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Written By: Michael D. McClellan | Dave Berke is all about clearly defined goals. A retired U.S. Marine Corps officer, fighter pilot, and ground combat leader, Berke lives and breathes setting long-range strategic goals to act as his compass, and then filling the journey with the short-range, tactical goals required to make the dream come true. The result is a decorated military career that is nothing short of elite. As an F/A-18 pilot, Berke deployed twice from the USS John C Stennis in support of combat operations in Iraq and Afghanistan. He spent three years as an Instructor Pilot at TOPGUN where he served as the Training Officer, the senior staff pilot responsible for conduct of the TOPGUN course – no small feat considering that Berke was a Marine at the time, and the program itself is part of the Navy. God-given talent is an essential ingredient when it comes to being one of the best fighter pilots on the planet, and Berke’s genius is well-suited to flying all manner of jets, from the fourth generation planes like the F/A-18 Super Hornet, to the state-of-the-art, stealth fighters like the F-22 Raptor and the F-35 Lightning. Berke, however, is quick to point out that talent alone will only take you so far as an elite aviator. You have to set very specific goals, and then have the humility to check your ego at the door – contrary to what Tom Cruise might have you think.

“Humility is your best friend,” Berke says of his time in the cockpit. “It’s the only way to ensure an open mind, and an open mind is the only way to become better at flying fighter jets.”

Berke, who today serves as the Director of Leadership Development and Alignment Programs at Echelon Front, says that while setting goals provides the roadmap, discipline is needed to achieve success.

Dave Berke
Director of Leadership Development and Alignment Programs at Echelon Front

“At TOPGUN, the pilots most likely to be invited back as instructors were the ones with the most discipline,” Berke says. “They were the ones who did the tedious research to prepare for a brief. They were the ones who never cut short a debrief until every learning point had been identified. They were the ones who outperformed their more talented peers because they worked harder and longer.”

Discipline also played a vital, life-or-death role in 2006, when Berke traded in his F/A-18 Hornet for an M-4 Carbine, serving as an ANGLICO Forward Air Controller during the Iraq War. From the ground, Berke supported the Army’s 1st Armored Division during extensive urban combat operations in Ramadi, Iraq. It was here that Berke led his supporting arms liaison team on scores of combat missions into the most dangerous neighborhoods, and accompanied SEAL Task Unit Bruiser on virtually every major operation in the Battle of Ramadi. Without discipline, it would have been impossible for Berke to perform his job alongside Chris Kyle, the subject of Clint Eastwood’s 2014 biographical war drama, American Sniper.

ANGLICO Marines conduct a “talk on”, directing an aircraft on an armed reconnaissance mission over potential targets from a rooftop in Haditha, Iraq

“Most of my time in Ramadi was spent with men like Chris, who would sit next to me on rooftops, motionless for hours, observing the city through the scope of his rifle,” says Berke. “Day in and day out, I watched him do the tedious, thankless, and unrewarding work they don’t show you in recruitment videos or movies. Few things can sap your motivation and focus like Ramadi’s suffocating dust and 115 degree heat. The only thing that gets you through an environment like that is discipline. And although that discipline often goes unrecognized, it doesn’t go unrewarded: It allowed Chris to save countless lives and made him the most successful sniper in SEAL history.”

Berke’s goal to fly the world’s most sophisticated aircraft was later realized when he slipped into the cockpit of two similar-but-different fifth generation fighters. First, he became the only Marine selected to fly the F-22 Raptor, having served as an exchange officer at the Air Force’s 422nd Test and Evaluation Squadron as the Division Commander. Then, from 2012 to 2014, he became the first operational pilot ever to fly and be qualified in the F-35B, serving as the Commanding Officer of the Marine Corps’ first F-35 squadron. Each involved plenty of serious goal setting, coupled with the discipline needed to learn how to fly these next-gen fighter jets.

Dave Berke in the cockpit of an F-22 Raptor

“Guys like me, and everyone who’s ever transitioned from flying a legacy airplane like an F-16, F-15, or F-18, are always going to bring forward some habits,” says Berke. “A lot of those habits are going to be wrong. I quickly realized that you can’t fly the F-35 like a fourth generation airplane. With each flight, my goal was to leave behind those old habits and embrace the F-35 for what it is – a revolutionary aircraft with a fundamentally different set of capabilities.”

The differences between fourth and fifth gen fighters are impossible to ignore. The advances include nose-to-tail low observable or stealth technologies as part of the aircraft’s design that make it almost impossible for even other fifth generation fighters to detect; improved situational awareness through having multi-spectral sensors located across all aspects of the airframe; and a state-of-the-art network which allows them to receive, share and store information to enhance the battlespace picture.

“And those are just a few of the differences,” Berke says quickly. “I had to retrain myself to get the most out of the next-gen aircraft, because there are so many things that don’t translate. A maneuver that might work in an F-18 doesn’t necessarily apply to the F-35. At the end of the day, we’re just scratching the surface of what these new planes can do.”

The F-35B short takeoff/vertical landing (STOVL) variant is the world’s first supersonic STOVL stealth aircraft. Berle became the first operational pilot ever to fly and be qualified in the F-35B

It should come as no surprise that Berke was able to make that quantum leap to fifth generation fighters. As a child, he’d often daydreamed about becoming a pilot, only to have his mother challenge him to learn more, develop a plan, and set goals. Once a Marine, he faced long odds in becoming a pilot, competing with 250 officers for two spots in the flight program. He’s taught at TOPGUN, completed hundreds of nighttime carrier landings, logged thousands of hours in the air, flown at Mach 2, and emerged from the Iraq War in one piece.

Following his retirement from the Marine Corps, Berke joined Echelon Front, where he provides unmatched experience and unique perspective into combat leadership, analytical decision-making, risk mitigation, and creating winning teams.

All of it amazing. None of it possible without setting very specific goals, and then having the discipline to turn the dream into reality.

You grew up in Southern California.

My first real memory was of moving from San Diego to Orange County when I was five. We moved to a place called El Toro, which just happened to be home to a big Marine aviation base, and I remember that pretty vividly. Our house was right under the flight path, so seeing fighter jets in the skies became a daily occurrence and sparked my fascination with airplanes. As I got a little older I started going to the annual El Toro Airshow, which furthered my fascination with aviation. I guess you could say it was in my blood by a young age.


Growing up around these cool jets had to be a dream come true. When did you start to think that you might be able to climb into the cockpit?

There certainly is a big difference between dreaming about doing something and taking the necessary steps to achieve the goal. Make no mistake, at age 5 I was dreaming about flying fighter jets, but I had no real context for it. Probably the closest thing to reality for me at that time was the movie Star Wars, which, as a five-year-old, is pure fantasy. A few years later I started going to the airshows and realized that pilots are real people. At that point I certainly got the sense that, “Hey, this isn’t a fantasy. People are actually doing this.”


Did you feel it was your destiny to be a pilot?

I was definitely obsessed with flying jet airplanes, so that became a singular focus. I loved the Blue Angels. I got into building model planes. I read every book that you could possibly get your hands on related to aviation and military history. As fate would have it, I ended up in a town where these cool jets were flying around, and where we’d have people from the Marine Corps come to our school to speak. That was big for me. It gave me another way to interact with the pilots – I could ask them questions, listen to their stories, and learn more about how they came to do what they do. Suddenly, this dream that was somewhat abstract, started to solidify.

I was 14 when the movie Top Gun came out, and when I walked out of the theater I was pretty dead set on wanting to do that. By my junior year in high school I was doing some basic research and talking to the guidance counselor. I also went to a recruiting station and asked the questions on my mental checklist, because I wanted to know what was required how you went about doing certain things. So, I started to coalesce around the dream and began to take some fairly deliberate actions, such as talking to recruiters before I was old enough to enlist. By the time I graduated from high school there were no secrets. I knew exactly what I wanted, what was required, and how to take those very deliberate actions in order to make that happen.

The need for speed: Top Gun inspired a young Dave Berke to dream of becoming a fighter pilot

You decided to become a Marine rather than enlist in the Air Force.

Becoming a Marine had a lot to do with the fact that I was living in a Marine town. The base was right there, and most of the pilots in the 10th Special Operations Command were certified around the Marine Corps. That was a major influence. Early on I associated flying jets with the Air Force, and I might have gone in that direction if not for an influential father figure in my life, a Marine named Eric. He’s the one who revealed to me that I could be both a Marine and you a fighter pilot, so that’s when I decided that I 100% wanted to be a pilot in the Marine Corps.


The Marine Corps seems like the more daunting to becoming a fighter pilot.

Yeah, in some ways that’s true. There was a point early on where I had built up the Marine Corps in my mind as an almost impossible, unattainable goal. I was certain that being a Marine was the hardest thing to do of the four services, and that flying fighters for the Marine Corps was the most challenging. In retrospect, I have the utmost respect for the Navy and the Air Force and the paths those guys go down to become pilots, because their paths are equally daunting. Ultimately, I believed in the Marine Corps ethos, and I believed that becoming a Marine was the most challenging and the toughest route for me. I started to steel myself for the physical and mental challenges of being a Marine officer first, and being a pilot second – with the hope that I could combine the two. I actually contracted to join the Marine Corps as a ground officer, so there were no guarantees that I would be going to flight school when I first got there. I had to accomplish Officer Candidate School, finish my college education, and complete my ground commission. I was commissioned as a lieutenant in the Marine Corps, at which point they sent me off to something called The Basic School. Marine officers, regardless of their jobs, go through this six-month program. This is where you get assigned what we call an MOS, which stands for Military Occupational Specialty. This is a particular job or career field inside the Marine Corps. Only then could I compete for an aviation slot, so it was certainly a very daunting path for me.

Gunnery Sgt. Shawn D. Angell is a drill instructor at the Officer Candidate School aboard Marine Corps Base Quantico, Va., dedicated to training, educating, evaluating and screening the many candidates who go through the course and turning them into Marine leaders.

You were one of 250 new officers, and there were only 2 pilot spots available in your class. How did you convince yourself that you could rise to the top in such a competitive environment?

There were 250 guys who were in my company, but not everyone wanted to be a pilot. Some of them already had an aviation guarantee to attend flight training, so while I was competing with a lot of them, I wasn’t necessarily competing with all 250 in the class. During the first week we were told that there were two pilot spots available. That was a tough thing for me to think about, because the odds that I’d get one of these two spots were really slim. Competing with my peers and performing well enough to earn one of those two spots was another daunting task. Thankfully that’s what happened, which was obviously a pretty big thing for me. The next thing you know, I was going to flight school for the Marine Corps.


Please tell me about your TOPGUN experience, where you spent three years as an Instructor Pilot dual-qualified in the F-16 Fighting Falcon and the F/A-18 Hornet.

After completing flight school I was assigned to fly fighter jets. My plan all along had been to fly the F-18 in the Marine Corps, so I was living that dream when another career path – TOPGUN – revealed itself. TOPGUN represents the pinnacle of your profession as a fighter pilot for the Navy and Marine Corps. I decided to make it a goal, which meant that I had to train and work hard, and I was lucky enough to get the opportunity. At TOPGUN I found myself surrounded by like-minded people who had the same mindset about wanting to do really well in their career field. It was exciting to be part of a group of people that were like that. TOPGUN offered an environment where I was able to compete against the best pilots in the world. As a TOPGUN instructor, I was able to be qualified to fly the F-16, which meant that I was dual-qualified, which was almost unheard of back then. Interestingly, when I was seriously considering the Air Force in my early teens, the F-16 was the plane that fascinated me most. It was very special for me to do that as a Marine at TOPGUN.

The McDonnell Douglas F/A-18 Hornet is a twin-engine, supersonic, all-weather, carrier-capable, multi-role combat jet, designed as both a fighter and attack aircraft, with a top speed of 1,190 mph.

A TOPGUN Instructor Pilot is the best of the best. Do you attribute natural ability or hard work to reaching such heights in your chosen profession?

Some people have a natural talent when it comes to being a fighter pilot, but you have uniquely gifted individuals out there in every career field. The reality is, the two things that most TOPGUN instructors have in common are an unbeatable work ethic, and a ton of humility. Those are the things that actually make them successful. Are there gifted pilots out there? Absolutely. But that doesn’t make you a good teacher, and that doesn’t make you a good instructor. It also doesn’t mean that you are going to be better than everyone else. While I wish that I had been born with that gift, it wasn’t bestowed upon me. What I was actually most reliant on, and what most guys at TOPGUN rely on, is the work ethic and the humility that it takes to go out and get better every single day. Those things are required to be successful at a place like TOPGUN.


In addition to flying F-16s and F-18s, you’ve also flown the newer, fifth generation planes such as F-22 Raptor and F-35 Lightning.

After I left TOPGUN, I served as a ground forward air controller for the Marines and then went back to flying the F-18. It was during this time that I was selected to fly the F-22 Raptor. I spent almost 4 years on exchange with the Air Force flying the F-22. I got to see not only how the Air Force flies, but also how this new generation of airplanes was evolving and coming online. Then I became the first F-35 operational pilot in the Marine Corps, and got to spend three more years flying the Lightning. So I spent the last seven years of my military career flying the two most modern fighters in the world.

Dave Berke

I’ve read where there’s a dramatic difference between fourth and fifth generation fighters.

I had a good frame of reference when I was introduced to the Raptor, because I had spent so much time flying the F-16s and F-18s. This is not a small evolution in capability we’re talking about. It’s a revolutionary leap. It’s actually really hard to draw any comparison between fifth generation fighters and legacy fighters like the Hornet, or the F-16, or F-15, and certainly older airplanes like the F-14 Tomcat. The capability in the modern, fifth generation fighters like the Raptor and the Lightning is exponentially greater. These machines are unbelievable.


How steep is the learning curve when it comes to flying fifth generation fighters?

The transition from fourth gen to fifth gen is a huge transition for a pilot, especially for those who started out flying fourth generation airplanes. It’s hard to overstate how difficult it is to take 2,000 hours of fourth generation flight time and then one day say, “A lot of that doesn’t apply.” So much of it is different. The instinct to do certain things is no longer the right decision in a fifth generation airplane. It takes time to acclimate. It took me a long time to get used to flying in a fifth generation airplane and doing the things that a fifth generation pilot should do.


Let’s talk about the core functionality of the fifth generation fighters. The F-22 Raptor and F-35 Lightning are designed with different missions in mind.

First of all, the F-22 and the F-35 are much more like each other than they are different. Since both are fifth generation fighters, the most obvious similarities are inherent in the design – these planes are built from the ground up to be multi-mission, to take information and disseminate it to other aircraft, to offboard that information, and to be able to facilitate the development of an ecosystem that doesn’t even doesn’t right now. Those are qualities and characteristics of a fifth-generation plane that aren’t present in fourth generation platforms like the F-16s and F-18s.

The Lockheed Martin F-22 Raptor is a fifth-generation, single-seat, twin-engine, all-weather stealth tactical fighter aircraft developed for the United States Air Force. Its top speed is 1,500 mph

I’ve got to know: What’s it like to fly an F-22?

When you get into the F-22, right away it is impossible not to be enamored with it. It is just an immeasurably powerful airplane. I flew the F-16, and that was an amazing airplane. I flew F-15s, and they were powerful and fast, but the Raptor is just exclusive. In terms of pure performance, maneuverability, and speed, there is nothing on this planet like the F-22. You can see it at airshows. It’s impossible to get into that airplane and get up to 60,000 feet and not think, “This is unbelievable.” You’re flying at Mach 2 and pulling nine g’s. It’s an absolute performance machine.


Is the Raptor just as impressive inside the cockpit?

The performance of the airplane is incredibly impressive, but if you were to ask me to choose one of the qualities that this airplane brings to the table – speed, stealth, maneuverability, g’s, payload, range, or information – I would emphatically take the information. When you see what the F-22 presents to you, from the inside out, and how it uses all of the sensors and the information sharing at its disposal…and for that to be that much more impressive than the performance…I think that is my best way of telling you what is really going on inside the airplane. It is pretty overwhelming.


The F-35 is a pretty special aircraft as well.

The F-35 benefited a lot from the Raptor. A lot of the lessons that we learned from the F-22 – from its initial development to its mission sets – is inherent in the build of the Lightning. One of the things that makes the F-35 unique is that the spectrum that it operates in is much, much broader. The Raptor still mostly operates in the RF spectrum, and it is important to be able to dominate in that space, because that’s where a lot of the warfare is in aviation, but the F-35 brings electro-optical, infrared, laser, and radio to the table. As warfare changes and the world evolves, the threat gets a big vote in where we are going to operate. The F-35, inherent in its design from tip to tail, can operate in a much broader set of environments than the Raptor can.

F-35 Lightning in flight. This fifth generation fighter is designed for both air-to-air and air-to-ground combat

What is the biggest misconception when it comes to comparing and contrasting the two planes?

While the F-22 is designed for air-to-air combat, there’s a misconception that the F-35 is only an air-to-ground fighter jet. So there’s probably a little bit of a misconception with that, because the F-35 is designed as a multi-role airplane: It is a strike fighter that does both air-to-air and air-to-ground. Make no mistake, the most capable air-to-air platform in the world is the F-22 Raptor, but the second most capable air-to-air platform in the world is the F-35. So, for those people out there who are thinking that the F-35 isn’t primarily designed for air-to-air, that’s a true statement. The Raptor is designed for air-to-air combat. But, other than the F-22,  there isn’t another airplane in the world that can compete with the F-35 in the air-to-air arena. That’s where these big generational differences we are talking about come into play. It would be like me saying, “Your desktop is really designed for computing power, your tablet is designed to be more flexible.” That’s fine, but the tablet that I’ve got is infinitely more powerful than that 20-year-old computer sitting on my desk. A lot of times people misunderstand that when talking about fighter jets. The F-22 is the premier air-to-air platform, and the F-35 is a very close second.


Both the F-22 and the F-35 are also famous for their stealth technology.

In an F-22 and F-35, one of the most enjoyable things is being virtually undetectable until it’s way, way, way too late for the threat. If you manage the signature really well, and you do it in a way that is integrated with the other platforms, most of the time the threat doesn’t know you’re there. And that’s why I have extreme faith that the F-35 in particular is going to be the most dominant aircraft ever built.


How do these planes compare to their fourth generation predecessors when it comes to combat?

A combat configuration for the F-35 and F-22 is a completely low observable configuration. You want to compare the capability and the range of a fourth generation airplane after you attach the missiles and bombs? Fourth gen planes in that configuration are slow, draggy, and susceptible to threats. Trust me, a lot of times you’ve got to get rid of stuff just to stay alive. So the comparison point is often just not done correctly. Anybody who has been in combat in an F-18 or an F 16 knows that you are lugging a lot of stuff on the outside of your airplane, that it takes a lot of gas, and it’s very slow to get it there and back. The fifth generation platform can carry all of that stuff and it doesn’t change the dynamic of the airplane at all. So a side-by-side comparison of fourth gen and fifth gen is unfair, and the idea that a legacy airplane is better at combat than a fifth gen airplane simply isn’t true.

Lt. Col David R. Berke, Commanding Officer of Marine Fighter Attack Training Squadron 501 (VMFAT-501) (forward) and fellow pilots listen to the opening remarks of the F-35B Lightning II’s Showcase aboard Marine Corps Air Station, Beaufort, South Carolina, August 20th, 2013. VMFAT-501 will consist of 20 F-35B Lightning II’s and serve as the Fleet Replacement Squadron. (Official USMC photograph by Sgt Angela M. Maddux/ RELEASED)

Which flavors of the F-35 have you flown?

The F-35B is the short takeoff/vertical landing, and that is the plane that I have flown.


The vertical landing is incredibly impressive. Is it difficult to pull off?

The vertical landing in the F-35B, I can’t describe how easy it is. The design of that airplane and what they were able to make it do with the technology and the software is incredible. My mom got to watch my very first vertical landing in an F-35. I was able to look out the window and wave to her, which was pretty special. The landing is so easy to do. It is the most rock steady, stable thing I’ve ever seen in aviation. Guys that flew Harriers will tell you the difference between the two is night and day.


Despite reports of budget overruns, the future for the F-35 seems bright.

It’s impossible to overstate the potential of the F-35. You can’t just say that it can do this, this, and this, and those are its limits. What this airplane does, and what it is capable of doing, it’s hard to put a ceiling on it. We’re still learning what it can do, so the worst thing that we do right now is take a template of the previous generation of airplane and overlay it on top of the F-35. We can’t go in and be satisfied with a little bit of a nuance change, or be happy with a little better performance. That’s the danger if we don’t push the envelope with this plane. We can’t get complacent. Look, pilots are habitual creatures. We’ve had a lot of success as aviators doing the things that we did, and it’s hard to have someone say, “That’s not how we do it anymore. Here’s all of the reasons why.”

Planes line up for a day of filming at the Navy Fighter Weapons School, better known as TOPGUN at Miramar Naval Air Station in San Diego, California, on Aug. 14, 1985. (San Diego Union-Tribune file photo)

So does that mean the pilots need to be flying more missions in order to learn how to get more out of these planes?

Absolutely. The sooner we get the F-35s to the pilots in the fleet, the better it is for everybody. Every day a fifth generation aviator gets into that airplane and after every mission he comes back and says, “You know what, look what I did here, here, and here. What should we think about here and here? Let’s get back to the engineers and talk about this. Let’s get back to the contractors and talk about this.” So, the growth of the airplane is all going to be internal to the people that are flying it. It’s not on a brochure, and it’s not on the assembly line. It comes from the pilots when they have the airplane in their hands. The biggest growth is happening in the operational tests, the FRS [Fleet Replacement Squadron], and the operational world, because they are the ones flying with it. If you want to limit the airplane, you can certainly do that. If you want to create unlimited opportunity, put in the hands of someone and say, “We don’t know what warfare looks like in 2030, we don’t know what this airplane is supposed to be doing in 2040. We have these particular missions that we know were going to operate, but what about all of the other opportunities that are out there?”


Let’s shift gears. Your military career took quite a turn – one minute you’re at TOPGUN, the next you’re on the battlefield in Ramadi, Iraq.

I left TOPGUN at the top of my game as a pilot – in fact, I was as good as I ever thought I was going to be. I had gone through this amazing experience as a TOPGUN instructor, and left TOPGUN not only as a Marine, but as the senior instructor on the staff. I was the training officer that ran the course. It was this amazing thing that happened, and I was really at the apex of my aviation career. The very next thing I did was volunteer to go and be a forward air controller. So I was suddenly back on the ground, back in Iraq, with a radio and a rifle and leading a team of Marines in this incredibly violent battle that I never anticipated being part of, which ended up being called the Battle of Ramadi. This was in 2006. As an aviator, I never thought that I would be a ground forward air controller, but that’s what happened. I certainly didn’t think that it would be one of the most seminal things that I would do in my career. Was I ready for that mission? Yes. Was I comfortable with that mission? Not even close. But despite how uncomfortable I was, and how different that environment was, and how in some ways I felt very much unprepared for being a ground FAC in urban combat, and how I was suddenly running around with a bunch of Navy SEALS that I work with now, I somehow learned to be comfortable with being uncomfortable.

US soldiers take up positions on a street corner during a foot patrol in Ramadi, August 2006

I can see where being on the ground during the Battle of Ramadi would make anyone uncomfortable.

There were so many different kinds of operations. You would go from doing something relatively benign to being in very dangerous, life and death circumstances where teamwork and communication is absolutely critical. And everything could change on a dime, so you never really had a chance to be comfortable. You just learned to be comfortable being uncomfortable, otherwise you couldn’t function effectively.


If you can share some of it, what was that world like for you?

You know, being part of a 3 Humvee presence patrol in downtown Ramadi is not cool. You are just waiting for something to go wrong. Whether that is getting lit up in a firefight, or having RPGs shot at you, you are literally just driving around and waiting for somebody to do something to you. Then you could go right from that to getting some intelligence that somebody you needed to grab was in a house somewhere in a totally different environment, and then you’d be off doing a raid. Then you might be a part of the QRF – the Quick Reaction Force – where you were literally stationed outside of the main base, waiting for somebody to call for help. Whenever those calls came we knew that something had gone wrong, and we’d get the coordinates and we’d mobilize.


I don’t think the average civilian stops to consider exactly how dangerous an environment like that can be.

A lot of time was spent doing what is called movement to contact. In a movement to contact mission, you literally take all of your folks out in Humvees, set up a staging area, and walk a patrol. You might be on the north side of this urban area, maybe it’s big and wooded there, with a lot of dirt, and you might have little ravines and trees and stuff. That would be your staging area. Then, 10 or 15 guys would go on foot patrol, canvassing this urban area from north to south. It was called movement to contact because you walked until you made contact with the enemy, and then you got into a firefight.

Chris Kyle, the United States Navy SEAL sniper and subject of the 2014 Clint Eastwood film American Sniper. Kyle and Berke frequently worked together in the Battle of Ramadi

This is a vastly different world than what you experienced in the air.

I remember my first day with Bravo Company 228, and meeting the platoon commander for the first time. As I got out of my Humvee, he walked up with a shotgun hanging on his kit. I was the brand new guy, and I’m thinking to myself, “What am I doing here? I’m going on a foot patrol with a guy with a shotgun.” So, I tell him that I have a rifle. He goes, “To be honest with you, I found out that this is the best weapon for these types of missions.” And it turns out that he was right. From then on I didn’t go on one of those missions without a shotgun.


Take me inside the day in the life of a forward air controller.

My job as a FAC might be to get into a building and get up on top of the roof right away, where I would do cover watch. I had radio connection to airplanes in the sky. I had Navy SEALS on the ground. I might go, “This is what I see. This is what the airplane sees. Okay, you guys jump to the next building. Go.” Sometimes the next building would be 20 yards away. Sometimes it would be 200 yards away. So you would do these compounding movements, building-to-building, and when they would get to the next building, my other guy would already be up on the roof, waiting. He would give the all clear, then we would go to the next building.

There was one mission where we worked our way into a building in Ramadi. If you can picture it, half of us are on the roof and the other half are trying to move to the next building, when suddenly 3 RPGs hit the building that I’m in. The explosions happen right underneath me. The problem was, the other half of our team was 15 feet below us, so the RPGs hit above their heads but below us. The enemy fire came from a car on a dirt road near some trees. Thankfully, we had two F-18s overhead.


Please tell me your radios were working.

Funnily enough, in the Marine Corps they tell you the story that one day you are going to be in a firefight, and there’s going to be an airplane overhead, and it’s going to be a buddy of yours from The Basic School. Your buddy is going to roll in on his white horse – in this case a Hornet – and blast the enemy away. As an aviator hearing these stories I was like, “Right on. I’ll be the one rolling in on the white horse,” but the problem on this day was that I was on the ground. Well, it turns out that the guy flying the plane was a buddy named Boo Freeman. I radioed that we had troops in contact, and that we were taking fire from wherever, and on the radio he says, “Hey Chip, it’s Boo. What do you need?” That took me right back to TBS, but again, the problem was that I was supposed to be in the airplane and not on the ground when that happened [laughs]. I gave him the coordinates of the car in the trees and we got four passes from these F-18s. They did strafing runs on the car. At that point I knew we were going to be fine.

Dave Berke

Following your military career you joined a leadership consultancy called Echelon Front. Please tell me about Echelon Front.

Echelon Front is a leadership consultancy started by two former Navy SEALS, Jocko Willink and Leif Babin. My involvement in Echelon Front had its genesis in Ramadi, where Jocko was in charge of a task unit and Leif was his platoon commander and second in command. My Marines were doing forward air controller stuff, and their SEALS  were doing field stuff, so I got to know those guys really well and built a really strong relationship with them. After the Battle of Ramadi it never occurred to me that I would see them again, but we stayed in touch. They wrote a book together called Extreme Ownership, which became a huge success, and they evolved their focus into Echelon Front. The company started to take off, and that’s when they asked me to join them. I had the utmost respect not just for who they were as people, but also what they were teaching, so joining them was a no-brainer. I have been with them ever since.


In what ways did your military career prepare you for your role at Echelon Front?

The key leadership attributes that allowed me to be successful at TOPGUN in an airplane – humility, ownership, teamwork, and discipline – were the exact same ones that helped me to be successful in Iraq. These leadership attributes translated to the corporate world. You need to stay very much unemotional with what’s going on. You need to follow standard operating procedures to be successful and deal with dynamic environments.

I had to lead my Marines and keep them calm, and I had to make good decisions and do all of the same things that I had done in every other setting leading up that. In Ramadi, people were literally shooting at us on a regular basis. We were getting into firefights almost daily. If I could deal with the reality that I was in this crazy urban combat environment as part of the counterinsurgency, and if I could deal with all of the bad things going on around us and maintain my composure, then those attributes were going to play a huge part in the outcome. I relied on those attributes heavily. It started with being very disciplined, and with building good relationships with my team members so that I could rely on them in that time of need. And then recognizing that, although I wasn’t as good as I could be, I would continuously strive to get better. This approach certainly served me very well in Iraq, especially in the Battle of Ramadi. As I transitioned to Echelon Front, these experiences became the foundation of my message to our corporate clients.

Echelon Front is a leadership consultancy started by two former Navy SEALS, Jocko Willink and Leif Babin

Do you draw on your journey to becoming a fighter pilot?

Absolutely. There are some big picture things that I call strategic goals, and then there are the shorter range, tactical types of goals that you strive to attain along the path to reaching those strategic goals. You have to visualize what it is that you want to be, and where it is that you want to go. For me, I had a lifelong dream of becoming a fighter pilot. That was a very big strategic vision. If it’s a company, and you are a part of the executive leadership team, then you are likely asking yourself where you want this company to go. It’s not what we do as a company every day. The focus is on the bigger questions, such as the company’s strategic vision. Where do we actually see ourselves in future? What impact do we want to make? You can do the exact same thing with your family. What do we really want out of our lives? Where do we see ourselves raising our family? Those are big decisions wrapped around big dreams, which ultimate become your strategic goals.


The strategic goals almost act as a compass.

Exactly like that. You can consider these strategic goals your guiding light – your North Star. For me, becoming a fighter pilot was my North Star. But wrapped up inside of that are all of these smaller, shorter range tactical goals that continue to happen. Even after I became a fighter pilot, I wanted to continue to get better. I wanted to learn more about aviation. I wanted to learn more about fighter jets and how to fly them better. I wanted to be effective in war. I wanted to be a better instructor. I wanted to influence an organization like TOPGUN to be even better. And while those don’t all fit in the same category as this lifetime strategic vision, inside of that larger vision you have a whole bunch of other tactical goals that are constantly changing and constantly being pursued. These smaller goals are what reinforce the big ones. They don’t work without each other.


You set goals. What were the other difference makers that helped you reach your goal of becoming a fighter pilot?

I think what allowed me to be successful was a combination of two things. One, I was singularly focused on accomplishing the big goal of flying fighter jets. I didn’t care about anything else. Anything in my life that I perceived to create a potential risk of reaching that goal, or that didn’t contribute to me accomplishing that goal, I didn’t do it. Anything that didn’t actually help me get to that end, I didn’t do it. I refused to get distracted by anything that could potentially get me off the path to becoming what I wanted to become. I had the discipline, fortunately, to not get wrapped up in other things. I wasn’t a big partier, and I wasn’t someone who would go out and do crazy stuff that might jeopardize my pursuit of that goal.

Two, I did the homework. Initially, becoming a fighter pilot might seem like an overwhelming endeavor, and in some ways it’s a little mysterious, but the reality is that it’s a process just like anything else. There is a way to go about doing things to at least optimize your chances. Certainly, there are no guarantees in the military. We follow orders, and we don’t always get to choose what we want to do, but there’s a fairly straightforward methodology to accomplishing the things that you want. I did the research to figure that out. I knew that I had to pass certain tests, and I knew that I needed to study a certain way to prepare for these tests. I needed to go to Officer Candidate School. I needed to go to college. So there were a whole bunch of things required to turn this dream into a reality, and you actually have to know what those are so that you don’t get caught off guard. That requires preparation. It requires a plan. It requires a timeline and a whole bunch of other components. So, I did the work that was required to understand what I needed to do to turn the dream into a reality, and I got on a path and I stayed on the path. That doesn’t mean that there won’t be deviations and movement around that path.

Echelon Front is a leadership consultancy started by two former Navy SEALS, Jocko Willink and Leif Babin

At Echelon Front, you talk about hard work, preparation, and attention to detail.

There’s no such thing as luck by itself, the other ingredients include timing and preparation. There are a bunch of things that are inside your control, and a bunch of things that are outside of your control. I cannot sit here and take credit for all of the things that happened that got me to TOPGUN. There were a lot of things that played into it that I had no direct influence on – good timing, good circumstance, good fortune – we call that luck. But for any goal that is very daunting or that very few people are going to achieve, there’s a ton of preparation that is required. The true differentiator is to have the vision to know when the opportunity and the preparation reveal themselves simultaneously. If, in those moments, you are prepared, capable, and available to execute on what is required, the probability of achieving your goal goes up greatly.


Even then, there aren’t 100% guarantees.

The truth is, you could do a whole bunch of really hard work and things still don’t always work out the way that you want. That is just a fact of life. But if you aren’t prepared to take advantage of opportunities that reveal themselves, then you can’t capitalize on them. Those opportunities will come and go and the outcome won’t be what you had hoped. Being prepared for those moments requires a ton of hard work that most people never see. And it can seem, for the most part, unrewarding. Being very disciplined is critical for when those moments do arise. It’s the same in business. Good deals don’t fall in your lap. But if you’re prepared and the timing works out, you’re in a better position to take advantage of the opportunity.


You speak about being comfortable operating in the margins where you’re not comfortable, and making hard decisions. How do  you deliver this message to your clients at Echelon Front?

A lot of times leaders don’t like making decisions when they are unfamiliar or uncomfortable with the situation. One of the worst things, if not the worst thing that we could do, especially when we are uncomfortable, is to be indecisive. Look, it’s easy to make decisions when you’re really comfortable and you are familiar with the setting and you think you got a good handle on things. It’s a lot harder to make decisions when you are not comfortable. I get that feedback all the time, especially from young, emerging leaders. But the reality is that being indecisive is one of the worst things you can do. Conversely, one of the best things you can do as a leader is to make a decision and then start to move in some direction. This is even more true if you are uncomfortable.

Dave Berke
Director of Leadership Development and Alignment Programs at Echelon Front

Can aggressive decision making turn out to be dangerous at times?

It doesn’t mean that you have to over-commit and be so overly-aggressive that you can’t maneuver and you can’t retrace your steps if required and go in another direction. But you have to start moving in some direction. You have to take action. You’re going to get some feedback over whether or not that decision was good. Once you start to move, you start to get a better assessment of what is going on, and then you continue to keep moving or you make adjustments. Otherwise, panic and fear and indecision can sink in because the environment can prove to be overwhelming. Combat is most certainly like that, but it’s true anywhere in leadership. If you don’t feel like you know what you’re doing, it’s only natural to feel that you don’t want to make a decision. That’s the worst thing that you can do, so I try to let people know that the best thing you can do is assess the situation the best way that you can, get the inputs that you need, make a decision, and then go in some direction and see what happens when you do that. Then, allow yourself the ability to make changes so that you are not the so wedded to your decision, and don’t lack the humility to admit that it might be wrong. You can’t be frozen in time, waiting for all of the information to reveal itself so that you can make the perfect decision. The perfect decision will never come.


Perfection is not attainable, whether that is in aviation or the corporate world. Mistakes are made all the time. Do you see mistakes as an opportunity?

I love the way you said that. Perfection is a lie. Perfection does not exist because we are human beings, and human beings are and always we will be flawed. What we hear a lot of times is that we want to attain perfection, and that we need to be perfect to be successful. You hear that from leaders all the time. The external view of TOPGUN is one where we are these amazing, awesome pilots and that our flights are perfect. The truth is, TOPGUN is made up of people just like you and me, and people make mistakes all of the time. Never once in my career did I ever see a perfect flight from anybody. Not at TOPGUN. Not anywhere.

In the corporate world, leaders who demand perfection from their people they are actually setting them up to fail. Think about it: If you have people that are working for you, what they want to do more than anything is to meet the goal and achieve what is being asked of them. When leaders tell their people that they need to be perfect to be successful, people will hide mistakes rather than admitting to them. Why? Since perfection is not attainable, they start to hide what appear to be really tiny, almost insignificant errors or deviations. These tiny little errors and deviations may be borderline insignificant by themselves, but over time they compound until you have a crisis or a catastrophic event.

Dave Berke

The kind that take down organizations like Enron or Lehman Brothers.

Exactly. So my mentality has always been, and what it really should be for every leader, is to not ask for anybody to be perfect because that state doesn’t exist. Instead, identify everything that you are doing wrong. Think about the strength of an organization that says, “I’m willing to tell you about a mistake that I made that was so small and so insignificant that you didn’t know that it happened. I’m going to tell you about it because it’s going to help me, it’s going to help somebody else, and it’s going to help our organization.” In a culture like that, an organization isn’t hiding all of these tiny little mistakes, it’s focused on identifying them, which is the exact opposite of the normal pursuit of perfection. Suddenly you have this open flow of communication through which errors are identified, which in turn creates cycles of learning. TOPGUN does that. At TOPGUN, we are actually rewarded for telling people about the things that we are doing wrong so we can learn from them. The primary goal is for our pilots to be able to come back from every flight or mission.


It might sound counter-intuitive, but some of the best leaders fess up to their flaws. Do you think this makes leaders more credible?

Our ego is what keeps us from wanting to tell people that we are flawed. We don’t want to fess up, we don’t want to admit that we’ve done anything wrong. Our ego tells us, “Don’t admit to that because you are going to look bad. You are going to look weak. You are going to look small.” I’ve got news for you. There isn’t another human being in the world that doesn’t already know that you are all of those things. As a leader, the amount of credibility that you lose by trying to hide a mistake that you’ve made is incalculable. It doesn’t matter if it’s in the private sector or you’re in a squadron in the military. By digging in and not admitting your mistake it compounds the problem and it undermines your credibility.

The flip side is, if people know you’ve made a mistake and you stand up and say, “Look, I got this wrong,” then they immediately lower their defenses. That’s because they may be expecting you to defend yourself, or make excuses, or point the finger. The minute you take responsibility and take ownership of your mistake, you suddenly become a much more credible and effective leader. That’s how I approached it at TOPGUN or anywhere else I’ve been in my career. I would rather others view me as a standup guy who admitted to a mistake and then went and fixed it. I would rather someone say, “Dave didn’t blame me or anybody else. He took ownership of his mistake.” When you do that, not only do you get your credibility back, you get support from your counterparts because they realize that you are willing to take responsibility for the error.


That’s powerful stuff.

To take it a step further, think about someone who looks at you as a leader and thinks, “Man, this guy is so good. He never makes any mistakes. He’s our all-star player. He’s the best person on the team, and the person who consistently makes the best contributions.” Then you approach your team and say, “You don’t know about this yet, but I screwed up something the other day. I want you to hear about it from me, so that you don’t make the same mistake.” You want to talk about credibility! You already have a lot of credibility because people think that you are a highly effective person, and then you are also willing to admit, unsolicited, something that you’ve done wrong for their benefit. That type of leadership capital is really hard to come by. Those leaders can pretty much do anything, because now they’ve got an incredible group of loyal people around them who realize that that attribute of humility – admitting your mistakes – is being shared from the top, with full transparency.


What are your thoughts on empowering teams?

I’m a big believer in it for numerous reasons. As a leader, it’s impossible to be around all of our team members all of the time, so we want them to feel empowered to make really good, smart decisions on our behalf when we are not there. At Echelon Front we call that decentralized command, meaning that everybody leads.

Dave Berke

How do you create that culture of empowerment?

Since it’s critical to have everybody lead, it’s critical that your people understand the mission. They need the proper training and resources so that they are empowered to make decisions that support the mission. And then we need to support them. When they go out and make decisions you understand that they are going to make mistakes.


How do you respond to their mistakes?

As a leader I take responsibility for those mistakes because I am ultimately responsible for the people on my team. Empowerment comes from not just saying, “I want you to go out to make the decisions, and I want to go out and do things that are going to help the team.” You have to take it a step farther. You have to show them that if they get something wrong, or if they screw up, that you’re going to take responsibility for that. That’s how you cultivate an incredible amount of loyalty from your people. Suddenly they are saying, “Dave is willing to let me make decisions on his behalf when he is not around, and even if I get something wrong, Dave takes responsibility.” That’s powerful stuff. Conversely, when you point fingers or roll the bus over someone, people are less willing to make decisions when you are not around. Why? Because the last time they screwed up, you got mad at them, or you yelled at them, or you blamed them. You can only get the most out of your teams when you empower them to make decisions and then take responsibility for their mistakes. I’ve seen teams do some incredible things when the organization empowers its people the right way.

A sacred duty to remember those who gave everything, and to pass along their legacy to the next generation so our heroes are never forgotten.” – Dave Berke

Final Question: You’ve achieved great success in your life. If you had one piece of advice on leadership, what would that be?

You have to be humble. Without humility we can’t listen to other people, because we think we’ve got it all figured out. And if we can’t listen we can’t learn, and if we can’t learn we can’t get better. It doesn’t matter whether you’re flying fighter jets or a volunteer at the local food bank, humility is by far the most critical component to success.

Written By: Michael D. McClellan |Nobel laureate Arthur Bruce McDonald’s world, much like the solar neutrinos he’s so passionately studied for decades, changed in ways that could only have been theorized until October 6, 2015, when an early morning phone call from Stockholm, Sweden, transformed the unassuming, highly-regarded astrophysicist into a global scientific sensation. McDonald – who still prefers “Art” despite honors and awards that include the Order of Canada and the Fellowship of the Royal Society – woke to news that he, along with Japanese physicist Takaaki Kajita, would share 2015 Nobel Prize in Physics. What followed was a blizzard of phone calls, emails, and interviews, along with a realization that the flavor of McDonald’s life would be forever altered, relative anonymity replaced by mainstream celebrity. It was as if he’d gone to bed with a guitar in his hands and awakened as Buddy Holly.

“That phone call created a whirlwind,” recalls McDonald, without the faintest hint of hubris. “It took a long while for the media requests to settle down. Even today, I have to be selective about the frequent requests I receive for speaking engagements and travel, because my primary focus is once again on research.”

To appreciate what all the fuss is about, one must consider that everything in the universe – comets, crash test dummies, a Wayne Gretzky rookie card – is found to be made from a few basic building blocks called fundamental particles, governed by four fundamental forces. Our best understanding of how these particles and three of the forces are related to each other is encapsulated in something called the Standard Model of particle physics. That’s where McDonald comes in: The work by him and the team  at the Sudbury Neutrino Observatory in Northern Ontario led to the discovery of neutrino oscillations, which proves that neutrinos have mass, which, in turn, requires changes to the Standard Model at a very basic level. It’s the kind of revelation that not only turns heads, but turns an already brilliant career into the stuff of legend.

“Neutrinos are the basic building blocks that we know the least about because they are so difficult to detect,” says McDonald, professor emeritus at Queen’s University. “Therefore they were of substantial interest, because if one could measure their basic properties it would be of great significance for the fundamental laws of physics.”

Nobel Laureate Art McDonald

Billions of neutrinos harmlessly pass through our bodies every second, yet we cannot see or feel them.  The existence of these almost massless, electrically neutral particles was postulated back in 1930, when Wolfgang Pauli suggested their existence to explain a loss of energy when neutrons decayed. For over two decades these particles remained hypothetical, but in 1956, two American physicists, Frederick Reines and Clyde Cowan, detected neutrinos streaming from a nuclear reactor, which proved their existence. Experimenters later found that there were actually three kinds of neutrinos – electron, muon and tau neutrinos – but confusion in the scientific community ensued, because models of the Sun predicted there should have been more solar neutrinos than detectors picked up. This led to the “solar neutrino problem” that aggravated physicists for so long, as well as concerns that perhaps our understanding of the basic laws of physics were wrong.

“As scientists, we needed a way to measure the type of neutrinos produced in the core of the Sun and also the sum of all types of neutrinos,” McDonald says. “That’s where SNO and the SNO Collaboration comes in.”

The detection of neutrino particles in labs is difficult because of the many other cosmic particles reaching the Earth, and the numerous natural radioactive decays taking place. So, in 1990, McDonald began supervising the construction of SNO, a giant neutrino detector built 2 kilometers underground in a nickel mine in Sudbury, Ontario. A huge transparent acrylic tank, containing 1,000 tons of heavy water worth $300 million, was surrounded by a geodesic sphere equipped with over 9,000 light sensors. This assembly, in turn, was sunk in a massive cavity filled with regular water. All of the construction was carried out in ultra-clean conditions.

By 2002, McDonald and his team were able to prove definitively that neutrinos produced in the Sun were changing into the other two types as predicted. In fact, two-thirds of the electron neutrinos had transformed into muon and tau neutrinos on the eight-minute journey from the core of the Sun.

“We had an extremely clear result that showed neutrinos do change from one type to another,” McDonald explains. “This meant that, first of all, we had a clear indication that neutrinos change their flavor and therefore have a finite mass. We were also able to determine that the model of how the Sun burns, and in particular the nuclear reaction that we were measuring, was being calculated very accurately. Those measurements were quite significant, it was felt, in the world of physics and astrophysics.”

~  ~  ~

Let’s pump the brakes.

While there is no disputing the groundbreaking nature of the SNO Collaboration’s discovery, part of the success arises from the makeup of the man at the helm. Long before Art McDonald morphed into the tall, bespectacled, silver-haired scientist with a Nobel Prize in his dossier, he was a friendly, fun-loving teenager from Sydney, Nova Scotia, the kid who attended the local high school dances on Saturday nights. He met his wife, Janet, at one of those dances. They have been together ever since.

“And we still dance,” McDonald says proudly. “It helps keep us young.”

Art and Janet McDonald – Still dancing

He was born Nova Scotia, Canada in 1943 and McDonald’s father left shortly afterward to fight in the war. The resulting void was filled by his mother, two aunts, and grandparents who lived close by. He played sports, held down a 104 house paper route (which he now recalls as being all uphill, particularly in winter), and did well in school.

“I had a very pleasant childhood, with lots of interaction with family and friends, and very nice teenage years,” McDonald says. “My family were congenial and warm, and encouraged open communication. They helped me understand that you can be far more productive if you got along with others. It was a great environment to grow up in.”

The lessons learned during his childhood help lay the foundation for the expert leadership he would later demonstrate at SNO. He chose Dalhousie University in Halifax, N.S. for his undergraduate and master’s degrees, trying chemistry, geology, and math before falling in love with physics. From there, McDonald landed at Caltech, where he had plenty of beam time running the Kellogg Lab’s Van de Graaff accelerator, and where he also got to know two famous scientists, Raymond Davis and John Bahcall. It was Davis and Bahcall, ironically, whose work in the Homestake Mine in South Dakota and on the theory of neutrino production in the sun led to the solar neutrino problem that McDonald and his team would ultimately solve.

“Ray Davis came to Caltech during the summers while I was there,” McDonald explains. “John Bahcall was a junior faculty member in theoretical physics at that time, so I was certainly quite knowledgeable about their work, and what came to be known as the solar neutrino problem.”

Nobel Laureate Ray Davis, Jr. (Center)

Where the Higgs boson has famously come to be called the “God Particle,” neutrinos have earned a  well-deserved nickname of their own.

“The Ghost Particle,” says Arthur Loureiro, study author and PhD student in the University College London’s Physics & Astronomy department. “Neutrinos are tiny, very weakly interactive ghosts, but they are also abundant – a hundred billion neutrinos fly through your thumb from the Sun every second, even at night.”

On the hunt for the elusive Ghost Particle, Davis set out to observe neutrinos by monitoring what happens on the rare occasion when a neutrino collides with a chlorine atom and creates radioactive argon, which is readily detectable. At the core of the experiment was a tank filled with 600 tons of a chlorine-rich liquid, perchloroethylene, a fluid used in dry-cleaning. Every few months, the scientists would flush the tank and extract about 15 argon atoms, evidence of 15 neutrino interactions. The monitoring continued for more than 30 years. Meanwhile, the solar neutrino problem continued to baffle scientists.

“Imagine trying to catch a mosquito traveling at the speed of light with a butterfly net,” says Giuliana Galati, physics professor at University of Naples Federico II. “Even though neutrinos are the second most abundant particle in the universe after photons, they are the most elusive.”

The most intriguing explanation for the missing solar neutrinos was that, while the Sun creates as many electron neutrinos as it should, on the way to the detector they change into their cousins, muon and tau neutrinos, and possibly back again. Muon and tau neutrino flavors were invisible to Davis’s detector. To test this “neutrino oscillation” hypothesis, new kinds of detectors were needed.


SNO was initiated in 1984 primarily to provide a definitive answer to the solar neutrino problem. The persistence of the problem motivated Herb Chen to contact Canadian scientist Cliff Hargrove, a former colleague, to explore whether enough heavy water could be made available on loan to perform a sensitive measurement and determine whether the neutrinos change their type in transit from the core of the Sun.

“Heavy water is deuterium oxide, rather than hydrogen oxide,” McDonald says. “Instead of having just a proton in the nucleus, you also have a neutron in the nucleus, which makes it heavier than ordinary water but chemically similar. The unique properties of deuterium made it possible to observe both the electron neutrinos produced in the core of the Sun and the sum of all neutrino types.”

With the immediate involvement of George Ewan, who had been exploring underground sites for future experiments, a collaboration of 16 Canadian and US scientists was formed in 1984, led by Chen and Ewan as Co-spokesmen. In 1985, David Sinclair brought the UK into the collaboration. Sadly, Herb Chen passed away from leukemia in 1987. The collaboration continued with Art McDonald and Gene Beier as US spokesmen and grew with the addition of other institutions in the US and Canada for a total of 13 institutions. In 1989, funding was provided jointly by Canadian, US and UK agencies with McDonald as Director of the project and the scientific collaboration.

All of which brings us back to McDonald, who not only had a reputation as a brilliant scientist, but who was also someone well-connected to the Canadian and United States scientific communities. As affable as the day is long and an expert consensus builder, McDonald was a good choice to lead the SNO Collaboration.

“Art was always soft spoken at collaboration meetings, and asked the simplest, but most important questions about each of the details being studied,” University of Winnipeg Associate Professor Dr. Blair Jamieson was recently quoted. “He valued the ideas and input from everyone involved. I was part of a small group at UBC working on the third phase of SNO where all flavors of neutrinos were detected in the SNO heavy water, and in a set of proportional chambers.  For that analysis I developed a new Bayesian analysis that simultaneously fit the data from both detectors.  Art had many questions about this new analysis method, and eventually was convinced that it should be adopted as the main analysis for extracting the solar neutrino fluxes.”

Neutrino Detector – Sudbury Neutrino Observatory

On Jan. 4, 1990, the SNO project was announced in Ottawa. Scientists, engineers and contractors descended in droves upon Sudbury, until then a city known primarily for the nickel-copper ore discovered in 1893 at the edge of the Sudbury Basin. It was this 19th century discovery that brought the first waves of European settlers, who arrived not only to work at Murray Mine and others like it, but also to build a service station for railway workers. Nearly 100 years later, the mines were of keen interest to neutrino hunters.

“We looked at a number of mines and developed a good relationship with the people at Inco, who owned and operated Creighton Mine at the time,” Ewan, now Professor Emeritus of physics at Queen’s University, was quoted as saying.

SNO gained momentum. With McDonald as Project Director, crews completed construction of the plastic acrylic tank, which was built two kilometers underground and 12 meters in diameter. The work proved tedious, as each of the 120 pieces had to be lowered down in the mine elevator and then seamlessly bonded. Sometimes the bonds would form bubbles; workers had to sand them down and start over. Whether it was complications with the tank, or issues encountered with the detector’s 9,600 light sensors, McDonald looked to the very competent scientific collaboration and technical team to solve the problems. Perhaps mostly importantly, McDonald kept his cool through the myriad crises cropping up on a weekly basis – not surprising to anyone who’d ever taken classes from him.

“He was an excellent professor,” says Dr. Ian Hill, who did his fourth-year undergraduate thesis on the SNO Collaboration. “Art is very genuine, down-to-earth, and humble – just a very nice guy. He conveyed information very well, and was never intimidating – which of course, theoretical physics certainly can be.”

~  ~  ~

Stephen Hawking – yes, that Stephen Hawking – was there when SNO opened in the spring of 1998.

A rock star in the scientific community as well as an undisputed pop culture icon, Hawking brought a street cred to SNO that made the world take notice: Something important, and equally cool, was about to happen at this wintry Canadian outpost.

In 1999, SNO began collecting data. In 2002, the team announced its definitive results: Neutrinos from the Sun weren’t disappearing. Instead, the pathologically shy particles were oscillating, switching “flavors” on their journey – which is why Davis was unable to account for the anticipated number.

Stephen Hawking, Art McDonald and others – Sudbury Neutrino Observatory – 1988

“We were able to show that we understand very accurately how the Sun burns,” McDonald says. “It was an exciting time for everyone involved.”

The SNO Collaboration’s results, in conjunction with the work led by Takaaki Kajita at the Super-Kamiokande (Super-K) detector, resolved the solar neutrino problem that had perplexed scientists for decades. As expected, the findings were met with great fanfare; the same year that SNO published its results, Raymond Davis won the Nobel Prize in Physics, alongside Masatoshi Koshiba of Japan, for the “detection of cosmic neutrinos.”

As for the Standard Model?

Gone was the Standard Model’s massless neutrino traveling at the speed of light. In order to exchange identities, neutrinos have to have mass, if only a little, with a different mass for each flavor. Despite the discovery of the Higgs boson, the Standard Model isn’t complete. The results from SNO and Super-K offer a pathway toward a new model, and a new way to understand the universe.

~  ~  ~

Hawking returned to Sudbury in 2012 and went underground with McDonald. A specially designed railcar allowed the wheelchair-bound scientist to travel through “The Drift” and into the clean facility. Hawking toured the expanded surface and underground facilities at SNOLAB and put the science there back into the spotlight.

There were many who felt it was only a matter of time before a Nobel was awarded for the SNO measurements. McDonald, for his part, chose not to buy into the hype. “There are things beyond your control,” he says, “and the Nobel Prize is one of them. You can either worry over it every year the awards are announced, or you can get back to work. All of us involved with the project got on with doing science.”

Stephen Hawking, Art McDonald and others – SNOLAB – 2012

Indeed.

And then, on October 6, 2015, everything changed with a 5:15 a.m. phone call.

“It was an incredible moment, but winning the Nobel Prize isn’t about one person,” he says quickly, pointing out that a maximum of three Nobel laureates and two different works may be selected for the Nobel Prize in Physics. “That is regrettable, because there were 273 others involved in our discovery, and they deserve as much credit for this award as I do. How do I bring 273 people with me to Stockholm?”

~  ~  ~

Today, SNO has expanded into SNOLAB, the facility doing additional research into those maddeningly elusive neutrinos. There are also other experiments underway, including the hunt for dark matter, the mysterious substance that makes up more than a quarter of the known universe. McDonald, as you might expect, has rolled up his sleeves and is pouring his energy into the science currently underway.

“It’s an exciting time for the DEAP experiment,” McDonald says, touching on the direct dark matter search experiment which uses liquid argon as a target material. “The Nobel Prize and everything that has come with it has been wonderful, but I’m happy to be back doing research. I’m looking forward to what we learn about dark matter with DEAP and its successors and about neutrinos with the new SNO+ experiment.”

Let’s start at the beginning.  Where did you grow up?

I come from Sydney, Nova Scotia. It was, and still is, a city of about 30,000 people, and therefore a small town, so to speak. It’s interesting, actually, because there have been six Canadian winners of the Nobel Prize in Physics, and every one of them has come from a town of fewer than 40,000 people or so at the time they were born. So, in Canada at least, the Nobel Physics Prize appears to be a small town exercise.


Early on, who were some of the key people instrumental in your development?

My early childhood education was an important part of my later success. I attribute that to close relatives and the closeness of the family. I had a grandmother and grandaunts who taught me many things when I was very young. My parents also played very important roles in my development.

Interestingly, neither my father nor my mother went to university. This is partly because of what was going on in the world at the time – I was born in 1943, and shortly after I was born, my father went overseas as part of the European campaign. He received the Military Cross for the role he played in the liberation of Holland. It is the second highest military medal in the Canadian Armed Forces, so he was a strong achiever. He later earned an accountant’s degree, and went on to become the business manager of the newspaper, and also a town councillor.

Baby photo – Art McDonald with his parents

My mother was a housewife. In those days, that was essentially the normal thing – when you got married, you stopped working, and you became a housewife. In this case, she stopped her secretary job, but she was a very intelligent person as well. Later, she and my father developed a subdivision in the city and she served as contractor for a number of homes. So, even though my parents never had a university education, they certainly were very inspirational, both to me and to my sister, who is ten years younger and obviously a post-war baby.


What were your high school years like?

It was the late 1950s, so it was the Rock and Roll generation. We had service clubs at the local YMCA, boys clubs and girls clubs that had meetings on Friday nights followed by dances afterwards. We also ran the dance for the high school every Saturday night. It was an ideal situation to meet people in a very nice atmosphere. Everybody was having fun. I met my wife through that group. We were married seven years later, after we finished university. My wife and I have continued to dance, even now that we are in our 70s. We still enjoy it, so that has certainly been a part of my life all the way along.


Let’s talk mentors. Who in high school inspired you?

I went to university with a significant interest in mathematics, rather than particularly science, or particularly physics, and that was mainly because I had an excellent mathematics teacher in high school. His name was Bob Chafe. We had a class of about 35 students during my senior year, and those were the ones that were interested in math and science. There were two others in that class besides myself who went on to get PhDs (in mathematics). Bob Chafe certainly had an inspirational effect on that class. Every now and again you are lucky to get a mentor like that.

Art McDonald shows off his Nobel Prize medal

Following high school, you went to Dalhousie University in Halifax, Nova Scotia. How did you become interested in physics?

Kids often ask me how to choose a career. I respond by saying, “You should choose a few things that you would be happy to do when you wake up in the morning. Then try them out. See what you are good at, and what you actually enjoy doing.” That has been basically my experience. I tried physics, chemistry, geology, and math in my first year. Physics just worked for me. I loved the way that you could apply math and calculate things that actually applied to the way the world worked. I did well in it and I had very good marks, and that was because I really enjoyed doing what I was doing. I went on to complete my master’s degree in physics, and that convinced me that I wanted to do experimental physics.


Please tell me about Professor Ernie Guptill, your first year Physics teacher.

Ernie Guptill, or Ernest Guptill, was also a great mentor. He was originally from Grand Manan, a small island located between Nova Scotia and New Brunswick. He loved outdoor activities, and he loved sailing. He lived on the shore of the harbor in Halifax, where he had a pet lobster tethered underwater in front of his house, which was quite interesting. To see it, you had to don a wetsuit. Once, he invited a close friend of mine and I over to see the lobster, and I actually got to go down and meet the lobster personally. I still have a picture from that day. I’m wearing the wetsuit.


It sounds like Ernie Guptill cared about his students.

He was the chairman of the department at the time, but he also went out of his way to teach first year physics. He inspired me, as well as a number of other people in my class, to go into physics as a serious activity. He was also very personal with the students, and took a vested interest in their work. He was a well-revered professor. It was that kind of friendliness that, coupled with the educational activity, made what was really a small university at the time a very warm and friendly place. It was filled with good people. It was an excellent place to do your undergraduate and post-graduate work.

Tragically, Ernie Guptill lost his life attempting to save someone who had fallen into the cold water in the spring in Halifax. They both perished from hypothermia. That happened about 10 years after I left Dalhousie. I was honored to go back at one point and deliver a lecture in his honor.


SNOLAB – Dark Matter Detector

While at Dalhousie, you were introduced to engineering physics by working in the summer for Professor Ewart Blanchard, measuring gravity on the roads of Nova Scotia.

You have really done your homework. That is correct. Ewart Blanchard, one of my professors, was a pioneer in what these days is referred to as technology transfer. He went on to become the Director of the Nova Scotia Research Institute, which was a government agency supporting research – particularly supporting the connection between universities and industry. At the time he had two programs going, both of which turned out to be very productive. One in which I was involved was measuring gravity to a part per million over large areas. Professor Blanchard also had students involved in seismic activities, setting depth charges off boats in the surrounding waters, which eventually led to the discovery of a gas source off the coast of Nova Scotia. This was the 1960s, so this was somewhat pioneering activity at the time. I have a lot of respect for Professor Blanchard, not only as a person, but also for his foresight in moving in these sorts of directions, and for the way he used students in the process.


How did you conduct your measurements?

We had our own Jeep. I was using a device that was sort of like a coffee percolator, which was basically a thermos to insulate the inside material, the material being a quartz spring that was capable of measuring gravity to about a part per million. We actually discovered what eventually turned out to be a very productive gypsum mine in Nova Scotia. This was because gypsum, with a very low density, gave a big difference in the gravity. My friends were measuring elevation, because you have to correct for elevation when you are dealing with a part per million, so they played an important part as well. It was a wonderful summer experience. Professor Blanchard and I became very good friends.


You earned your Master’s Degree in Physics at Dalhousie University. What memories do you look back fondly on?

I was studying the lifetimes for positrons in metals. What we discovered in the year that I was there, which was followed on by a couple of other graduate students thereafter, was that the time that it takes a positron to find an electron and annihilate with it – which is time that is in the nanosecond region – depends strongly on whether or not there are defects in the material. That was the basic discovery. In fact, this work remains one of my highest cited papers. It has turned out to be very useful in situations where there is a buildup of defects in materials, like nuclear reactors, where the question is, “What’s the longevity of the material that you are using in terms of the integrity of the reactor?”


That is a significant research effort.

It was very practical. This was ten years before positrons were used for positron emission tomography, a medical diagnosis tool of great value. At the time I had a professor named Innes MacKenzie, who was a very good experimentalist, and very creative. He was a good mentor for me. I was in the laboratory 5-to-7 days a week, and he made the experience fun. The attitude was, “Let’s try this; let’s try the next thing; let’s follow our ideas as to what it is that’s causing this.” And I just discovered that having your hands on equipment, and being able to make these measurements, was great fun. That continued when I got to Caltech.

Innes MacKenzie

And Professor Innes MacKenzie is someone else who’s had a big influence on your life.

Professor MacKenzie did have a big influence, and we maintained contact for many years. To give you a feel for the sort of consummate experimental physicist that he was, we both happened to be back at Dalhousie speaking at an undergraduate physics conference there, and we had dinner together. During dinner we were talking about a problem that we were faced with at the Sudbury Neutrino Observatory project, where the team was preparing to spray layers of material on the cavity walls. This is a cavity that is 70 feet in diameter and 100 feet high – or roughly 22 meters in diameter and 34 meters high – and we needed it watertight and radon tight in order to keep the radioactivity in a very low level.

Innes MacKenzie was actually retired at the time, and he was working on the backscattering of x-rays from materials – in fact, he had developed a technique whereby you could measure bone density for bone density scans by looking at the backscatter of these x-rays.

He said, “I think my device would work for your situation.” Six months later we were delivered not only a device that measured the thickness of the layers that we were putting on, but also was coupled to a small, belt-suspended computer system to capture the data and store it.

I maintained contact with Professor MacKenzie for many years, including speaking to him after the award of the Nobel Prize. Sadly, he passed away a couple of years later, but he maintained contact with his students throughout his life.


Aside from science, what were some of the other things you were into while at Dalhousie?

I was on the junior varsity football team for a year at the university. I wasn’t part of the topline team, but that year I was probably in the best physical shape I’ve ever been in. Football just took too much time after I got into the third and fourth years of my studies. I also played golf and tennis recreationally. I wasted a lot of time in university playing ping-pong and pool, but that was the primary form of relaxation at the time.


The average layperson may think of highly successful scientists as being an arrogant and humorless lot. In your case, I don’t think the stereotype applies.

With respect to humor, I’ve always liked approaching things in a positive and humorous way whenever possible. Point of fact, I actually started every one of our collaboration meetings with a joke that, unfortunately, became known as “Art’s Joke,” which was not necessarily a positive term [laughs]. If anybody got into a serious argument during the process of our collaboration meetings, which often happened, anyone was allowed to yell out the punchline of that particular joke as a way of diffusing the tension. The point being, let’s not get too serious about ourselves here, we got into this to have some fun. That is one of the messages that I like to give to students. Science is fun. You really can have an enjoyable time doing science if you work hard, but also if you realize you’re in it to enjoy it.

Order of Nova Scotia recipient Peter Nicholson

I’ve read where Peter Nicholson, who served as head of policy in the Office of the Prime Minister of Canada, was one of your closest friends in college.

Peter Nicholson is a very remarkable individual. He was the other fellow who was at Ernie Guptill’s when we went to meet the lobster [laughs]. He was my college roommate after second year at university, which worked out because we got along really well, and still do. He and I went to a space physics course at Columbia University in 1963. It was a summer six week summer course run by NASA. A poster described where you could apply, so we did. It was amazing. They accepted a couple of Canadians at the time, and we not only got the space physics course, but we got to tour the NASA facilities in Houston and Cape Canaveral as they were back then.


Is it true that the two of you hatched a plan to visit various graduate schools on the US east coast?

We were both looking at United States universities for post-graduate studies, so we went together to the chairman, who happened to be Ernie Guptill at that point. We said, “Look, we would love to go and visit these places. We will make you a deal. If you’ll write some letters on our behalf and support our trip, then what we will do is go and interview people at the universities and evaluate each school’s facilities. When we come back, we’ll give a seminar that highlights the possibilities at these various institutions. We’ll give our impression of what it’s like at these places, and we’ll do it for students and faculty alike.” And that is basically what we did. You have to remember, it was a much different time back in the ‘60s. There were no smartphones. Social media didn’t exist. You didn’t have a wealth of information at your fingertips.

Art McDonald – Nobel Prize Ceremony

What memories from those trips stand out?

The interesting people. Jim Peebles won the Nobel Prize this year – he was a colleague of mine at Princeton, and is still a good friend. He and Bob Dicke – Peebles theoretically and Dicke experimentally – were working on various astrophysical measurements. One of the things that they were trying to do was to measure the cosmic microwave background. As it turns out, this was actually measured for the first time down the road at Bell Labs by Arno Penzias and Robert Wilson, who then came to Princeton in 1965 and learned what it was they were observing as background in their experiment. Penzias and Wilson later got a Nobel prize for it. This year, the committee finally recognized that Jim Peebles was one of those motivating Penzias and Wilson back then, but that he has further developed a real understanding of how the world has evolved since the Big Bang. We met Dicke and a number of other top physicists because the department chair in each case had received a letter from our chair, and they introduced us to top scientists. Those are the things that stand out.


You decided to go to Caltech.

We applied to the places we were visiting, and we were actually accepted into several of them, but I was also accepted at Caltech and Peter Nicholson was accepted at Stanford. After Peter completed his Master’s in Theoretical Physics, he decided that he wanted to do operations research. We both looked at the map and said, “Boy, California looks kind of neat.” There was a friend of Innes MacKenzie’s at Caltech by the name of Charles Barnes – he was known as Charlie Barnes – that wrote back to me and said that he was willing to take me as a student. He turned out to be a wonderful supervisor. So, Peter and I both went to California. Going to Caltech was great, because I got to do experimental nuclear physics in the laboratory, which was headed by William Fowler, who later received the Nobel Prize for having pioneered the calculations of how elements are produced in the Sun.


Peter Nicholson also went on to do great things.

He went on to an illustrious career, both as a teacher, businessman and as key figure in the Canadian government.  He was a financial advisor to Canada’s Minister of Finance starting in 1993, and was very actively involved in establishing the Canada Foundation for Innovation, which is the principal source of funding for infrastructure for basic science and engineering in Canada. He eventually became the founding president of the Council of Canadian Academies, which provides advice to government on various scientific questions. So, it has been interesting to maintain contact over the years as we went through our separate careers. It all started back in our university days.

Crown Princess Victoria of Sweden and Nobel Laureate Art McDonald

At Caltech you got to work in the Kellogg Laboratory.

There were actually three Van de Graaff accelerators in the laboratory; two smaller ones, and a larger, EN Tandem Accelerator. The EN Tandem Accelerator was nothing compared to the scale of the Large Hadron Collider, which has collaborations with about 4,000 scientists who are building enormous, complicated experiments, but it was extremely useful for our purposes.


What was some of the research that you were into at the time?

I worked with a graduate student, Eric Adelberger, who is an exceptional scientist and is now still an active emeritus professor at the University of Washington. He has gone on to make the definitive measurements of gravity at short distances with very ingenious devices to balance out the systematic uncertainties that you get in those sorts of experiments, so he has had a wonderful career as well.

Eric and I worked on experiments that were looking for symmetries in nuclei, which were an indication of how the electromagnetic interaction worked inside the nuclei and whether there were any differences in what you might expect from conventional theory. It turned out that we were able to constrain it very strongly and found no significant differences. We also worked on measurements where we looked for the weak interaction in nuclei as a test of the Standard Model, which was relatively new at the time. We were able to make measures of the weak interaction between quarks that were a part in a million effects in some cases.


Were these measurements made using the Kellogg lab accelerators?

Yes, many of them. The nice thing was that you had access to a very large amount of beam time. It had to be scheduled, but you could be running your experiment a couple of days a week on that accelerator. You actually had to run the accelerator yourself, so that was a good experience as well. And we had a little fun with it; there was one knob on the control console that wasn’t connected to anything, so the new graduate students were asked to control the beam using that knob [laughs]. We didn’t let that go on for very long before we let them in on the joke, but it was fun at the time.


I think that debunks the myth that scientists don’t know how to have fun.

The experience of that laboratory really made me understand the importance of social activities. The seminars at Caltech at that time were on Friday nights at 7:30 PM, which were always followed by a party at one of the professor’s homes. There was also something called the Kellogg Band, including Charlie Barnes on the piano, and students and Post Docs who went on to have very good careers, so that was a great social time as well.

Nobel Laureate Art McDonald at SNOLAB

The solar neutrino problem was big at Caltech while you were there.

Ray Davis, who was the one who originally detected neutrinos from the Sun, came from the Brookhaven National Laboratory to Caltech during the summers to work with John Bahcall, who was a theorist and junior faculty member at that time. So, I was quite knowledgeable about what came to be known as the solar neutrino problem.

John Bahcall’s calculations predicted something three times larger than what was observed in the Homestake experiment, which was an underground detector built in a South Dakota gold mine – essentially, a very large tank filled with cleaning fluid. Bahcall did the theoretical calculations and Davis performed the experiment. Davis eventually received the Nobel Prize for his work in pioneering the detection of solar neutrinos.


Could you have ever imagined that your work at SNO would vindicate Bahcall’s solar neutrino theory?

When we solved the solar neutrino problem with the Sudbury Neutrino Observatory, a New York TV station interviewed John Bahcall. They asked him what he thought when he heard that the results verified his calculations after 30 years of scrutiny. He replied, “I feel as though the DNA evidence has just overturned my conviction by the scientific community for having got it wrong.” [Laughs]. He got it right, to within 10% or so.


Physics and mathematics are inextricably linked, but creativity can be equally important.

I do agree. As Director of the Sudbury Neutrino Observatory I was involved with hundreds of very intelligent scientists, engineers and technicians. It was a real pleasure to see the creativity that resulted, creating solutions to very difficult technical problems. As a result we were able to build an ultra-clean detector the size of a ten story building, housing 1,000 tons of heavy water safely 2 kilometers underground in an active nickel mine, and observing one burst of light from a solar neutrino per hour with little or no interference from radioactivity of any kind. There were many creative firsts in this project. I am very careful to point out, that while they give the Nobel Prize to one individual, there are many authors on our papers plus many other technical people that don’t get on the author list. And I am a representative of them. So I would say, working with collective creativity has been what I have been mostly involved in for many years.

SNOLAB

Please tell me about the SNO Collaboration.

Herb Chen, who was from the University of California at Irvine, had a very good idea, which was, if you could get enough heavy water, then you could potentially use it to solve what had come to be known as the solar neutrino problem. In fact, he had worked with Ottawa scientist Cliff Hargrove at the Los Alamos Meson Physics Facility using heavy water for this purpose. So, at one point he called Cliff and said, “Do you think it would be possible to borrow 4,000 tons of heavy water?” Well, that would have been $1.2 billion in 1984 dollars. But to our amazement, Atomic Energy of Canada had 5,000 tons of heavy water in reserve for the use in CANDU-style nuclear reactors and said, “Well, maybe not 4,000, but maybe 1,000. Do you think you can do it with that?” And sure enough, that’s what we eventually designed, which was a detector that used $300 million worth of heavy water to do the measurements.

Unfortunately, Herb Chen passed away about three years later. He was at a collaboration meeting and said that he didn’t feel well, and that turned out to be leukemia. He passed away within a year, in his mid-40s. We still like to preserve his memory, because he was a founding member of the collaboration and an inspiration to all of us.


How did you become involved in the SNO Collaboration?

I was a professor at Princeton at the time and became involved at the beginning of the project along with 15 other scientists. I took over as the US spokesman for the project when Herb passed away in 1987 and was soon joined by Gene Beier from the University of Pennsylvania. I then became the overall director when the Canadian spokesperson, George Ewan, was about to retire, and at that point I moved from Princeton to Queens University. It took us from 1984 to 1990 to eventually get the funding because the project was very large, particularly in Canadian terms in those days. So I was involved early on, but it really was Herb Chen, George Ewan and those original 16 people that got everything going.

Nobel Laureates Art McDonald and Takaaki Kajita

As Director of SNO, how would you describe your leadership style, and how did you resolve conflict?

Conflict is unavoidable whenever you are dealing with people. I attempted to resolve conflict by having everyone focus on the facts associated with what they were doing, and the objectives that they were trying to accomplish. And, in some cases, you had to factor in the timeline in which you are trying to make it happen.

I try not to get overly involved in the emotional approaches that people take in decision-making. People love their own ideas. You have to sit there and recognize that the reason that this person is being so adamant is that they clearly think that they are right. They wouldn’t be saying it if they didn’t think they were right. So, in some cases, you have two people who think they are right who are directly opposed to each other. How do you resolve that? Well, you try to get around the subjective aspects of it, and get down to the basic facts. You try to determine which is the right way, or the best way, to do something. If you can direct the conversation towards the factual topics that are necessary to resolve a dispute, and reduce the rhetoric associated with it – then you can come to a decision. This is especially true if you keep in mind that we are in this for some enjoyable science. This isn’t supposed to be a knockdown, drag out fight. It’s something where, if we can come to a conclusion and get on with things, then we can really have some good experiences and do some excellent science. That’s my approach.


Were any of your classmates involved in the SNO Collaboration?

Absolutely. The SNO Collaboration included a number of people who had worked together internationally. Hay-Boon Mak, who is a friend and who was just behind me as a student at Caltech, is a good example. He eventually moved to Queens University and became a significant part of the Sudbury Neutrino Observatory project. Bob Stokstad is another example from Caltech days. Hamish Robertson, with whom I had worked starting in the 1970’s and who joined Gene Beier as US Spokesperson and George Ewan, with whom I worked at Chalk River, are other examples at a more senior level. So working with your friends is another way you can enjoy science.


Tell me a little about SNOLAB.

SNOLAB is the deepest cleanroom facility in the world. It’s 2 kilometers underground to reduce cosmic rays. What is distinctive about SNOLAB is that the entire laboratory is a class 2000 cleanroom, just as it was when we were building the Sudbury Neutrino Observatory. That makes it easier to achieve class 100 in our actual experiments, as good as the table-tops in a semiconductor fabrication facility. So, SNOLAB is ultra-clean, as well as being ultra-deep.


Let’s talk solar neutrinos.

Neutrinos change from the moment they are created in the core of the Sun. Electron neutrinos are the only one of the three neutrino types that are produced by the nuclear reactions that power the Sun. Then, as one of these electron neutrinos traverses the Sun, it changes to a different composition, in which if you make a measurement of it, it is only one-third electron neutrinos at that point. Two-thirds of the time it behaves like muon or tau neutrinos. And so, that is where our experiment comes in. When the electron neutrinos eventually got to the Earth, we were able to measure, using heavy water, that that change had taken place.

Art McDonald – Nobel Prize Ceremony

How does the SNO detector work?

The way we did it was the following: Heavy water is deuterium oxide, rather than hydrogen oxide – it is D20 rather than H2O. The D means that it is heavier than ordinary hydrogen, because, instead of having just a proton in the nucleus, you also have a neutron. Because it doesn’t change the charge of the nucleus, it doesn’t change the number of electrons going around nucleus, which match the charge of the proton. So chemically, D2O is essentially the same as H2O because deuterium behaves chemically like hydrogen. That extra neutron is the secret to being able to resolve the question of whether these neutrinos actually changed from electron neutrinos to another type…because, with the extra neutron, there are two reactions we can observe: One being explicitly caused by only electron neutrinos, and one which is equally sensitive to all neutrino types.

What we found was that the number of neutrinos observed with the reaction that was sensitive to all neutrino types, matched exactly the calculations of how many were produced in the Sun according to Bahcall and his coworkers. Whereas, the number of electron neutrinos that survived were only one third of the total. By being able to do this  we were able to have an explicit measurement, independent of calculations of the number produced in the Sun, proving that neutrinos had, in fact, changed from one flavor to another. The change from one type to another also implies that neutrinos have a finite mass, which is outside of the Standard Model of particle physics. This means that you have to extend the Standard Model beyond what we have so far, perhaps even going back to things that are of relevance for how the universe evolved in the early days. So that was the significant contribution that we made, and the reason the Nobel Prize was awarded.


The Standard Model has been the definitive source of truth for a long time.

The Standard Model of particle physics has been absolutely remarkable. The discovery of the Higgs particle was predicted from the mathematics that underlie the set of particles that make up the Standard Model. It was predicted to be in the range where it was discovered – 125 giga-electron volt mass – which was an absolutely remarkable confirmation that the Standard Model works, except that the Higgs particle is not the origin of mass for neutrinos. It’s the origin of mass for all of the other particles in the Standard Model.

Stephen Hawking at SNOLAB – 2012

It isn’t every day that the scientific community is presented with evidence that changes the Standard Model.

You might think that scientists say, “Oh my, our model is broken.” Instead, they take the attitude that this is interesting, because we really need to have a more extensive theory of everything. And that’s because the Standard Model that we know has its limitations. Right off the bat, it doesn’t include gravity. It also doesn’t also explain the so-called dark matter particles, which are the object of our current searches, so it isn’t a final, total model.


Neutrinos were long thought to be massless.

It turns out that one of the best models for how neutrinos do get their mass, the so-called seesaw mechanism, is regarded as one of the best contributors to what happened to all of the antimatter in the early universe. We think that the Big Bang was energy being converted into equal amounts of matter and antimatter, but all of the antimatter has decayed away. It is thought that there are other massive neutrinos that are at the highest mass that you can imagine. They are thought to be involved when the energies in the original Big Bang were high enough to have them participating in the processes that would’ve led to all antimatter decaying away. So, in many respects, neutrino physics has become an extremely big topic now. In fact, Fermilab, the highest accelerator laboratory United States, is basically doing almost all neutrino physics.


Where is this new physics taking us?

One of the things that scientists are still attempting to determine is that question of how antimatter decayed away in the early universe. We, at our underground laboratories at SNOLAB, which is an outgrowth of the Sudbury Neutrino Observatory, are studying what’s called the SNO+ experiment. By replacing the heavy water used in the SNO experiment with liquid scintillator, the detector will be able to study low energy solar neutrinos, geoneutrinos and reactor neutrinos as well as conduct a supernova search. The SNO+ experiment will also add tellurium to search for neutrinoless double beta decay. Neutrinoless double beta decay occurs if there is a neutrino symmetry property, which contributes to the overall theory of how the antimatter decayed away in the early universe. So, neutrino physics has become a very big part of particle physics. We are fortunate in Canada to have a laboratory that enables us to continue to do things that are at the frontier, both for neutrinos and for dark matter studies. That’s why I’m still doing it, and still having fun.


Dark matter is equally elusive.

In addition to the SNO+ experiments studying neutrinoless double beta decay, we have four different experiments studying dark matter at SNOLAB. The experiment that I have been working on is a DEAP experiment, which uses liquid argon as a way of detecting the dark matter particles we know… or at least, if you assume that the phenomena you observe and call dark matter are particles, and in particular, weakly interacting massive particles – WIMPS, as we call them, with a bit of whimsy –  then the way that our galaxy is held together by these dark matter particles implies that we have millions of them going through us right now, with very weak interaction…even weaker than neutrinos. So, you need a large amount of material, and you need a very low radioactivity environment, and we can do both at SNOLAB.

Art McDonald and his wife, Janet, at Queen’s University, November 12, 2015.
(Photograph by Kayla Chobotiuk)

Why liquid argon in the search for dark matter particles?

Liquid argon is an interesting material to use, because, if a dark matter particle hits a nucleus causing it to recoil, then the light comes out in about 10 ns (nanosecond). If it’s typical gamma and beta background radioactivity, then the light comes out over about 10 (microseconds) µs, around 1000 times longer. So, if you digitize each one of the pulses you observe in a detector where you are observing the light, you can compare the short time versus the full time of the pulse and discriminate against background by factors of greater than a billion, which we have been doing.

The experiment that is running now has 3 tons of liquid argon. We have a major international collaboration of over 400 scientists that are working on a 50 ton detector that is due to start in about three years in the Gran Sasso Laboratory near Rome, Italy. Both the CERN laboratory and Fermilab are involved in the work. The decision has been made by the collaboration to push to an even larger detector, on the order of 400 tons. The location of choice for that project will be SNOLAB. So, I’m having fun doing things that I will probably be too old to participate in. Nevertheless, I’m in on the early stages and I’m enjoying it.



In 2015, you shared the Nobel Prize in Physics. That is an immense award, but one you accepted with grace and humility. Please share some of the memories of being nominated, and receiving, this incredible honor.

Well, the phone call came about 5:15 AM. My wife answered the phone and was about to say, “What you mean by calling at this time of day?” [Laughs.]  I picked up the extension and heard the Swedish accents, and at that point I realized what was going on. Each of the committee members congratulated me and then they said not to call anybody, because they wanted the line open for a news conference in the next twenty minutes. So I hung up and gave my wife a hug and said, “Wow, what are we involved in now? What’s next?”

Nobel Laureate Art McDonald

Any fun memories from that phone call?

I have been a fan of the Toronto Maple Leafs for years and still follow them closely. When the committee called me, one of the committee members – the secretary of the committee – happens to be a hockey fan. At the end of the conversation announcing to me that I had won the Nobel Prize, he said to me that the last time we had spoken, we also spoke about hockey as well as physics. I said that I wished that Mats Sundin from Sweden was still the Captain of the Maple Leafs as they were not doing so well at the time. So, after the exchange on the phone that morning, one of the articles written said something like, “Typical Canadian. He learns he wins the Nobel Prize, and all he wants to talk about is hockey.” [Laughs.]


What came next?

An absolute whirlwind. I received 1,500 emails the first day, the media coverage continued until about 5 o’clock that evening, and then the university held a great reception in my honor. And then we had a wonderful week in Stockholm. I managed to arrange for 35 people, including mostly collaborators and their spouses to have the experience with us by sharing the opportunities for events during the week. My wife and I were treated literally, like the royalty we were meeting. Since then I’ve received many invitations to many places in the world, which I’m having to restrict because I’m interested in research again. I’m trying to get back to active participation at the design level in the experiments that I’m working on. I no longer have my own students, because I am doing too much traveling to do justice to what a supervisor should do. On the other hand, I have wonderful opportunities to participate and interact with all of these wonderful students that are in our collaborations. So, I’m trying to make some scientific contributions as well as simply interacting with people and trying to inspire students to do good science.


What activities are you into today?

I like to stay active. At my present age, I try to get moderate exercise on a regular basis. I live in a condo that has an indoor pool and exercise equipment. I try to do that at least three times a week, and I still play a bit of golf. My wife and I have started playing pickleball, which I suppose you could say is a step down from tennis, but it’s fun if your mobility gets a little lower as mine is now.

I have four children, as well as nine grandchildren ranging in age from one to 20. They are a great joy to my wife and myself. Over the years I’ve tried to be a family man to the degree that I can within my scope of activities as a scientist. I was a manager of the downhill ski teams that my children participated in. I was a Cub Scout leader and helped my children  build 9 wooden Cub Scout cars to race on tracks over the years. So, we’ve had a very close family situation for many years, and I have enjoyed it immensely.


Final Question: You’ve achieved great success in your life. If you could offer one piece of advice to aspiring scientists, what would that be?

How about two, two-word statements. For a scientist, I think they are both important. One is: Be nice. And the second is: Be curious. I think in terms of success in life and having a happy existence, the first one is very important. As a scientist, you should never lose your curiosity, and that will enable you to have a great career.


Written By: Michael D. McClellan | Pharrell Williams never sleeps. How can he? The multi-hyphenate superstar is insatiably inquisitive, his interests ranging from the mysteries of deep space to the provocative genius of artists as varied as Daniel Arsham and Marina Abramovic, his mind in a constant state of restless exploration.  That Williams can move seamlessly across the spectrum of art, fashion, film and music, all while collaborating with a Who’s Who of pop culture as only Pharrell can, proves that the man on the other end of this interview isn’t quite human but something more, Hu2.0 maybe, a Next Gen creative with alien DNA coursing through his veins. What other explanation can there be?

“No sir, there’s no truth to that rumor,” Williams says with a laugh.  And then, when pressed for a plausible explanation: “I’m indebted to God and the universe for giving me the time to do what I do, and for putting me in position to make the most of my opportunities. From there I follow my instincts.”

Williams’s creative universe is as diverse – and damn near as infinite – as the physical one in which we all exist, heavenly constellations populated with a dozen Grammy Awards (and counting), two Academy Award nominations, and an impressive dossier of hit songs, designer collections, art exhibitions, and eclectic collaborations.  Exactly where Skateboard P gets the drive is anybody’s guess. How he does it while looking younger than he did twenty years ago only fuels speculation that Williams is not of this Earth. Never mind that this hardworking N.E.R.D. was once fired from three different McDonald’s in Virginia Beach, or that he didn’t have career goals growing up. Williams plunged headlong into keyboards and drums at an early age, laid the groundwork for The Neptunes during a seventh-grade band camp, and parlayed an audience with Teddy Riley into a lucrative career as a singer, songwriter, rapper, producer, fashion designer and much, much more.

Pharrell Williams and Chad Hugo: The Neptunes

So, which is it? God’s plan? The universe? Alien DNA? The only certainty is that a young Pharrell Lanscilo Williams stood out at Princess Anne High School mostly for being different. He loved music but didn’t gravitate to any particular clique. He didn’t try to fit in. He was a black kid hooked on Star Trek and hanging with white kids mostly, riding his skateboard at Mount Trashmore and listening to groups like Suicidal Tendencies and Dead Kennedys. In 1990, Williams and Chad Hugo formed The Neptunes, dissecting A Tribe Called Quest records and trying to figure out why their beats gripped them and refused to let go.  And then, as if by divine intervention or some otherworldly encounter, the duo was discovered by Riley, the Harlem-born record producer who’d had enough of New York City and decided to relocate his studio to, of all places, Virginia Beach – a five minute walk from Princess Anne.

“Who really knows why he moved into my back yard,” says Williams. “I used to think it was pure luck, but now I think there’s more to it than that. I don’t believe these things don’t happen by chance. The timing of the move lined up perfectly with where I was on my journey. A year or two later, a few years earlier, and who knows? Everything changes. We wouldn’t have had the same opportunity.”

Williams and Hugo, the shy Filipino boy who attended nearby Kempsville High School and shared Pharrell’s love for Eric B. & Rakim and the Red Hot Chili Peppers, didn’t just seize the opportunity presented by Riley. They used it as a springboard to dominate the music scene, their work earning a string of Grammys and garnering walls of gold and platinum records. Consider: The Neptunes racked up 24 Top 10 hits in the late 1990s and early 2000s, becoming one of the most successful production teams in pop. At one point in 2003, The Neptunes were responsible for a whopping 43% of the music being played on US radio, and 20% in the UK. Among the hits: Drop It Like It’s Hot, the classic 2004 production for Snoop Dogg, which sported skittering beats and swishing, pulsing synths, reminiscent of the music heard on ‘80s Atari video games.

Pharrell with Snoop Dogg

“We wanted a different sound, so we went with something that sounded like a can of spray paint,” Williams explains. “That ‘ssss’ sound is what we ended up placing on top of the song, it was different, like us.”

Different can also be applied to N.E.R.D (No-One Ever Really Dies), the band formed by Williams and Hugo, along with Tidewater-area pal Shay Haley. Flavored with funk and hip-hop, the experimental rock band released its second album in 2004, Fly or Die, which reached Number 6 on the charts and stamped Williams as a gifted singer in his own right.

The Neptunes continued its hot streak over the next several years, producing for everyone from Gwen Stefani to Kanye West to Beyoncé and Britney Spears.  And that’s just the music. Through Rizzoli, Williams released a lavish coffee-table book filled with images of the many products he has designed in collaboration with other artists and fashion designers. He hosted ARTIST TLK on YouTube’s Reserve Channel, interviewing some of the world’s most creative and interesting people (think Spike Lee, Usher and Tony Hawk, the show topped off with naked women serving drinks, and you begin to get the idea). He opened boutiques on West Broadway in New York. He co-founded apparel brands Ice Cream Clothing and Billionaire Boys Club. He’s curated art shows like This Is Not a Toy at the Toronto Design Exchange. All while pouring time, energy and money into his charity foundation, From One Hand To Another, which supports young people living in communities at risk around the country.

And all while still professing to be human, just like the rest of us.

~ ~ ~

When it comes to the music biz, 2013 was The Year of Pharrell. The hit maker figured prominently in 2013’s most massive (and seemingly unavoidable) gangbuster singles: Daft Punk’s Get Lucky and Robin Thicke’s Blurred Lines, with both competing against each other for the coveted Record of the Year Grammy. (Get Lucky walked away with the hardware.) And then there was the ubiquitous cherry on top: Happy. The song, originally written for CeeLo and part of the Despicable Me 2 soundtrack, blew up after Williams came up with a brilliant marketing idea – a twenty-four hour video for the song, featuring a diverse cast of characters, including the artist and some famous friends, dancing along to the track. Happy peaked at No. 1 in the United States, United Kingdom, Canada, Ireland, New Zealand, and 19 other countries. It became the best-selling song of 2014 in the United States with 6.45 million copies, and was nominated for an Academy Award for Best Original Song. That it took Williams ten tries to get it right is lost on nearly everyone but the artist himself.

“I got in my own way,” he says. “It wasn’t until I relaxed that everything opened up and the right song presented itself. As soon as it did, I knew it was the right fit.”

Pharrell Williams accepts the award for best pop solo performance for Happy at the 57th annual Grammy Awards on Sunday, Feb. 8, 2015, in Los Angeles. (Photo by John Shearer/Invision/AP)

~ ~ ~

Yes, Pharrell Williams has collaborated with music’s biggest stars – from Miley Cyrus to Mariah Carey, from Jay-Z to Justin Timberlake – while earning a reputation as a hit-making mystic, his finger fully on the pulse of a fickle music landscape, his instincts helping him stay one step ahead of stale. That he can do it while remaining disarmingly approachable and unfailingly polite is, in its own way, disorienting.

“My parents raised me to be respectful. It’s who I am.”

Southern hospitality aside, scoring an interview with Pharrell was far harder than I’d ever imagined. One minute he’s focused on Rules of the Game, his multidisciplinary stage collaboration with Arsham and choreographer Jonah Bokaer, and the next he’s replacing CeeLo Green as a celebrity coach on The Voice. Blink and he’s collaborating with Hans Zimmer on the soundtrack for the film Despicable Me, or penning that monster hit, Happy, for the sequel. That the stars somehow aligned only supports the prevailing theory that Williams is not one of us. Who says aliens have to come from outer space hellbent on waging war and destroying mankind? Maybe they arrive in flat-brimmed hats, possessing the regal air of an ancient pharaoh and the vitality of a creature defying the onset of middle age. Maybe they come equipped with indefatigable drive and prodigious talent. And maybe, after two years of cancellations, postponements and reboots, they agree to sit down and tell you how it’s all done.

Thank you for this opportunity. Please tell me about your songwriting. Do you have a certain method that works best for you?

I follow something that speaks to me, something that just feels good and puts me in a creative mood. Typically, the beat comes first. As an artist, my job is just to listen to it and let it tell me what should be fed lyrically, where the drums should go, where the melodies should go, how everything fits together. The music sets the framework for the words. The feeling and the emotion directs all creativity. It’s the overarching guide. It’s all by feel.


What is your idea of creativity?

Creativity is a gift in the truest essence. It’s a gift from all that is, all that was and all that ever will be – the creator. So when we create, we’re essentially co-creators.


When you sit down to work on a song, do you sense beforehand that it’s going to be a hit?

No sir, I don’t know when a song is going to be huge, I don’t think you can ever predict or manufacture that sort of outcome. It’s really up to the people to make that decision. They do that by buying the records, streaming the music online, voting on it, generating buzz on social media. Those things are out of my control. The only thing you can do as an artist is be loyal to your creativity, and follow it wherever it takes you. If you’ve poured the very best of you into your work, and you’ve done it in a way that’s new and fresh, then you can walk away from it satisfied with the outcome.

Pharrell Williams performs at Coachella

Your 2003 debut single, Frontin’, features vocals from Jay-Z. Do you enjoy collaborating with other artists?

Collaboration has always been part of my DNA. Most of the songs that I ended up putting out by myself were actually songs that I wrote for other people. And collaboration goes beyond just music. I know you’ve interviewed Daniel Arsham and Jonah Bokaer, and my collaboration with them on Rules of the Game was a new frontier.


Was there a specific point in you career when you realized that you’d become a star?

No, I’ve never approached what I do in that way. I don’t believe you can ever assume that you’ve “made it,” because that’s too much of an arbitrary assumption. And I think that mentality has a limiting effect on your creativity – when you start buying into that mindset, you’ve instantly put a ceiling on what you create and where you can take yourself. That mindset can also chip away at your edge, the thing that drives you to create in the first place. For me, I always looked at it like, “Wow, I get to do it again.”


Chad Hugo is a childhood friend and a big part of your musical past and present. How did the two of you get started writing songs?

We started breaking down Tribe [A Tribe Called Quest] records, and then we started making our own tracks. We were still in high school at the time.


The two of you formed The Neptunes, and you’ve won three Grammys producing music for some amazing artists like Snoop Dogg, Justin Timberlake, and Jay-Z. Tell me a little about your approach.

When we work with an artist, it’s about understanding how to bring out the best in them at that particular point in time – how to draw attention to the gifts that are already there. We don’t give the artist anything, because we didn’t create the artist. The artist is co-created with God and formed by a unique set of life experiences. Our job is to do the things on the periphery that accentuate the artist’s gifts. And if we’re doing our job, we’re providing the frame to fit the artist into, then adding interesting colors and creating the backdrop. The artist is subject matter. We’re just the framers.


The legendary Teddy Riley discovered you. Tell me about that.

We were discovered at a talent show because Teddy Riley had a couple of A&Rs check us out. A&Rs are people who represent music companies, and they are always on the lookout for talent. It was one of those amazing circumstances, and a mysterious chain of events, really – Teddy Riley decides to leave New York City, and of all the places he could have built a recording studio, he decides to build in Virginia Beach, literally a five-minute walk from our high school.


Let’s go back to 2013, which was a pretty good year for you. Happy was a monster hit.

That period, 2012-2013, was a real pivot point for me. I just felt like something was happening around me that I couldn’t explain. I’ve compared it to seeing the wind blow on the trees; you see the leaves move and you know what’s causing them to move. You don’t question whether there’s a wind, even though you can’t see it. You can feel it and you know it. Back then I could feel it. There were all of these things going on in my life, and the song Happy was part of that.


What was the inspiration behind the song?

The inspiration for the song Happy came from the movie Despicable Me 2.  Gru was a character who was often seen as mean, with very dry humor, and definitely on the evil side. I was tasked with how to make a song for him that expressed his elation after meeting this woman. That was a tough thing for me, because Gru was mean and not someone who would fall in love.


You’ve been known to pen hits in minutes. I hear it took some time to come up with Happy.

I worked on song after song, but nothing was really working. I thought every song I wrote for the movie was going to it, because of reasons X-Y-Z, but then it wouldn’t work out and I’d write another, and the same thing would happen. Nothing really worked until I had exhausted all of my ideas from an egotistical standpoint. And then, I finally asked myself how do I make a song about a guy who’s just happy, and nothing can bring him down. That’s when everything clicked.


The video for Happy ran for twenty-four hours.  Twenty-four hours!  That was the genius move that put the song into a different stratosphere.

Basically, I would perform for four minutes at the top of every hour.  Then, after me, someone else would perform, and that would happen fifteen times an hour for twenty-four hours. The intention was to make the video feel as alive as possible, and the video’s imperfections, the funny bloopers and mess-ups, are what give it character. I’m not interested in perfection. It’s boring. Some of my favorite moments are accidental. There’s one where I’m underground. I was turning a corner just as a train was coming in our direction, and it stopped right on cue! It was weird. The universe gave us great moments that day.


In addition to Happy, you killed it with two collaborations that were massive successes – Daft Punk’s Get Lucky and Robin Thicke’s Blurred Lines. Did you sense how big these songs were going to be?

No sir. As an artist, you only have a sense of what feels good to you personally. The commercial success of the song is predicated on how everybody else feels when they hear it. If they feel something strongly enough to say they like it, great. If they feel something enough to say, “I like it and I want to tell somebody else about it,” then that is magical. The vote with the likes, the views, the shares. That’s where all of this comes from. It comes from the idea that people are connecting and sharing the things they feel sentiment about.

Pharrell Williams and Daft Punk

Daft Punk has a unique vibe. What’s it like working with them?

It’s always fun working with the robots. They did Hypnotize on the last N.E.R.D album and we remixed Harder Faster Stronger more than 10 years ago with them. So we always had a great relationship with the robots and all of their crew. There’s always been love there for us.


Your collaboration goes well beyond the recording studio. Tell me about your work with multidisciplinary artist Daniel Arsham.

Daniel is a genius artist across so many disciplines. We’ve worked on projects as varied as recreating the first instrument I ever made music on, the Casio MT-500, to producing the multidisciplinary performance Rules of the Game. Rules was big for me because of the talented people that I worked with on that journey – the amazing Jonah Bokaer, who provided the choreography, and the composer, David Campbell, who is an absolute music industry legend.


Let’s talk about Rules of the Game.  What led you to becoming involved and writing the original score for this amazing stage performance?

Daniel’s work is such a magnet for brilliant, interesting people. I’m lucky to call him friend, and to have worked with him on other projects. With Rules, it was a case of me being persistent, and asking him the fundamental question, “What can we do now?”  Rules was the next step in the evolution. We’d worked together on beautiful objects that didn’t move, like the Casio MT-500, but this was something completely different. This was a new frontier, a brand new medium where movement is not only an additional element, it’s absolutely essential to communicating the point. To be able to come into a project like that, and to work with such talented people, is a privilege.


Daniel Arsham, Pharrell Williams and Jonah Bokaer – The creative geniuses behind the multidisciplinary stage performance, Rules of the Game.

Tell me about the film Hidden Figures. What attracted you to this project?

You have three African-American female protagonists who were scientists, engineers, and mathematicians…technologically advanced. So that blew my mind. It involved NASA, and it involved space, which is a subject that I’ve been obsessed with since childhood. And all of this happened where I’m from – Hampton Roads, Virginia, in the 1960s. So, getting involved with this film was an easy decision to make.


You love fashion, and you have a keen fashion sense.

Fashion is great. I love the way fashion helps people express their individuality – when they take things and make it themselves. So fashion and style go hand-in-hand. It’s indicative of who you are and what you’re feeling. I’ve developed my own look by following my instincts and acting on what I feel connected to at a given point in time. There’s a certain power and excitement that comes into play when and you see people creating their own distinctive style and identity.  But do I love fashion?  I love life. I love the opportunities that I’ve been given, and the support that I’ve been getting, and the reaction that I’ve been getting to the work that produce, those are the things that I love. Those things are irreplaceable. Fashion comes and goes.


I play a lot of tennis. Several years ago you launched the adidas Tennis Collection. The collection’s roots are in the ‘70s Golden Era of tennis – Bjorn Borg, Billie Jean King, Arthur Ashe, Chris Evert.

The players back then just had a great swagger, both on and off the court. They were super confident. There was a sexiness that they all carried – the men and women – because they just knew they were killing it. They knew what they were doing and what they were wearing was sick. Next level. We need that. Not that today’s players don’t have that kind of confidence, but the ‘70s was so effervescent and vivid.


Final Question: If you could share a piece of life advice with others, what would that be?

Remember to show appreciation, and to be grateful. You’ve gotta give things to something bigger than you.


Written By: Michael D. McClellan | Daniel Arsham is a busy man.  The multidisciplinary artist is also prolifically multithreaded, his work ranging from his Future Relic series of mini-movies to his Rules of the Game stage collaboration with Pharrell Williams and choreographer Jonah Bokaer, to his ever-expanding universe of installations and exhibits.  His fascination with modern-day objects, specifically with how these objects might be perceived as if unearthed on some future archeological site, has captivated imaginations worldwide.  Arsham reimagines basketballs, cameras, teddy bears, and boom boxes as future relics, collapsing and expanding time by injecting decades of wear, neglect and abuse into familiar items from popular culture.  Nothing is off limits: An eroded American flag, tattered an worn; an eroded DeLorean, in the color of volcanic ash, scarred by the passage of time; Pharrell’s 1980s Casio MT-500 keyboard and drumkit, a fossilized relic of a bygone past.  Arsham explores all of it, playing with conventions of time and space in installations that infuse architecture and archeology with a surreal, paradoxical flavor.  That the items are uniformly white or grey and crumbling is in itself a paradox, given that the the man behind the art is equal parts Average Joe and Andy Warhol.

Daniel Arsham’s Crystal Toys, 2017.

“The further you get from a moment in time, the more closely things connect,” Arsham says, “so, 500 years from now, an iPhone and a phonograph will seem much closer together and relate more.  I try to think about all the objects in the show as if I could forget what they were, what they were used for, and try to imagine approaching them like an archaeologist would.”

While Arsham gets plenty of critical love for his work, he’s also developed some serious street cred.  When your films star actors like James Franco, Juliette Lewis, and Oscar winner Mahershala Ali, and you’re designing shoes for adidas, there’s little doubt you’ve transcended the traditional art world and cross-pollinated with pop culture.  Not an easy ask, especially given the art world’s tendency to snub its nose at other mediums.

“Pop culture is in some ways far more egalitarian than the art world,” Arsham says.  “I’m trying to investigate our current moment in time and the big ideas within our civilization.  I’ll do that through as many mediums as I can.”

The artist Daniel Arsham (right) and actor James Franco on set Photo: courtesy James Law

The Miami-raised, New York-based artist graduated from Manhattan’s Cooper Union in 2003.  While the private college at Cooper Square helped fuel Arsham’s inquisitive nature, his fascination with time crystallized when, at the age of 12, Hurricane Andrew destroyed his house and much of the community around him.  The disaster forced him to think about impermanence, the idea that everything is transient, that we are all essentially fossils or artifacts in waiting.

“Seeing architecture in a state of flux and movement, and in a state of decay and rebuilding after the storm, has influenced much of my practice – both in Snarkitecture and in my own work.”

Snarkitecture, a design studio co-founded in 2008 by Arsham and architect Alex Mustonen, reflects the artist’s appetite for interdisciplinary collaboration.  The name is drawn from Lewis Carroll’s The Hunting of The Snark, a poem describing the ‘impossible voyage of an improbable crew to find an inconceivable creature.’ The aim of Snarkitecture is to subvert existing materials within a space to find a new and imaginative purpose for that space.

“Snarkitecture fills a personal artistic need. There are some artists out there that can sit in a room and work and not care who ever sees it, but I am not that kind of artist,” Arsham explains. “I want to make work that people can engage with. The work is completed by people engaging with and experiencing it.”

~  ~  ~

Interrogating, disrupting, and transcending time is key to Arsham’s mission with 3018. The show’s items, each selected for its tie to a particular era or moment, have been dislodged from the past and projected into an imagined future – the eroded DeLorean from Back to the Future, the ‘60s Ferrari from Ferris Bueller’s Day Off, a pile of random objects which includes electric guitars, microphones, cell phones, cameras, tires, phones, and more – hallmarks that have become a defining characteristic of his practice.  For Arsham, his sculptures are ‘future artifacts,’ each appearing to be in a state of erosion, with wound-like craters disrupting their pristine facades.  A ball rack of basketballs made out of glinting crystal?  A McDonald’s sign cast in obsidian?  A pyramid of baseballs, each ball formed from a different material (volcanic ash, steel, and glacial rock dust, much of which he orders on eBay)?  It’s all part of Arsham’s authenticity.

Daniel Arsham’s Eroded Delorean, 2018.Photo by Guillaume Ziccarelli. Courtesy of Perrotin.

“It’s not a trick,” Arsham says. “Let’s say a camera gets calcified over a thousand years in crystal. It would look just like the one I made, and the materiality will be the same.”

Arsham’s fascination with time is the strand that connects his multidisciplinary art.  His production company, Film the Future, is home to a nine-part series of short films collectively titled Future RelicFuture Relic 01 was scored by hip-hop producer Swizz Beatz and has costuming by fashion designer Richard Chai.  Future Relic 02 stars actor and director James Franco, who plays the role of a worker who spends his days underground indexing and destroying objects from past society.  Future Relic 03 premiered at the 2015 TriBeCa Film Festival with music by Alexis Georgopoulos​, and stars Juliette Lewis in costuming by Richard Chai.  Other projects include a short film for Hennessy 250, and a short film for Jefferson Hack’s MOVEment series, shot in collaboration with fashion designer Calvin Klein, choreographer Jonah Bokaer, and ballet dancer Julie Kent.

“Working with film is similar to dance in some ways,” Arsham explains, “but film is infinitely more complex because you can watch it over and over again. You can pick things apart.”

The creatives behind Rules of the Game: Pharrell Williams, Daniel Arsham, Jonah Bokaer

Arsham’s collaborative spirit is reflected in a recent project, Rules of the Game, a multidisciplinary production with Pharrell and Bokaer.  Two years in the making, Rules highlights three mediums; art, music, and dance, all of it working and interacting with one another to assault the viewer’s senses.  Painstakingly ambitious, Rules of the Game is loosely based on Luigi Pirandello’s 1921 absurdist play Six Characters in Search of an Author.  It combines Arsham’s explosive visuals and design with Pharrell’s music, and dancers choreographed by Bokaer.  As grueling as it might be to get three distinct creative visions to work cohesively in one production, Rules is another example of Daniel Arsham’s cross-platform domination and resolute fearlessness.

“We worked on this project a very long time, so we had the time to experiment to see what might work and what wouldn’t,” he says.  “We all understood that this project would be a risk, but that’s part of creating art.”

~  ~  ~

Arsham’s profile leveled up with his Past, Present, Future adidas collaboration, moving him closer to pop culture icons Usher, Kanye and Swizz Beatz. The first release – a pair of trainers designed to look like they were chipped away at during an archaeological dig – were hugely successful, and coveted by collectors. The shoe features frayed sections, while the rubber sole appears to have been chipped away and left with jagged edges. Its white laces are finished with painted metal tips. The final installment in the series – the adidas Futurecraft 4D, which reveals hidden lettering under black light – generated a flurry of pre-release buzz, the hype culminating with a launch event, scavenger hunt, and the release of Arsham’s Hourglass Part III: Future short film.

The adidas Futurecraft 4D – Designed by Daniel Arsham

“Working with the adidas design team, we went back and forth on a number of iterations, slowly honing and simplifying the design,” Arsham says of the Futurecraft 4D. “My studio made a large contribution in the design of the packaging, socks and gloves as well as the sealing of the actual box.”

Now that the Past, Present, Future series with adidas is complete, will Arsham fill the hole in his busy schedule with some well-deserved R&R?

“I enjoy what I’m doing to much to take a break,” the multidisciplinary artists says with a smile. “I don’t look at what I do as work. Whether it’s sculpture, stage design, film, or footwear, I’m most content when I’m working on the next big thing.”

Good news for the rest of us. And spoken like a man who has no interest in becoming a relic himself.

You grew up in Miami.

I was born in Cleveland but moved to Miami a short time later. Miami was a great place to grow up, because I like to swim in the ocean. And to this day I really like Disney World. I try and do a regular pilgrimage to Disney World.


Who – or what – has had the greatest influence on your work?

Architecture as a general overarching theme is something that I am very interested in. Film has played a big part in my work. In terms of people I have been fortunate to work with many different talents across multiple disciplines. Choreographer Merce Cunningham is someone I worked with when I was very young. He gave me the chance to explore theatre, which is something I hadn’t worked in previously.


How did you meet Merce Cunningham?

Merce had seen an exhibition that I did at the Museum of Contemporary Art in Miami. This was like right before I left for New York. It was an exhibition of paintings, which is why it came as a complete shock that he would ask me to do a stage design. He got my number from the museum’s director, called and said, “I’m Merce Cunningham, are you familiar with what I do?”


From a practical standpoint, how did the two of you collaborate?

Merce had this very unique way of working. He would separate each portion of a performance into their own respective parts, allowing each person to work independently. He would make his choreography, I would make the set design, an artist would make the costumes, a musician would make the score, but none of us knew what the other was doing. I never knew what the dance was going to look like before the premiere. I could basically do anything I wanted. It was amazing and sort of terrifying at the same time. Also when I first started working with him, I was 24. He was 84.


You’re a multidisciplinary artist. What’s it like to venture into areas where you might not be completely comfortable?

When Merce asked me to work on my first stage design, he kept encouraging me. It was a large scale project, the largest I had done up to that point, but Merce gave me the confidence to pursue it.  A lot of other things I’ve worked on, the creation of the films, working with architecture, all of these things, they seem difficult from the outside – and they are – but often, the things I’ve pursued outside of my own practice are in collaboration with other people. In dance, stage and film, I’ve been able to find people who really know what they’re doing, and they’ve allowed me to make these things.


You mentioned film. Let’s talk about your Future Relic films.

Film for me encompasses all the things I’m interested in – architecture, performance, sculpture, and photography. People kept asking me questions about the work I was making, and that was really the trigger point, so I wrote a treatment for a film titled Future Relic, with nine different parts. The stories are all linked, but it feels like they’re very disconnected. The story jumps around in time and spans about 500 years. Each segment takes place in a different time period. It’s intended to be disorienting, but in the end it will all make sense.

Juliette Lewis – Future Relic 03

I’ve watched the first four. These films have a big-budget feel.

People often think that if an artist is making a film that it’s going to be some sort of art film with no story or very abstract. There are elements of Future Relic that are like that, but there is a story that is closer to a Hollywood style thing.


How difficult is it to create these cinematic vignettes?

It’s definitely a learning experience. Film, more than anything, is the most difficult thing I have ever tried to accomplish. If I show work in a gallery or museum I can easily control everything from the light, the way people enter, and obviously what the work looks like. In film, you have to control everything, every last detail. Everything that you place on the screen means something.  To achieve the mood or emotion that you’re trying to create is far harder than it looks.


Give me an example.

The creating or building of light. Light, in the Future Relic films, is as much of a character as the actual characters themselves. Trying to make light work in that way is far more difficult that it appears. There’s a scene in Future Relic 04 where the characters are in an airplane cockpit. We constructed the entire cockpit, and lighting was placed on the character’s faces to make it appear as if they are moving through clouds. Pulling that off was extremely difficult.


What inspiration did you draw on in order to create the world within Future Relic 01?

The visual language draws from Lawrence of Arabia. The film was shot entirely at dawn, which is the same technique that was used in the 1962 film, which helped us achieve this day-for-night quality. So we shot everything in the day and then the color was adjusted so it appears like moonlight.


Hip-hop artist Swizz Beatz did the score for the film.

This was something that was very outside of his normal way of working, but I think he really made a beautifully subtle piece that was very much in key with what I was looking for.


Future Relic 02 stars A-List actor James Franco. How did you end up working with Mr. Franco?

I’ve been fortunate to develop some great relationships through collaborations with my work. I wrote the entire treatment with a colleague of mine named Timothy Stanley. Most of the actors so far have come through my relationship with Al Moran, who is the co-founder of the OHWOW Gallery in Los Angeles. Al Moran has worked with James many times, so we were introduced. I spoke to James about our project and explained that I felt he was perfect for the role, and it turned out that he was interested. The role is challenging because there’s no dialogue at all. Everything is conveyed by the expressions on his face, and his movement.


Future Relic 03 stars the lovely Juliette Lewis.

I’m friends with her brother, who convinced her to see the film with James. She liked it a lot, and agreed to sign on. Having those connections helps, but there are still challenges that come with putting a film together. Being sensitive of their time was a prime driver; it was much easier to shoot these as vignettes because all the actors and talent are friends and are donating their time. I’m working around their schedules. And having the films made in short bursts is easier than dedicating months to work on it.


Let’s talk about your art. When did you become interested in the concept of being an “archeologist from the future?”

The summer of 2011. I was in Easter Island, which is a very small island in the South Pacific, and I was there making paintings that were later made into a book published by Louis Vuitton. There were also some archeologists working there at the same time.  They were excavating some of these famous statues and found objects left behind by previous archeologists that had excavated the site about 100 yeas ago. Looking at this gave me the idea of collapsing time within those two separate objects—the sculpture from 1,000 years ago and the more contemporary pool of artifacts. When I returned from Easter Island, I started making fictional archeology objects from our present – cameras, phones and things like that – that looked as if they had been reformed with geological material and uncovered at some point in the distant future. The decision was made to use geological materials, like volcanic ash, crystal, to convey this sense of time.

The Future Was Written falls into the categories of sculpture, architecture and performance. Photography courtesy of Daniel Arsham

What does the idea of “fictional archeology” means for you?

When I take a simple object – a Walkman, for example – that we all have, or used to have, and make it look like a fossil or an artifact, this makes us rethink our inscription in time. It challenges the ideas we have we constructed about time. To what extent do we believe, unconsciously, in progress, and linear development? It’s towards these kinds of questions that I want to lead my viewers. In placing them in the future, where the familiar objects of their everyday lives appear to them as though from an ancient moment. I want them to experience what Freud called the Uncanny.


Give me an example of your work that reflects this.

My 3018 exhibition at the Perrotin Gallery in Paris is based on a notion of fictional, archeological objects – objects more or less directly related to music. These are familiar objects presented as though they’ve come from another era, in the past. Although they would normally pass by unnoticed, they take on a new consistency. It’s the idea of the flow of time that is being called into question, because most of the objects I’m using are things that don’t exist in our everyday lives. They are things that are just slightly past, yet they already feel like they are from the past. That bridge in time is important in order to imagine these things as relics.  This archeology is based on a simple principle: Take a familiar object and make it undergo a treatment, and then finish the object so that it appears as something strange, something surprising.


Tell me about your treatment of these objects.

When I started these works, I could have taken a camera and painted it to look old, but something about this kind of alchemy—this shift of material—gives a greater weight to the objects, and gives a kind of truth to them that is more powerful. It was the only way to achieve a true authenticity.


Do you have a favorite material to work with?

Materials are always as important to the concept as the visuals they create. When you look at the car and it’s made of crystal, it isn’t as if I painted it to look degraded. Its material is something we associate with a geological time frame.


3018 has some very recognizable pieces.

Two of the pieces are cars. I always look for multiple entrance points so viewers can recognize them, and these two happen to be props from films: The DeLorean from Back to the Future and the Ferrari from Ferris Bueller’s Day Off.


Pharrell Williams is a friend. How did you meet?

Emmanuelle Perrotin, who represents me in Paris, invited me to dinner at Pharrell’s house a number of years ago. There was a lot of conversation, and at some point he had someone from his team pull up my website. We were in his kitchen at the time.

Daniel Arsham unveils a full body cast of Pharrell for the G I R L exhibition at the Galerie Perrotin

It seems like the two of you hit it off.

Pharrell’s an amazing person on so many levels. I see someone who is engaged in so many disciplines, so there are some direct parallels with what I’ve pursued in my own practice. I would see him at Art Basel in Miami, and I would immediately notice that he wasn’t just content to be there. He was engaged. He would talk to the artists and designers, and not at a superficial level He would intently listen and ask questions, so that he understood what they were doing.

Daniel Arsham unveils a full body cast of Pharrell for the G I R L exhibition at the Galerie Perrotin

What’s the first thing your worked on together?

I asked him to tell me about something that was really important at the beginning of his music career – something that he made music on but didn’t have or use anymore. He then described his first keyboard that had these drum pads on it. I did a bunch of research and found out it that it was a Cassio MT NT500. That became the first piece, a relic of the original machine he made music on, and then I was fortunate enough to bring him into my world to create music for Rules of the Game.


How did you approach the stage design for Rules of the Game?

As an artist, if there are rules, I’m going to figure out how to break them. This project was heavy on the idea of mythology and legend, and so much of my work relates to archeology and history, so I set out to integrate those two things. Having objects shatter and then come back together is a play on the stretching out of time, and doing it with Greek and Roman masks and busts helped to heighten the effect. That’s what I was trying to get to with the scenography.


On Rules, you collaborated with Pharrell and the incomparable Jonah Bokaer. Did you work together, or independently from one another?

Both. With Jonah, I would usually present him with an idea: “There’s going to be thousands of balls, or a giant roll of paper, and I want it to form these giant icebergs on stage.” Then he develops the choreography and he uses the material as a way to motivate movement. The rolling of the balls, the masks, the shattering of these things as content in the work. So I’d throw out an idea and he’d come back and say, “I like these things,” or “Maybe this would work better if we did this.”


Let’s talk Snarkitecture. How did your partnership with Alex Mustonen come about?

Snarkitecture started when I was making pieces in public space that manipulated architecture. In a museum or gallery, I usually have carte blanche but my gestures are temporary. Public space requires a different knowledge base, so I hired Alex to help realize my pieces on a larger scale. We discovered an area closer to architecture than my own practice, so Snarkitecture emerged from that. It ultimately became its own entity with its own language.

Snarkitecture – Light-filled cave

Your latest exhibition, Moonstone, wrestles with concepts of space, exoplanets and time, all of it woven into Japanese gardens.

I was invited to spend some time at NASA’s Jet Propulsion Laboratory, where I was allowed into a creative studio whose mission it is to communicate to the public some of the more complex discoveries they make. That could be anything from ice on Mars to exoplanets with multiple moons. So I started to integrate some of the forms I saw there, one of those being these exoplanet moons, which are kind of like invented planets.


You’ve spent some time in Japan. How did this inspire your exhibition?

I’ve spent a lot of time in Japan over the last decade, and this repetitive act of raking the sand has always fascinated me. These gardens are fixed in time, in that they have been generally unchanged for hundreds of years, and yet they are remade every day. As I approached the exhibit from an early conceptual position, I envisioned the moons like some distant solar system or collection of planets, and the sand representing space-time or a ripple in a plane of space.


Japanese architecture has a certain timeless quality to it.

There are many buildings and temples that have remained unchanged for hundreds of years. The tea houses or temples look the same now as they did five hundred years ago, and maybe will five hundred years from now.


You recently released a monograph through Rizzoli.

My Rizzoli book reflects on the last 20 years of my work, all the way back to my thesis exhibition at Cooper Union. It’s one of the earliest things I created using architecture as a medium to play with –manipulating and creating a disconcerting, uncanny architecture.


Tell me a little about your Futurecraft collaboration with adidas.

When I approached the design of the Futurecraft sneaker, I was thinking more about the tools and materials that we use within the studio. The outfits we wear and the equipment that is related to the production of artwork. The tonality of the shoe is based on the green color that is used in the branding of the studio. This color is derived from many of the works that I was making, which use crushed, broken glass that becomes green – if you look at the edge of a sheet of glass, and you’re staring across it, you can see this greenish color. This comes from iron impurities in the actual glass, but if you look at the glass straight on it is completely clear.

Daniel Arsham

Final Question: If you had one piece of advice for other artists, what would that be? There are no shortcuts. Following your passion means doing the hard work and seeing your art through to its inevitable conclusion.