, the honey scene will come off as out of place and ridiculous. And the lengths Marty is willing to go to to make something of himself cannot be fully appreciated. The film’s description on the review-app Letterboxd says Marty Supreme is about one man who “goes to hell and back in pursuit of greatness.” But behind Marty is the story of a whole people who have gone through hell; they too are trying to find their way back.
Olivia Haynie is an editorial fellow at the Forward.
This story was originally published on the Forward.
Features
Paghahambing ng One-on-One Matches at Multiplayer Challenges sa Pusoy in English
Ang Pusoy, na kilala din bilang Chinese Poker, ay patuloy na sumisikat sa buong mundo, kumukuha ng interes ng mga manlalaro mula sa iba’t ibang bansa. Ang mga online platforms ay nagpapadali sa pag-access nito. Ang online version nito ay lubos na nagpasigla ng interes sa mga baguhan at casual players, na nagdulot ng diskusyon kung alin ang mas madali: ang paglalaro ng Pusoy one-on-one o sa multiplayer settings.
Habang nailipat sa digital platforms ang Pusoy, napakahalaga na maunawaan ang mga format nito upang mapahusay ang karanasan sa laro. Malaking epekto ang bilang ng mga kalaban pagdating sa istilo ng laro, antas ng kahirapan, at ang ganap na gameplay dynamics. Ang mga platforms tulad ng GameZone ay nagbibigay ng angkop na espasyo para sa mga manlalaro na masubukan ang parehong one-on-one at multiplayer Pusoy, na akma para sa iba’t ibang klase ng players depende sa kanilang kasanayan at kagustuhan.
Mga Bentahe ng One-on-One Pusoy
Simpleng Gameplay
Sa one-on-one Pusoy in English, dalawa lang ang naglalaban—isang manlalaro at isang kalaban. Dahil dito, mas madali ang bawat laban. Ang pokus ng mga manlalaro ay nakatuon lamang sa kanilang sariling 13 cards at sa mga galaw ng kalaban, kaya’t nababawasan ang pagiging komplikado.
Para sa mga baguhan, ideal ang one-on-one matches upang:
- Sanayin ang tamang pagsasaayos ng cards.
- Matutunan ang tamang ranggo ng bawat kamay.
- Magsanay na maiwasan ang mag-foul sa laro.
Ang simpleng gameplay ay nagbibigay ng matibay na pundasyon para sa mas kumplikadong karanasan sa multiplayer matches.
Mga Estratehiya mula sa Pagmamasid
Sa one-on-one matches, mas madaling maunawaan ang istilo ng kalaban dahil limitado lamang ang galaw na kailangan sundan. Maaari mong obserbahan ang mga sumusunod na patterns:
- Konserbatibong pagkakaayos o agresibong strategy.
- Madalas na pagkakamali o overconfidence.
- Labis na pagtuon sa isang grupo ng cards.
Dahil dito, nagkakaroon ng pagkakataon ang mga manlalaro na isaayos ang kanilang estratehiya upang mas epektibong maka-responde sa galaw ng kalaban, partikular kung maglalaro sa competitive platforms tulad ng GameZone.
Mas Mababang Pressure
Dahil one-on-one lamang ang laban, mababawasan ang mental at emotional stress. Walang ibang kalaban na makaka-distract, na nagbibigay ng pagkakataon para sa mga baguhan na matuto nang walang matinding parusa sa kanilang mga pagkakamali. Nagiging stepping stone ito patungo sa mas dynamic na multiplayer matches.
Ang Hamon ng Multiplayer Pusoy
Mas Komplikado at Mas Malalim na Gameplay
Sa Multiplayer Pusoy, madaragdagan ang bilang ng kalaban, kaya mas nagiging komplikado ang laro. Kailangan kalkulahin ng bawat manlalaro ang galaw ng maraming tao at ang pagkakaayos nila ng cards.
Ang ilang hamon ng multiplayer ay:
- Pagbabalanse ng lakas ng cards sa tatlong grupo.
- Pag-iwas sa labis na peligro habang nagiging kompetitibo.
- Pagtatagumpayan ang lahat ng kalaban nang sabay-sabay.
Ang ganitong klase ng gameplay ay nangangailangan ng maingat na pagpaplano, prediksyon, at strategic na pasensiya.
Mas Malakas na Mental Pressure
Mas mataas ang psychological demand sa multiplayer, dahil mabilis ang galawan at mas mahirap manatiling kalmado sa gitna ng mas maraming kalaban. Kabilang dito ang:
- Bilisan ang pagdedesisyon kahit under pressure.
- Paano mananatiling focused sa gitna ng mga distractions.
- Pagkakaroon ng emosyonal na kontrol matapos ang sunod-sunod na talo.
Mas exciting ito para sa mga manlalarong gusto ng matinding hamon at pagmamalasakit sa estratehiya.
GameZone: Ang Bagong Tahanan ng Modern Pusoy
Ang GameZone online ay isang kahanga-hangang platform para sa mga naglalaro ng Pusoy in English. Nagbibigay ito ng opsyon para sa parehong one-on-one at multiplayer matches, akma para sa kahit anong antas ng kasanayan.
Mga feature ng GameZone:
- Madaling English interface para sa user-friendly na gameplay.
- Real-player matches imbes na kalaban ay bots.
- Mga tool para sa responsible play, tulad ng time reminder at spending limits.
Pagtatagal ng Pamanang Pusoy
Ang Pusoy card game in English ay nagpalawak ng abot nito sa mas maraming players mula sa iba’t ibang bahagi ng mundo habang pinapanatili ang tradisyunal nitong charm. Sa pamamagitan ng mga modernong platform tulad ng GameZone, mananatiling buhay at progresibo ang Pusoy, nakakabighani pa rin sa lahat ng antas ng manlalaro—mula sa casual enjoyment hanggang sa competitive challenges.
Mula sa maingat na pag-aayos ng mga cards hanggang sa pag-master ng estratehiya, ang Pusoy ay isang laro na nananatiling relevant habang ipinapakita ang masalimuot nitong gameplay dynamics na puno ng kultura at inobasyon.