The composer David Raksin once described his film music as melodically tricky enough that ideally, he joked, the listener should skip the first hearing and try the second.
The same applies, for me at least, to “Babygirl.” The first time I saw “Babygirl” I couldn’t really get the hang or the pitch of it. Richly complex in terms of tone, it eluded easy categorization or response, and a…
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