Madonna is the queen of re-invention. This has been true since her debutante days, where she managed to metamorph from era to era with alarming ease; from the bubble-gum materialism of Like A Virgin, the grand religious undertones of Like A Prayer to the sadomasochistic sexual politics of Erotica. 

But by 2005, the Queen of Pop had dug herself into a bit of a rut. Her last album, 2003’s explicitly political American Life, had received a muted critical reception, and although the album itself topped the Official Albums Charts and two singles (American Life and Hollywood) peaked at Number 2, the LP didn’t have the lasting cultural impact of previous projects. 

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