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Ally Schweitzer and I lead this week’s arts section with our look into how and why Zep Fest—-a massive tribute to Led Zeppelin set to take place Memorial Day weekend at National Harbor—-failed. Michael West does a close viewing of three videos featuring saxophonist George Botts Sr.—-the only recorded legacy left behind by the late D.C. jazzman. Tricia Oslzewski reviews two films that don’t off pay of their early promise: The French romantic thriller The Double Hour and the observational Western drama Meek’s Cutoff.  Mike Paarlberg reviews the Washington National Opera’s Don Pasquale—-the final offering of the Placido Domingo era. Chris Klimek admires the family and the beach house that populate Theater J’s The Moscows of Nantucket. Ryan Little reviews the contorted carnival jams of Screens, a New York band featuring some D.C. expats. David Dunlap concludes that Nodzzz’ neurotic garage-pop isn’t hilarious enough. Eve Ottenberg reviews Rikki Ducornet’s novel Netsuke, about a predatory shrink. And in One Track Mind, Marcus K. Dowling talks to local DJ/producer Tittsworth about his new Moombahton collaboration with Alvin Risk.

And in City Lights: Gruff Rhys, Davy Rothbart‘s My Heart Is an Idiot, Hitchcock‘s Notorious, Hobo With a Shotgun, Big Freedia, “Old Fashioned New Media” at Flashpoint, and Win Win.