This was, after all, the front city West Berlin during the last hurrah of the Cold War.) (Fun fact: the name Linientreu is an ironic reference to an adjective describing people, in this case in reference to the GDR, who were particularly “true to the party line”.

I probably chose the Zoo Palast and didn’t seek out a screening in the original version because of the theater’s proximity to the Linientreu. (The minimalist funk of his just released album “Parade” really worked alongside the post-punk and proto-industrial tracks.) In light of this, After Hours particularly interested me because it was set in the New York downtown post-punk milieu that had so captured my imagination.

It was part of a weekend ritual – catching a late show before heading on to a Goth club called Linientreu to meet friends and dance into Sunday morning to Wall of Voodoo, The Smiths, Sisters of Mercy, Sonic Youth goof side project Ciccone Youth, The Cure, Fad Gadget, DAF and offshoot Liaisons Dangereuses, pre-”Don’t You Want Me” Human League and the odd Prince tune. I had first seen After Hours when it was released in West Germany in early 1986, dubbed and at Berlin’s Zoo Palast multiplex (re-opened in December 2013 after almost two years of renovation). Gross, Hardy Haywood, Arthur Morris, James Edward Caraway, Timothy Bertram Echols, Arthur Buxton Keeling, Roger Williams, Black Graduates, 1922, 1922 Black College Graduates Eugene Davenport, Irwin Tillman Dorch, Theodore Blake, Wilhelmina B. Pryor, William Powell, Simone Chapoteau, Robert W. Beatrice Morton, Louise Mason, Catherine Grigsby, Alice I. Wormley, James Edward Caraway, Timothy Bertram Echols, Arthur Buxton Keeling, Roger Williams, Hammons, Hardy Haywood, Arthur Morris, L.B. Hays, Demerald Williams, Anna Jones Robinson, Enid Thorpe, Garland N. Eugene Davenport, Irwin Tillman Dorch, George Washington Gregory, George Arnett Singleton, Peyton Elliott Womack, John Herman Bougs, Willis Gittens Price, A.W.

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