I Enjoy Being A Girl! (Live Cabaret Recording)
1 Welcome To My World
2 I Enjoy Being a Girl!
3 Marlene - An Illusion
4 The Boys In The Back Room
5 Falling In Love Again
6 Mae West Remembered
7 Tallulah Memories
8 Earl Wilson Stories
9 Making Whoopee!
10 You’ll Never Walk Alone
11 Superwoman!
12 The Party’s Over
Christine Jorgensen - I Enjoy Being A Girl!
An Evening Of Song & Laughter

Released in December 2006 by AEI Records

This recording is available through iTunes only

A special thanks to AEI Records for making this recording available

Just over a half century ago, on December 1, 1952, the New York Daily News splashed a headline on its front page in large type: EX-GI BECOMES BLONDE BEAUTY. Thus was Christine Jorgensen introduced to the American public. From that time on, until her death of cancer in 1989, she never left the public eye and, by coincidence, it was just thirty years after that headline that these recordings were made. By profession she was a photographer but was propelled into show business and, understandably, took advantage of the many opportunities afforded her. Undoubtedly curiosity was a large factor in her success since few if any Americans had actually seen or even known of someone achieving a change of sex - the very idea was considered alien at the time. But in other countries this had been achieved and Christine was not actually the first to have reassignment surgery since in Europe this had been accomplished as far back as the nineteen thirties, Lili Elbe being considered by many to be the earliest in modern times. In Britain, Robert Cowell had become Roberta in 1951 but this was not revealed until well after Christine had stunned the world with the revelation of her own transformation. None of those pioneers attained the kind of fame, indeed notoriety, of Christine. Although not a great singer, as she freely admitted, her personality, innate sense of humor and a cleverly devised performance became a popular attraction at all the major nightclubs of the day, from Broadway to Hollywood. What cannot be reproduced on this recording, made before the advent of readily available videotape recording, is the ‘quick-change’ aspect of her show. While continuing vocally, she would disappear behind a screen and moments later re-appear in an entirely different and complicated costume, presumably a miracle of snaps, buttons and Velcro. Those who recall her earliest performances remember a song called “There’ll Be Some Changes Made”, but by the time she appeared in Los Angeles during the period these recordings were made, the section had been removed from her show, although she did retain some of the quick changes and these may be noted, particularly the ‘Superwoman’ sequence at the very end of the act. This recording was made in the same period as those of Vivian Blaine and Virginia O’Brien, whose cabaret performances were released first as Long Playing records, then as Compact Discs and more recently as downloadable albums. However, for a number of reasons, Christine’s album was never released. What is heard now was recorded over three evenings, two of which were at the Backlot Theater, which in 1982 was part of the Studio One complex in West Hollywood (later Axis and now, reverting to its first name, The Factory) and one evening at the popular restaurant called The Frog Pond, owned by the well-liked Bob White and his partner Art Burdett and which had been named for the more famous La Grenouille in New York (nicknamed “the frog pond”), attracting an eclectic, bohemian clientele - a mixture of gay motorcycle club members (of which Bob was one) and the burgeoning artistic population of Silverlake, as it was then spelt. Of The Backlot recordings, one evening was marred by significant noise and hum, making it largely unusable, even with today’s advanced noise reduction applications, and the other had what may best be described as an unenthusiastic audience. Of these, the Frog Pond performance was generally deemed to be the most desirable and the final result is a compilation of the these two, using the best of each. Christine’s act changed very little although her own vocal intonations varied; this may be because for some time she had concentrated on the lecture circuit rather than night clubs. These recordings were not in a controlled environment in the same way that a studio recording would be, and because different microphones were used, both handheld and static, and Christine's distance from them altered frequently, some very slight variation may be heard. Nevertheless, despite any technical shortcomings, this remains an entertaining and fascinating, indeed unique record of one of the most famous women of her time.
© 2006 ChristineJorgensen.org