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Oprah Winfrey names "The River Is Waiting" newest book club pick: Read a free excerpt

Oprah Winfrey names "The River Is Waiting" newest book club pick: Read a free excerpt

CBS News10-06-2025

Oprah Winfrey revealed "The River Is Waiting" by Wally Lamb as her newest book club selection on "CBS Mornings" on Tuesday. This is the third book by Lamb that Winfrey has picked. She described Lamb as being a "magician of words."
It's the story of Corby Ledbetter, a young and struggling stay-at-home dad to twin toddlers. He causes a tragedy that tears his family apart. The book tracks Ledbetter's journey through prison, where witnesses acts of brutality and kindness and how he hopes forgiveness may eventually be possible.
Read a free excerpt from "The River Is Waiting" by Wally Lamb.
Free excerpt from "The River Is Waiting"
The following morning, I was still asleep when my phone rang. I squinted at the time: seven fifteen. Who the f---…?
"Yeah?"
"Good morning," Emily said. "Thanks again for last night. Hey, would you like to go out for breakfast? I was thinking the Aero Diner on Route Two in half an hour?"
I said yes, swung my legs out of bed, and headed for the shower. After toweling off, I looked at my naked self in the mirror. Long eyelashes? Check. Broad shoulders? Nah. Average, maybe. Nothing special. But because the work I was doing that summer was physical, my stomach looked cut and my biceps were bigger. Still, I had a T-shirt tan—not cool. And an overbite, as the hygienist always reminded me when I got my teeth cleaned. And in my opinion, my frame was still on the scrawny side. It was a draw, I figured, and slipped on some clean boxers. What counted was that Emily liked what she saw. I glanced again at the clock. I had fifteen minutes to get to that diner on Route Two and there'd probably be beach traffic. There was no time to shave, so I hoped she liked the scruffy look.
Apparently, she did. We got together almost every night for the rest of that dwindling summer. Went to the beach half a dozen times. Made love whenever the opportunity let us, given that we were both staying with our moms.
Emily's mom was iffy about me from the beginning, and she wasn't exactly reassured when she found a couple of the nude sketches I'd done of Emily. "He could post these on the internet," she warned her daughter. "How many schools would hire you to teach if these went public?"
Emily's theory was that Betsy would come around once she got to know me better, so I went over there for dinner one rainy Sunday in the middle of August. Emily made a lasagna and Betsy contributed a green salad with nothing in it besides arugula, oil, and lemon juice. Hope she hasn't tired herself out making it, I thought. To impress her, I had splurged on a thirty-dollar bottle of red wine and purposely left the price tag on, but I could have saved my money. Betsy barely touched her lips to her glass. After I'd finished a second helping of lasagna, Emily said she'd made a blueberry pie for dessert. When she stood and started clearing the plates, I got up to help her. Betsy insisted I sit back down because I was their guest.
With Em in the kitchen, that left the two of us. After an awkward several seconds, I said, "So your daughter says you write poetry."
"Oh, here and there," she said. "I'm much more of a reader than a writer."
"Yeah? What's your favorite book?"
"Oh goodness, I have so many. I've been rereading Jane Eyre. That's one of my favorites. Masterpiece Theatre has been running a marvelous series based on the book. I don't suppose you've seen it."
"No, but my mother's been watching it," I told her. Which was a lie.
For Mom, must-see TV on Sunday nights was Desperate Housewives. "So tell me," she said. "Is art something you're hoping to make your living doing?"
"Maybe," I said. "I'm not really into planning my future at this point.
I guess I'm more of a live-for-today kind of person."
"Aha. Then you're the grasshopper, not the ant." When I shrugged, she said, "Aesop's Fables. You're very young, aren't you?"
As in immature and stupid, I figured. I poured myself more wine. A thirty-buck bottle of cabernet? Someone had better drink it. I felt like letting her know that my high school girlfriend's parents had been crazy about me; her dad had even taken me fishing. Where the hell was Emily? Reaching for my glass, I knocked it over, spilling wine on their white tablecloth. Ignoring my apology, Betsy jumped up, rushed to the kitchen, and came back armed with paper towels, a dishcloth, and a bottle of club soda. Blotting, pouring, and scrubbing, she let me know that the tablecloth, a gift from her favorite aunt, would be ruined if the stain was allowed to set. "Again, I'm very, very sorry," I said. Instead of acknowledging my apology, she continued to scrub aggressively.
When Emily returned with the pie, she apologized that it was so juicy. She'd forgotten the cornstarch. Aware that blueberries stained, I ate my piece super carefully. As soon as I had my last bite, I stood and said I had to go. "Already?" Emily said. I made up a bullshit excuse about having to feed a neighbor's dog.
At the front door, I whispered to Emily that I was pretty sure I'd flunked the audition. "Good thing you're not dating her then," she quipped. "And don't worry about the stupid tablecloth. Big deal." When I kissed her, she kissed me back.
It was pouring by then and the ground was saturated. Backing up, I accidentally veered off their driveway and onto the lawn. Made a little bit of a rut, which by morning might not even be noticeable. And if it was, Betsy would have to just f---ing get over it. You're very young, aren't you? What a b----.
At the end of August, Emily and I promised each other we'd call and write as often as our upcoming semesters allowed. I'd fly out there for the four-day Thanksgiving break and she'd spend the month between semesters back at her mother's. So at the end of our Mistick Village summer, we returned to our schools on opposite coasts.
Excerpted from The River is Waiting: A Novel by Wally Lamb. Copyright © 2025 by Wally Lamb. Reprinted by permission of Marysue Rucci Books, an imprint of Simon & Schuster, LLC.

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What Blues Bands Know About Leadership (That Most Executives Don't)
What Blues Bands Know About Leadership (That Most Executives Don't)

Forbes

time18 minutes ago

  • Forbes

What Blues Bands Know About Leadership (That Most Executives Don't)

Buddy Guy at Buddy Guy's Legends in Chicago Illinois, January 9, 2022. (Photo by Paul Natkin/Getty ... More Images) Earlier this week, I saw the great Buddy Guy live in concert. At 88, the blues legend still prowls the stage like a man with something to prove—but there's also a real sensitivity to his swagger. Living and performing for eight decades will endow you with a lot of wisdom and humility if you're paying any attention. Between songs, Buddy told stories: As I watched and listened, something struck me: a blues band can offer surprisingly good insights and lessons for leadership—including for leadership succession. Think about how a band mirrors a business. In a good band, it's crucial for the bass and drums to 'lock in' together: the rhythm section keeps everyone grounded, moving forward and in the same direction. They're your management and control functions. The bass? Steady, dependable, on point. The drums? Driving the beat, making things happen. The rhythm guitar is your product development, telling you where it's all going; it's what you tend to hum along to. The lead guitar steps out front once in a while and enable the audience feel something special—usually something electrifying. That's your vision and mission. The lead singer may tell the story, but the lead guitar makes it unforgettable. (Led Zeppelin were a great example of this metaphor, where at their best each of the four players was perfectly collaborative and essential to the total experience.) From left, bassist John Paul Jones, drummer John Bonham, singer Robert Plant and guitarist Jimmy ... More Page perform live on stage during a concert by English rock band Led Zeppelin on the third of three nights at Madison Square Garden, New York City on 29th July 1973. The concert movie 'The Song Remains the Same' was filmed over the three nights from 27th to 29th July at the venue. (Photo by David Redfern/Redferns/Getty Images) In a happy serendipity, I spent a couple of hours the morning after the show talking with the two most senior partners at a private equity firm I've been working with for the last two decades. They're working through a leadership transition, so they're at a critical juncture. As in most founder-led companies, effective private equity successions are rare. Too often, the firm simply cannot survive after the departure of its visionary founder, who usually has deep expertise in both investing and fundraising. The blues band metaphor came to mind. To play it out, leadership transitions often go sideways because organizations forget that changing the lead guitarist changes the whole sound of the band. The rhythm guitarist who steps up to take the lead will inevitably play in a different style, with their own strut. That doesn't mean they're better or worse—they're just different, and the band has to adapt. And someone new has to step in and hold the rhythm, or the music won't rock. Buddy Guy always talks about the blues tradition as something he inherited and now passes on. This, too, is a leadership lesson: great leaders honor the past, but they don't get stuck in it. They evolve the music. At one point Guy took off his guitar, laid it on top of one of the massive speakers to generate a sonic wall of feedback, and then played the chords of Cream's 'Sunshine of Your Love' by striking the guitar strings with a drumstick. The crowd roared. American Blues musician Buddy Guy performs onstage at his nightclub, Buddy Guy's Legends, Chicago, ... More Illinois, January 4, 2020. (Photo by) The best performers bring the crowd with them. And that crowd matters. A band isn't just playing to the audience—they're playing with them. They watch for reactions. They change tempo. They tell stories between songs to make the room feel small and intimate, even when it's not. In business, the best leaders do the same thing: they tune into their teams, their markets, and the cultural and emotional Zeitgeist. Of course, not all band stories are smooth. Think of the latter-day lineup of The Yardbirds: Jimmy Page and Jeff Beck, two of the greatest guitarists alive, simply couldn't play together. Too much ego? Perhaps. Or maybe just incompatible styles. Technical excellence isn't enough. Bands—and leadership teams—work best when there's chemistry, not just talent. And sometimes, the frontman disappears. Literally. AC/DC lost their iconic lead singer, Bon Scott, in 1979. For most bands, that would've been the end. But they found an unexpected replacement in Brian Johnson who was, remarkably, a singer that Bon Scott had once mentioned admiring. AC/DC's next album? Back in Black ,the top-selling rock album of all time, and one that shares a great deal in style and spirit with the show Buddy put on the other night. 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'Étoile' has been cancelled, but no one blends dance and humour as brilliantly as Marguerite Derricks
'Étoile' has been cancelled, but no one blends dance and humour as brilliantly as Marguerite Derricks

Yahoo

time20 minutes ago

  • Yahoo

'Étoile' has been cancelled, but no one blends dance and humour as brilliantly as Marguerite Derricks

One of the most devastating entertainment losses of the year is certainly the cancellation of the show Étoile after just one season, from Gilmore Girls, Bunheads and The Marvelous Mrs. Maisel creator, Amy Sherman-Palladino, and her husband Dan Palladino. But with that puzzling move from Prime Video, there's no better time to celebrate all the talent in the short lived series. That includes Marguerite Derricks, an incredibly beloved and impressive choreographer who's worked on Palladino's previous projects. Additionally, she's contributed her talents to the series Behind The Candelabra and movies including Showgirls, 13 Going On 30 and the Austin Powers franchise. But in terms of what makes the Palladinos such effective collaborators, Derricks stressed that they way they shoot dance in their shows is done in a way where there's a real "marriage of the camera with movement." "For a choreographer, there's nothing greater than that," Derricks told Yahoo. "On Bunheads I started to play with them that way, and it's carried on through four different TV series." "It's just made me such a better choreographer. ... I wish every choreographer would find collaborators like Amy and Dan, because there's nothing like it." One example of how Étoile really makes the dance in the show an integrated part of the story is the Swan Lake moment with Tiler Peck in Episode. It's a dance moment, but written in a way that's injected with humour. "That was written by Dan Palladino and ... when they sent me the outline for the script I literally was laughing out loud," Derricks shared. "I couldn't wait to attack that and to have Tiler Peck be the one that got run over by the swans, it was just such a gas." "Their comedy genius is always on the page and then I just put it into motion. I've worked with comedians my whole life, so it's something that I really, really enjoy, but it's always there on the page. There's never, a question mark for me with Amy and Dan, they're so clear." Another highlight is a piece choreographed by Gideon Glick's character Tobias Bell in Étoile. A character that's hysterical with his quirkiness, brought out in the character's choreography as well. "That was my big voice in the show," Derricks said. "I love Gideon Glick. He is the coolest, craziest human being. He would come and watch me and he thought I was funny because I kind of stalked the dancers like a lion. And so he wanted to pick up on that." "And I studied him and I like his quirks, and I wanted to make sure that that's what was driving me a lot with the choreography. So I the two of us, we kind of became one, we became Tobias together." While Étoile certainly isn't a show that requires the audience to have a dance background to enjoy, there was still such a commitment on the show to make its dance spaces and dancers feel real. 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Much of what happens in the "Hollywoodization" of dance, specifically ballet in film and TV, largely sees talented dancers be nameless and on the periphery of the project. But in Étoile, Sherman-Palladino made wanted to use there dancers to their full potential, and crediting them for their work. "That was the most exciting thing for me," Derricks said. "Every single dancer that came into our show, [Amy] read them for parts. She wanted to cast the dancers. She wanted to hear their voices. I want to scream from the rafters, because that's happening more and more, but it really happened on [this] show. ... Dancers are so great at telling stories without speaking, so just get comfortable with talking as well. I'm very proud of that. ... The dancers were getting lines, they were so excited." A core element of Étoile is that dancer was very much used to tell the story, it's an integral part of the narrative. But it also immerses the audience in a dance world many haven't had any exposure to, portraying ballet dancers in a different light and as more fully formed characters, held up by brilliant and unique choreography from Derricks. "Ballet is sexy, ballet is strong. Ballet dancers are like football players, the athleticism that they have," Derricks stressed. "I want people to see ballet in a whole different way." "There's a lot of wonderful choreographers out there now doing out the about box, beautiful work, but for somebody that doesn't know ballet, I hope that we can reach a greater audience and turn them on to all sides of ballet."

New Hampshire city in ‘Jumanji' marks 30th anniversary with animal costume race
New Hampshire city in ‘Jumanji' marks 30th anniversary with animal costume race

Associated Press

time28 minutes ago

  • Associated Press

New Hampshire city in ‘Jumanji' marks 30th anniversary with animal costume race

KEENE, N.H. (AP) — Madeline Murphy remembers the instructions she was given on the set of 'Jumanji' when she was an extra some 30 years ago: 'Pretend you're frightened and you're screaming because an elephant's coming after you.' So, that's what she did in the Central Square of Keene, New Hampshire, running back and forth, over and over, on a long day in November 1994. 'I was pretty tired by the end of the day, and it was cold,' said Murphy, 61. She got a check for $60.47 — and several seconds of screen time. Murphy was one of about 125 extras cast in the classic Robin Williams film, which is marking its 30th anniversary. It has spawned several sequels, including one planned for next year. The city of about 23,000 people in the southwestern corner of the state is celebrating its ties to 'Jumanji' this weekend. The festivities include a parade, scavenger hunt and a 'Rhino Rumble Road Race' saluting the film's stampede scenes of elephants, rhinos and zebras. Runners in inflatable animal costumes sprinted about a quarter mile (less than half a kilometer) around the square Saturday. Juniper Thurston and her daughters Elska and Madison Christgau wore rhino costumes, which they said were difficult to run in but better ventilated than expected. Thurston, who lives in nearby Hancock, was 13 when 'Jumanji' was filmed, and she remembers visiting Keene to watch her friends perform as extras. 'It was literally right here -- it was amazing,' Thurston said. 'It was just wild, and to be here today and be able to have a small part our own stampede is kind of awesome.' Elska Christgau, 9, said everyone in her family loves the film, and that her favorite part is 'the mystery and the Jumanji game' itself. Keene gets picked thanks to coffee craving Based on the 1981 children's book by Chris Van Allsburg about a mysterious jungle adventure board game, the movie version of 'Jumanji' is set in the fictional small town of Brantford, New Hampshire. Veteran location manager Dow Griffith was crisscrossing New England in search of the right spot. A coffee lover who grew up in Seattle, he recalled feeling desperate one day for a good brew. He was a bit east of Keene at the time, and someone suggested a shop that was near the square. 'I took my cherished cup of double dry cappuccino out to the front porch, took a sip, looked to my left — and by God — there was the place I had been looking for!' he told The Associated Press. 'So really, we have coffee to thank for the whole thing.' Scenes were filmed at the square that fall and the following spring. The fall scenes show a present-day town that had declined. Extras played homeless people and looters, in addition to panicked runners fleeing from the jungle animals. Joanne Hof, now 78, had needed her son's help to spot herself behind the elephants, running with her hands up. Hof, a reading specialist, bought a videotape of 'Jumanji' and showed it to the kids she worked with. 'They were very impressed that I was in the movie,' she said. The spring scenes, appearing early in the film, depict the town in 1969. Extras drove classic cars around the pristine-looking square and others walked around, dressed for that time period. 'I told the makeup person, 'Do you know how to do a French twist?'' recalled Kate Beetle, 74, of Alstead, who said she can be seen for 'a microsecond' crossing a street. 'They just found me the right lady's suit and right flat shoes, and then the hair is kind of what I suspect did it.' The city helped transform itself The 'Jumanji' crews worked well with the city in getting the permits to transform Central Square into a dilapidated, neglected piece of public property, recalled Patty Little, who recently retired as Keene's clerk. 'They brought in old, dead shrubbery and threw it around and made the paint peel on the gazebo,' she said. Items such as parking meters and lilac bushes were removed and a large Civil War-era statue was brought in to cover a fountain. Graffiti was on the walls, and crumpled vehicles in the stampede scene were anchored in place. Everything was restored, and fresh flowers were brought in the following spring, she said. Crews spent a total of about a week in the city for both settings. Little, whose classic 1961 Ambassador is caught on camera, could see everything happening from her office window. 'Did I get a lot of work done? I don't know during those days,' she said. Locals watch and meet Robin Williams A crowd turned out to watch a long-haired, bearded Williams run down the street in a leaf-adorned tunic. In the movie, he had just been freed from the game that had trapped him as a boy for years. 'He's shorter than I thought he was!' one viewer said, according to local chronicler Susan MacNeil's book, 'When Jumanji Came to Keene.' Others said, 'He has great legs — muscular, isn't he? But so hairy!' and 'Isn't he freezing dressed like that?' The mayor honored him with a key to the city. Williams, noticing the mayor was a bit shorter, suddenly announced at the presentation, ''I am the mayor of Munchkinland,' ' with a voice to match, City Councilor Randy Filiault recalled. He stayed in character for 15 to 20 minutes, 'just bouncing off the walls,' approaching people in the audience and pulling their hats over their eyes. Eventually, he stopped, ending with a solemn 'Thank you,' Filiault said. 'I am really seeing something cool here,' Filiault remembered thinking. 'How fortunate we were.' When Williams died by suicide in 2014, people left flowers and photos beneath a painted 'Parrish Shoes' wall sign advertising a fictional business left over from 'Jumanji.' Former Keene police officer Joe Collins, who was assigned to watch over then-child actors Kirsten Dunst and Bradley Pierce, also died by suicide, last year. Festival organizers planned a discussion about mental health and suicide prevention to pay tribute to Williams and Collins. 'I think Robin would have been impressed with that,' said Murphy, who met Williams and shook his hand. ___

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