Decca Records
In the 1950s, reportedly, the American branch of Decca Records was operating a hit-making recording-studio within the so-called ‘Pythian Temple’ building in New York City. Built in the 1920s, the hotel-like structure was a headquarters of the Knights of Pythia fraternal order, of which Decca label artist Louis Armstrong was a member as it goes.
The ‘Pythian’ building, which was created by Scottish-born architect Thomas Lamb, is Masonic in its themes. One reviewer of it I’ve come across describes it as “a blockbuster synthesis of Egyptian, Babylonian and Assyrian motifs”…
From what I can gather, the Knights of Pythia rented its auditorium (or “ballroom” as one description I’ve seen has it) at the ‘Temple’ building to Decca Records and from where came recordings from, amongst others, Buddy Holly and also Bill Haley and The Comets and their ‘Rock Around the Clock,’ a song defined as the birth-point in the mass popularity of Rock & Roll and the resulting emergence of modern Pop music (counter) culture.
McCartney mentions the subject of Hitler-era mind control tactics in the same breath as The Beatles and their experimental efforts in the studio during the 1960s with Martin, who we can see in the documentary sitting next to Paul who’s reminiscing on when they worked together at EMI’s studios at Abbey Road over four decades earlier, reminding him of one particular occasion back then when producer George gave a demonstration on the powerful effects of high and low sound-frequencies on the human body, with the aid of an oscillator. McCartney reminds him, “you’d do an experiment in the studio and take an oscillator, so you’d go, ‘…. Can you hear Can you hear it?’ And us with young ears at the time, we would go, ‘yeah? Yeah. Can still hear it,’ and you’d take it up and up and then we go, ‘no. We just lost it.’ And you’d say, ‘pretty good hearing!’ You know… ‘n’ they said, ‘let’s do it the other way,’ you’d… take it down, and we’d go, ‘yeah. Can hear it. Ooh, got a funny feeling though…’ And you told this story that Hitler – Hitler’s people, his media-people – knew this effect, and before a rally, they would play a low frequency that nobody could hear – they’d put that out… everybody would be sitting there going, ‘… not feeling too great’… The minute before Hitler got there, they’d switch it off…,’” at which point, Paul says, the crowds at the rally would cheer enthusiastically for Hitler. “I love those little stories that would be mixed-in with sort of our recording-career,” he goes on.
https://conspiromedia.wordpress.com/2020/06/19/the-music-military-government-complex/