The Emancipation of Mimi

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Template:Short description Template:Good article Template:Protection padlock Template:Use mdy dates {{safesubst:#invoke:Unsubst-infobox||$params=italic_title,name,type,longtype,artist,cover,border,alt,caption,released,recorded,venue,studio,genre,length,language,label,director,producer,compiler,chronology,prev_title,prev_year,year,next_title,next_year,misc|$extra=italic_title,longtype,border,caption,language,director,compiler,chronology,year,misc|$aliases=italic title>italic_title,Italic title>italic_title,Name>name,Type>type,image>cover,Cover>cover,Border>border,Alt>alt,Caption>caption,Longtype>longtype,Artist>artist,Released>released,Recorded>recorded,Venue>venue,Studio>studio,Genre>genre,Length>length,Language>language,Label>label,Director>director,Producer>producer,Compiler>compiler,Chronology>chronology,Misc>misc|$flags=override|$B={{#ifeq:{{#invoke:Is infobox in lead|main|[Ii]nfobox [Aa]lbum}}|true|{{#if:Template:Has short description | |{{#if: Template:Start date | Template:Short description}}}}}}{{#invoke:Infobox|infobox}}Template:Template otherTemplate:Category handlerTemplate:Main other{{#invoke:Check for unknown parameters|check|unknown=Template:Main other|preview=Page using Template:Infobox album with unknown parameter "_VALUE_"|ignoreblank=y|italic_title |type |name |image |cover |border |alt |caption |longtype |artist |released |recorded |venue |studio |genre |length |language |label |director |producer |compiler |prev_title|prev_year|next_title|next_year|chronology|year|misc}}{{#if:{{#invoke:String|match|error_category=Music infoboxes with Module:String errors|A|1=The Remixes2003E=MC²2008studioThe Emancipation of MimiMariah Carey The Emancipation of Mimi.pngA bronzed woman wearing a gold dress and heels, standing behind a black backdrop.Standard edition coverMariah CareyTemplate:Start date2004*Right Track (New York City)

The Emancipation of Mimi is the tenth studio album by American singer Mariah Carey, released through Island Records in the United States on April 12, 2005. The album was considered Carey's "comeback album" by critics and became her highest-selling release in the US in a decade. In composing the album, Carey collaborated with many songwriters and producers throughout 2004, including Jermaine Dupri, Snoop Dogg, Kanye West, Twista, Nelly, Pharrell Williams, and James "Big Jim" Wright, many of whom appeared as featured guests on select tracks.

Carey opted to use her personal nickname 'Mimi' in the title, revealing a more intimate side of the singer, as seen in the album's declarative theme of emancipation from her personal and commercial setbacks. Although it has similar vocal production to her previous works and an inclination towards her signature ballads, the album encompasses dance-oriented and uptempo styles in keeping with its celebratory motif. The Emancipation of Mimi garnered critical acclaim, with praise towards its production, Carey's vocal performance, with critics noting the theme of independence and lack of restraint, dubbing the album a "party" record.

The album garnered eight nominations at the 48th Grammy Awards, including for Album of the Year, and won three awards, including Best Contemporary R&B Album. It became Carey's first album since Butterfly (1997) to debut at number one on the US Billboard 200, selling over 404,000 copies in its first week and becoming the country's best-selling album of 2005. Internationally, it topped the charts in Greece, and reached the top-five in Canada, Denmark, France, and Japan, and was the world's second best-selling album of the year. The Emancipation of Mimi has sold over 10 million copies worldwide making it one of the best-selling albums of the 21st century. "It's Like That" became one of her highest-charting songs in years, reaching the top twenty in several countries. "We Belong Together" accumulated 14 weeks at number one in the US, and was later hailed "song of the decade" by Billboard. It reached number one in Australia, number two in the United Kingdom and New Zealand, and achieved top-five positions in several European countries. To promote the album, Carey embarked on her sixth concert tour, entitled The Adventures of Mimi, starting on July 22, 2006, and ending on October 28, 2006.

The Emancipation of Mimi is widely credited with reviving Carey's career and redefining the idea of a pop comeback. Critics have since reassessed it as one of her strongest works, praising its confident embrace of her R&B identity and diva persona. Its 20th anniversary in 2025 prompted renewed reflection on its influence, both musically and personally, in Carey's trajectory.

Background

In 2001, Carey had experienced critical, commercial, personal, and professional struggles, following the poor reception to her debut film Glitter (2001).<ref name=careyon>Template:Cite news</ref> The picture was panned by critics and earned less than eight million dollars at the box office.<ref name="Mayer">Template:Cite news</ref><ref name="Vineyard">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> After posting a personally expressive letter on her official site, Carey checked into a hospital in Connecticut because of an "emotional and physical breakdown".<ref name=hospital>Template:Cite news</ref> Following the film's and soundtrack's poor performance, Virgin Records America bought out Carey's unprecedented $100 million recording contract. The company paid her $28 million to part ways.<ref name="Mayer" /> Carey flew to Capri, Italy, after her two-week hospitalization.<ref name="Vineyard" /> During her five-month stay, she began to write a new studio album, using experiences she had gone through in recent months as inspirational themes.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> After being signed by Island Records and starting her own imprint, MonarC Entertainment, Carey released her intended "comeback" album Charmbracelet.<ref name="Vineyard" /> Critics deemed it a strong improvement over Glitter, but not something that would re-establish her popularity as in the early stages of her career.<ref name="Mayer" />

After enduring three years of "carping" from critics, Carey planned her return to music.<ref name="Mayer" /> On November 18, 2004, she revealed on her website that the name of the album would be The Emancipation of Mimi.<ref name="Vineyard1">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> While Carey was recording the album, Island Records executive L.A. Reid had learned that close friends referred to the singer as "Mimi". He had told Carey, "I feel your spirit on this record. You should use that name in the title, because that's the fun side of you that people don't get to see – the side that can laugh at the diva jokes, laugh at the breakdown jokes, laugh at whatever they want to say about you and just live life and enjoy it." Carey explained that Mimi is a "very personal nickname" only used by those in her inner circle, and thus the title meant she was letting her guard down and inviting her fans to be that much closer to her. She thought that naming her album The Emancipation of Mariah Carey would be "obnoxious".<ref name="Vineyard" />

Writing and recording

During a visit to a recording studio, Carey was given a beat by The Legendary Traxster. On a later date, she met with American rapper Twista backstage after a show. When Carey mentioned the track, Twista told her that the beat had been originally intended for him, and that he had already written lyrics for it. They decided to collaborate on the track, which later was titled "One and Only".<ref name=all>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In the following months, Carey wrote and co-produced several songs including "Say Somethin' (with Snoop Dogg and The Neptunes), "To the Floor" (with Nelly), and "Fly Like a Bird" with James "Big Jim" Wright.<ref name=happy /><ref name=flab /> By November, she felt that she had composed enough good material for The Emancipation of Mimi. After Reid listened to the album, however, he suggested the singer compose a few more "strong" singles to ensure the project's commercial success. Based on his recommendation, Carey met with Jermaine Dupri in Atlanta for a brief studio session, since Reid felt she had written some of her best work with him. During this two-day trip, Carey and Dupri wrote and produced "Shake It Off" and "Get Your Number", which were released as the album's third and fourth singles. Following this recording session, "Shake It Off" was briefly selected as the album's lead single, replacing the other contenders, "Stay The Night" and "Say SomethinTemplate:'". Carey later returned to Atlanta for a second meeting with Dupri; they then penned the last two songs for the album: "We Belong Together" and "It's Like That".<ref name=mtvnews3>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In an interview for Billboard, Carey described her sentiments regarding "It's Like That" during the production stage:

I had the chills. I had a great feeling about it when we finished writing the song, and I was flying back from Atlanta at some crazy hour of the morning ... But we were listening to it on the plane ride on the way home, and even from the demo version, I really felt something very special.<ref>Template:Cite magazine</ref>

Carey and her management then decided to release "It's Like That" as the album's lead single, calling it "the right fire-starter". The singer has praised Dupri for being "focused", and felt that together they had composed some of her favorite songs on the album.<ref name=mtvnews3 /> She has told MTV, "The album is not about making the older executives happy by making a bring-down-the-house, tearjerker ballad, or [something] steeped in the media dramas of my life. What I tried to do was keep the sessions very sparse, underproduced, like in '70s soul music ... "<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> According to Reid, Carey intended for the album to feature a more unpolished sound than her previous releases.<ref name=happy>Template:Cite news</ref> The singer had been frustrated with the overproduction on many of her previous records, due to the inclusion of what she considered unnecessary "bells and whistles". She opted to record the majority of The Emancipation of Mimi live, alongside the band. Reid agreed with this decision and felt that the live vocals made the album sound more authentic.<ref name=happy />

Dupri takes credit for convincing Carey to return to singing in her signature full voice on many of the tracks, instead of the breathy, "whispering" approach she had adopted on many of her previous recordings.<ref name=":1">Template:Cite news</ref>

Composition

The Emancipation of Mimi was Carey's most expressive album to that point according to Fox News; it signified her creative freedom, as she had been oppressed by the expectations of record executives in the past.<ref name=exec>Template:Cite news</ref> They noted the album's motif of professional and cultural emancipation throughout many songs. In an interview with the Hartford Courant, Carey spoke about the album's lack of creative restraint she felt was not featured on Charmbracelet.<ref>Template:Cite news</ref> The latter album harbored on reviving Carey's popularity among the adult contemporary radio audience, following her decline with Glitter, which found the singer sampling 1980s melodies.<ref name=lost>Template:Cite magazine</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> While featuring ballads similar to those on Charmbracelet, the songs on The Emancipation of Mimi drew influence from R&B and hip hop, and were composed at an elevated tempo.<ref name=vibe /> According to Dimitri Ehrlich, an editor from Vibe, the album includes many musical facets:

Mimi pulls Carey in two opposite directions. Most of the tracks find her paired with the hottest hip hop producers of the day; there, she exercises restraint and settles into a groove. But on the rest, she does what comes most naturally to her—belting to her heart's desire, perhaps to mollify those who don't care much for her detours into raunchier rap territory.<ref name=vibe />

The Emancipation of Mimi is primarily largely an R&B album and notably less pop-oriented than her 1990s efforts.<ref name=":1" /> The Emancipation of Mimi explores various genres; Greg Kot of the Chicago Tribune felt that the album effectively combines "elements of hip-hop and rhythm and blues into pop songs that appeal to a broad cross-section of listeners."<ref>Template:Cite news</ref> According to Billboard, "Carey's emancipation is drenched in hip-hop and old-school R&B ballads".<ref name="Billboardreview">Template:Cite magazine</ref> Alyssa Rashbaum of MTV deemed the record "a predominantly pop and R&B effort [...] tinged with hip-hop inflections.<ref name="mtv april about">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Meanwhile, AllMusic's Stephen Thomas Erlewine considered The Emancipation of Mimi "a slick, highly crafted piece of dance-pop".<ref name=allm /> Aside from the ballads and uptempo tracks, The Emancipation of Mimi incorporates elements of soul and 1970s-inspired genres, as evident on the gospel-tinged closing track, "Fly Like a Bird".<ref>Template:Cite news</ref> While most tracks derive instrumentation from live bands and musical instruments, some of the uptempo songs feature computerized arrangements and synthesizers.<ref name=popmatters /> Stylistically, critics considered the album Carey's most diverse record in years, and one that highlighted many different production choices and techniques.<ref>Template:Cite newsTemplate:Dead linkTemplate:Cbignore</ref>

Template:Listen "It's Like That" was written and produced by Carey and Jermaine Dupri. It features hand claps and whistles, as well as ad-libs and verses from Dupri and Fat Man Scoop. The song's bassline and chord progression are aligned with piano and string notes.<ref name=pop>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Its lyrics are arranged to portray the singer during a celebration: "I came to have a party / Open off that Bacardi ... Purple taking me higher / I'm lifted and I like it."<ref name=pop /> Sal Cinquemani of Slant Magazine praised its lyrics and beat, and felt the song prepares listeners for the album's "party theme".<ref name=slant>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Lyrically, "We Belong Together" was described as a "broken-hearted lament for love";<ref name=vibe /> it features finger-snaps, kick drums, and a piano-driven melody.<ref name=vibe /> Carey composed the gospel-influenced ballad "Fly Like a Bird" with James Wright.<ref name=flab /><ref name=windy>Template:Cite news</ref> The lyrics are in the form of a prayer that conveys a message of unconditional love for God.<ref name=windy /><ref name=entrainment>Template:Cite magazine</ref> The song features a verbal recording of Carey's pastor, Clarence Keaton, who reads two verses from the Bible.<ref name=slant /> The singer wrote the album's fifth cut "Say SomethinTemplate:' ", which features rap verses from Snoop Dogg and was produced by The Neptunes. Vibe writer Dimitri Ehrlich described it as "a musical oddity", and characterized the production as "strange instrumentation, weird melodic shifts, hectic drum patterns and a bed of synths."<ref name=vibe /> Lyrically, the protagonist makes sexual advances to a romantic interest with the line "If it's worth your while, do something good to me."<ref name=vibe /> When interpreting the lyrics in the female role, Cummings noted "a shy woman who doesn't need to say anything at all to get a man's attention."<ref name=pop />

Carey wrote "Mine Again" alongside producer James Poyser. The ballad has electronic keyboard notes, a rhythmic vinyl sound, and melodies from gospel and R&B genres.<ref name=vibe /> "Stay the Night" was produced by Carey and Kanye West, and samples a piano loop from Ramsey Lewis's 1971 cover version of "Betcha by Golly, Wow". In the lyrics, the protagonist faces the dilemma of spending the night with an ex-lover, although he is in another relationship.<ref name=pop /> "Get Your Number" samples the hook from British band Imagination's 1982 single "Just an Illusion",<ref name=":2">Template:Cite magazine</ref> and derives its production from "'80s-esque synthesizers" and computerized musical instruments.<ref name=pop /><ref name=stylus>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Lawrence Ferber from the Windy City Times described "Shake It Off" as a "playful approach to bitterness—and, more specifically, a cheatin' bad apple", with lyrics such as "I gotta shake you off / Just like a Calgon commercial". In an interview with Ferber, Carey described the track as her favorite from The Emancipation of Mimi: "'Shake It Off' can apply to anything. Whatever personal dramas we go through, put that song on and you lose the anxiety or intensity of the moment. I'll listen to that song when I've just come out of an annoying meeting. I gotta shake this off."<ref name=windy /> Editor Jon Pareles from The New York Times felt that the album follows a formula that was most apparent on "Shake It Off": "On this album, the verses stay in a narrow range, the choruses glide higher, and at the ends of some songs, Ms. Carey gives herself a few of her old sky-high notes as a background flourish."<ref name=nyc>Template:Cite news</ref>

Release and promotion

File:Mariah Carey & L.A. Reid 2005.jpg
Carey, pictured with former Island Records head L.A. Reid in 2005, at the release party for The Emancipation of Mimi

The Emancipation of MimiTemplate:'s original release date was March 22, 2005.<ref>Template:Cite magazine</ref> It was released by The Island Def Jam Music Group for download and as a CD in Mexico on April 12, 2005.<ref name=mexico>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> On April 4, 2005, the album was released in Australia and New Zealand.<ref name=australia>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=zealand>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In the United Kingdom, The Emancipation of Mimi was distributed through Mercury Records.<ref name=kingdom>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The following day, the album was made available in Canada through the Universal Music Group.<ref name=canada>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> On April 12, 2005, it became available in France,<ref name=france>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Japan,<ref name=japan>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and the United States,<ref name=states>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite magazine</ref><ref>Template:Cite magazine</ref> and was released on May 11, 2005, in China.<ref name=china>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> On British and Japanese versions of the album, "Sprung" and "Secret Love" were included as bonus tracks.<ref name=extra>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

A reissue of The Emancipation of Mimi, subtitled Ultra Platinum Edition, was released on November 15, 2005, accompanied by the reissue's lead single "Don't Forget About Us". The reissue was released in two versions. The first was a CD with four bonus tracks: "Don't Forget About Us" (co-written and co-produced by Carey with Jermaine Dupri), the album's only single; "Makin' It Last All Night (What It Do)", featuring Dupri; the "We Belong Together" remix, featuring American rappers Styles P and Jadakiss; and a new version of the 2006 single "So Lonely" by Twista (which originally featured Carey), in which she sings an additional verse. The second version of the album was a limited-edition set of the CD and a DVD, which includes the videos from The Emancipation of Mimi that had then been released ("It's Like That", "We Belong Together", "Shake It Off", and "Get Your Number"), along with the then-recently filmed video for "Don't Forget About Us". The album became the first domestic release of the video for "Get Your Number", which had previously been released only in Europe.<ref name="Ultra">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "Sprung" and "Secret Love" were later included as bonus tracks in the 2020 digital reissue of Ultra Platinum Edition.<ref name="japanbonus2">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Carey began a promotional tour in support of the album, beginning on April 2, 2005, at the German Echo Awards.<ref name=echo>Template:Cite news</ref><ref>Template:Cite news</ref> Two days later, she performed "It's Like That" on the game show Wetten, dass..?.<ref name=europe>Template:Cite news</ref> In the UK, the singer filmed a two-part appearance on the British music program Top of the Pops, performing the album's first three singles.<ref name=europe /> Carey launched the stateside release of the album on Good Morning America with an interview and a five-piece outdoor concert.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Taking place in Times Square and attracting the largest crowd to the plaza since the 2004 New Year's Eve celebration, the concert featured the first three singles from the album in addition to "Fly Like a Bird" and "Make It Happen" (1991).<ref name=america>Template:Cite news</ref> During the following week, she performed "We Belong Together" at the 2005 BET Awards, and appeared at the annual VH1 Save the Music special, which was broadcast live on April 17.<ref name=promo>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Throughout May, Carey performed "We Belong Together" on the Late Show with David Letterman (May 5), The Tonight Show with Jay Leno (May 11), The Ellen DeGeneres Show (May 13) and on The Oprah Winfrey Show (May 24).<ref name=promo /><ref name=oprah>Template:Cite news</ref>

During the 2005 MTV Video Music Awards, Carey performed at the National Hotel in South Beach.<ref name=vma>Template:Cite magazine</ref> Accompanied by Dupri, she sang "Shake It Off" and the official remix version of "We Belong Together".<ref name=vmas>Template:Cite magazine</ref> She was a headlining performer at the 2005 Fashion Rocks, in Monaco.<ref>Template:Cite news</ref><ref name=bambi>Template:Cite news</ref> On November 15, 2005, Carey performed "Shake It Off" and her newly released single from the album's re-release, "Don't Forget About Us", during half-time of the Thanksgiving game between the Detroit Lions and the Atlanta Falcons.<ref>Template:Cite news</ref><ref>Template:Cite news</ref> On November 22, 2005, she opened the 33rd annual American Music Awards with "Don't Forget About Us".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Two months later, she placed as the featured performer at the Times Square Ball drop on New Year's Eve in New York.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}Template:Dead link</ref> At the 48th Grammy Awards, on February 8, 2006, Carey returned to the Grammy stage for the first time since 1996.<ref name="Glaister">Template:Cite news</ref> Her performance began with a pre-taped video in which she discussed the importance of God and religion in her life.<ref name=entrainment2>Template:Cite magazine</ref> She then came to the stage, and sang a shortened version of "We Belong Together", followed by "Fly like a Bird".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The performance induced the only standing ovation that night,<ref>Template:Cite news</ref> and earned praise from critics.<ref>Template:Cite news</ref><ref>Template:Cite news</ref>

Singles

File:Mariah Carey GMA Fly Like a Bird 2005.jpg
Carey performing "Fly Like a Bird" on Good Morning America

"It's Like That" was released as the album's lead single on January 7, 2005. Critics predicted that the song would re-ignite Carey's popularity among MTV viewers.<ref name=vibe>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=popmatters>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It became her highest-charting song internationally in years, and peaked at number sixteen on the US Billboard Hot 100.<ref name="Hot 100">Template:Cite magazine</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

"We Belong Together", the album's second single, became one of the biggest hits of Carey's career.<ref name=power>Template:Cite news</ref> It became her sixteenth chart topping single in the US, spending fourteen weeks on the Hot 100's peak; the longest stay of any song during the 2000s.<ref name=slant2005>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Aside from breaking several Nielsen BDS records, the song was named "song of the 2000s decade" by Billboard.<ref name=songof>Template:Cite magazine</ref><ref>Template:Cite magazine</ref> "We Belong Together" also topped the charts in Australia and attained a top-five peak in New Zealand, the Netherlands, Denmark, Spain, Switzerland, and the UK.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

"Shake It Off" was the third single released from The Emancipation of Mimi. It peaked at number two on the Hot 100, being barred from the top position by Carey's previous single, "We Belong Together".<ref name=sweep>Template:Cite magazine</ref> It became the first time in Billboard history that a female artist occupied the top two spots on the chart as a lead artist.<ref name=sweep /> It was released as a double A-side with "Get Your Number" in the UK and Australia, where it reached the top ten.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

"Don't Forget About Us" was released as the lead single from Ultra Platinum Edition, and overall fourth single from the album.<ref name=uped>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The song became Carey's seventeenth chart topper in the US, tying her with Elvis Presley for the most number-one singles by a solo artist (a record she surpassed in 2008 with "Touch My Body").<ref name=uped /> "Fly Like a Bird" was released as the fifth single from the album in the US, followed by "Say Somethin'".<ref name=flab>Template:Cite magazine</ref> "Mine Again" was not released as a single, but peaked at number 73 on BillboardTemplate:'s Hot R&B/Hip-Hop Songs chart due to sales.<ref>Template:Cite magazine</ref>

Tour

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File:Mariah Carey in August 2006.jpg
Carey focused on providing a balance between songs from her existing catalog and introducing her newer songs and 'Mimi' persona. The photo shows a stage prop with the tour's slogan, 'MIMI'.<ref name=tour />

Sixteen months after the release of the album, Carey announced her first headlining tour in three years, named The Adventures of Mimi: The Voice, The Hits, The Tour after a "Carey-centric fan's" music diary.<ref name=tour>Template:Cite news</ref><ref>Template:Cite magazine</ref> Beginning on July 22, 2006, and ending on October 28, the tour spanned forty stops, with thirty-two in the US and Canada, two in Africa, and six in Japan.<ref name=mtvnews8>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=sales667>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The tour featured the singer's long-time friend Randy Jackson as the musical director.<ref>Template:Cite news</ref><ref>Template:Cite news</ref> In an interview for the Associated Press, Carey described the tour's direction, as well as the music she would perform:

With this tour, I'm going to be working on some different arrangements for some of the older songs, to ... give it a little more life to them. That's not to say they're going to sound totally different and to freak anybody out ... I love re-singing songs to different music. I genuinely want to tour with these new songs, as well as older hits. These new songs mean so much to me, this time of my life has been so wonderful for me, and I want to experience that with my fans.<ref name=tour />

The tour received a generally mixed reception from critics who praised the singer's vocal performances but called the show's excesses, such as the singer's frequent costume changes and pre-filmed clips, distracting.<ref name=outshines>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite news</ref> In Tunis, Carey played to 80,000 people during two concerts.<ref name=sales667 /> Midway through the tour, she booked a two-night concert in Hong Kong, scheduled for after her Japanese shows.<ref name=calledoff /> The performances were cancelled after tickets went on sale; Carey's then-manager Benny Medina said the cancellation was because the concert promoter refused to pay the agreed compensation.<ref name=calledoff>Template:Cite news</ref> The promoter blamed poor ticket sales (allegedly, only 4,000 tickets had sold) and "Carey's outrageous demands".<ref name=nytpeople /> Medina later disputed the promoter's ticket sales figure, saying that 8,000 tickets had been sold. He said Carey would have performed as long as she was compensated, regardless of attendance.<ref name=nytpeople>Template:Cite news</ref> Carey ultimately sued the promoter, claiming one million in damages for the concert's abrupt cancellation.<ref name=mongolians>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

20th anniversary

In 2025, for the album's twentieth anniversary, Carey released a deluxe anniversary edition of the album on May 30, 2025.<ref name=":7">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The edition was announced alongside various LP vinyl box sets, and preceded by a remix of "Don't Forget About Us" with Kaytranada.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Critical reception

Template:Music ratings Upon release, The Emancipation of Mimi received generally positive reviews from most music critics.<ref name=":11">Template:Cite news</ref><ref>Template:Cite news</ref><ref name=":7" /> The Emancipation of Mimi received a 64 out of 100 (indicating "generally positive reviews") on Metacritic, a website that averages professional reviews from critics into a numerical score.<ref name="MC">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Stephen Thomas Erlewine of AllMusic called the album a "highly crafted piece of dance-pop" and "relative comeback" for Carey<ref name=allm>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Michael Paoletta from Billboard was less critical of her vocals, writing that "while her voice has lost some of the power through the years, Mimi deftly showcases her still-considerable pipes with strong lyrics and slick production." Paoletta praised The Emancipation of Mimi as Carey's best album since Butterfly (1997).<ref name=review>Template:Cite magazine</ref> Michael Dougall Bell from the Calgary Sun called Carey's voice "very impressive". He concluded: "While Emancipation may not send Carey's stock or star back up to where it once was and where that voice deserves to be, at least she's not plummeting – she's merely levelled off."<ref name=calgary>Template:Cite news</ref> Entertainment Weekly editor Tom Sinclair noted that almost every song "showcases Carey's undeniable vocal strengths". Reviewing "Fly Like a Bird", Sinclair concluded, "It's so moving that we'll resist the temptation to be crass and interpret the song as a plea for heightened record sales. Help from above is always welcome, but Emancipation sounds like it just might do fine all on its own."<ref name=entrainment />

Jennifer Vineyard of MTV News considered the album's title to be influenced by Janet Jackson's Damita Jo, which was also based on an alternate persona.<ref name="Vineyard1" /> According to Jenson Macey from BBC News, The Emancipation of Mimi was Carey's strongest effort from the 2000s; he said that the album "took her straight back to the top of the A-List."<ref>Template:Cite news</ref> Caroline Sullivan from The Guardian gave the album four stars out of five, calling it "cool, focused and urban."<ref name=guardian /> The New York TimesTemplate:'s Jon Pareles complimented how Carey wrote all of the album's material. He felt the record's sound was fresh and innovative: "on The Emancipation of Mimi, she disciplines herself into coherence, using fewer tricks and sounding more believable. She also finds what lesser singers can take for granted: a certain lightness that eases her constant sense of control."<ref name=nyc /> Cummings from PopMatters gave the album seven stars out of ten, claiming it to be Carey's redemption from the manacles of her previous two releases. He praised the album's singles, but called some of its music "corny" and "unnecessarily overproduced".<ref name=pop /> Todd Burns from Stylus Magazine gave the album a B−, admiring its assortment of beats and tempos. Burns, however, called some of The Neptunes and Dupri's production "ill-advised".<ref name=stylus /> He called some of Carey's vocals "strained, thin and airy".<ref name=stylus /> While considering it as an improvement over her previous releases of the decade, he concluded that it "suffers from the fact that her vocals have deteriorated – a simple fact of the ravages that her voice has undergone in the past fifteen years."<ref name=stylus /> Sal Cinquemani of Slant Magazine gave The Emancipation of Mimi three and a half stars out of five, calling it "redemption". He complimented its array of beats and its production.<ref name=slant /> Critic Andre Meyer of CBS News thought the material on the album was "stronger" than on Charmbracelet, and described it as a move in Carey's long-term plan for pop domination, while giving off the "jittery R&B vibe that made Destiny's Child so potent." He added that "Mariah has returned to singing – while still pushing the limits of good taste with her barely there outfits."<ref name="Mayer" />

Within months of its release, several music journalists began describing Carey's success as "the biggest comeback in pop music".<ref>Template:Cite news</ref> In the updated edition for The 500 Greatest Albums of All Time published in 2020 by American magazine Rolling Stone, the album ranked at number 389.<ref name="500RollingStone">Template:Cite magazine</ref>

Listicles

Appearances on best-of listicles
Publication Accolade Rank Template:Abbr
Entertainment Weekly The 100 Best Albums From 1983 to 2008 check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }} citation CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}
The New Classics: Music check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}
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NPR The 150 Greatest Albums Made by Women check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }} citation CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}
Rolling Stone The 50 Best Albums of 2005 check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }} citation CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}
The 500 Greatest Albums of All Time check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}
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Slant The 10 Best Albums of 2005 check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }} citation CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}
Soul in Stereo The 30 Best R&B Albums of the 2000s check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }} citation CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}
Vibe 50 Greatest Black Albums of the Modern Era check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }} citation CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}

Commercial performance

File:Mariah Carey GMA 2005.jpg
Carey performing "We Belong Together" live on Good Morning America

The Emancipation of Mimi became Carey's highest-selling album in the US since Daydream (1995).<ref name=comm /> In its first week of release, it debuted at number one on the Billboard 200 (ousting 50 Cent's The Massacre from the top position)<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> with 404,000 copies sold, the highest first-week sales in Carey's career, until E=MC² opened with 463,000 in 2008.<ref>Template:Cite magazine</ref> On its second week on the chart, the album moved a spot down to number two and moved a further 226,000 units.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It became her fifth number-one album in the country and her third album to debut at the top.<ref name=allmusicalbums>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The album returned to number one in its eighth week after selling 172,000 copies.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It remained in the top ten for many months before dropping to number eleven on September 28, 2005.<ref>Template:Cite magazine</ref> It returned to the top five after the release of the Ultra Platinum Edition, which helped the album rebound to number four, with sales of 185,000 units.<ref>Template:Cite news</ref> The Emancipation of Mimi was the best-selling album in the US in 2005, with nearly five million units sold.<ref name=comm>Template:Cite magazine</ref> By the last full week of the year, the album outsold The Massacre, which had been released more than six weeks earlier.<ref name="caps">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was the first album by a solo female artist to become the year's best-selling album since Alanis Morissette's Jagged Little Pill in 1996.<ref>Template:Cite magazine</ref> It reached the six million sales mark in the US in October 2013, and in September 2022, the album was certified seven-times platinum by the Recording Industry Association of America.<ref name="yahoosales">Template:Cite news</ref> In January 2025, The Emancipation of Mimi was ranked by Billboard as the 45th highest-performing album of the 21st century so-far on the Billboard 200, based on weekly chart performance.<ref>Template:Cite magazine</ref><ref>Template:Cite magazine</ref>

The Emancipation of Mimi entered the Australian Albums Chart on April 17, 2005, at number 13.<ref name=aussy>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> During the promotional campaign for "We Belong Together", it peaked at and spent one week at number six. The album spent a total of forty-six weeks on the chart.<ref name=aussy /> It was certified platinum by the Australian Recording Industry Association (ARIA) – denoting shipments of 70,000 unit – and finished at number twenty-seven on the End of Year Chart.<ref name=aussycert>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In Canada The Emancipation of Mimi debuted and peaked at number two on the Canadian Albums Chart, with first-week sales of 11,000 units.<ref name=allmusicalbums /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The album was certified triple platinum by the Canadian Recording Industry Association (CRIA) for shipments of 300,000 units.<ref name=gold>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=media>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Emancipation of Mimi debuted at number seven on the UK Albums Chart dated April 6, 2005.<ref name=uk>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> On July 23, fourteen weeks after its debut, the album once again reached its peak position of number seven.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> After one re-entry, the album spent a combined forty-three weeks in the albums chart, being certified double-platinum by the British Phonographic Industry (BPI) for shipments of 600,000 copies. By May 2008, the album's British sales stood at 621,352 units.<ref name="uksalesmw">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="BPI certification-database">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In France, the album debuted at its peak position of number four on April 9, 2005.<ref name=french>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The record spent a total of fifty-one weeks in the chart, and was certified gold by the Syndicat National de l'Édition Phonographique (SNEP), signifying shipments of 100,000 copies.<ref name=SNEP /> Eight months after its release in Europe, the International Federation of the Phonographic Industry (IFPI) certified The Emancipation of Mimi platinum, denoting shipments of one million units throughout the continent.<ref name=ifpi>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In Hong Kong it was awarded a Gold Disc Award, which is issued to the ten best-selling foreign albums each year.<ref name=hong>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Emancipation of Mimi debuted at number two on the Japanese Albums Chart, and was certified platinum (250,000 units shipped) by the Recording Industry Association of Japan (RIAJ).<ref name=jap>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=jappy>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> At the end of 2005, the IFPI reported that The Emancipation of Mimi had sold 7.7 million copies globally, and was the second best-selling album of the year, after Coldplay's X&Y. It was the best-selling album by a solo and female artist.<ref name=world2005>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite news</ref> As of October 2011, The Emancipation of Mimi has sold 10 million copies worldwide.<ref name="mimisales2">Template:Cite magazine</ref>

The Emancipation of Mimi was ranked as the 52nd best album of all time on the Billboard Top 200 Albums of All Time.<ref>Template:Cite magazine</ref>

Accolades

The Emancipation of Mimi received many awards and nominations. It earned ten Grammy Award nominations in 2006–07: eight in 2006 for the original release (the most received by Carey in a single year), and two in 2007 for Ultra Platinum Edition. In 2006, Carey won Best Contemporary R&B Album for The Emancipation of Mimi, as well as Best Female R&B Vocal Performance and Best R&B Song for "We Belong Together". Carey was nominated for, Album of the Year (The Emancipation of Mimi), Record of the Year ("We Belong Together"), Song of the Year ("We Belong Together"), Best Female Pop Vocal Performance ("It's Like That"), and Best Traditional R&B Vocal Performance ("Mine Again").<ref name=usaawards>Template:Cite news</ref> In 2007, "Don't Forget About Us" was nominated for Best Female R&B Vocal Performance and Best R&B Song.<ref name=grammy>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

The Emancipation of Mimi won the 2005 Soul Train Awards for Best R&B/Soul Album and Best Female R&B/Soul Album, and the 2005 Vibe Award for Album of the Year.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=soul>Template:Cite news</ref> Rolling Stone ranked the album at number 43 on its 2005 list of the year's best albums,<ref>Template:Cite magazine</ref> and Entertainment Weekly ranked it at number 21 on their list of the "Top 100 Best Albums of the past 25 years".<ref>Template:Cite magazine</ref> "We Belong Together" won a Teen Choice Award,<ref>Template:Cite news</ref> a World Music Award,<ref>Template:Cite news</ref> five Billboard Music Awards,<ref>Template:Cite newsTemplate:Dead link</ref><ref>Template:Cite news</ref> four Radio Music Awards,<ref name=golians>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and three Bambi Awards.<ref name=awardz /> "Shake It Off" and "Don't Forget About Us" won two additional Bambis.<ref name=awardz>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> After Carey received the Bambi, the award drew media attention after it was stolen from the singer's dressing room.<ref name=bamb>Template:Cite magazine</ref>

Legacy

The Emancipation of Mimi is credited with revitalizing Carey's career following a period of personal struggles, professional setbacks, and underperforming albums, prompting public speculation that her career was in decline.<ref name=":2" /><ref name=":5" /><ref>Template:Cite news</ref><ref name=":4">Template:Cite news</ref> Due to the album's success, several outlets have called The Emancipation of Mimi one of the greatest musical comebacks of all time.<ref>Template:Cite news</ref><ref>Template:Cite news</ref><ref name=":5">Template:Cite news</ref><ref name=":6">Template:Cite news</ref><ref>Template:Cite news</ref> The Guardian and Time ranked it among the greatest comebacks in music history.<ref name=":4" /><ref>Template:Cite magazine</ref> In 2025, Ebony writer Emanuel Okusanya credited the album with not only reviving Carey's own career, but redefining "what a comeback could look like in pop music".<ref name=":3">Template:Cite news</ref> According to Tom Breihan of Stereogum, the album cemented Carey's legacy "as one of pop’s all-time titans".<ref name=":6" /> Despite being widely regarded as a comeback album,<ref>Template:Cite magazine</ref> David Lehmann of Vibe argued that this categorization largely undermines the main intent and themes behind the project.<ref name=":1" /> In 2025, Carey revealed that she initially disliked hearing critics and fans refer to The Emancipation of Mimi as her comeback album, maintaining that she had never "left". However, she eventually accepted the label.<ref>Template:Cite news</ref><ref>Template:Cite news</ref> Kenny Williams Jr. of Grammy.com said the record served as a reminder that Carey has always been "in full command of her artistry", embodying "a woman reclaiming her power in real-time".<ref name=":0">Template:Cite news</ref> The writer attributed the album's success to a "rich ... balance between the familiar and the fresh".<ref name=":0" />

The album ushered a shift in Carey's artistry and public persona, which Lehmann attributed to her accepting that she had already undergone several years of public humiliation.<ref name=":1" /> Lehmann and Okusanya agreed that, after decades in the industry, the album finally allowed her to embrace her diva persona in a light-hearted manner, less concerned with global pop stardom "and more oriented toward her own identity as an R&B diva with a confidently absurd sense of humor".<ref name=":1" /><ref name=":3" /> Critics observed that her diva transformation and artistic liberation were supported by a glamorization of her wardrobe that had been sparse in her 1990s attire.<ref name=":3" /><ref name=":9" /><ref name=":10">Template:Cite news</ref> Additionally, Lehmann said The Emancipation of Mimi finally allowed her to pivot her identity to that of an R&B singer, in contrast to the pop star she had heavily been promoted as during the 1990s.<ref name=":1" /> He and Julianne Escobedo Shepherd of Pitchfork suggested that Carey's shift in musical direction likely encouraged younger listeners who had grown up hearing her pop music to rediscover her work as adults.<ref name=":1" /><ref name=":11" /> Writing for the Houston Chronicle, Joey Guerra said the album "refocused her energies and found a perfect balance of her pop sensibilities and love for hip-hop".<ref name=":8">Template:Cite news</ref> Some commentators have suggested that Carey's decision to collaborate with rappers and hip-hop artists on the album strengthened her presence in the urban music market, in turn preventing her from reverting to the pop and R&B ballads that had defined much of her 1990s output.<ref>Template:Cite news</ref><ref>Template:Cite news</ref>

Although the album achieved commercial success comparable to her 1990s output, The Emancipation of Mimi allowed Carey to reestablish herself on her own terms rather than being measured solely against her earlier achievements.<ref name=":1" /> Despite initially receiving lukewarm reviews, fans immediately celebrated the album.<ref name=":11" /> In retrospect, its commercial success contributed to a critical reevaluation, with many reviewers reassessing it as one of Carey's strongest works.<ref name=":11" /><ref name=":5" /><ref name=":12" /> Guerra noted that the album was initially overlooked by awards bodies but emphasized that, more importantly, Carey succeeded in "proving her critics wrong and solidifying her place in pop royalty".<ref name=":8" /> Journalist Ed Gordan asserted that the album helped prove that she had triumphed above her naysayers.<ref>Template:Cite news</ref> Its 20th anniversary in 2025 has prompted millennials to reflect on the album's emotional impact.<ref name=":10" /> Bianca Betancourt of Harper's Bazaar wrote that, with hindsight, the album "seems to symbolize the life of a woman liberated from the constraints of critique".<ref name=":9">Template:Cite magazine</ref> Vibe named it one of the "50 Greatest Black Albums Of The Modern Era", with writer Jessica “Compton” Bennett crowning it "thee R&B soundtrack of" 2005, whose singles "truly took hold of the culture, the zeitgeist, and quite frankly, the world" by dominating weddings, reunions, proms, and parties.<ref name=":12">Template:Cite news</ref>

Some critics have suggested that The Emancipation of Mimi set a precedent for increasingly ostentatious album titles, as noted in its successors E=MC2 (2008) and Me. I Am Mariah…The Elusive Chanteuse (2014).<ref name=":1" /> Although her subsequent albums have yet to match the commercial success of Mimi, Carey's once-mocked diva persona has been largely reembraced by fans and critics self-aware.<ref name=":1" />

Track listing

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Sample credits

Personnel

Credits for The Emancipation of Mimi are adapted from the album's liner notes.<ref name="Booklet">Template:Cite AV media notes</ref> Template:Div col

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Charts

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Weekly charts

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Weekly chart performance for The Emancipation of Mimi
Chart (2005–06) Peak
position
Argentine Albums (CAPIF)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

5
Australian Urban Albums (ARIA)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}Template:Cbignore</ref>

1
Czech Albums (ČNS IFPI)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

74
European Albums (Top 100)<ref>Template:Cite magazine</ref> 4
Greek Albums (IFPI)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

1
Japanese Albums (Oricon)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

2
Singaporean Albums (RIAS)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}} Alt URL</ref>

1
Taiwanese Albums (Five Music)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

2
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Chart (2025) Peak
position
Japanese International Albums (Oricon)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>
Template:Small

15

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Monthly charts

Monthly chart performance for The Emancipation of Mimi
Chart (2005) Peak
position
South Korean Albums (RIAK)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

3

Year-end charts

Year-end chart performance for The Emancipation of Mimi
Chart (2005) Position
Australian Albums (ARIA)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

27
Australian Urban Albums (ARIA)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

4
Belgian Albums (Ultratop Wallonia)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

94
Dutch Albums (Album Top 100)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

47
French Albums (SNEP)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

58
German Albums (Offizielle Top 100)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

79
Japanese Albums (Oricon)<ref name="japend">{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

51
New Zealand Albums (RMNZ)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

42
Swiss Albums (Schweizer Hitparade)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

78
UK Albums (OCC)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

31
US Billboard 200<ref>Template:Cite magazine</ref> 4
US Top R&B/Hip-Hop Albums (Billboard)<ref name="bilb">Template:Cite magazine</ref> 2
Worldwide Albums (IFPI)<ref name=world2005 /> 2
Chart (2006) Position
Australian Urban Albums (ARIA)<ref>{{#invoke:citation/CS1|citation CitationClass=web

}}</ref>

17
US Billboard 200<ref name="bilb1">Template:Cite magazine</ref> 11
US Top R&B/Hip-Hop Albums (Billboard)<ref name="bilb1" /> 7

Decade-end charts

Decade-end chart performance for The Emancipation of Mimi
Chart (2000–2009) Position
US Billboard 200<ref>Template:Cite magazine</ref> 27
US Top R&B/Hip-Hop Albums (Billboard)<ref>Template:Cite magazine</ref> 6

All-time charts

All-time chart performance for The Emancipation of Mimi
Chart Position
US Billboard 200<ref>Template:Cite magazine</ref> 52
US Billboard 200 (Women)<ref>Template:Cite magazine</ref> 19

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Certifications and sales

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See also

References

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