One might think that on the 25th anniversary of her seminal 1997 album “Butterfly” and the release of her new butterfly-themed Chopard jewelry collab with Caroline Scheufele this week,
“You know, there were random circumstances with butterflies at that time, too, like leaving the house we lived in for the last time — a place I call ‘Sing-Sing’ — while writing the song ‘Butterfly’ and seeing butterflies as I left. It was like when someone passes away and you see something symbolic,” she adds. “I was leaving a very difficult period, a reality that was very tough to get through while having to put on a public persona…. A happy face.
Recalling how the music of “Butterfly” represented liberation “in a major way,” the euphoria she felt during the first writing and recording sessions for her sixth studio album at New York City’s Hit Factory studio stands out. “If you’re listening to ‘Honey,’ that’s celebratory,” she says, pointing out the first track from “Butterfly.” “You can hear a sense of emancipation there before I ever did ‘The Emancipation of Mimi’ [her 2005 comeback album].
Also included on “Butterfly 25” is a new version of that album’s track “The Roof,” this time with Brandy, “a singer who, like me, loves great background vocal arrangements and blending vocal textures together,” and with whom Carey says she has plans to collaborate with again soon. ’s “Archetypes” podcast on Spotify in an episode titled, “The Duality of the Diva.” Once together on the podcast, Carey and Markle discussed intimately what it meant to be called the “difficult” version of diva and their shared experiences of being biracial women.
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