each other and too large to gather in one place. No was Duncan's first public performance of a Reichian exercise (later known as bioenergetic analysis) broadcast live over Close Radio. Happy Homes, his last performance before leaving Los Angeles, was a telephone exchange with radio therapist Dr. Toni Grant, broadcast live throughout the United States over the ABC radio network. Duncan described several child-abuse cases he had personally witnessed as a Los Angeles city bus driver as he asked the therapist for advice. His first films were shot in Super-8, silent or with separate audio, intended either as stand-alone works or as elements used in live events. The performance For Women Only is centered around a film intended to erotically arouse the all-woman audience, who were then invited to enter a back room and abuse Duncan sexually. The Secret Film was screened individually to eight viewers before the film itself and the room where it was shown were both destroyed by fire. Together with McCarthy he co-produced Close Radio, a weekly series of live radio broadcasts over KPFK that provided airtime to artists working in sound, many of them for the first time. The Close Radio archive was donated to the Getty Center in 2007. In 1978 he became closely associated with the Los Angeles Free Music Society (LAFMS), working on collaborations with Tom Recchion, Fredrik Nilsen and Joe Potts. His earliest recorded audio experiments were also made at this time, including work with Michael LeDonne-Bhennet, McCarthy, Recchion and Nilsen. His first solo LP Organic was released in 1979. His first solo recordings with shortwave radio were released in 1982 on the EP Creed which also included the complete broadcast of Happy Homes. Tokyo Duncan left the United States for Tokyo in 1982, where he continued his performance work, and expanded his experiments with recorded shortwave broadcasts and film. The music he produced in this period, including Kokka (National Anthem) with Cosey Fanni Tutti and Chris Carter, the solo LP Riot and Dark Market Broadcast, led to collaborations with a number of Japanese noise music artists, including Masami Akita, Keiji Haino and Hijokaidan. His solo recordings and live concerts from this period establish him as one of the early pioneers of Japanese noise; the first non-Japanese to work in the genre in Japan. It was also here that he began to deliberately limit the exhibition of his visual art to