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HOWARD STERN: the Making of "Howard Stern"

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HOWARD STERN: the Making of HOWARD STERN: The Making of "Howard Stern": An Analysis of the Duality of the Star Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Roland HABERSACK am Institut für Amerikanistik Begutachter: Ao. Univ.-Prof. Mag. Dr.phil Klaus Rieser Graz, 2011 Abstract The purpose of this thesis is to examine how the image of the controversial media personality Howard Stern is constructed. His omnipresence in the media including radio, publishing and cinema represents the main reason for this study. Stern‘s secret of success appears to be his urge to expose everything to the public including his own private life. For this study, both his public and his ostensible private persona are taken into account. This duality is necessary to shape our understanding of Howard Stern. As far as the methods are concerned the analysis is based around Richard Dyer‘s four categories that are essential to construct a star image: Promotion, publicity, film and criticism. A semiotic analysis seems to be most appropriate to observe the ideological values as well as the notion of cultural identity evoked by the signs of the star‘s public and private image. In order to compare the two personas and their representations Stern‘s biographical movie Private Parts and various articles and interviews in other visual media are used as reference purposes. Both entities extensively use manipulative means to create the preferred image. The difference lies in the highlighted features. Whereas the media confirms his notorious image, the movie attempts to revert it. Despite the difference of the preferred images, the movie and the media highlight Stern‘s authenticity and honesty in equal measure. In closing, it can be argued that Stern himself has far more control over his image than anything else around him. This study primarily focuses on Howard Stern during the 80s and 90s representing the most successful period of his career. Stern‘s life past 1997 is not taken into account. Therefore, future research regarding the evolution of talk radio and the internet, including social networks should deliver further fertile results in terms of Stern‘s persona. Other limitations exist in the fields of fandom, gender or politics which are only addressed marginally. 2 LIST OF IMAGES Image 1: Private Parts movie poster 58 Image 2: Howard Stern at the MTV Video Music Awards in 1992 61 Image 3: Luke Perry and Howard Stern at the MTV Video Music Awards 61 Image 4: Howard Stern at the age of 12 64 Image 5: Howard Stern‘s first appearance as himself during his time at Boston University 65 Image 6: Howard Stern is stimulating a woman over the radio at DC-101 in Washington 74 Image 7: Howard Stern advertisement on a bus in Washington 75 Image 8: Howard Stern is introduced to Kenny Rushton 79 Image 9: Howard Stern as the most listened disc jockey in New York in 1985 83 Image 10: Gary Dell‘Abate together with a woman announcing Stern‘s arrival in Westchester, New York 85 Image 11: A cartoon of Howard Stern and his wife Alison as the perfect couple 94 3 TABLE OF CONTENTS 1 INTRODUCTION ........................................................................... 6 2 THE ORIGIN OF CELEBRITIES .................................................. 8 3 STARS IN CINEMA ..................................................................... 14 3.1 Star Production ....................................................................................... 14 3.2 Independence of the Stars ....................................................................... 15 3.3 Defining ‗Star‘ ........................................................................................ 18 3.4 Identity .................................................................................................... 20 3.5 From Classic Hollywood to Modern Day Celebrities ............................ 21 3.6 Star Types ............................................................................................... 22 4 STARS ON TELEVISION ............................................................ 25 4.1 Television as a Discursive Medium ........................................................ 25 4.1.1 Talk Shows .................................................................................................................... 29 5 STARS AND SEMIOTICS ........................................................... 32 5.1 Ideological Values .................................................................................. 32 5.2 Charisma ................................................................................................. 34 5.3 Authenticity ............................................................................................ 35 5.4 Intertextuality .......................................................................................... 36 6 THE CONSTRUCTION OF THE STAR IMAGE ....................... 40 6.1 The Search for the ―Right‖ Image .......................................................... 41 6.2 The Categories of the Star Image ........................................................... 44 6.2.1 Promotion ...................................................................................................................... 44 6.2.2 Publicity ......................................................................................................................... 45 6.2.3 Films .............................................................................................................................. 45 6.2.4 Criticism and Commentary ............................................................................................ 46 7 AUDIENCE AND FANDOM ....................................................... 47 8 CASE STUDY: HOWARD STERN ............................................. 51 8.1 The Instability of the Image in Postmodernism ..................................... 53 4 8.2 The Image of Howard Stern ................................................................... 54 8.3 Autobiographical Film vs. Biographical Film ........................................ 56 8.4 Private Parts ............................................................................................ 57 8.4.1 Semiotics of the Movie Poster ....................................................................................... 57 8.4.2 Introduction of the Movie .............................................................................................. 60 8.4.3 The Early Years ............................................................................................................. 64 8.4.4 Radio and Private Life ................................................................................................... 66 8.4.5 Authenticity – Developing His Radio Persona .............................................................. 67 8.4.6 Becoming the Radio Rebel ............................................................................................ 69 8.4.7 Stern‘s Public Persona as the ‗Real‘ Self ...................................................................... 70 8.4.8 Stern and Authority ....................................................................................................... 73 8.4.9 Censorship ..................................................................................................................... 73 8.4.10 Reversion of the Image: Howard Stern and His Role as the Husband .......................... 76 8.4.11 The Triumph of the Anti-Hero ...................................................................................... 78 8.4.12 Filmic Means for Authenticity ...................................................................................... 84 8.4.13 Outcome of the Movie Analysis .................................................................................... 85 8.5 The Image of Howard Stern in Other Visual Media .............................. 87 8.5.1 Howard Stern - Rebel, Outcast and Freak ..................................................................... 87 8.5.2 Howard Stern, Reversed Image – the Family Man ....................................................... 93 8.5.3 The King of all Media as an American Icon ................................................................. 95 8.5.4 The Rebel, the Family Man and the Icon in the Context of Authenticity...................... 97 9 OVERALL CONCLUSION ........................................................ 100 10 BIBLIOGRAPHY ....................................................................... 102 10.1 Online Resources .................................................................................. 104 10.2 Film ....................................................................................................... 107 10.3 Radio ..................................................................................................... 108 10.4 Images ................................................................................................... 108 5 1 INTRODUCTION For more than three decades Howard Stern has played an integral part in American society. His success has its roots in his honesty in combination with the most basic form of humour. Consequently, this combination entails a huge cultural impact on an entire nation. The constant debate about Stern has not only turned him into a radio legend but a cultural legend. A public personality has to establish a certain image in order to enable the public to relate to the star in a social and ideological context.
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