Image via PBS
By
Dyah Ayu Larasati
Published Feb 23, 2026, 7:30 PM EST
Dyah (pronounced Dee-yah) is a Senior Author at Collider, responsible for both writing and transcription duties. She joined the website in 2022 as a Resource Writer before stepping into her current role in April 2023. As a Senior Author, she writes Features and Lists covering TV, music, and movies, making her a true Jill of all trades. In addition to her writing, Dyah also serves as an interview transcriber, primarily for events such as San Diego Comic-Con, the Toronto International Film Festival, and the Sundance Film Festival.
Dyah graduated from Satya Wacana Christian University in October 2019 with a Bachelor's degree in English Literature, concentrating on Creative Writing. She is currently completing her Master's degree in English Literature Studies, with a thesis on intersectionality in postcolonial-feminist studies in Asian literary works, and is expected to graduate in 2026.
Born and raised between Indonesia and Singapore, Dyah is no stranger to different cultures. She now resides in the small town of Kendal with her husband and four cats, where she spends her free time cooking or cycling.
Sign in to your Collider account
Add Us On
Summary
Generate a summary of this story
follow
Follow
followed
Followed
Like
Like
Thread
Log in
Here is a fact-based summary of the story contents:
Try something different:
Show me the facts
Explain it like I’m 5
Give me a lighthearted recap
It's a long way from Minnesota to New York's Greenwich Village. Armed with nothing but his 1940s Gibson J-50 guitar and a handful of songs, Bob Dylan set out for the Big Apple in 1961, hoping to have his music heard. By 1963, Dylan had become the talk of the village thanks to what would become his most famous song, "Blowin' in the Wind." A reflection on the effects of war and racism around him, the song offered a glimpse of his talent for social commentary.
Over the years, Dylan continued writing lyrics that questioned authority and the status quo. While not always overtly critical, his approach wasn't always welcomed in an industry eager to present optimism during the sensitive postwar period. Whether through the anti-militarism of "Masters of War," or the borderline sacrilegious tone of "God on Our Side," controversy followed. Even in the earliest days of his career, one song foreshadowed Dylan's future clashes with censorship — and it happened all the way in the United Kingdom.
The BBC Refused to Play "Baby, Let Me Follow You Down" From Bob Dylan's Debut Album
In the 1960s, the BBC had a strict approach to what could and couldn't be played on the radio. Even cultural giants weren't spared. The Beatles famously landed in hot water over a single line, "A Day in the Life," prompting a personal letter from a BBC executive to their label, EMI. This time around, however, the artist was Dylan. The controversy had nothing to do with drug references or hidden meanings. Oddly enough, it wasn't even his song to begin with.
In Dylan's 1962 debut album Bob Dylan, the singer released a cover of "Baby, Let Me Follow You Down," a blue-folk love song made popular through an adaptation by 1950s blues musician Eric Von Schmidt. Like much of the traditional blues repertoire, the song had already strayed far from its original roots. It was first recorded in 1935 as "Don't Tear My Clothes" by the State Street Boys, then later adapted as "Let Your Linen Hang Low" by Rosetta Howard and "Mama Let Me Lay It On You" by Blind Boy Fuller. Von Schmidt's version eventually gained wider recognition and made its way to Dylan's debut album — a debt Dylan openly acknowledges at the start of the track: “I first heard this from Ric von Schmidt. He lives in Cambridge. / Ric is a blues guitar player. I met him one day on / the green pastures of Harvard University.”
Related
This Bob Dylan Classic Was Almost Cut From the Album — Now It's One of His Greatest Songs Ever
The untold story behind a nearly-lost Dylan masterpiece.
Posts 4 By Teguan Harris"Baby, Let Me Follow You Down" Broke Religious Broadcast Standards Because of One Word
Lyrically, "Baby, Let Me Follow You Down" is simple and sincere, far removed from the social provocation Dylan was known for. Yet the BBC took issue with one, tiny detail: Dylan repeats the word "godalmighty" four times. The mere mention of the Lord, even when used in a non-religious context, was deemed a violation of the broadcaster's rules against taking God's name in vain. A similar incident had occurred in 1953 with Don Cornell's "Hold My Hand." Although the only scandalous part of the song was the idea of a blissful kiss, the BBC didn't take too lightly to phrases such as "the kingdom of heavens."
The BBC wasn't the only broadcaster to clash with Dylan. In 1963, a year after the release of "Baby, Let Me Follow You Down," the singer encountered trouble in the United States with CBS. Having gained some level of popularity, Dylan was invited to perform on The Ed Sullivan Show. Initially, the singer wanted to perform "Talkin' John Birch Paranoid Blues" from his second album, The Freewheelin' Bob Dylan. Based on the real-life controversial John Birch Society, the song is meant to criticize the severe anti-communist agenda that both the group and society were obsessed with. However, CBS executives pressured Dylan to change the song or alter its lyrics. Rather than compromise, he politely declined to appear on the show.
Bob Dylan Performed an Electrified "Baby, Let Me Follow You Down" at The Band's 'The Last Waltz'
Despite breaking into the folk scene professionally in 1962, it wasn't until 1965 that Dylan truly sent his fans into a frenzy. That year, he drew widespread attention for ditching his acoustic image in favor of a rock and roll set at the Newport Folk Festival. The move from folk to Fender was widely seen as — no pun intended — blasphemy. Dylan took plenty of heat for the performance. Critics branded him a sellout and accused him of giving in to the commercialization taking over rock music at the time. Still, Dylan didn't back down and continued pursuing his electric sound.
Subscribe to the newsletter for Dylan, censorship, and song lore
Curious about how songs, censorship, and cultural shifts intersect? Subscribe to our newsletter for deep dives into Dylan-era controversies, music history, and the stories behind iconic tracks — richer context for music enthusiasts. Subscribe By subscribing, you agree to receive newsletter and marketing emails, and accept our Terms of Use and Privacy Policy. You can unsubscribe anytime.In 1978, Dylan reworked "Baby, Let Me Follow You Down" into an electric performance for The Last Waltz. Directed by Martin Scorsese, the concert documentary served as The Band's farewell show, with Dylan appearing as one of their guest performers. Unlike the gentle folk version, Dylan's updated rendition featured twangy solos, punchy guitar riffs, and the singer's scratchy, loud vocals — to which the audience applauded with great enthusiasm at the end.
Follow Followed Like Share Facebook X WhatsApp Threads Bluesky LinkedIn Reddit Flipboard Copy link Email CloseSubscribe to the newsletter for Dylan, censorship, and song lore
Curious about how songs, censorship, and cultural shifts intersect? Subscribe to our newsletter for deep dives into Dylan-era controversies, music history, and the stories behind iconic tracks — richer context for music enthusiasts. Subscribe By subscribing, you agree to receive newsletter and marketing emails, and accept our Terms of Use and Privacy Policy. You can unsubscribe anytime.What To Watch
July 20, 2025
The 72 Best Movies on Netflix Right Now
Trending Now
Decades Later, Bob Dylan's Greatest Songs About Love Still Feel Uncomfortably Honest
Bob Dylan Performed This Forgotten Song Early in His Career — It Took 30 Years to Officially Release
Bob Dylan Regretted Not Writing This Classic Country Rock Song by the Allman Brothers Band
