I’m not saying I agree with Jungle, but his trans-investigation has led to the castrato concept. How many people today have even heard of it? Are there links or crossover concepts regarding the baphomet trans-humanism programming I’ve reported on?
It was made illegal in 1870 in Italy. Was it made illegal everywhere else, or did they not even have to deal with the concept?
Perhaps with modern medicine and hormone therapies they don’t even need to physically castrate.
So-called “natural” or “endocrinological castrati” are born with hormonal anomalies, such as Klinefelter’s syndrome and Kallmann’s syndrome, or have undergone unusual physical or medical events during their early lives that reproduce the vocal effects of castration without being castrated.
Anyway you look at it, the blurring of the lines between the sexes is disturbing from a traditional view. Yesterday I walked by my first unisex bathroom at a college campus (I should have checked in to investigate but didn’t).
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A castrato (Italian, plural: castrati) is a type of classical male singing voice equivalent to that of asoprano, mezzo-soprano, or contralto. The voice is produced by castration of the singer before puberty, or it occurs in one who, due to an endocrinological condition, never reaches sexual maturity.
Castration before puberty (or in its early stages) prevents a boy’s larynx from being transformed by thenormal physiological events of puberty. As a result, the vocal range of prepubescence (shared by both sexes) is largely retained, and the voice develops into adulthood in a unique way. Prepubescent castration for this purpose diminished greatly in the late 18th century and was made illegal in Italy in 1870.
As the castrato’s body grew, his lack of testosterone meant that his epiphyses (bone-joints) did not harden in the normal manner. Thus the limbs of the castrati often grew unusually long, as did the bones of their ribs. This, combined with intensive training, gave them unrivalled lung-power and breath capacity. Operating through small, child-sized vocal cords, their voices were also extraordinarily flexible, and quite different from the equivalent adult female voice. Their vocal range was higher than that of the uncastrated adult male (see soprano, mezzo-soprano, alto, sopranist, countertenor and contralto). Listening to the only surviving recordings of a castrato (see below), one can hear that the lower part of the voice sounds like a “super-high” tenor, with a more falsetto-like upper register above that.