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Anthony Mohamed is an activist in Toronto, and was an integral part of groups such as Zami, Lesbian and Gay Youth of Toronto and Khush. As an Indo-Caribbean LGBTQ leader, Mohamed describes the search for community when coming of age in the late 70s and 80s. Highlighting untold stories, he discusses the linguistic and cultural barriers in HIV/AIDS activism from which ASAAP, along with other organizations for queer and trans communities of colour sprung forth. Mohamed explores the reconciliation of race, spirituality and sexuality, including the distinction between personal faith and organized religious spaces. Interview conducted on September 10th and November 1st 2019 by Jennifer Aja Fernandes.</text>
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&#13;
Collective members included:&#13;
&#13;
Rachel Epstein&#13;
Maureen FitzGerald&#13;
Amy Gottlieb&#13;
Didi Khayatt&#13;
Mary Louise Noble&#13;
Lorie Rotenberg&#13;
&#13;
Some of the women interviewed also appeared in Aerlyn Weissman and Lynne Fernie’s NFB-funded documentary Forbidden Love: The Unashamed Stories of Lesbian Lives. The 1992 film was out of print for many years until 2014, when the National Film Board released it in digital format. &#13;
&#13;
Although the organizers of Lesbians Making History were committed to keeping the project a community-based initiative, and not one rooted in academic pursuit, they allowed Elise Chenier, now a professor at Simon Fraser University, to use the transcripts of the interviews for her MA thesis. Chenier’s work on lesbian bar culture in the 1950s and 60s is widely taught in Canadian universities. Interview material was also used by Cameron Duder and by Gary Kinsman and Patrizia Gentile.&#13;
&#13;
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&#13;
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&#13;
Collective members included:&#13;
&#13;
Rachel Epstein&#13;
Maureen FitzGerald&#13;
Amy Gottlieb&#13;
Didi Khayatt&#13;
Mary Louise Noble&#13;
Lorie Rotenberg&#13;
&#13;
Some of the women interviewed also appeared in Aerlyn Weissman and Lynne Fernie’s NFB-funded documentary Forbidden Love: The Unashamed Stories of Lesbian Lives. The 1992 film was out of print for many years until 2014, when the National Film Board released it in digital format. &#13;
&#13;
Although the organizers of Lesbians Making History were committed to keeping the project a community-based initiative, and not one rooted in academic pursuit, they allowed Elise Chenier, now a professor at Simon Fraser University, to use the transcripts of the interviews for her MA thesis. Chenier’s work on lesbian bar culture in the 1950s and 60s is widely taught in Canadian universities. Interview material was also used by Cameron Duder and by Gary Kinsman and Patrizia Gentile.&#13;
&#13;
In 2014 the original audio tapes were given to the CLGA via the LGBTQ Digital Oral History Collaboratory, a multi-institutional research project led by University of Toronto professor Elspeth Brown and funded by a 5-year SSRHC Insight grant.  &#13;
&#13;
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                <text>Cheryl Freeman was born in 1949, adopted by a working class Baptist family. She grew up in Toronto. Her biological mother was Jewish but she was not informed until she was in her 30s. Her father was an alcoholic. Her mother was very controlling but often very supportive. Her mother committed her to a mental hospital at 16 years of age, because she was rebellious. Between 16 and 18 she was in and out of mental hospitals but there she discovered that her sexual attraction to girls was “normal” and she was introduced to lesbian culture through other lesbians in those institutions. When she was out of those institutions, she started going to gay and lesbian bars. She made money by dealing drugs, robbery and protecting prostitutes. She was married to a gay man and had a daughter intentionally in 1971. Between the ages of 19 and 21, she lived with a woman lover who had a child. At that time she switched from butch to femme. After 21, she lived in several co-op houses and went on welfare. Post-1969, she participated in several gay rights organizations, including CHAT and LOOT. She speaks of encountering prejudice from lesbian-feminists around butch/femme roles. She lived off and on with at least three women lovers. She experienced abuse from a sister and one woman lover.</text>
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Rachel Epstein&#13;
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Mary Louise Noble&#13;
Lorie Rotenberg&#13;
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&#13;
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&#13;
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&#13;
Rachel Epstein&#13;
Maureen FitzGerald&#13;
Amy Gottlieb&#13;
Didi Khayatt&#13;
Mary Louise Noble&#13;
Lorie Rotenberg&#13;
&#13;
Some of the women interviewed also appeared in Aerlyn Weissman and Lynne Fernie’s NFB-funded documentary Forbidden Love: The Unashamed Stories of Lesbian Lives. The 1992 film was out of print for many years until 2014, when the National Film Board released it in digital format. &#13;
&#13;
Although the organizers of Lesbians Making History were committed to keeping the project a community-based initiative, and not one rooted in academic pursuit, they allowed Elise Chenier, now a professor at Simon Fraser University, to use the transcripts of the interviews for her MA thesis. Chenier’s work on lesbian bar culture in the 1950s and 60s is widely taught in Canadian universities. Interview material was also used by Cameron Duder and by Gary Kinsman and Patrizia Gentile.&#13;
&#13;
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&#13;
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&#13;
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&#13;
Rachel Epstein&#13;
Maureen FitzGerald&#13;
Amy Gottlieb&#13;
Didi Khayatt&#13;
Mary Louise Noble&#13;
Lorie Rotenberg&#13;
&#13;
Some of the women interviewed also appeared in Aerlyn Weissman and Lynne Fernie’s NFB-funded documentary Forbidden Love: The Unashamed Stories of Lesbian Lives. The 1992 film was out of print for many years until 2014, when the National Film Board released it in digital format. &#13;
&#13;
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                <text>Leila Sujir is an artist that first worked at Desh Pardesh in the late 1980s. Her work India Hearts Beat screened in Toronto, and she was invited to discuss it. She felt that Desh was a space of both validation and contention. She argues it gave emerging artists a space to present their work and gave a sense of importance to it, which was difficult in the racialized landscape of 1980s Toronto. Sujir also cites that the cultural context of Desh presented an overarching identity politics that concerned the population of Toronto. She felt that there was contention between groups, there was a competition of oppression and the rise of an “identity minefield”. Sujir also discusses her work Dreams of a Night Cleaner to conceptualize how physicality and space was a major component of her artistic work. She concludes the interview by discussing the erasure of oppression in her home province, Quebec and discusses briefly a new project in the UK.</text>
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                <text>dyke; lesbian; black power; Carib; Callaloo; world majority; activism; LOOT; Lesbian Organization of Toronto; Carnaval; Mas; migration; immigration; racism; Caribbean-Canadian; Trinidad; butch fem; lesbian separatism; Michigan Womyn's Music Festival; transphobia; coming out; Catholicism; York University; 1970s</text>
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                <text>This is the first of two oral histories with Lezlie Lee Kam,  a 55+, gender-mysterious, world majority person and dyke; a Trini; a Carib; Brown; and a Callaloo-a mix of Chinese, Carib, Indian, Portuguese, and Venezuelan. She was born in Trinidad and left for Toronto in 1970. In this interview, Lezlie discusses her childhood in Trinidad with her 3 brothers with her working-class father and her more well-off mom; at age 11, when she was beginning her education in a convent school, her parents separated. Lezlie stayed with her father and 3 brothers, while her mother moved to Toronto in 1968. Lezlie was involved with Mas, as was her dad, who was a band leader; she's continued to be involved with Carnaval since. When Lezlie was 16, she moved to Toronto to be with her mother in Toronto, despite not wanting to leave. Discusses her attraction to girls from a young age, while also at the same time dating boys. Two of her brothers emigrated in 1976; she describes the debates she had with her mother around her mother's expectations that she do gendered labour in the household, while her brothers did nothing. &#13;
&#13;
Lezlie was only one of four non-white kids in high school in 1970: she describes racism, being called a 'monkey' by the boys, and her (humorous) response, her accent, and her efforts to modulate it once in Canada. Lezlie came out, to herself, while she was at York U 1972-1976. She discusses radical student politics at York, and the expectation that all non-whites sit at the 'black table' in solidarity with black power. She learned about Cuba, South American indigenous issues, and Caribbean literature. &#13;
&#13;
Discusses her first relationship with a woman, Sonia, a mixed race Trinidadian who attended Ryerson, and the physical passion that ensued after figuring it all out for the first time; they were together for 3 years, when they were caught kissing, and Sonia's family shipped her back to Trinidad. &#13;
&#13;
Lezlie describes her activism with LOOT, the Lesbian Organization of Toronto (LOOT), in the late 1970s. She worked at the coffee house, on the phones, and wanted to be a person of colour for other lesbians who looked like her. Describes her work at LOOT and encountering butch-fem roles and lesbian separatism in the contemporary scene. Race and racism was not a topic of discussion among the white LOOT activists. Discusses the transphobia she encountered at the Michigan Womyn's Musical Festival, as well as how very few other women of color were there. &#13;
&#13;
Night life, late 1970s: describes the 4 women of colour in the scene, who went to The Studio, a bar where gay men and lesbians mixed. They stood out, and became disco queens; they checked out the Camu (sp?) on Trinity, near Eastern. The Camu was a working class butch-fem bar, with tuxedos and ball gowns, the whole thing; they were the only people of colour. Discusses her own sense of gender then, and more recently. She was never butch or fem herself. &#13;
&#13;
This interview continues in a second interview on June 16, 2017. &#13;
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