Editorials
Remembering Ronnie James Dio
Today bears no anniversary for the metal legend Ronald James Padavona, known to the music world as Ronnie James Dio. It’s a month before the anniversary of his passing and his birthday isn’t until July 10th. However, that doesn’t change the fact that Dio‘s influence is felt every day, with every modern day metalhead owing him tribute.
Lately, I find that I’ve been listening to a lot of Dio’s work over the years, which stretched from well before his time in Rainbow with Richie Blackmore (Deep Purple) until his final days, which saw him in both Dio and Heaven & Hell, the group comprised of Black Sabbath members Tony Iommi, Geezer Butler, and Vinny Appice, who recorded and toured as Black Sabbath in the early 80’s. In fact, Dio’s legacy stretched over five decades, the man tirelessly touring, recording, and promoting the metal community. It’s a life full of trials, difficulties, and accomplishments.
Dio was born July 10th, 1942 in Portsmouth, New Hampshire, where he lived for a short while before moving to Cortland, New York. He stated, “My childhood was safe and sane. No abuse and no traumas. I was surrounded by a large and loving family who taught me the importance of hard work and a meaningful education.” [Source]
Dio got his start musically at an early age, cutting his teeth on the trumpet while also listening to a lot of opera in his home, which almost certainly contributed to his iconic vocal prowess. His first rock and roll band was formed in high school and was the beginning of a nonstop career in music, one that would shape and define the metal genre.
Surprisingly, Dio has stated that he, “…never had vocal training” [Source], instead attributing his vocal talents to the breathing control he learned while playing trumpet. Despite this lack of formal training, Dio’s voice has won him spots on countless “Greatest Metal Vocalists” lists, all focusing on his range, his strength, his presence, and his lyrical output.
The first real rise to fame was Dio’s first major band Elf, which regularly opened for Deep Purple. This would ultimately lead to the formation of Richie Blackmore’s Rainbow, which featured Dio as the vocalist for three studio albums and one live LP. Dio and Rainbow would part ways in 1979 and soon afterwards joined one of the greatest heavy metal bands in the history of the genre: Black Sabbath.
The relationship between Dio and Black Sabbath wasn’t a long one but it did result in the release of two studio albums before he moved on to form his own solo project, the now infamous Dio. He would ultimately return for one more album, 1992’s Dehumanizer, but it was a short-lived reunion, Dio ultimately being the more important project in the singer’s eyes.
In his final years, Dio once again joined forces with members of Black Sabbath to form Heaven & Hell. Taken from the name of the first album Dio recorded with Black Sabbath, Heaven & Hell not only toured the world but also recorded a new album, The Devil You Know, which received positive reviews and landed on charts across the globe. A follow-up album was planned for 2010, but never materialized.
On November 25th, 2009, Dio’s wife Wendy released a statement saying that her husband was diagnosed with the early stages of stomach cancer. Less than a year later, on May 16th, this illness would take his life.
His death was one of those moments that rocked the music community. It was the loss of an icon, someone that seemed larger than life. When the phrase “Rock Gods” is uttered, Dio’s legacy proves that he belongs in that pantheon, alongside Hendrix, Darrell, and countless others who came and went before their time.
May 15th through 17th, the Ronnie James Dio Stand Up And Shout Cancer Fund will be held and will feature special attendees like Tenacious D, Christian Martucci and Roy Mayorga (Stone Stour), Chris Broderick (ex-Megadeth), Sean McNabb (Lynch Mob, ex-Dokken), and more. The event will be held in Los Angeles, CA and event details can be found via the official website.
Steven Spielberg has always been conversant in the cinematic language of the horror genre, despite relatively few credits in the genre. His contributions as a writer and producer on things like Poltergeist are legendary, and films like Duel and Jaws certainly wield the horror genre in remarkable, often chilling ways. He may not be a horror filmmaker, but he knows when he needs to scare us, and he has the tools to make that happen.
I didn’t go into Disclosure Day, Spielberg’s alien epic, expecting outright horror, and indeed the film leans much more into thrilling than frightening. This is not a horror film, but for a few minutes in the middle, much to my surprise, it became one.
Spielberg has filmed more than his fair share of scary scenes over the years, but with Disclosure Day, he directed a new contender for the scariest scene of his entire career.
SPOILERS AHEAD for Disclosure Day!
Josh O’Connor in DISCLOSURE DAY, directed by Steven Spielberg.
Among the various alien secrets laced throughout Disclosure Day are a trio of palm-sized rods, the color of pencil graphite. These rods, originating from another planet, can be used for a number of things, but for the purposes of this scene, the most important is “diving,” gripping the rod in one bare hand and using its power to “dive” into the mind of another person.
The person holding the rod in this scene is Noah Scanlon (Colin Firth), head of shadowy cybersecurity firm Wordex, who is hellbent on keeping human knowledge of extraterrestrials secret from the general public. Scanlon’s trying to find whistleblower Daniel Kellner (Josh O’Connor), who’s got all of those alien secrets tucked in a backpack while he’s on the run, and while Daniel’s more experienced mind is protected from diving, his girlfriend Jane’s (Eve Hewson) is not. So, monitored by medical personnel at Wordex headquarters (diving is dangerous), Scanlon pushes his way into Jane’s mind to find the location of Daniel’s safe house.
A telepathic invasion is scary enough on its own, but Spielberg doesn’t stop there. When Scanlon dives into Eve’s mind, he appears to her to be sitting across the kitchen table, like he’s in the room. Her bright blue eyes turn Scanlon’s dark brown, and she loses much of her control over her own body, not to mention her mind. Moments before, Daniel finally shared with her the secrets in his backpack, so Jane is shocked, conflicted, deeply vulnerable when Scanlon slips inside her head. This is not just telepathy. This is possession.
Spielberg underscores this not just through the visual language of the scene, as Jane breaks out in a sweat and struggles to sit upright as Scanlon invades her mind, but through Jane’s background. As she revealed to Daniel earlier in the film, Jane is a former novitiate nun who left her convent when she began to question her calling. She still believes firmly in God and, more importantly, believes that perhaps proof of alien life should be kept secret from the public because, in her eyes, it would upset the entire balance of faith in the world. God is a defining factor for humankind, Jane argues, and showing humanity proof of creatures from the stars would undercut that in dangerous ways.
This context, combined with the crucifix necklace Jane’s holding in her hand at the time of the dive, makes this scene the closest thing Spielberg will ever shoot to something out of The Exorcist. It’s not just a battle of wills, but a battle of faith. As an amoral technocrat worms his way into her memories, her beliefs, her faith, Jane turns the crucifix into a weapon, squeezing it until her hand bleeds when she discovers that a pain response can momentarily push Scanlon out of her head.
Of course, when you put a crucifix and a bloody hand together, it conjures images of stigmata. Screenwriter David Koepp pushes the allusion further by having Scanlon quote Christ on the cross to Jane by way of convincing her that she must be the one to stop Daniel by any means necessary.
It’s easy to see why this is scary, right?
On a very basic level, you have a powerful, wealthy man subduing and assaulting an innocent young woman, which is frightening enough. Then, the layers of the scene kick in. Scanlon doesn’t just assault Jane, but possesses her, seizes her memories, her knowledge, and finally her own free will, all while Jane literally clings to her faith in an effort to fight back. Disclosure Day is, among other things, a story about who has a right to the truth, and Scanlon believes that he should be the arbiter of that truth. Not just the truth as he sees it, but the truth as Jane sees it as well. If they don’t see eye to eye, he’ll make her.
But the possession, as it turns out, cuts both ways. Using the rod to dive is, for a normal human being, an intensely strenuous process. Scanlon admits that previous attempts almost killed him, and for some members of his time, so much as touching the rod results in a near-death experience. Even accessing an unprepared mind like Jane’s takes a lot of Scanlon, and when she kicks him out by squeezing the crucifix – again, so much meaning embedded in the details here – his team holds him back and tries to offer medical intervention. But Scanlon persists, pushing them away, and keeps diving back in.
This means that Jane can’t escape him because he just won’t stop pushing back through her defenses, but it also means that each time Scanlon enters her mind, and thus the safe house, he looks more monstrous. By the end, through a combination of lighting and makeup, Firth barely looks human, conjuring up images of the possessed Father Karras at the end of The Exorcist.
Colin Firth (center, standing) in DISCLOSURE DAY, directed by Steven Spielberg.
On a pure, visceral craft level, all of this is quite frightening, but the real trick to making this scene into Spielberg’s most terrifying lies in the more existential horror surrounding all of this. Disclosure Day is a film about the battle for the truth over extraterrestrials, but it’s also about a fight against an impossibly powerful surveillance state, the devaluing of human and alien lives in favor of some nebulous collection of assets, and the value of the individual in a world that increasingly lumps people into demographic boxes and writes them off.
In this scene, the surveillance state becomes supernatural, a human life is worth less than a piece of information, and an extragovernmental technocrat would rather sacrifice his own humanity than see reason. In 2026, few things could be more terrifying than that. Spielberg knows this and wields it mightily, proving once again that, while he’s not a strictly horror filmmaker, he can direct horror with the best of them.
Disclosure Day is in theaters now.
Eve Hewson (second from left) in DISCLOSURE DAY, directed by Steven Spielberg.
You must be logged in to post a comment.