However, in 1985, NBC executives did instruct Bongarten to fire Stern. He’s talked about having sex to “Negro race music,” and he’s asked his mother on the air if she “got on all fours” during sex, and if she was a “three-input woman.”
In his book, he writes of Rodney King, “They didn’t beat this idiot enough.” On the air, he encouraged police to shoot at rioters during the uproar in Los Angeles. In the movie, his racial comedy tends toward the mildly offensive (he invents a militant black traffic announcer). The movie does gloss over the lengths Stern was willing to go to shock. Along the way, he dropped his fake-sounding FM voice and became a “shock jock,” talking more and more about himself, sex, sex with his wife, etc. Detroit and Washington, D.C., before making it in New York City. Stern grew up on Long Island, went to Boston University, and worked at stations in Westchester, N.Y. Private Parts may be hyperbolic, but it basically adheres to the facts, at least as they are laid out in Stern’s memoir, also called Private Parts (1993) in interviews and in an unauthorized biography, Howard Stern: King of All Media, by Newsday reporter Paul D. Toward the beginning of Private Parts, a heavily made-up Howard Stern, playing himself as a college student, explains in a voice-over that to enjoy the movie, “you’ve got to suspend disbelief.” Exactly how much disbelief does this biopic require us to suspend?
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