Lifestyle
Leonard Riggio, who built Barnes & Noble into a bookselling empire, dies at 83
Leonard Riggio, then chairman of Barnes & Noble, arrives at a bookstore in New York on Sept. 12, 2017. Riggio died on Tuesday.
Seth Wenig/AP
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Seth Wenig/AP
NEW YORK — Leonard Riggio, a brash, self-styled underdog who transformed the publishing industry by building Barnes & Noble into the country’s most powerful bookseller before his company was overtaken by the rise of Amazon.com, has died at age 83.
Riggio died Tuesday “following a valiant battle with Alzheimer’s disease,” according to a statement issued by his family. He had stepped down as chairman in 2019 after the chain was sold to the hedge fund Elliott Advisors.
“His leadership spanned decades, during which he not only grew the company but also nurtured a culture of innovation and a love for reading,” reads a statement from Barnes & Noble.
Riggio’s near-half century reign began in 1971 when he used a $1.2 million loan to purchase Barnes & Noble’s name and the flagship store on lower Fifth Avenue in Manhattan. He acquired hundreds of new stores over the next 20 years and, in the 1990s, launched what became a nationwide empire of “superstores” that combined a chain’s discount prices and massive capacity with the cozy appeal of couches, reading chairs and cafes.
“Our bookstores were designed to be welcoming as opposed to intimidating,” Riggio told The New York Times in 2016. “These weren’t elitist places. You could go in, get a cup of coffee, sit down and read a book for as long as you like, use the restroom. These were innovations that we had that no one thought was possible.”
He grew up working class in New York City, liked to say he preferred socializing with childhood pals over fellow business leaders and was informal enough among associates to be known as “Lenny.” But in his time no one in the book world was more feared. With the power to make any given book a best seller, or a flop, to alter the market on an idle whim, Riggio could terrify publishers simply by suggesting prices were too high or that he might sign up such top sellers as Stephen King and John Grisham and publish them himself. He even tried to buy the country’s biggest book wholesaler, Ingram, in 1999, but backed off after facing government resistance.
By the end of the 1990s, an estimated one of every eight books sold in the U.S. were purchased through the chain, where front table displays were so valuable that publishers paid thousands of dollars to have their books included. Thousands of independent sellers went out of business even as Riggio insisted that he was expanding the market by opening up in neighborhoods without an existing store. Instead, independent owners spoke of being overwhelmed by competition from both Barnes & Noble and Borders Book Group, the rival chains sometimes setting up stores in close proximity to each other and to the locally owned business.
Barnes & Noble became so identified as an overdog that one of the 1990s’ most popular romantic comedies, “You’ve Got Mail,” starred Tom Hanks as an executive for the “Fox Books” chain and Meg Ryan as the owner of an endangered independent store in Manhattan.
“We are going to seduce them with our square footage, and our discounts, and our deep arm chairs, and our cappuccino,” Hanks’ character confidently declares. “They’re going to hate us at the beginning, but we’ll get ’em in the end.”
Acrimony from independent booksellers
For a time, it seemed industry conversation was an ongoing response to Barnes & Noble. Publishers were known to change the cover or title of a book simply because a Barnes & Noble official had objected. “Angela’s Ashes” author Frank McCourt found himself condemned by the American Booksellers Association, the trade organization for independents, after agreeing to appear in a Barnes & Noble commercial. On the floor of the industry’s annual national trade show, long hosted by the ABA, independent store employees would hiss at attendees wearing Barnes & Noble badges.
When novelist Russell Banks, addressing Barnes & Noble’s annual shareholder meeting in 1995, declared that he was both a stock holder and a happy B&N customer, some independent sellers stopped offering his books.
“You must know that I’ll never read, buy or sell another word you write,” Richard Howorth, owner of Square Books in Oxford, Mississippi, wrote to him. ”These are the kindest things I can think of to say to you.”
Tensions led to legal action when the ABA — on the eve of the 1994 convention — announced it was suing Barnes & Noble and five leading publishers for unfair trade practices. Some of the publishers were so angered they boycotted the gathering the following year and only returned after the ABA sold the show to Reed Exhibitions. In 1998, the ABA sued Barnes & Noble and Borders for unfair business practices (both cases were settled out of court).
The internet shifts bookselling
Riggio began the 2000s at the height of power, with more than 700 superstores and hundreds of others outlets. But internet commerce was growing quickly and Barnes & Noble, with its roots in physical retail, lacked the imagination and flexibility of the startup from Seattle that called itself “Earth’s Biggest Bookstore,” Amazon.com. The online giant launched in 1995 by Jeff Bezos gained business throughout the 2000s and by the early 2010s had displaced Barnes & Noble through such innovations as the Kindle e-book reader and the Amazon Prime subscription service.
Bezos would liken himself to David taking down Goliath, although the contrast between the leaders also had the feel of an Aesop’s fable: The muscular, mustachioed Riggio, a boxer’s son, upended by the quick and clever Bezos.
“We’re great booksellers; we know how to do that,’’ Riggio acknowledged to the Times in 2016. “We weren’t constituted to be a technology company.”
Barnes & Noble started its own online site in the late 1990s, but such initiatives as the Nook e-book reader and a self-publishing platform failed to stop Amazon. Not even the collapse of Borders after the 2008-2009 economic crisis mattered for Barnes & Noble, which after decades of expansion closed more than 100 stores between 2009 and 2019.
An unlikely ally of independent booksellers
By the time of Riggio’s retirement, independent sellers regarded the chain not as a threat, but as an ally in the fight against Amazon to keep physical stores alive. At the 2018 booksellers convention, Riggio and ABA CEO Oren Teicher, once enemies in business and in court, praised each other during a joint appearance.
“My standing here, doing what I’m about to do (introduce Riggio) would have been impossible to imagine several years ago,” Teicher said at the time. “The simple fact is that our business is stronger and American readers benefit when there is a vibrant and healthy network of brick-and-mortar bookshops all across the country.”
During the 2010s, Barnes & Noble seemed unleadable and unwanted. The board announced in 2010 that the company was for sale, but no one offered to buy it. Four CEOs left in five years and Barnes & Noble’s stock dropped 60% between 2015 and 2018. New rumors of a sale lasted for months before Elliott Advisors, which had previously purchased the British chain Waterstones, bought Barnes & Noble for $638 million and hired Waterstones chief executive James Daunt to lead B&N.
“I don’t miss being a business person, I had enough of that. But I do miss the bookselling part, helping to find books to recommend to customers,” Riggio told Publishers Weekly in 2021.
Riggio’s roots and early bookselling ventures
Bookselling and family often overlapped for Riggio. His brother Steve Riggio served for years as vice chairman of Barnes & Noble and another brother, Thomas Riggio, helped run a trucking company that shipped the store’s books. After being interviewed in 1974 by the trade publication College Store Executive, Leonard Riggio met for coffee with the editor, Louise Altavilla, who seven years later became his second wife (Riggio had three children, two with his first wife, one with his second).
Leonard S. Riggio was the eldest son of a prize fighter (who twice defeated Rocky Graziano) turned cab driver and a dress maker. Even in childhood, he advanced quickly, skipping two grades and attending one of the city’s top high schools, Brooklyn Tech. He studied metallurgical engineering at New York University’s night school before focusing on commerce, and by day absorbed the bookselling world and the rising cultural rebellion of the 1960s.
Working as a floor manager at the campus book store, he learned enough to drop out of school and start a rival shop in 1965 — SBX (Student Book Exchange), where he allowed student activists to use the copying machine to print copies of anti-war leaflets. SBX was so successful he bought several other campus stores and was in position by 1971 to buy Barnes & Noble and its single Manhattan store. A few years later, he became the rare bookseller to run television commercials, with the catchphrase “Barnes & Noble! Of Course! Of Course!”
Riggio and the independent community may have seemed to hold opposing values, but they shared a love of reading and the arts and a liberal political outlook. He was a generous philanthropist and a prominent supporter of Democratic politicians. He was even friendly with the consumer activist and presidential candidate Ralph Nader, who featured Riggio, Ted Turner and Yoko Ono among others in his 2009 novel “Only the Super-Rich Can Save Us!”, in which Nader imagines a progressive revolution from above.
“Ever since he was a boy from Brooklyn, he’d had a visceral reaction to the way workings stiffs and the poor were treated on a day-to-day basis,” Nader wrote of Riggio, who did at times stand apart from his management peers. When some 200 business leaders were questioned by Fortune magazine in the 1990s about their political ideas, only Riggio supported the raising of worker pay.
“Money can become a burden, like something you carry on your shoulders,” he told New York magazine in 1999. “My nature is to be a ball-buster, but my role is to help people.”
A screenshot from George Mélière’s Gugusse et l’Automate. The pioneering French filmmaker’s 1897 short, which likely features the first known depiction of a robot on film, was thought lost until it was found among a box of old reels that had belonged to a family in Michigan and restored by the Library of Congress.
The Frisbee Collection/Library of Congress
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The Frisbee Collection/Library of Congress
The Library of Congress has found and restored a long-lost silent film by Georges Méliès.
The famed 19th century French filmmaker is best known for his groundbreaking 1902 science fiction adventure masterpiece Le Voyage dans la Lune (A Trip to the Moon).
The 45-second-long, one-reel short Gugusse et l’Automate – Gugusse and the Automaton – was made nearly 130 years ago. But the subject matter still feels timely. The film, which can be viewed on the Library of Congress’ website, depicts a child-sized robot clown who grows to the size of an adult and then attacks a human clown with a stick. The human then decimates the machine with a hammer.
In an Instagram post, Library of Congress moving image curator Jason Evans Groth said the film represents, “probably the first instance of a robot ever captured in a moving image.” (The word “robot” didn’t appear until 1921, when Czech dramatist Karel Čapek coined it in his science fiction play R.U.R..)
“Today, many of us are worried about AI and robots,” said archivist and filmmaker Rick Prelinger, in an email to NPR. “Well, people were thinking about robots in 1897. Very little is new.”
A long journey
Groth said the film arrived in a box last September from a donor in Michigan, Bill McFarland. “Bill’s great grandfather, William Frisbee, was a person who loved technology,” Groth said. “And in the late 19th century, must have bought a projector and a bunch of films and decided to drive them around in his buggy to share them with folks in Pennsylvania, Ohio, New York.”
McFarland didn’t know what was on the 10 rusty reels he dropped off at the Library of Congress’ National Audio-Visual Conservation Center in Culpeper, Va. A Library article about the discovery describes the battered, pre-World War I artifacts as having been, “shuttled around from basements to barns to garages,” and that they, “could no longer be safely run through a projector,” owing to their delicate condition. “The nitrate film stock had crumbled to bits on some; other strips were stuck together,” the article said. It was a lab technician in Michigan who suggested McFarland contact the Library of Congress.
“The moment we set our eyes on this box of film, we knew it was something special,” said George Willeman, who heads up the Library’s nitrate film vault, in the article.
Willeman’s team carefully inspected the trove of footage, which also contained another well-known Méliès film, Nouvelles Luttes extravagantes (The Fat and Lean Wrestling Match) and parts of The Burning Stable, an early Thomas Edison work. With the help of an external expert, they identified the reel as having been created by Méliès because it features a star painted on a pedestal in the center of the screen – the logo for Méliès Star Film Company.
A pioneering filmmaker
Méliès was one of the great pioneers of cinema. The scene in which a rocket lands playfully in the eye of Méliès’ anthropomorphic moon in Le Voyage dans la Lune is one of the most famous moments in cinematic history. And he helped to popularize such special effects as multiple exposures and time-lapse photography.
This moment from George Méliès’ Le Voyage dans la Lune (A Trip to the Moon) is considered to be one of the most famous in cinematic history.
George Méliès/Public Domain
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George Méliès/Public Domain
Presumed lost until the Library of Congress’s discovery, Gugusse et L’Automate loomed large in the imaginations of science fiction and early cinema buffs for more than a century. In their 1977 book Things to Come: An Illustrated History of the Science Fiction Film, authors Douglas Menville and R. Reginald described Gugusse as possibly being, “the first true SF [science fiction] film.”
“While it may seem that no more discoveries remain to be made, that’s not the case,” said Prelinger of the work’s reappearance. “Here’s a genuine discovery from the early days of film that no one anticipated.”
Joshua Jackson
I Got the Eye of the Tiger!!!
Published
BACKGRID
Joshua Jackson may have picked up a thing or two from “Karate Kid: Legends” … we got video of him going H.A.M. in a boxing gym with a trainer.
Watch the video … the 47-year-old actor ditched his shirt for the workout, really working up a sweat as he bobbed and weaved in the ring while throwing in some pretty impressive jabs!
He later goes to work solo on a speed bag like an old pro.
Joshua has publicly said that starring in “Karate Kid: Legends” in the role of a former boxer was a dream for him, but there’s no word on whether he’s training for another role or just really fell in love with boxing.
Either way … you’re looking great, Joshua!
Tracy Morgan, left, and Daniel Radcliffe star in The Fall and Rise of Reggie Dinkins.
Scott Gries/NBC
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Scott Gries/NBC
Tracy Morgan, as a presence, as a persona, bends the rules of comedy spacetime around him.
Consider: He’s constitutionally incapable of tossing off a joke or an aside, because he never simply delivers a line when he can declaim it instead. He can’t help but occupy the center of any given scene he’s in — his abiding, essential weirdness inevitably pulls focus. Perhaps most mystifying to comedy nerds is the way he can take a breath in the middle of a punchline and still, somehow, land it.
That? Should be impossible. Comedy depends on, is entirely a function of, timing; jokes are delicate constructs of rhythms that take time and practice to beat into shape for maximum efficiency. But never mind that. Give this guy a non-sequitur, the nonner the better, and he’ll shout that sucker at the top of his fool lungs, and absolutely kill, every time.
Well. Not every time, and not everywhere. Because Tracy Morgan is a puzzle piece so oddly shaped he won’t fit into just any world. In fact, the only way he works is if you take the time and effort to assiduously build the entire puzzle around him.
Thankfully, the makers of his new series, The Fall and Rise of Reggie Dinkins, understand that very specific assignment. They’ve built the show around Morgan’s signature profile and paired him with an hugely unlikely comedy partner (Daniel Radcliffe).
The co-creators/co-showrunners are Robert Carlock, who was one of the showrunners on 30 Rock and co-created The Unbreakable Kimmy Schmidt, and Sam Means, who also worked on Girls5eva with Carlock and has written for 30 Rock and Kimmy Schmidt.
These guys know exactly what Morgan can do, even if 30 Rock relegated him to function as a kind of comedy bomb-thrower. He’d enter a scene, lob a few loud, puzzling, hilarious references that would blow up the situation onscreen, and promptly peace out through the smoke and ash left in his wake.
That can’t happen on Reggie Dinkins, as Tracy is the center of both the show, and the show-within-the-show. He plays a former NFL star disgraced by a gambling scandal who’s determined to redeem himself in the public eye. He brings in an Oscar-winning documentarian Arthur Tobin (Radcliffe) to make a movie about him and his current life.
Tobin, however, is determined to create an authentic portrait of a fallen hero, and keeps goading Dinkins to express remorse — or anything at all besides canned, feel-good platitudes. He embeds himself in Dinkins’ palatial New Jersey mansion, alongside Dinkins’ fiancée Brina (Precious Way), teenage son Carmelo (Jalyn Hall) and his former teammate Rusty (Bobby Moynihan), who lives in the basement.
If you’re thinking this means Reggie Dinkins is a show satirizing the recent rise of toothless, self-flattering documentaries about athletes and performers produced in collaboration with their subjects, you’re half-right. The show feints at that tension with some clever bits over the course of the season, but it’s never allowed to develop into a central, overarching conflict, because the show’s more interested in the affinity between Dinkins and Tobin.
Tobin, it turns out, is dealing with his own public disgrace — his emotional breakdown on the set of a blockbuster movie he was directing has gone viral — and the show becomes about exploring what these two damaged men can learn from each other.
On paper, sure: It’s an oil-and-water mixture: Dinkins (loud, rich, American, Black) and Tobin (uptight, pretentious, British, practically translucent). Morgan’s in his element, and if you’re not already aware of what a funny performer Radcliffe can be, check him out on the late lamented Miracle Workers.
Whenever these two characters are firing fusillades of jokes at each other, the series sings. But, especially in the early going, the showrunners seem determined to put Morgan and Radcliffe together in quieter, more heartfelt scenes that don’t quite work. It’s too reductive to presume this is because Morgan is a comedian and Radcliffe is an actor, but it’s hard to deny that they’re coming at those moments from radically different places, and seem to be directing their energies past each other in ways that never quite manage to connect.
Precious Way as Brina.
Scott Gries/NBC
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Scott Gries/NBC
It’s one reason the show flounders out of the gate, as typical pilot problems pile up — every secondary character gets introduced in a hurry and assigned a defining characteristic: Brina (the influencer), Rusty (the loser), Carmelo (the TV teen). It takes a bit too long for even the great Erika Alexander, who plays Dinkins’ ex-wife and current manager Monica, to get something to play besides the uber-competent, work-addicted businesswoman.
But then, there are the jokes. My god, these jokes.
Reggie Dinkins, like 30 Rock and Kimmy Schmidt before it, is a joke machine, firing off bit after bit after bit. But where those shows were only too happy to exist as high-key joke-engines first, and character comedies second, Dinkins is operating in a slightly lower register. It’s deliberately pitched to feel a bit more grounded, a bit less frenetic. (To be fair: Every show in the history of the medium can be categorized as more grounded and less frenetic than 30 Rock and Kimmy Schmidt — but Reggie Dinkins expressly shares those series’ comedic approach, if not their specific joke density.)
While the hit rate of Reggie Dinkins‘ jokes never achieves 30 Rock status, rest assured that in episodes coming later in the season it comfortably hovers at Kimmy Schmidt level. Which is to say: Two or three times an episode, you will encounter a joke that is so perfect, so pure, so diamond-hard that you will wonder how it has taken human civilization until 2026 Common Era to discover it.
And that’s the key — they feel discovered. The jokes I’m talking about don’t seem painstakingly wrought, though of course they were. No, they feel like they have always been there, beneath the earth, biding their time, just waiting to be found. (Here, you no doubt will be expecting me to provide some examples. Well, I’m not gonna. It’s not a critic’s job to spoil jokes this good by busting them out in some lousy review. Just watch the damn show to experience them as you’re meant to; you’ll know which ones I’m talking about.)
Now, let’s you and I talk about Bobby Moynihan.
As Rusty, Dinkins’ devoted ex-teammate who lives in the basement, Moynihan could have easily contented himself to play Pathetic Guy™ and leave it at that. Instead, he invests Rusty with such depths of earnest, deeply felt, improbably sunny emotions that he solidifies his position as show MVP with every word, every gesture, every expression. The guy can shuffle into the far background of a shot eating cereal and get a laugh, which is to say: He can be literally out-of-focus and still steal focus.
Which is why it doesn’t matter, in the end, that the locus of Reggie Dinkins‘ comedic energy isn’t found precisely where the show’s premise (Tracy Morgan! Daniel Radcliffe! Imagine the chemistry!) would have you believe it to be. This is a very, very funny — frequently hilarious — series that prizes well-written, well-timed, well-delivered jokes, and that knows how to use its actors to serve them up in the best way possible. And once it shakes off a few early stumbles and gets out of its own way, it does that better than any show on television.
This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. Sign up for the newsletter so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.
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