Scott W.
Yelp
"Take me back to Tulsa to the scene of the crime" - and yeah, put a Dylan museum in the town & I'll be guilty of that crime too.
It makes sense that the magnate that acquired the Guthrie archives should likewise acquire the Dylan archives - between the two of them you've got most of the 20th Century adequately covered on the songwriting front. I skipped the Guthrie this time around as I'd been on a previous trip to the city, but had I not been I'd certainly have taken advantage of the discount to visit both museums - you could easily make a good half-day of it. As it was, it took me around 90 minutes on a quiet opening-hour Sunday morning to go through the Dylan - had I immersed myself in every video and every song sample I could've probably doubled that time, but I visually took everything in and watched the opening video and that worked for me.
I'm a Dylan fan, not a Dylan obsessive - I have all the albums you're "supposed" to have and have played them a billion times, but I'm going to roll my eyes when I overhear some eager guy act as The Human Museum & mansplain "Zimmy"'s personal impact to his female companion (oh, but I know that lonely teenage bedroom knowledge display must have turned her on). The center's got something for both of us. Essentially you have two floors, two rooms per floor.
Ground floor after the admission/gift shop takes you into a multi-screen video that runs about 10-15 minutes and gives you a biography of sorts interspersed with words from the Bard himself - it probably helps if you have a general knowledge of his musical history as there's no straight narration, but as it speaks more to his inspirations than necessarily spell out "And then he released this album" I'd guess layfolk could pick it up. From there you then move into the main room, a large rectangle of a room where that more typical biography runs in linear order across all four walls. A great innovation of the museum is their headset - unlike the typical museum piece which I hate, where you punch a number in and stand/stare at a fixed point in the room, you can just trigger it with an RF scanner attached to the headset and enjoy whatever you're listening to as you continue to stroll around. Considering much of the choices are live/alternate versions of well-known songs as opposed to opining experts (though you have some of those too should you choose - I didn't), it helps enhance the experience as you're here for music after all. The displays are mostly pictoral on the walls, not necessarily artifacts though there certainly are some, and I'd imagine this will be a more or less permanent display as the museum ages. Off the walls, you have a series of songs highlighted - off the top of my head I remember "Chimes Of Freedom", "Like A Rolling Stone", "Jokerman", and "Not Dark Yet" - a healthy mix of obvious and lesser-known songs - and there are more artifacts displayed as you dig quite a bit deeper with these songs. The main things I remember are a display of cheap pocket-sized notebooks used to write the lyrics that made up "Blood On The Tracks", and photos from Dylan's first appearance on Letterman in 1984 complete with a photo of him with Larry "Bud" Melman. (Oh, to be a fly on that wall - incidentally I didn't know of that one-off performance with LA punks the Plugz as his backing band, which is well worth checking out. I later learned this is considered by no small number to be his best television performance.)
Upstairs is generally dominated by two exhibits (and another small room of live performances selected over the decades) - one focuses on temporary exhibits and the other on his actual archives as acquired by the museum. At the time of my visit, the temporary spotlighted the photographer of "Blonde On Blonde"'s album cover, apparently a NYC guy of renown who shot lots of immortal stars during that same fabled era - plus he did the Mothers Of Invention's classic "We're Only In It For The Money" cover. As for the Archives, it's represented on a wall, each display numbered with the computer monitor representing what you're looking at when each number is keyed. (I'm supposing this suggests it will be routinely swapped out.) This was truly fascinating - more casual attendees may walk it with a mere glance, but I ate this stuff up - bootleg albums acquired over the years, a letter sent by the mother of a disabled fan who adored him and saw him in Memphis in 1966 before passing away, tour jackets, etc. My favorite displays were both card related - a stack of Hallmarks sent by fans wishing him well after his infamous motorcycle accident, and Christmas greetings from each of the Beatles after his 1969 performance at the Isle Of Wight - in fact George's continued correspondence over the years is quite touching in its own way.
Yelp is telling me my "review is looking pretty epic", and isn't that appropriate, so maybe I'll just stop by now - lest you start rolling your eyes at me.