OldiesSong

Greatest Hits Oldies But Goodies Ever

Forty-eight hours after hosting the 2017 CMA Awards in front of millions, Carrie Underwood stepped outside her Nashville home in the dark to walk her dogs and missed a step. The fall on November 10, 2017 broke her right wrist and tore a deep cut near her mouth. Surgeons repaired her wrist with metal plates and screws that night and closed the facial wound with 40 to 50 stitches. For a singer whose voice and face lived under constant cameras, the injury threatened both her career and her confidence. Her husband, former NHL player Mike Fisher, was out of town when the call came from Nashville. He canceled his plans, caught an overnight flight home, and reached her hospital bedside as she woke from surgery. For the next five months, Underwood stepped away from public appearances and cameras while swelling and scarring healed. At home, she worried their two-year-old son, Isaiah, might be frightened by how different she looked, and she admitted she struggled to look in the mirror herself. Fisher kept daily life steady without pushing her toward a timeline, while she worked through physical therapy on her wrist and facial muscles. On January 1, 2018, she wrote a candid letter to fans warning them she might look a little different when she returned. When she finally walked onto the Academy of Country Music Awards stage on April 15, 2018 to sing “Cry Pretty,” a faint scar remained above her lip, her voice carried the room, and the audience rose to its feet. Underwood had spent years being praised for effortless polish under bright lights. What carried her back to that stage was a quiet winter at home with a husband who flew through the night and never asked her to hurry.

Please scroll down for the video. It is at the end of the article!

TWO DAYS AFTER HOSTING THE 2017 CMA AWARDS IN FRONT OF MILLIONS, CARRIE UNDERWOOD MISSED A STEP OUTSIDE HER NASHVILLE HOME — AND SPENT FIVE QUIET MONTHS LEARNING HOW TO WALK BACK INTO THE LIGHT.

On November 8, 2017, Carrie Underwood stood under the television lights at Nashville’s Bridgestone Arena, co-hosting the Country Music Association Awards with Brad Paisley for the tenth consecutive year. Everything looked effortless, polished, and firmly in place.

Forty-eight hours later, on the night of November 10, that routine changed in seconds. Stepping outside her home in the dark to walk her dogs, Underwood lost her footing on the steps and fell hard onto the ground, catching herself with her right hand as her face struck the surface.

The fall broke her right wrist and left a deep laceration near her upper lip. That same night, surgeons repaired the wrist using metal plates and screws, while doctors closed the facial wound with 40 to 50 stitches.

For an artist whose career unfolds in front of high-definition cameras, stage lights, and studio microphones, the injuries carried immediate practical consequences. Her right hand was immobilized, and her mouth and face were swollen and bruised at the exact moment she was preparing new music.

Her husband, former NHL captain Mike Fisher, was out of town when the emergency call came from Nashville. He canceled his plans, boarded an overnight flight back to Tennessee, and arrived at the hospital bedside just as Underwood was waking up from surgery.

In the weeks that followed, the hardest stretch happened far from any stage. Underwood stepped away from public appearances, television broadcasts, and social media photos while swelling slowly went down and scarring began to settle.

At home, the worry was personal rather than professional. She later shared that she feared their two-year-old son, Isaiah, might be frightened by how unfamiliar her face looked, and she admitted that looking in the mirror herself was difficult during the early stages of healing.

Fisher kept their household steady through that winter, shielding their family routine and never pressing her toward a public deadline. Behind closed doors, Underwood worked patiently through physical therapy for her wrist while also retraining facial muscles that felt tight and unfamiliar when she tried to sing.

On January 1, 2018, she finally broke her silence in a candid letter to her fan club, explaining that the accident had been more serious than early reports suggested and gently warning listeners that she might look a little different when she returned to the cameras.

As spring arrived, she returned to the studio to finish her single “Cry Pretty,” a song she co-wrote with Hillary Lindsey, Lori McKenna, and Liz Rose about the weight of trying to hold composure together when life breaks down privately.

Her public return came on April 15, 2018, on the stage of the 53rd Academy of Country Music Awards in Las Vegas. Wearing a sequined dress and standing alone beneath the spotlight, she sang “Cry Pretty” live, with only a faint scar still visible above her lip.

Her voice filled the MGM Grand Garden Arena with the same power audiences had known since her 2005 American Idol win, and the room rose to a standing ovation before the final notes faded.

Underwood had spent more than a decade being praised for grace under bright lights. What carried her back onto that stage was a quiet winter at home, a husband who flew through the night without hesitation, and the patience to heal before stepping forward again.

http://www.youtube.com/watch?v=lydBPm2KRaU

Related Post

“In 2026, after stepping away from long-distance touring to live with a degenerative nerve condition, Alan Jackson returned to the studio to record a stripped-down country version of Still the One for the fiftieth anniversary of meeting his wife, Denise. Their story began in 1976 at a Dairy Queen in Newnan, Georgia, where seventeen-year-old Alan first spotted a popular blonde high school student named Denise. Alan often described himself back then as a shy, lanky kid from a working-class family who doubted she would ever notice him, yet that same year Still the One was playing on car radios across America as they began dating in his old car before marrying on December 15, 1979. Over the five decades that followed, the couple went from warehouse shifts in Georgia and Denise’s years as a flight attendant supporting Alan’s early songwriting to seventy-five million records sold. Together they survived a four-month separation in 1998 that later shaped his 2003 ballad Remember When, stood side by side through Denise’s 2010 cancer battle, and watched their three daughters make them grandparents. Recording a new track in his late sixties required real physical effort from Alan, who has spent years managing Charcot-Marie-Tooth disease, an inherited nerve disorder that affects his balance and mobility. As his health pulled him back from arena stages, Denise once again became the quiet anchor of their daily life at home, much as she had been during their earliest struggles in Nashville. Fifty years after that first meeting at a small-town Georgia Dairy Queen, the 1976 radio hit that accompanied their teenage drives now carries the voice of a husband singing to the same woman who stayed beside him through every season.”

“After Alan Jackson became one of country music’s biggest stars, the Sweetwater estate near Nashville became associated with a more personal kind of success. Its design was inspired by the grand Southern imagery Denise Jackson admired, giving the home a connection to a long-held dream. The story is often told in contrast with the Jacksons’ early years, when money was tight and Nashville life demanded practical sacrifices. Sweetwater represented how far they had traveled together, but its emotional meaning was not limited to size or cost. It was a gesture tied to memory, gratitude, and the wish to give Denise something she had imagined since she was young. A home can carry a family’s history in ways that public awards cannot. For Alan and Denise, the estate was linked to a partnership that had survived uncertainty, work, change, and reconciliation. It became part of the visual record of their life together. The appeal of the story lies in that contrast: a dream that began in ordinary circumstances was eventually given a physical form.”

In early 1998, after nearly four months living apart from his wife Denise and their three daughters, Alan Jackson walked into a marriage counselor’s office to start over from zero. The couple had been together since high school in Newnan, Georgia, and married in 1979. By late 1997, hundreds of days on the road each year, the pressures of country music stardom, and Alan’s infidelity had broken their home apart. For years, Denise had built her whole life around her husband, staying behind in a big house while he toured. The 1997 separation hit her so hard she lost a drastic amount of weight before leaning on her Christian faith to rebuild her own strength. Living alone in an empty apartment without Denise and their daughters Mattie, Ali, and Dani, Alan saw clearly that platinum records and Nashville trophies meant nothing without his family. When Alan asked to come home in early 1998, Denise opened the door with clear boundaries instead of blind acceptance. A private Southern man who rarely spoke about his feelings, Alan sat through tearful counseling sessions that year, stripping away the image of a perfect celebrity family to face the loneliness and hurt he had caused. Doubt and hard silences lingered for a long time whenever he had to pack for the road. Alan backed up his apology by cutting down his heavy tour schedule, letting go of the habits that had damaged their marriage, and putting his wife and daughters first. They openly shared that dark 1998 chapter in a 2007 memoir to help other couples on the edge of divorce, and the marriage they rebuilt from the ground up carried them through Denise’s 2010 cancer battle and Alan’s later neurodegenerative condition.

While Clark McEntire traveled across America winning world steer roping titles in the late 1950s, his wife Jacqueline stayed behind in Chockie, Oklahoma to keep their cattle ranch alive. Clark won world championships in 1957, 1958, and 1961, staying on the rodeo circuit for months at a time to pay for and expand the family land in Atoka County. At home, Jacqueline taught at a rural school, kept the ranch books, and raised four children: Alice, Pake, Reba, and Susie. When Oklahoma winters froze the pastures, the schoolteacher did the work of a ranch hand. Jacqueline hauled hay through the snow, carried tools out to smash thick ice on the ponds and water troughs so the cattle could drink, and took a wrench to frozen water pumps when they broke down. If the heating stove quit working inside the house, she repaired that too before doing the laundry and fixing supper. Reba and her siblings grew up waking before daylight in the cold to help their mother work the herd before catching the school bus, and they never once heard her complain about the workload or her husband being gone. Once the outdoor chores were finished and the house was warm, Jacqueline sat with the children over their schoolwork and taught them to sing country harmonies. Those winters in Chockie stayed with Reba McEntire throughout her decades in country music. Whenever her own career grew difficult, she measured her grit against the memory of her mother quietly breaking ice for the cattle and fixing the stove without a word of complaint.

At age twenty, Reba McEntire sat in a roadside restaurant on the way to Nashville and stirred her ice cream sundae until it melted completely into soup. It was March 1975, and she was riding hundreds of miles from her family ranch in Chockie, Oklahoma to record her first demo with help from country singer Red Steagall. Until that trip, her life had revolved around working cattle with her father, studying at a local college to become a schoolteacher, and singing beside her brother Pake and sister Susie in the Singing McEntires. Facing professional producers in Nashville without her siblings left her throat so tight with nerves that she could not eat. Across the table, her mother Jacqueline did not rush her or tell her to be brave. Years earlier, Jacqueline had set aside her own dream of singing country music to teach in a rural schoolhouse and raise four children. Watching her daughter stare into the bowl, she quietly drank her coffee and gave Reba all the time she needed. When she finally spoke, Jacqueline offered her a way out. She told Reba that she did not owe her mother a dream, and that they could turn the car around right then and head back to Oklahoma if she was not ready. Knowing she was free to go home took the pressure off the room. Reba finished the drive, recorded the demo that brought her first contract with Mercury Records in November 1975, and carried the memory of that melted sundae and her mother’s quiet patience onto the biggest stages in country music.

“In 2007, Denise Jackson’s memoir brought a difficult period in the Jacksons’ marriage into public view. The book did not present the story as an easy one; it described pain, separation, and the work required to rebuild trust. Alan Jackson’s support for the memoir is often remembered as an important part of that decision. Instead of treating the subject only as a risk to his public image, he was willing to let the story be told in the hope that it might offer perspective to others facing similar struggles. The value of the account lies in its honesty. It does not suggest that forgiveness is simple or that public success protects a family from hurt. It focuses instead on accountability, faith, communication, and the possibility of renewal when both people are prepared to do difficult work. For readers, the story became less about celebrity and more about the choices made after a relationship has been damaged. It offered a reminder that healing is not a single moment, but a continuing practice of truth, empathy, and commitment.”

In March 1975, Jacqueline McEntire traveled from Chockie, Oklahoma to Nashville with her daughter Reba, carrying a country music dream she had set aside years earlier for family. Jacqueline had once hoped to be a country singer herself. After marrying champion steer roper Clark McEntire, she traded the stage for a two-room schoolhouse, kept the ranch books, and raised four children: Alice, Pake, Reba, and Susie. Reba’s first music lessons happened in the back seat of the family car on long drives to rodeos, where Jacqueline taught her kids to harmonize and keep rhythm. By 1974, after years of working cattle from daybreak on the ranch, Reba was a college sophomore at Southeastern Oklahoma State University studying to become a schoolteacher like her mother. That December, she sang the National Anthem at the National Finals Rodeo in Oklahoma City. Country singer Red Steagall heard her and offered to help record a demo in Nashville, though he could only bring Reba solo without her siblings from the Singing McEntires. Reba doubted whether she could step into a studio alone, and Jacqueline steadied her confidence. On the trip to Nashville in March 1975, Jacqueline spoke honestly with her twenty-year-old daughter. She admitted she feared pushing Reba to chase her own unfinished dream, telling her she could always go home and teach school if singing was only for her mother. That honesty settled the question for Reba, who realized she was carrying a dream big enough for both of them. Those demo recordings led to her first contract with Mercury Records in November 1975, and through decades on country music’s biggest stages, Reba always said she and her mother were living that dream together.

Two years after her marriage ended in 2015, Reba McEntire finally went on a first date after meeting a retired geologist in Jackson Hole, Wyoming. Since separating from her husband and manager Narvel Blackstock at age sixty, Reba had thrown herself into touring and gospel music, expecting to remain single for the rest of her life. During an August 2017 trip to the mountains with her friend Kix Brooks and his wife, Barbara, she was introduced to Anthony “Skeeter” Lasuzzo, a retired oil geologist and wildlife photographer. When Reba returned to Jackson Hole a few days later, Skeeter invited her to dinner for her first date in two years. After thirty-five years in a partnership where marriage and music business contracts were constantly mixed together, being with someone outside the entertainment world gave Reba room to breathe. At sixty-two, she could sit across from a partner without talking about revenue or tour schedules. For nearly six months, they quietly traveled back and forth between Wyoming and Nashville before walking the Grammy red carpet together in January 2018. Over their two years together, they traded industry parties for snowy mountains in Wyoming and Montana, landscape photography trips to Iceland, Italy, and Africa, and major milestones including her Kennedy Center Honors in December 2018. On social media, fans often saw Reba through Skeeter’s camera lens, relaxed and smiling outdoors without heavy stage makeup. In November 2019, Reba shared that they had quietly parted ways a few months earlier as her busy work schedule and their different lifestyles pulled them apart. Unlike the heartbreak of 2015, their two years ended in warm friendship, restoring her faith in love just months before she reconnected with Rex Linn in early 2020.

When Reba McEntire confirmed her divorce on December 17, 2015, she shared the news beneath a smiling photo from Rome surrounded by the women who helped carry her through it. Four months earlier, in August 2015, Reba and her husband and manager, Narvel Blackstock, announced they had separated after 26 years of marriage and 35 years of working together. Their divorce was finalized on October 28, an ending Reba had not wanted that cut even deeper when Narvel soon began dating Laura Stroud, a Nashville realtor from Reba’s own circle of acquaintances. At sixty, Reba was suddenly left in her expansive Cherokee Dock home on Tennessee’s Old Hickory Lake without her marriage or the management partner who had guided her career for over three decades. Rather than leave her alone in that quiet house, close friends including longtime co-star Melissa Peterman, Janine Dunn, and loyal female staff members stepped in with home-cooked meals, constant humor, and travel plans. On mornings when the grief felt too heavy to face, her friends paired warmth with firm encouragement. Reba later called them angels who dried her tears and then told her plainly that she was strong, she could get through it, and they had taught her better than to give up on herself. Family closed ranks around her at the same time. Still mourning their father’s late 2014 passing, her sisters Alice Foran and Susie McEntire-Eaton joined her in prayer and in the recording studio, while Kelly Clarkson stayed fiercely loyal to Reba both at home and on stage. Backed by that circle of women, Reba stepped out of Starstruck Entertainment in early 2016 to form Reba’s Business Inc., taking command of her own career after 35 years and pouring her healing into the gospel album Sing It Now: Songs of Faith & Hope.