How One Woman's Discovery Shook the Foundations of Geology

WORLD OCEAN FLOOR PANORAMA, BRUCE C. HEEZEN AND MARIE THARP, 1977. COPYRIGHT BY MARIE THARP 1977/2003. REPRODUCED BY PERMISSION OF MARIE THARP MAPS, LLC 8 EDWARD STREET, SPARKILL, NEW YORK 10976
WORLD OCEAN FLOOR PANORAMA, BRUCE C. HEEZEN AND MARIE THARP, 1977. COPYRIGHT BY MARIE THARP 1977/2003. REPRODUCED BY PERMISSION OF MARIE THARP MAPS, LLC 8 EDWARD STREET, SPARKILL, NEW YORK 10976

By Brooke Jarvis

Marie Tharp spent the fall of 1952 hunched over a drafting table, surrounded by charts, graphs, and jars of India ink. Nearby, spread across several additional tables, lay her project—the largest and most detailed map ever produced of a part of the world no one had ever seen.

For centuries, scientists had believed that the ocean floor was basically flat and featureless—it was too far beyond reach to know otherwise. But the advent of sonar had changed everything. For the first time, ships could “sound out” the precise depths of the ocean below them. For five years, Tharp’s colleagues at Columbia University had been crisscrossing the Atlantic, recording its depths. Women weren’t allowed on these research trips—the lab director considered them bad luck at sea—so Tharp wasn’t on board. Instead, she stayed in the lab, meticulously checking and plotting the ships’ raw findings, a mass of data so large it was printed on a 5,000-foot scroll. As she charted the measurements by hand on sheets of white linen, the floor of the ocean slowly took shape before her.

Tharp spent weeks creating a series of six parallel profiles of the Atlantic floor stretching from east to west. Her drawings showed—for the first time—exactly where the continental shelf began to rise out of the abyssal plain and where a large mountain range jutted from the ocean floor. That range had been a shock when it was discovered in the 1870s by an expedition testing routes for transatlantic telegraph cables, and it had remained the subject of speculation since; Tharp’s charting revealed its length and detail.

Her maps also showed something else—something no one expected. Repeating in each was “a deep notch near the crest of the ridge,” a V-shaped gap that seemed to run the entire length of the mountain range. Tharp stared at it. It had to be a mistake.

She crunched and re-crunched the numbers for weeks on end, double- and triple-checking her data. As she did, she became more convinced that the impossible was true: She was looking at evidence of a rift valley, a place where magma emerged from inside the earth, forming new crust and thrusting the land apart. If her calculations were right, the geosciences would never be the same.

A few decades before, a German geologist named Alfred Wegener had put forward the radical theory that the continents of the earth had once been connected and had drifted apart. In 1926, at a gathering of the American Association of Petroleum Geologists, the scientists in attendance rejected Wegener’s theory and mocked its maker. No force on Earth was thought powerful enough to move continents. “The dream of a great poet,” opined the director of the Geological Survey of France: “One tries to embrace it, and finds that he has in his arms a little vapor or smoke.” Later, the president of the American Philosophical Society deemed it “utter, damned rot!”

In the 1950s, as Tharp looked down at that tell-tale valley, Wegener’s theory was still considered verboten in the scientific community—even discussing it was tantamount to heresy. Almost all of Tharp’s colleagues, and practically every other scientist in the country, dismissed it; you could get fired for believing in it, she later recalled. But Tharp trusted what she’d seen. Though her job at Columbia was simply to plot and chart measurements, she had more training in geology than most plotters—more, in fact, than some of the men she reported to. Tharp had grown up among rocks. Her father worked for the Bureau of Chemistry and Soils, and as a child, she would accompany him as he collected samples. But she never expected to be a mapmaker or even a scientist. At the time, the fields didn’t welcome women, so her first majors were music and English. After Pearl Harbor, however, universities opened up their departments. At the University of Ohio, she discovered geology and found a mentor who encouraged her to take drafting. Because Tharp was a woman, he told her, fieldwork was out of the question, but drafting experience could help her get a job in an office like the one at Columbia. After graduating from Ohio, she enrolled in a program at the University of Michigan, where, with men off fighting in the war, accelerated geology degrees were offered to women. There, Tharp became particularly fascinated with geomorphology, devouring textbooks on how landscapes form. A rock formation’s structure, composition, and location could tell you all sorts of things if you knew how to look at it.

Studying the crack in the ocean floor, Tharp could see it was too large, too contiguous, to be anything but a rift valley, a place where two masses of land had separated. When she compared it to a rift valley in Africa, she grew more certain. But when she showed Bruce Heezen, her research supervisor (four years her junior), “he groaned and said, ‘It cannot be. It looks too much like continental drift,’” Tharp wrote later. “Bruce initially dismissed my interpretation of the profiles as ‘girl talk.’” With the lab’s reputation on the line, Heezen ordered her to redo the map. Tharp went back to the data and started plotting again from scratch.

Heezen and Tharp were often at odds and prone to heated arguments, but they worked well together nonetheless. He was the avid collector of information; she was the processor comfortable with exploring deep unknowns. As the years went by, they spent more and more time together both in and out of the office. Though their platonic-or-not relationship confused everyone around them, it seemed to work.

In late 1952, as Tharp was replotting the ocean floor, Heezen took on another deep-sea project searching for safe places to plant transatlantic cables. He was creating his own map, which plotted earthquake epicenters in the ocean floor. As his calculations accumulated, he noticed something strange: Most quakes occurred in a nearly continuous line that sliced down the center of the Atlantic. Meanwhile, Tharp had finished her second map—a physiographic diagram giving the ocean floor a 3-D appearance—and sure enough, it showed the rift again. When Heezen and Tharp laid their two maps on top of each other on a light table, both were stunned by how neatly the maps fit. The earthquake line threaded right through Tharp’s valley.

They moved on from the Atlantic and began analyzing data from other oceans and other expeditions, but the pattern kept repeating. They found additional mountain ranges, all seemingly connected and all split by rift valleys; within all of them, they found patterns of earthquakes. “There was but one conclusion,” Tharp wrote. “The mountain range with its central valley was more or less a continuous feature across the face of the earth.” The matter of whether their findings offered evidence of continental drift kept the pair sparring, but there was no denying they had made a monumental discovery: the mid-ocean ridge, a 40,000-mile underwater mountain range that wraps around the globe like the seams on a baseball. It’s the largest single geographical feature on the planet.

LAMONT-DOHERTY EARTH OBSERVATORY

In 1957, Heezen took some of the findings public. After he presented on the Mid-Atlantic Ridge at Princeton, one eminent geologist responded, "Young man, you have shaken the foundations of geology!” He meant it as a compliment, but not everyone was so impressed. Tharp later remembered that the reaction “ranged from amazement to skepticism to scorn.” Ocean explorer Jacques Cousteau was one of the doubters. He’d tacked Tharp’s map to a wall in his ship’s mess hall. When he began filming the Atlantic Ocean’s floor for the first time, he was determined to prove Tharp’s theory wrong. But what he ultimately saw in the footage shocked him. As his ship approached the crest of the Mid-Atlantic Ridge, he came upon a deep valley splitting it in half, right where Tharp’s map said it would be. Cousteau and his crew were so astonished that they turned around, went back, and filmed again. When Cousteau screened the video at the International Oceanographic Congress in 1959, the audience gasped and shouted for an encore. The terrain Tharp had mapped was undeniably real.

1959 was the same year that Heezen, still skeptical, presented a paper hoping to explain the rift. The Expanding Earth theory he’d signed on to posited that continents were moving as the planet that contained them grew. (He was wrong.) Other hypotheses soon joined the chorus of explanations about how the rift had occurred. It was the start of an upheaval in the geologic sciences. Soon “it became clear that existing explanations for the formation of the earth’s surface no longer held,” writes Hali Felt in Soundings: The Story of the Remarkable Woman Who Mapped the Ocean Floor.

Tharp stayed out of these debates and simply kept working. She disliked the spotlight and consented to present a paper only once, on the condition that a male colleague do all the talking. “There’s truth to the old cliché that a picture is worth a thousand words and that seeing is believing,” she wrote. “I was so busy making maps I let them argue. I figured I’d show them a picture of where the rift valley was and where it pulled apart.”

By 1961, the idea that she’d put forward nearly a decade before—that the rift in the Mid-Atlantic Ridge had been caused by land masses pulling apart—had finally reached widespread acceptance. The National Geographic Society commissioned Tharp and Heezen to make maps of the ocean floor and its features, helping laypeople visualize the vast plates that allowed the earth’s crust to move. Throughout the 1960s, a slew of discoveries helped ideas such as seafloor spreading and plate tectonics gain acceptance, bringing with them a cascade of new theories about the way the planet and life on it had evolved. Tharp compared the collective eye-opening to the Copernican revolution. “Scientists and the general public,” she wrote, “got their first relatively realistic image of a vast part of the planet that they could never see.”

Tharp herself had never seen it either. Some 15 years after she started mapping the seafloor, Tharp finally joined a research cruise, sailing over the features she’d helped discover. Women were generally still not welcome, so Heezen helped arrange her spot. The two kept working closely together, sometimes fighting fiercely, until his death in 1977. Outside the lab, they maintained separate houses but dined and drank like a married couple. Their work had linked them for life.

In 1997, Tharp, who had long worked patiently in Heezen’s shadow, received double honors from the Library of Congress, which named her one of the four greatest cartographers of the 20th century and included her work in an exhibit in the 100th-anniversary celebration of its Geography and Map Division. There, one of her maps of the ocean floor hung in the company of the original rough draft of the Declaration of Independence and pages from Lewis and Clark’s journals. When she saw it, she started to cry. But Tharp had known all along that the map she created was remarkable, even when she was the only one who believed. “Establishing the rift valley and the mid-ocean ridge that went all the way around the world for 40,000 miles—that was something important,” she wrote. “You could only do that once. You can’t find anything bigger than that, at least on this planet.”

How Two Biologists Put A Killer Whale Back Together, Bone by Bone

It might have been the splashing of harbor seals that caught his attention.

Without making a sound, the bullet-shaped killer whale named T44 might have turned and accelerated toward the seals through the clear, cold waters of British Columbia’s Johnstone Strait, gaining speed with each thrust of his powerful tail. He wouldn’t have been alone—several female whales and their calves, also part of northern Vancouver Island’s T pod, swam alongside him, and when they reached the group of plump harbor seals, they struck.

T44's black-and-white head would have shot out of the sea, veered in a half-turn to catch the flipper of the panicked seal in its teeth, and dragged it down below the surface. Using his paddle-shaped flippers like rudders, the orca might have breached again with the seal still in his jaws, arcing clear of the water before falling back.

We don’t know for sure—no one witnessed T44’s final hunt. But we do know that at some point, T44 swallowed the 100-pound seal, claws and all. He had chased down about 15 harbor seals in the week before this catch.

But this one, in March 2009, would be T44's last.

Not long after, fishermen found T44’s body floating in the strait, a narrow channel separating the rocky coasts of northeastern Vancouver Island and mainland British Columbia. The whale had been born there about 30 years earlier, and had never left the area.

T44's story wasn’t over, though. Its huge body would be salvaged and its bones stripped of flesh and oil. Mike DeRoos and Michi Main, two of the world's top skeleton articulators—people who rebuild an animal's bones into a scientifically accurate skeleton—would reassemble the cleaned bones in their workshop. From an inert puzzle of bone and steel, the couple would resurrect T44 in a true-to-nature pose for a local museum, giving the killer whale a second life.

 

Humans have been fascinated by killer whales’ savage intelligence for centuries. The Roman historian Pliny the Elder wrote that “their Likeness cannot be represented by any other Figure than that of a mighty Lump of Flesh, armed with terrible Teeth.” As the sea’s apex predators, orcas inspired legends among Pacific Northwest whaling peoples like the Makah and Nuu-Chah-Nulth. In the 18th century, naturalist Carl Linnaeus named them Delphinus orca, or “demon dolphin.” Their current scientific name, Orcinus orca, translates to “demon from hell.”

Telegraph Cove British Columbia
Telegraph Cove on Vancouver Island, British Columbia
David Stanley, Flickr // CC BY 2.0

Modern scientists are just beginning to study and understand the animals' culture. The northern Pacific Ocean is home to three killer whale ecotypes—populations that are genetically, behaviorally, and geographically distinct from one another. Endangered resident killer whales mainly eat salmon, while little is known about offshore killer whales, which prowl the edge of the continental shelf.

T44 was a transient killer whale, the ecotype that specializes in hunting marine mammals. (In the 1970s, marine biologist Michael Bigg noted they had taller dorsal fins and didn’t interact with the residents, leading him to conclude that they were just passing through—transients, in other words. They're also called "Bigg’s killer whales.") They roam the coastal waters of British Columbia, where the channels and bays of the Inside Passage brim with seals, sea lions, porpoises, dolphins, and baleen whales. Groups of transients are known to take on gray whale calves and minke whales. Humpback whales, twice as long and five times heavier than a fully grown orca, have been seen with rake marks on their flukes and flippers from the transients’ teeth.

T44 killer whale at Telegraph Cove, British Columbia in 2007
T44, identified by his distinctive dorsal fin shape, swims by Telegraph Cove in 2007.
Jared Towers

When hunting, transients rely on stealth. Traveling in small groups of four or five, they passively listen for the splash of a seal, the whoosh of a minke surfacing to exhale, or the call of a mother gray whale to her calf. One transient group may signal other transients with quiet clicks at specific intervals, inviting them to join the hunting party; biologists believe transients share a limited vocabulary to aid communication between unrelated groups. Then, the killers attack with shocking ferocity. They seem to like playing with their prey before tearing it to pieces. “If people see them hunting, there’s often red blood in the water, and it can be kind of gruesome,” DeRoos, the skeleton articulator, tells Mental Floss. A soft-voiced biologist who speaks thoughtfully about cetacean murder, DeRoos has been studying orcas and rebuilding their bones for more than 15 years. “They’re the real killer whale,” he adds.

Born in 1978, T44 was the 44th identified whale in the transient population around the northern end of Vancouver Island. He spent almost all of his life in the waters around Telegraph Cove, a tiny settlement on the island’s east coast. Crowded by dense cedar forest on one side and Johnstone Strait on the other, the former fishing and cannery village is now a seasonal hub for eco-tourism. Between May and October, thousands of visitors come to see the strait’s humpback whales blow prismatic jets of vapor and Steller sea lions pose on the rocks. Most tourists hope to glimpse the orcas as they chase 30-pound Chinooks or punt hapless dolphins into the air.

Killer whale T44 towed to Telegraph Cove harbor in British Columbia
Jim Borrowman and Graeme Ellis tow the body of T44 to Telegraph Cove so biologists can perform a necropsy on the killer whale.
Courtesy of Mary Borrowman

Jim Borrowman, one of about 12 year-round residents of Telegraph Cove, opened the village’s Whale Interpretive Centre in 2002 after co-founding British Columbia’s first whale watching company in 1980. The center exhibits skeletons of cetaceans common to local waters, including a 60-foot fin whale and a gray whale, whose carcasses were found floating near Telegraph Cove.

It was Borrowman who received the phone call on March 31, 2009, about a dead killer whale in Johnstone Strait. The Canadian Coast Guard had identified it as an orca and called Graeme Ellis, a local killer whale researcher and Borrowman's friend. “Graeme called me up and said, ‘We’ve got this dead killer whale. The [Coast Guard] ship tied it up in a bay on the north end of the island,’” Borrowman, a garrulous old salt, tells Mental Floss. “Graeme said he wanted to try and figure out if we could identify it still—once these whales die, they lose their skin quite quickly and all their identifying marks. But he definitely wanted to do a necropsy [to find the cause of death]. These are very rare finds and very important finds.”

“I really wanted a bigger killer whale for the museum; I have a juvenile already,” Borrowman adds. “Graeme said, ‘If you can tow it down, you can have it.’ I said, ‘Hurry and get here!’”

From Telegraph Cove, the two men drove Borrowman’s whale-watching boat to where the Coast Guard ship had secured the orca. Major decomposition had yet to set in, and Ellis recognized it right away. “We knew it was a Bigg’s type. T44 had a big nick on the back edge of the dorsal fin. And there were a few scratches left on the saddle patch area, some marks there, so Graeme could positively identify it,” Borrowman says.

They worked quickly to tie a thick nylon line around the whale’s flukes as gale-force winds whipped up. As they towed T44 behind the boat toward Telegraph Cove, the 7-ton whale snapped the tow line, but Borrowman managed to rehook it. They waited out the storm overnight on shore. A light snow was falling the following morning when they arrived in Telegraph Cove, where 18 scientists were waiting with flensing knives in hand.

 

The first step in preparing T44 for his second life took days. First, the scientists, who came from the island's Pacific Biological Station, "spent all day cutting all the bones completely apart and trimmed as much of the meat off as we could. During this time, [biologist] Steven Rafferty took measurements and collected all the samples he needed,” Borrowman says.

Killer whale skull and vertebrae in skeleton articulation workshop
T44's skull rests on a workbench while the vertebrae are mounted on the steel bar.
Mike DeRoos

T44 appeared to be a healthy, mature 31-year-old male, about 25.5 feet long and roughly 15,000 pounds, with no bruising or obvious signs of a ship strike. (The average lifespan of a male orca is about 30 years, while females live for an average of 50 years, and some much longer.) There were more than 300 seal claws in T44’s stomach, indicating that he ate roughly 15 to 20 harbor seals in his final week, along with two yellow plastic flipper tags from juvenile elephant seals. Researchers were unable, however, to point to a cause of death based on tissue samples. “It could simply be that he lived and died a fairly normal life,” Borrowman says.

When the necropsy was complete, the biologists turned the carcass over to Borrowman. He and a few others continued cutting the skeleton apart for several more days. Now, the months-long process of cleaning and degreasing T44’s skeleton for display in the Whale Interpretive Centre began. Every morsel of rotting muscle and blubber, every cartilaginous tendon and bit of skin, would need to be removed from the exterior of the bones. Every pint of oil, which helps keep live whales buoyant, would have to be drained from their porous tissue.

From his earlier experience denuding the 60-foot, 60-ton fin whale, Borrowman had determined that sea scavengers—fish, crabs, shrimp, and microbes—are the best cleaners for the job. The fish and crustaceans pick off the flesh, while marine bacteria burrow into the bone. In the cold waters of Johnstone Strait, the oil would solidify into a wax for them to devour.

The crew put T44’s skull in netting to hang it from a dock, while the mandibles, including the teeth, went into large apple juice barrels with holes punched in the lids. Pectoral fins—which were so heavy it took four men to lift them—were secured in large fish totes and weighted down. They tied all of the loose ribs together in bundles and strung about three dozen star-shaped vertebrae on lines. Then, they heaved everything into Telegraph Cove harbor.

“The meat goes quickly,” Borrowman says. “The problem is that every species, and every age of every species, has a different amount of oil in it and time period that it takes to get it out. And there’s no book on that.” Any oil that remains in the bones will ooze out, drop by drop, sometimes for decades.

T44’s bones remained underwater for a year. In the spring of 2010, Borrowman brought up the bundles and barrels, encrusted with barnacles and anemones, and pried off the lids. He spread the cleaned bones on Telegraph Cove’s dock so the sun’s heat could liquify most of the remaining oil, which took several months to drain out. Later, he put some of the individual bones on display in the Whale Interpretive Centre for a few years.

Then, he hired Mike DeRoos and Michi Main to put T44 back together.

 

DeRoos and Main, a husband-and-wife skeleton articulating team, operate from their home and workshop on Salt Spring Island, just down the main highway from Telegraph Cove. Both are trained as biologists; DeRoos learned the art of putting skeletons together as one of the first student workers hired at the Whale Interpretive Centre in 2002. “I grew up working with my dad, building things. I’ve always loved working with my hands and figuring out how to put things together. Building skeletons just seemed like the extension of that,” DeRoos says. “If I hadn’t become a biologist, I probably would have gone into engineering.”

Killer whale skull, vertebrae, and ribs mounted on steel supports
T44's skull and ribs are mounted on to the backbone.
Mike DeRoos

In September 2017, Borrowman delivered T44 to the workshop. The bones would need no further degreasing, but that hasn’t been the case with every project DeRoos and Main have worked on. After the marine scavengers and the sun’s rays do their jobs, DeRoos will often bury skeletons in big piles of horse manure for up to six months. The heat of the composting process transforms the oil from a viscous, coconut-oil consistency to a flowing liquid, and microbes in the manure will consume most of it. To get bones completely oil-free, DeRoos will employ an industrial-strength vapor degreaser—a type of machine originally used in aerospace manufacturing facilities to clean out aircraft engines. The degreaser uses solvents to dissolve any remaining oil in the bones in a few hours.

Cleaning the bones of every speck of oil and tissue is essential, because whale guts in any stage of decomposition are not pleasant. “It can have a really rancid, fishy, rotting flesh smell—or, if it’s really fresh, it just has sort of a warm, semi-sweet, bloody fish smell,” DeRoos says. “If you get the tiniest little bit of rotten whale guts on your clothing or on your body, the smell will really follow you. The worst thing, the very worst thing, is when it’s late at night, after you’ve cleaned up from working, it follows you into your house, into places where it shouldn’t be.”

“Some people naturally have a stronger stomach than others,” he adds. “Mine is able to handle a lot of pretty bad stuff.”

By early 2018, the fully degreased, cream-colored pieces of T44 lay in piles around DeRoos’s workshop. The tusk-like ribs spooned on a tarp. The whale’s massive skull was propped on a workbench, seeming to watch DeRoos and Main as they planned T44’s next phase.

Long before the couple begins articulating an animal’s skeleton, they conduct hours of research to learn as much as they can about the species’ natural history. As biologists, they have spent the summer months out on boats in the glacier-hewn channels and straits of British Columbia, monitoring marine mammals and watching how they behave. They’ll consult other scientists and browse their photos of the species from the field. And they'll also watch videos of the animals underwater to understand the nuances of their movement—"to put our own minds into the body of the animal we’re working on," DeRoos says. “Seeing live animals really inspires what I do with the dead ones.”

Mike DeRoos works on the killer whale rib cage
Mike DeRoos works on the killer whale's rib cage.

With a particular set of bones to be articulated, DeRoos and Main will consider the animal’s age, sex, and geographical origin, and look for imperfections that could serve as clues to the animal’s life. “I look at every bone of the skeleton and pick out the abnormalities, like if the animal had a broken rib or a disease in one place that has altered the bones,” he says. “That gives you an intimate, first-hand story about how the animal really lived.”

The details help shape the final narrative of the skeleton, which DeRoos and Main evoke through its posture and the setting where it will eventually be installed. For an earlier killer whale skeleton that is now exhibited at the Noyo Center for Marine Science in Fort Bragg, California, they worked from the contents of its stomach—six harbor seals—to design a posture highlighting “the ferocity, efficiency, and amazing characteristics of this hunter in the ocean,” Main says. “When people come in and experience an exhibit, they have the opportunity to really interact with a killer whale’s jaws, those big teeth. That can really be a good hook to draw people in. We decided [on] this really dynamic rolling, diving hunting posture with its jaws wide open—so when people walk into that exhibit, they walk right into the mouth of this killer whale. You can almost imagine yourself as the prey.”

Skeleton articulator Michi Main and an assistant assemble killer whale flipper bones
Michi Main (left) assembles the flipper bones on the steel support bars. Baby Kaito and assistant Nikoya Catry-Bauer help out.
Mike DeRoos

DeRoos and Main also looked at the space in the Whale Interpretive Centre where T44 would eventually reside. After talking with Borrowman about how he wanted to fit the skeleton into the museum, they decided on positioning the whale in a sharp, banking right turn, diving down as though he were chasing escaping prey. “I started imagining T44 among a group of killer whales, attacking a sea lion, ramming it with their heads, attacking it again, making tight maneuvers around the kill,” DeRoos says. “That’s a dynamic story to tell.”

Back in their workshop, DeRoos and Main faced the challenge of correctly assembling T44 as he was in life. There is no standard manual for orca anatomy, and scientists still aren't sure how many bones an orca is supposed to have. Most killer whales have about 180 bones; within that number are between 53 and 58 vertebrae, 11 to 12 pairs of ribs, and a widely varying number of flipper bones, plus the skull, jaws, and teeth. The bone totals vary among individual whales even within the same species.

That makes articulation based on previous models and skeletons a guessing game. They’ve consulted old Russian whaling texts, which contained the earliest reliable records of killer whale anatomy, for clues. They also examine 3D scans of skeletons they’ve worked on previously, which gives them a framework for conceptualizing the right number and position of bones in their current project.

Replica teeth to be placed in a killer whale skull
The 3D-printed teeth wait to be placed in T44's jaws.
Mike DeRoos

For T44, DeRoos and Main drew scaled-down sketches to make sure their vision for the skeleton was actually something a living whale could do. Using the drawings and DeRoss’s engineering skills, they fashioned the sections of strong but lightweight steel armature that would underlie the entire finished skeleton.

First, they created the steel beams to hold the heaviest pieces—the 110-pound skull and jawbones—in place. Then, they used a hydraulic pipe bender on a huge steel bar that would support the hefty spine and ribs. The big vertebrae were the literal backbone of the entire project; once the steel pipe was bent into the final position evoking a diving orca, the vertebrae were mounted on the support with steel pins. DeRoos and Main had to get these pieces in perfect position before moving on. “The key to all this is having spent time in the field with living whales,” he says. “You have to have a good plan, because you can’t go back once the bones are on.”

From there, the ribs were attached with steel cables onto another steel support, which presents a challenge. “The ribs are finicky," DeRoos says. "If they’re misaligned, it makes the whole thing look bad, because in a living animal they work together seamlessly.” He also mounted the amazing number of flipper bones—imagine the skeletons of two huge human hands, with five to seven joints in each finger—along thin steel rods. Most of the body's supports are hidden behind the larger bones, while flipper mounts blend in between the smaller pieces. He finished off the mess of cables and steel bars with permanent epoxy glues, then removed the temporary supports.

“This elegant mount has no visible external structure, and that really allows people to see what is out in nature. It helps to convey the story in a big way,” Main says.

Killer whale rib cage and vertebrae in the back of a pickup truck
T44's ribs and vertebrae are packed in the pickup for their journey to the Whale Interpretive Centre.

But then, they ran into a problem. Some of the bones were missing—likely lost while they lay in Telegraph Cover harbor, scattered by currents or accidentally cut loose by a passing boat's propeller. “The last 5 feet of tail—about 14 vertebrae—and the entire sternum, plus a couple of sternum ribs, were missing,” DeRoos says. “And we had only about two-thirds of the chevron bones, which fit underneath the tail vertebrae and protect the major blood vessel running back there. There should be about 14 and we had, like, six.”

He turned to 3D printing, comparing T44’s existing bones to those of five other killer whale skeletons in their workshop to find one that most closely matched T44’s dimensions. A slightly older male northern resident killer whale named I46, a salmon-eater from British Columbia, filled in. “We measured [I46] in three or four different ways to come up with a scaling factor for width and height. We scanned I46’s bones and applied the scaling factor to basically blow them up a bit in size to match what was missing from T44, and that’s what we had printed,” he says. “Once we get these bones mounted and painted and on the skeleton, I don’t think anyone would be able to distinguish them as replicas.”

As a finishing touch, T44 got a set of false teeth—not because he had had poor dental hygiene, but because an orca’s solid ivory teeth, each weighing a quarter-pound, can be irresistible souvenirs. “People will walk off with them or try to pull them out of the skeleton,” DeRoos says, sighing. As a solution, he cast each tooth in plastic resin, and a team of volunteers hand-painted the set, which will be bolted to the jaw. “They took each original tooth and matched the paint color, the details, and the stains using artists’ acrylics. They put a matte gloss on the tooth itself and a shiny gloss on the tips,” he says. “They’re virtually indistinguishable from the originals.”

 

Finally, in May 2018, the couple readied T44 for his new life. DeRoos and Main, their three kids, DeRoos’s parents, and several friends drove up to Telegraph Cove in a parade of pickups, the skeleton in five large articulated sections lashed onto trailers. The Whale Interpretive Centre had been prepared for their arrival; the staff had moved the fin whale and smaller orca skeletons out of the way and exhibits had been temporarily pushed to the side. The team planned to assemble the sections on the floor of the hangar-like space—a difficult task when you’re trying to connect several hundred pounds of backbone and ribs to another hundred pounds of backbone by aligning screw-hole to screw-hole. But T44 slid together without a hitch.

Killer whale skeleton mounted in a museum
Now fully assembled, T44 is mounted from the ceiling at the Whale Interpretive Centre.
Mike DeRoos

The team then rigged the completed skeleton with strong ropes, attached to a system of chain hoists, and raised it toward the ceiling, inch by inch. DeRoos checked its position; T44’s big ribcage and string of vertebrae came pretty close to the building’s interior posts. “I wasn’t sure how we’d be able to position his flippers, but we managed to fit everything,” he says. “The really fun part was when we put his lower jaws on. The big, impressive teeth were a hit with everyone.”

Now, T44 hovers overhead like the apex predator he was, menacing an imaginary sea lion in the cold, clear waters of Johnstone Strait. DeRoos pictures him diving down among the kelp, circling his frantic prey, beating it to a pulp exactly as he had when he was alive.

After nine years and thousands of hours of labor, T44 was back home.

Select photography courtesy of Taylor Roades. This story was made possible in part by the Institute for Journalism and Natural Resources.

The Reason Newborn Babies Don't Produce Tears

leungchopan/iStock via Getty Images
leungchopan/iStock via Getty Images

As anyone who has spent time with a newborn knows, babies are swaddled and be-diapered packages consisting of mucus, spittle, hiccups, and poop. With their ability to discharge seemingly any kind of liquid, it’s curious that they don’t actually produce tears when they cry.

According to Live Science, newborns can fuss and wail without making tears. To understand why, it helps to know why we make tears in the first place. Watery eye discharge appears when sadness, happiness, or other strong emotions provoke a fight-or-flight response, prompting our eyes to well up to better protect them from perceived harm. Tears also help us alleviate stress.

Infants' tear ducts are not fully operational at birth, however. They can cry and their eyes will get moist, but not enough tears are produced to result in noticeable dribbling. It’s not until three to four weeks after birth that babies are able to have full-fledged bawling sessions. In some babies, it can take up to two months.

You won’t be able to squeeze much sweat out of newborns, either. Eccrine glands that produce sweat on the body don’t gear up until shortly after birth, and for a period of time babies will produce sweat only on their foreheads.

Of course, babies can’t walk, talk, or digest solid foods, either. Getting them up to speed on human functions takes time. The only thing that seems fully operational from day one are their vocal cords.

[h/t Live Science]

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