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                  <text>The Lesbians Making History (LMH) collective came together in the mid-1980s and was inspired by oral history projects of gay lives coming out of Buffalo, Boston and San Francisco. The collective interviewed 9 women about their experiences as ‘out’ lesbians in the 1950s, 60s, and 70s.&#13;
&#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;
Embedded at the Canadian Lesbian and Gay Archives (CLGA), Collaboratory members digitized LMH materials and created new verbatim transcriptions. Original LHM collective members assisted with editing transcripts, identifying key words and writing abstracts for each oral history interview. </text>
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                <text>This interview begins as a conversation between Lois, a retired schoolteacher and activist in Southern Ontario, and Jeanne, a retired secretarial worker and activist. Partway through the interview, Jackie enters and dominates much of the discussion. Jackie was born in 1934 in Sudbury, Ontario to a large French and Native family. As a teenager, she ran away to Toronto multiple times. Following a marriage at 16, she moved to Toronto for a number of years, where she became part of the lesbian bar scene at The Continental Hotel. Jackie would have been considered a downtowner and a rounder, having spent time in and out of the Don Jail throughout her life. The majority of the interview concerns her coming out process as a butch; her work as a pickpocket and later a heroin dealer; her experiences of violence in the Lesbian bar scene; as well as her relationships with women, one of which was with an aspiring Hollywood starlet. The interview is framed by a larger conversation about police harassment, books published in the fifties featuring gay and lesbian characters, and Jeanne and Lois’ involvement in the Women’s Movement.</text>
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                  <text>Not a Place on the Map: The Desh Pardesh Project&#13;
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                  <text>Toronto’s Desh Pardesh festival (1988–2001) was a multidisciplinary arts festival that showcased underrepresented and marginalized voices within the South Asian diaspora. These oral history interviews with artists and organizers involved in the festival were created by the South Asian Visual Arts Centre in 2016.</text>
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                  <text>1988–2001, Toronto, South Asia</text>
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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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LGBTQ Oral History DIgital Collaboratory (Elspeth Brown, PI)</text>
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1980s Toronto, 2000s Quebec</text>
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&#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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                <text>Lezlie Lee Kam is 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 relationship with the police in the 1970s and 1980s; in particular, she describes being the recipient of racist police violence in 1989, as well as police violence against trans women. Discusses the presence of lesbians of colour in Pride, c. 1991-1992, with the organizations Lesbians of Colour (1991) and Proud and Visible Coalition (with Anthony Mohamad, 1992). 1993-1998: World Majority Lesbians; 1999 Queer Women of Colour. 1999, they rented a big truck to put a sign up that said 'stop police violence; stop the criminalization of people of color), but the police tried to make them take the sign down. They refused, and took the sign into the parade; as a result, the police withdrew their contact with Grand and Toy, which had underwritten the truck. She discusses trying to get funding from Pride for people of colour at 1999 Pride, and having to deal with racism on the Pride organizing committee; in response, they demanded a community meeting at the 519. Discusses how Pelau Masquerade emerged after the Proud and Visible Coalition. Discusses reaching out to Caribana Mas camp people to have connections with Pride. Describes how central Mas was to her when she was a child (her dad was a band leader, and her house was a central space for Carnival preparations). &#13;
&#13;
A large section of this interview discussed alcoholism. Discusses her work with LGBTQ seniors, and how a black women at one of the sites accused her of sexual harassment, sending her into a health downward spiral. She began to drink more to cope with the stress; eventually she lost her job from drinking and went on EI. 2000-2006 drinking seriously; went through all her savings, and almost lost her house. Dec 31, 2006: brother and sister-in-law took her to the hospital. In the process of going to the hospital, she passed out and went into a coma for two months; they thought she'd be a vegetable if she ever woke up. When she woke up, she went to Bridgeport for 4 months for intensive physio and occupational therapy. The medication she went on caused her to gain 50 pounds, impacting her body image. Describes her decision to go public with her history of alcoholism and why, as well as her recovery process. Now she is involved with Women's Health and Women's Hands, a women of colour health clinic. Has become involved with the Senior Pride Network, as well as Indigenous activism. &#13;
&#13;
Discusses 1990s club nights for queer women of colour in the city, including organizing monthly club nights on Church Street, such as "Island Spice," focused on women of colour (1999), as well as organizing at the Red Spot, which was owned by a Sri Lankan man. Discusses current queer of colour club spaces, such as the Steady, the Beaver, Glad Day; &#13;
&#13;
Discusses her history of activism having to do with violence against women in the 1980s, with a focus on immigrant and refugee women of colour. This focus was controversial for the white anti-violence feminists. Lezlie eventually worked in this field for about 10 years. She describes developing a business having to with anti-violence training in same-sex contexts. &#13;
&#13;
Discusses her work as a volunteer with seniors at Bridgepoint, where she often does manicures. Eventually 5 women have come out to her, but they're all closeted now that they are in care. Lezlie discusses how she's been attacked by women for using the women's restroom, because some of the residents see her as a man. She worked for over a year to get trans positive materials in the bathroom. Now she is working on Pride, and getting seniors' programming there. Describes the current politics in Pride around black activism and Black Lives Matter. Describes her experience with Desh Pardesh, where she wasn't considered Indo or South Asian enough. &#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;
Embedded at the Canadian Lesbian and Gay Archives (CLGA), Collaboratory members digitized LMH materials and created new verbatim transcriptions. Original LHM collective members assisted with editing transcripts, identifying key words and writing abstracts for each oral history interview. </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;
This is an interview with Philip McLeod, a gay liberationist. In this interview, Mcleod describes his early life. He was born in Montreal in 19XX, the son of Mae Moreash. He was raised in the city's Protestant Infants' Home, where his mother worked. In 1943, Mcleod enlisted in the Royal Canadian Air Force. Mcleod describes his time in the Second World War, framing the war as a critical juncture in the rise of homoerotic sentiments, but not behaviours, for many men who were conscripted or enlisted.&#13;
&#13;
McLeod discusses his move to Southern Ontario following the war in the early 1950s, where he worked at the Ajax Public Library, Ryerson Polytechnic, the Toronto public school system, the London (Ontario) public library system and eventually for XYZ. He retired in 1982 and resided in Toronto, where he owned a number of houses, which he rented out to supplement his income.&#13;
&#13;
Mcleod recounts the social life of gay men in Toronto at mid-century in some detail. His experience as a professional offers insight into the restrictions that working life placed on cruising. The interview documents the bars, clubs, parks, and neighbourhoods gay men congregated in during the 1950s onwards. &#13;
&#13;
The interview documents various strategies of signification for gay men. McLeod recounts being cruised as a librarian in London, ON public library system, as well as the role bodybuilding periodicals played in gay life at mid-century.&#13;
&#13;
 The interview documents McLeod’s own shift in political consciousness following the 1981 police raids on gay bathhouses in Toronto. He offers a discussion of how the coming out process for men coming of age in the 1970s was shaped by the political movements. </text>
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                <text>Punam Khosla was the coordinator of the Desh Pardesh festival from the second festival in 1991 to 1993. She headed the festival with clear political goals, which often clashed with other organizers of the event but she was not willing to compromise the vision of Desh Pardesh. She discusses the immense amount of misogyny and homophobia she encountered, which were a couple of the principle reasons of her departure. She also touches on her work prior to Desh and the resentment she felt towards her in these spaces as well. </text>
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