"The house lights went down; fiery letters stood out solid and as though self-supported in the darkness. THREE WEEKS IN A HELICOPTER . AN ALL-SUPER-SINGING, SYNTHETIC-TALKING, COLOURED, STEREOSCOPIC FEELY. WITH SYNCHRONIZED SCENT-ORGAN ACCOMPANIMENT. "Take hold of those metal knobs on the arms of your chair," whispered Lenina. "Otherwise you won't get any of the feely effects." The Savage did as he was told. Those fiery letters, meanwhile, had disappeared; there were ten seconds of complete darkness; then suddenly, dazzling and incomparably more solid-looking than they would have seemed in actual flesh and blood, far more real than reality, there stood the stereoscopic images, locked in one another's arms, of a gigantic negro and a golden-haired young brachycephalic Beta-Plus female. The Savage started. That sensation on his lips! He lifted a hand to his mouth; the titillation ceased; let his hand fall back on the metal knob; it began again. The scent organ, meanwhile, breathed pure musk. Expiringly, a sound-track super-dove cooed "Oo-ooh"; and vibrating only thirty-two times a second, a deeper than African bass made answer: "Aa-aah." "Ooh-ah! Ooh-ah!" the stereoscopic lips came together again, and once more the facial erogenous zones of the six thousand spectators in the Alhambra tingled with almost intolerable galvanic pleasure. "Ooh . . ." The plot of the film was extremely simple. A few minutes after the first Oohs and Aahs (a duet having been sung and a little love made on that famous bearskin, every hair of which--the Assistant Predestinator was perfectly right--could be separately and distinctly felt), the negro had a helicopter accident, fell on his head. Thump! What a twinge through the forehead! A chorus of ow's and aie's went up from the audience."
Aldous Huxley: Brave New World, 1932.