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Bob Dylan: Jewish Roots, American Soil
A fascinating insight into Bob Dylan's musical and spiritual development during the 1960s.
Bob Dylan arrived in New York one winter morning in 1961, his protest songs and freewheelin' spirit would go on to capture the heart and minds of the countercultural movement. But like thousands of sensitive, teenage Jewish boys before him, Dylan was concealing his origins.
In Chronicles, the first and only published volume of Bob Dylan's autobiography, you learn that he came from a small town. You might deduce that his real surname was Zimmerman. However, you would not know that he was Jewish. To many of Dylan's biographers, his early denial of his Jewish roots is hard to understand but for Harry Freedman it is the key to grasping how this complete unknown burst onto the scene and reinvented not only himself, but popular music. It is this instinct for escape and reinvention that has defined Dylan's long career - and it all began in 1961 when he got on a bus and left his family in Minnesota and headed for the bright lights of New York City.
Harry Freedman traces the heady creativity of the 1960s and the folk revival movement spearheaded by Bob Dylan, right up until the moment in 1966 when Dylan stepped out onto the stage and went electric – exploring how his musical decisions and genius for reinvention were inevitably intertwined with his Jewishness.
Bob Dylan arrived in New York one winter morning in 1961, his protest songs and freewheelin' spirit would go on to capture the heart and minds of the countercultural movement. But like thousands of sensitive, teenage Jewish boys before him, Dylan was concealing his origins.
In Chronicles, the first and only published volume of Bob Dylan's autobiography, you learn that he came from a small town. You might deduce that his real surname was Zimmerman. However, you would not know that he was Jewish. To many of Dylan's biographers, his early denial of his Jewish roots is hard to understand but for Harry Freedman it is the key to grasping how this complete unknown burst onto the scene and reinvented not only himself, but popular music. It is this instinct for escape and reinvention that has defined Dylan's long career - and it all began in 1961 when he got on a bus and left his family in Minnesota and headed for the bright lights of New York City.
Harry Freedman traces the heady creativity of the 1960s and the folk revival movement spearheaded by Bob Dylan, right up until the moment in 1966 when Dylan stepped out onto the stage and went electric – exploring how his musical decisions and genius for reinvention were inevitably intertwined with his Jewishness.
- GenresMusicAmerican History
256 pages, Hardcover
Published June 10, 2025
11 people are currently reading
39 people want to read
About the author
Harry Freedman
20 books41 followersMy publishers describe me as Britain's best known writer on Jewish topics. I couldn't possibly comment! You can find out about all my books here on Goodreads. My website is harryfreedmanbooks.com and if you like what I write please subscribe to
my newsletter.
My most recent book is Leonard Cohen: The Mystical Roots of Genius. It explores the religious folklore, spiritual ideas and mystical concepts that run all the way through Leonard Cohen’s music.
Anyone who has listened carefully to Leonard Cohen’s music will know that songs like Hallelujah, Story of Isaac and By the Rivers Dark are based on biblical narratives. But Leonard Cohen’s music contains many more songs based on ancient lore. The Window is packed with kabbalistic insights, Who by Fire is based on both an ancient mystical text and a synagogue prayer, and You Want it Darker is one of the most powerful challenges ever written to the God whose presence Leonard Cohen was always aware of, whose purpose baffled him and whose world he struggled to come to terms with.
Cohen was deeply learned in both Judaism and Christianity; they helped shape his self-identity and the way he made sense of the world. In the book I explore twenty of his songs that are rooted in ancient biblical or kabbalistic sources. I explain the sources he drew upon, discuss their original context and the stories and ideas behind them, and show how Leonard Cohen has harnessed them for his own purposes. The book is not a biography, though it contains biographical information. I hope that it will offer an insight into the soul and imagination of one of the greatest singers and lyricists of our time.
My previous book was Reason to Believe: The Controversial Life of Rabbi Louis Jacobs. Louis Jacobs was Britain’s most gifted Jewish scholar. A Talmudic genius, outstanding teacher and accomplished author, cultured and easy-going, he was widely expected to become Britain’s next Chief Rabbi.
Then controversy struck. The Chief Rabbi refused to appoint him as Principal of Jews’ College, the country’s premier rabbinic college. He further forbade him from returning as rabbi to his former synagogue. All because of a book Jacobs had written some years earlier, challenging from a rational perspective the traditional belief in the origins of the Torah.
The British Jewish community was torn apart. It was a scandal unlike anything they had ever previously endured. The national media loved it. Jacobs became a cause celebre, a beacon of reason, a humble man who wouldn’t be compromised. His congregation resigned en masse and created a new synagogue for him in Abbey Road, the heart of fashionable 1970s London. It became the go-to venue for Jews seeking reasonable answers to questions of faith.
A prolific author of over 50 books and hundreds of articles on every aspect of Judaism, from the basics of religious belief to the complexities of mysticism and law, Louis Jacobs won the heart and affection of the mainstream British Jewish community. When the Jewish Chronicle ran a poll to discover the Greatest British Jew, Jacobs won hands down. He said it made him feel daft.
Reason To Believe tells the dramatic and touching story of Louis Jacobs’s life, and of the human drama lived out by his family, deeply wounded by his rejection.
my newsletter.
My most recent book is Leonard Cohen: The Mystical Roots of Genius. It explores the religious folklore, spiritual ideas and mystical concepts that run all the way through Leonard Cohen’s music.
Anyone who has listened carefully to Leonard Cohen’s music will know that songs like Hallelujah, Story of Isaac and By the Rivers Dark are based on biblical narratives. But Leonard Cohen’s music contains many more songs based on ancient lore. The Window is packed with kabbalistic insights, Who by Fire is based on both an ancient mystical text and a synagogue prayer, and You Want it Darker is one of the most powerful challenges ever written to the God whose presence Leonard Cohen was always aware of, whose purpose baffled him and whose world he struggled to come to terms with.
Cohen was deeply learned in both Judaism and Christianity; they helped shape his self-identity and the way he made sense of the world. In the book I explore twenty of his songs that are rooted in ancient biblical or kabbalistic sources. I explain the sources he drew upon, discuss their original context and the stories and ideas behind them, and show how Leonard Cohen has harnessed them for his own purposes. The book is not a biography, though it contains biographical information. I hope that it will offer an insight into the soul and imagination of one of the greatest singers and lyricists of our time.
My previous book was Reason to Believe: The Controversial Life of Rabbi Louis Jacobs. Louis Jacobs was Britain’s most gifted Jewish scholar. A Talmudic genius, outstanding teacher and accomplished author, cultured and easy-going, he was widely expected to become Britain’s next Chief Rabbi.
Then controversy struck. The Chief Rabbi refused to appoint him as Principal of Jews’ College, the country’s premier rabbinic college. He further forbade him from returning as rabbi to his former synagogue. All because of a book Jacobs had written some years earlier, challenging from a rational perspective the traditional belief in the origins of the Torah.
The British Jewish community was torn apart. It was a scandal unlike anything they had ever previously endured. The national media loved it. Jacobs became a cause celebre, a beacon of reason, a humble man who wouldn’t be compromised. His congregation resigned en masse and created a new synagogue for him in Abbey Road, the heart of fashionable 1970s London. It became the go-to venue for Jews seeking reasonable answers to questions of faith.
A prolific author of over 50 books and hundreds of articles on every aspect of Judaism, from the basics of religious belief to the complexities of mysticism and law, Louis Jacobs won the heart and affection of the mainstream British Jewish community. When the Jewish Chronicle ran a poll to discover the Greatest British Jew, Jacobs won hands down. He said it made him feel daft.
Reason To Believe tells the dramatic and touching story of Louis Jacobs’s life, and of the human drama lived out by his family, deeply wounded by his rejection.
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Displaying 1 - 9 of 9 reviews
February 13, 2025
This book is a detailed accounting of the American music scene in the 1960s, but it does not include much insight into Dylan or his Jewish observance. The author tends to believe that Jewish Americans want to deny their identity, and despite this viewpoint Dylan was supported by many Jews during his career including his manager Albert Grossman, Moses Asch who signed Dylan to Folkway Records, Louie Kemp who was his childhood friend and managed the Rolling Thunder tour, Woody Guthrie's wife Marjorie Greenblatt, Dylan's wife Sara Lowndes, poet Allen Ginsburg, musician Kinky Friedman, and concert promoter Bill Graham. Dylan raised his children to be Jewish and supported the Orthodox Chabad congregation. None of this is mentioned in this book even though the title states it covers Dylan's Jewish roots. Whether he uses the name Robert Zimmerman or Bob Dylan, Jews still recognize him as mishpachah.
November 13, 2025
An interesting perspective from a Brit who uses his Jewish upbringing to put Dylan’s early career in a different light. He ends his tome discussing the famous tour when a member of the audience yells out ‘Judas!’ and how Dylan clearly needed to take a break. I would have given a higher rating if the editing had been better and if the author had stated the correct year for the Kent State Tragedy. That was surprising….
May 31, 2025
If you going to into this book thinking it will solely be about Bob Dylan you may find yourself disappointed, however i went into this read with no expectations and I have learnt more than I expected from this book.
Focusing on the earlier years of Bob Dylan’s career, this is more than just a book about which of Dylan’s songs were becoming successful and gigs and festivals he played as he found himself as a musician, or his upbringing and religious/spiritual beliefs.
This is much broader, learning about the civil rights movement in America and the sheer number of tragic events and killings which influenced not only Dylan’s song writing but other artists at the time. The use of music as protest music and the idea of getting across views through the power of music and lyrics and stepping away from that violence and anger that was often close by.
The trials and tribulations of being in the public eye at such a young age, discounted and heckled for looking to play the music you want to play. In some circumstances the absolute discontent for changing and straying from that Folk scene which made him. This story shows that for Dylan and other musicians in 60s America life was hard and whatever path you took the backlash would follow. Music was developing and not everyone was ready for that change.
I have come away from this read with a greater understanding and I would say a need to read more about the dynamics of American during the Civil Rights Movement and the Vietnam War as I feel had a massive impact of how music has progressed. As Dylan once said “if you want to find out anything that’s happening now, you have to listen to the music”.
Focusing on the earlier years of Bob Dylan’s career, this is more than just a book about which of Dylan’s songs were becoming successful and gigs and festivals he played as he found himself as a musician, or his upbringing and religious/spiritual beliefs.
This is much broader, learning about the civil rights movement in America and the sheer number of tragic events and killings which influenced not only Dylan’s song writing but other artists at the time. The use of music as protest music and the idea of getting across views through the power of music and lyrics and stepping away from that violence and anger that was often close by.
The trials and tribulations of being in the public eye at such a young age, discounted and heckled for looking to play the music you want to play. In some circumstances the absolute discontent for changing and straying from that Folk scene which made him. This story shows that for Dylan and other musicians in 60s America life was hard and whatever path you took the backlash would follow. Music was developing and not everyone was ready for that change.
I have come away from this read with a greater understanding and I would say a need to read more about the dynamics of American during the Civil Rights Movement and the Vietnam War as I feel had a massive impact of how music has progressed. As Dylan once said “if you want to find out anything that’s happening now, you have to listen to the music”.
January 10, 2025
Thank you, NetGalley, for allowing me to read a free ARC of this book in exchange for an honest review.
DNF 7.4% in. This book is so full of conjecture and speculation, I couldn't handle it. Based on the author's other works, which are almost all about religion and business (except for another book about Leonard Cohen, written shortly after Cohen's death), it really just seems like he's hopping on a trend here, given the fact that the film 'A Complete Unknown' just came out and is bringing Dylan to a newer, broader audience.
DNF 7.4% in. This book is so full of conjecture and speculation, I couldn't handle it. Based on the author's other works, which are almost all about religion and business (except for another book about Leonard Cohen, written shortly after Cohen's death), it really just seems like he's hopping on a trend here, given the fact that the film 'A Complete Unknown' just came out and is bringing Dylan to a newer, broader audience.
June 6, 2025
Bob Dylan is widely considered to be one of the greatest songwriters of all time. His career has spanned almost seven decades, his lyrics have captured the imagination of millions, and he has been recognised with numerous awards including the Nobel Prize in Literature. This biography written by Harry Freedman takes a look at his early career, offering new insights into the cultural events that may have influenced his music.
Dylan is a poet, far more than he is a musician. Just as Bringing It All Back Home came out he was asked by an interviewer whether he thought his songs contained sufficient poetry to be able to stand by themselves, without music. His reply was 'If they can't do that, then they're not what I want them to be. Basically, I guess I'm more interested in writing than in performing.’
Dylan’s early creative years are the focus, although readers are given a much broader view than the title of the book would perhaps suggest. It is more a general exploration of the developing folk scene in 1960s America and the important historical events that occurred during that time.
Freedman’s biography is very speculative in certain areas, attempting to form connections between Dylan’s actions and his Jewish background, which may or may not be correct (there are no interviews with the man himself for this book, although earlier interviews are often referenced). Woody Guthrie, the Beat poets, and Beatlemania are all covered, along with the Civil Rights Movement, the Vietnam War, and the Newport Folk Festival. I learned some interesting things about Dylan, for example, I had been unaware of his presence at Martin Luther King’s ‘I Have a Dream’ speech, but I would have preferred it if the book had stuck to verified facts throughout, rather than including moments of hearsay.
Dylan is a poet, far more than he is a musician. Just as Bringing It All Back Home came out he was asked by an interviewer whether he thought his songs contained sufficient poetry to be able to stand by themselves, without music. His reply was 'If they can't do that, then they're not what I want them to be. Basically, I guess I'm more interested in writing than in performing.’
Dylan’s early creative years are the focus, although readers are given a much broader view than the title of the book would perhaps suggest. It is more a general exploration of the developing folk scene in 1960s America and the important historical events that occurred during that time.
Freedman’s biography is very speculative in certain areas, attempting to form connections between Dylan’s actions and his Jewish background, which may or may not be correct (there are no interviews with the man himself for this book, although earlier interviews are often referenced). Woody Guthrie, the Beat poets, and Beatlemania are all covered, along with the Civil Rights Movement, the Vietnam War, and the Newport Folk Festival. I learned some interesting things about Dylan, for example, I had been unaware of his presence at Martin Luther King’s ‘I Have a Dream’ speech, but I would have preferred it if the book had stuck to verified facts throughout, rather than including moments of hearsay.
August 25, 2025
Forever a fan of Bob Dylan, I was pretty excited to get this book in the mail! What surprised me is that it’s less about Dylan as a person and more about the world that surrounded him — and honestly, that worked for me.
The political, racial, and queer landscapes of the time are woven throughout the book, showing how those shifting movements paralleled Dylan’s rise. He definitely spoke out in the early years, but as his music shifted, so did his willingness to be the voice of a cause. Still, I think his convictions never wavered — he just expressed them differently. Like so many artists, he got tangled in the media’s tendency to twist intentions, which often left his fans misunderstanding him.
What stands out to me is that Dylan always played for himself. The heckling and criticism in his later years didn’t seem to touch his talent or his drive. At the end of the day, he kept filling seats, and he did it in droves.
People wanted so much from him — and that’s not unique to Dylan. It’s the same push and pull most artists face: balancing what’s true to themselves with what the world demands.
The political, racial, and queer landscapes of the time are woven throughout the book, showing how those shifting movements paralleled Dylan’s rise. He definitely spoke out in the early years, but as his music shifted, so did his willingness to be the voice of a cause. Still, I think his convictions never wavered — he just expressed them differently. Like so many artists, he got tangled in the media’s tendency to twist intentions, which often left his fans misunderstanding him.
What stands out to me is that Dylan always played for himself. The heckling and criticism in his later years didn’t seem to touch his talent or his drive. At the end of the day, he kept filling seats, and he did it in droves.
People wanted so much from him — and that’s not unique to Dylan. It’s the same push and pull most artists face: balancing what’s true to themselves with what the world demands.
June 28, 2025
Bob Dylan: Jewish Roots, American Soil, by Harry Freedman, is one of the worst biographies I have ever read. It is so filled with conjecture and cultural cliches of the Fifties and Sixties that it might be considered parody. It does not appear that the author interviewed any of the people that might have been close to Dylan. Large sections of this book veer away from Dylan to discuss the political and cultural themes of the Sixties as well as the development of music during this period. These sections were well-written, thoughtful, and gave me a lot to think about. Although I am a bit younger than Dylan, I am a full-fledged Boomer and appreciated Freedman's thoughts on that era. It is the only reason the book received two stars. Nonetheless, Dylan's legacy in music and his quest to develop spirituality were short-changed. The book ends without any mention of his later spiritual exploration, including Jewish traditionalism. In all, this book was a disappointment. Nonetheless, I am grateful to NetGalley and the publishers for allowing me an opportunity to read the digital ARC.
May 19, 2025
This book was a big let down for me. It's mostly about the music business in American in the early 1960s with endless mentions of people and venues that mean nothing to me. Anything about Bob Dylan is a very minor part of the writing and is then focussed on his being Jewish and supposedly denying it. I have no idea if Dylan denied his Jewishness or it really was just not a big deal to him. This book feels like pure speculation and comes across as merely the author's personal views on Bob Dylan and his faith.
With thanks to NetGalley and Bloomsbury Publishing Plc for a free copy of this book in exchange for an honest review.
With thanks to NetGalley and Bloomsbury Publishing Plc for a free copy of this book in exchange for an honest review.
August 8, 2025
A very interesting book about Dylan beginning with his early days in Hibbing, Minnesota and moving to his beginnings in Greenwich Village, NY where he eventually became one of the greatest folk singers in history and then moving on to his conversion to electric folk-rock. It covers his romances with Suze Rotolo, Joan Baez and his eventual wife, Sarah as well as his relationships with other musicians including the great, Woody Guthrie, whose he idolized. The book is chock full of American history as well as musical history and was a delightful read.
Displaying 1 - 9 of 9 reviews