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The Final Days of The Beatles

The date was August 20, 1969. The Beatles were recording what was to be their final album, Abbey Road. The date is important (and historic), although the boys probably had no idea of its significance.

August 20, 1969, was the last time the four Beatles were together in the recording studio.

They were recording the final over-dubs of John's song "I Want You (She's So Heavy)," a stark, raw love song written by John. The band's final session was spent working on a fervent love song to Yoko Ono.

The Last Photo Session

Two days later, on August 22, on the grounds of John's estate, the foursome gathered at for the last Beatles photo session—the final "official" gathering together of the Fab Four.

Photos of that historic day reveal four bedraggled, weary-looking musicians. John is seen wearing a dark cowboy-like hat, sporting a bushy, thick beard. He looks pencil-thin, probably the result of his recent heroin use (among other drugs).

George and Ringo are bearded, too. George especially looks as if he'd rather be anywhere else.

As usual, Paul puts up the best social face, clean shaven, upbeat, and in some shots he's smiling. He even brought his pet sheepdog, Martha, to this last photo session.

Yoko was there, stuck at John's side, and the session included several shots of her clinging to her almost unrecognizable husband.

George's wife, Patti, may have realized the significance of the moment; she went around with a hand-held camera, filming snippets of the event for posterity.

The Last Meeting

In the middle of September, the four Beatles gathered together for a business meeting at Apple Studios. It happened sometime between September 15 and 19, 1969—this was the final time all four Beatles were together in the same room.

John and George spent much of the meeting bickering over George's contributions to future Beatles albums. George was fed up with taking a back seat to the all-powerful Lennon-McCartney team.The band's "one-for-all" spirit that had always held them together had evaporated. They were coming apart at the seams.

On September 20th, the end officially came.

John, Paul, and Ringo (George had left town to visit his sick mother) along with Yoko and various associates, aides and managers gathered in the meeting room. Paul started discussing possible plans for the Beatles future. He suggested the band go back and play small clubs under a pseudonym. Perhaps they'd use a name like "Ricky and the Red Streaks."

But John exploded. "I want a divorce. Like the one i got from Cynthia" [his first wife]. According to Paul, everyone went pale. After a few heated words, John and Yoko walked out.

John, Yoko, and their manager Allen Klein drove off to eat at a local restaurant called The Pepper Mill. Yoko was to remember John's words to her in the car: "it's just you and me now."

Yoko, in a revealing interview, later remembered thinking to herself: "My god, those three have entertained him for the last ten years. Now it's just me!"

John Lennon was never to return to The Beatles.

(Although Paul recalled his shock at John's decision, Ringo said he was "relieved" by John's final words. Ringo probably knew the end was imminent and was glad John had made it clear and unmistakable.)

The Last Session

Finally, on January 3, 1970, Paul, George and Ringo got together for one last recording session at the Abbey Road Studio Two. They were working on George's song "I Me Mine." John was in Denmark with Yoko at the time.

George laconically announced, "You will have heard that Dave Dee is no longer with us, but Micky and Tich and I would just like to carry on the good work that's always been done in Number Two."

(Dave Dee, Beaky, Micky and Tich were a popular singing group at the time).

And so it was—the final "Beatles" recording session at Abbey Road studios was conducted without John, who had started the group, and whose original "Quarrymen" were the genesis of The Beatles.

George's Lennon-less "I, Me, Mine" was included on The Beatles Let It Be album.

Paul, George and Ringo reunited 24 years later to record "Free as a Bird" for the much-anticipated Beatles Anthology. Of course, after his tragic death in 1980, John was missing again.


Eddie Deezen has appeared in over 30 motion pictures, including Grease, WarGames, 1941, and The Polar Express. He's also been featured in several TV shows, including Magnum PI, The Facts of Life, and The Gong Show. And he's done thousands of voice-overs for radio and cartoons, such as Dexter's Laboratory and Family Guy. Eddie is a self-confessed Beatles nut and has read over 600 books on The Fab Four. He'll be contributing a handful of Beatles stories to mentalfloss.com. Make him feel welcome!

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Dodo: © Oxford University, Oxford University Museum of Natural History. Background: iStock
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science
Head Case: What the Only Soft Tissue Dodo Head in Existence Is Teaching Scientists About These Extinct Birds
Dodo: © Oxford University, Oxford University Museum of Natural History. Background: iStock
Dodo: © Oxford University, Oxford University Museum of Natural History. Background: iStock

Of all the recently extinct animals, none seems to excite the imagination quite like the dodo—a fact Mark Carnall has experienced firsthand. As one of two Life Collections Managers at the UK's Oxford University Museum of Natural History, he’s responsible for nearly 150,000 specimens, “basically all the dead animals excluding insects and fossils,” he tells Mental Floss via email. And that includes the only known soft tissue dodo head in existence.

“In the two and a bit years that I’ve been here, there’s been a steady flow of queries about the dodo from researchers, artists, the public, and the media,” he says. “This is the third interview about the dodo this week! It’s definitely one of the most popular specimens I look after.”

The dodo, or Raphus cucullatus, lived only on the island of Mauritius (and surrounding islets) in the Indian Ocean. First described by Vice Admiral Wybrand van Warwijck in 1598, it was extinct less than 100 years later (sailors' tales of the bird, coupled with its rapid extinction, made many doubt that the dodo was a real creature). Historians still debate the extent that humans ate them, but the flightless birds were easy prey for the predators, including rats and pigs, that sailors introduced to the isolated island of Mauritius. Because the dodo went extinct in the 1600s (the actual date is still widely debated), museum specimens are very, very rare. In fact, with the exception of subfossils—the dark skeletons on display at many museums—there are only three other known specimens, according to Carnall, “and one of those is missing.” (The fully feathered dodos you might have seen in museums? They're models, not actual zoological specimens.)

A man standing with a Dodo skeleton and a reconstructed model of the extinct bird
A subfossil (bone that has not been fully fossilized) Dodo skeleton and a reconstructed model of the extinct bird in a museum in Wales circa 1938.
Becker, Fox Photos/Getty Images

Since its extinction was confirmed in the 1800s, Raphus cucullatus has been an object of fascination: It’s been painted and drawn, written about and scientifically studied, and unfairly become synonymous with stupidity. Even now, more than 300 years since the last dodo walked the Earth, there’s still so much we don’t know about the bird—and Oxford’s specimen might be our greatest opportunity to unlock the mysteries surrounding how it behaved, how it lived, how it evolved, and how it died.

 
 

To put into context how old the dodo head is, consider this: From the rule of Oliver Cromwell to the reign of Queen Elizabeth II, it has been around—and it’s likely even older than that. Initially an entire bird (how exactly it was preserved is unclear), the specimen belonged to Elias Ashmole, who used his collections to found Oxford’s Ashmolean Museum in 1677. Before that, it belonged to John Tradescant the Elder and his son; a description of the collection from 1656 notes the specimen as “Dodar, from the Island Mauritius; it is not able to flie being so big.”

And that’s where the dodo’s provenance ends—beyond that, no one knows where or when the specimen came from. “Where the Tradescants got the dodo from has been the subject of some speculation,” Carnall says. “A number of live animals were brought back from Mauritius, but it’s not clear if this is one of [those animals].”

Initially, the specimen was just another one of many in the museum’s collections, and in 1755, most of the body was disposed of because of rot. But in the 19th century, when the extinction of the dodo was confirmed, there was suddenly renewed interest in what remained. Carnall writes on the museum’s blog that John Duncan, then the Keeper of the Ashmolean Museum, had a number of casts of the head made, which were sent to scientists and institutions like the British Museum and Royal College of Surgeons. Today, those casts—and casts of those casts—can be found around the world. (Carnall is actively trying to track them all down.)

The Oxford University Dodo head with scoleric bone and the skin on one side removed.
The Oxford University Dodo head with skin and sclerotic ring.
© Oxford University, Oxford University Museum of Natural History // Used with permission

In the 1840s, Sir Henry Acland, a doctor and teacher, dissected one side of the head to expose its skeleton, leaving the skin attached on the other side, for a book about the bird by Alexander Gordon Melville and H.E. Strickland called The dodo and its kindred; or, The history, affinities, and osteology of the dodo, solitaire, and other extinct birds of the islands Mauritius, Rodriguez and Bourbon. Published in 1848, “[It] brought together all the known accounts and depictions of the dodo,” Carnall says. The Dodo and its kindred further raised the dodo’s profile, and may have been what spurred schoolteacher George Clark to take a team to Mauritius, where they found the subfossil dodo remains that can be seen in many museums today.

Melville and Strickland described Oxford’s specimen—which they believed to be female—as being “in tolerable preservation ... The eyes still remain dried within the sockets, but the corneous extremity of the beak has perished, so that it scarcely exhibits that strongly hooked termination so conspicuous in all the original portraits. The deep transverse grooves are also visible, though less developed than in the paintings.”

Today, the specimen includes the head as well as the sclerotic ring (a bony feature found in the eyes of birds and lizards), a feather (which is mounted on a microscope slide), tissue samples, the foot skeleton, and scales from the foot. “Considering it’s been on display in collections and museums, pest eaten, dissected, sampled and handled by scientists for over 350 years,” Carnall says, “it’s in surprisingly good condition.”

 
 

There’s still much we don’t know about the dodo, and therefore a lot to learn. As the only soft tissue of a dodo known to exist, the head has been studied for centuries, and not always in ways that we would approve of today. “There was quite some consideration about dissecting the skin off of the head by Sir Henry Acland,” Carnall says. “Sadly there have also been some questionable permissions given, such as when [Melville] soaked the head in water to manipulate the skin and feel the bony structure. Excessive handling over the years has no doubt added to the wear of the specimen.”

Today, scientists who want to examine the head have to follow a standard protocol. “The first step is to get in touch with the museum with details about access requirements ... We deal with enquiries about our collections every single day,” Carnall says. “Depending on the study required, we try to mitigate damage and risk to specimens. For destructive sampling—where a tissue sample or bone sample is needed to be removed from the specimen and then destroyed for analysis—we weigh up the potential importance of the research and how it will be shared with the wider community.”

In other words: Do the potential scientific gains outweigh the risk to the specimen? “This,” Carnall says, “can be a tough decision to make.”

The head, which has been examined by evolutionary biologist Beth Shapiro and extinction expert Samuel Turvey as well as dodo experts Julian Hume and Jolyon Parish, has been key in many recent discoveries about the bird. “[It] has been used to understand what the dodo would have looked like, what it may have eaten, where it fits in with the bird evolutionary tree, island biogeography and of course, extinction,” Carnall says. In 2011, scientists took measurements from dodo remains—including the Oxford specimen—and revised the size of the bird from the iconic 50 pounder seen in paintings to an animal “similar to that of a large wild turkey.” DNA taken from specimen’s leg bone has shed light on how the dodo came to Mauritius and how it was related to other dodo-like birds on neighboring islands [PDF]. That DNA also revealed that the dodo’s closest living relative is the Nicobar pigeon [PDF].

A nicobar pigeon perched on a bowl of food.
A nicobar pigeon.
iStock

Even with those questions answered, there are a million more that scientists would like to answer about the dodo. “Were there other species—plants, parasites—that depended on the dodo?” Carnall asks. “What was the soft tissue like? ... How and when did the dodo and the related and also extinct Rodrigues solitaire colonize the Mascarene Islands? What were their brains like?”

 
 

Though it’s a rare specimen, and priceless by scientific standards, the dodo head is, in many ways, just like all the rest of the specimens in the museum’s collections. It’s stored in a standard archival quality box with acid-free tissue paper that’s changed regularly. (The box is getting upgraded to something that Carnall says is “slightly schmancier” because “it gets quite a bit of use, more so than the rest of the collection.”) “As for the specific storage, we store it in vault 249 and obviously turn the lasers off during the day,” Carnall jokes. “The passcode for the vault safe is 1234ABCD …”

According to Carnall, even though there are many scientific and cultural reasons why the dodo head is considered important, to him, it isn’t necessarily more important than any of the other 149,999 specimens he’s responsible for.

“Full disclosure: All museum specimens are equally important to collections managers,” he says. “It is a huge honor and a privilege to be responsible for this one particular specimen, but each and every specimen in the collection also has the power to contribute towards our knowledge of the natural world ... This week I was teaching about a species of Greek woodlouse and the molluscs of Oxfordshire. We know next to nothing about these animals—where they live, what they eat, the threats to them, and the predators that rely on them. The same is true of most living species, sadly. But on the upside, there’s so much work to be done!”

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