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Lactic acid

Lactic acid is an organic acid. It has the molecular formula CH3CH(OH)COOH. It is white in the solid state and it is miscible with water. When in the dissolved state, it forms a colorless solution. Production includes both artificial synthesis as well as natural sources. Lactic acid is an alpha-hydroxy acid (AHA) due to the presence of a hydroxyl group adjacent to the carboxyl group. It is used as a synthetic intermediate in many organic synthesis industries and in various biochemical industries. The conjugate base of lactic acid is called lactate (or the lactate anion). The name of the derived acyl group is lactoyl.

In solution, it can ionize by a loss of a proton to produce the lactate ion. Compared to acetic acid, its pK$a$ is 1 unit less, meaning lactic acid is ten times more acidic than acetic acid. This higher acidity is the consequence of the intramolecular hydrogen bonding between the α-hydroxyl and the carboxylate group.

Lactic acid is chiral, consisting of two enantiomers. One is known as -lactic acid, (S)-lactic acid, or (+)-lactic acid, and the other, its mirror image, is -lactic acid, (R)-lactic acid, or (−)-lactic acid. A mixture of the two in equal amounts is called -lactic acid, or racemic lactic acid. Lactic acid is hygroscopic. -Lactic acid is miscible with water and with ethanol above its melting point, which is about 16 to 18 C. -Lactic acid and -lactic acid have a higher melting point. Lactic acid produced by fermentation of milk is often racemic, although certain species of bacteria produce solely -lactic acid. On the other hand, lactic acid produced by anaerobic respiration in animal muscles has the enantiomer and is sometimes called "sarcolactic" acid, from the Greek, meaning "flesh".

In animals, -lactate is constantly produced from pyruvate via the enzyme lactate dehydrogenase (LDH) in a process of fermentation during normal metabolism and exercise. It does not increase in concentration until the rate of lactate production exceeds the rate of lactate removal, which is governed by a number of factors, including monocarboxylate transporters, concentration and isoform of LDH, and oxidative capacity of tissues. The concentration of blood lactate is usually 1–2mM at rest, but can rise to over 20mM during intense exertion and as high as 25mM afterward. In addition to other biological roles, -lactic acid is the primary endogenous agonist of hydroxycarboxylic acid receptor 1 (HCA$1$), which is a G$i/o$-coupled G protein-coupled receptor (GPCR).

In industry, lactic acid fermentation is performed by lactic acid bacteria, which convert simple carbohydrates such as glucose, sucrose, or galactose to lactic acid. These bacteria can also grow in the mouth; the acid they produce is responsible for the tooth decay known as cavities. In medicine, lactate is one of the main components of lactated Ringer's solution and Hartmann's solution. These intravenous fluids consist of sodium and potassium cations along with lactate and chloride anions in solution with distilled water, generally in concentrations isotonic with human blood. It is most commonly used for fluid resuscitation after blood loss due to trauma, surgery, or burns.

Lactic acid is produced in human tissues when the demand for oxygen is limited by the supply. This occurs during tissue ischemia when the flow of blood is limited. It may also occur more generally when demand is high such as with intense exercise.

History
Swedish chemist Carl Wilhelm Scheele was the first person to isolate lactic acid in 1780 from sour milk. The name reflects the lact- combining form derived from the Latin word lac, meaning "milk". In 1808, Jöns Jacob Berzelius discovered that lactic acid (actually -lactate) also is produced in muscles during exertion. Its structure was established by Johannes Wislicenus in 1873.

In 1856, the role of Lactobacillus in the synthesis of lactic acid was discovered by Louis Pasteur. This pathway was used commercially by the German pharmacy Boehringer Ingelheim in 1895.

In 2006, global production of lactic acid reached 275,000 tonnes with an average annual growth of 10%.

Production
Lactic acid is produced industrially by bacterial fermentation of carbohydrates, or by chemical synthesis from acetaldehyde. , lactic acid was produced predominantly (70–90%) by fermentation. Production of racemic lactic acid consisting of a 1:1 mixture of and  stereoisomers, or of mixtures with up to 99.9% -lactic acid, is possible by microbial fermentation. Industrial scale production of -lactic acid by fermentation is possible, but much more challenging.

Fermentative production
Fermented milk products are obtained industrially by fermentation of milk or whey by Lactobacillus bacteria: Lactobacillus acidophilus, Lacticaseibacillus casei (Lactobacillus casei), Lactobacillus delbrueckii subsp. bulgaricus (Lactobacillus bulgaricus), Lactobacillus helveticus, Lactococcus lactis , Bacillus amyloliquefaciens, and Streptococcus salivarius subsp. thermophilus (Streptococcus thermophilus).

As a starting material for industrial production of lactic acid, almost any carbohydrate source containing (Pentose sugar) and  (Hexose sugar) can be used. Pure sucrose, glucose from starch, raw sugar, and beet juice are frequently used. Lactic acid producing bacteria can be divided in two classes: homofermentative bacteria like Lactobacillus casei and Lactococcus lactis, producing two moles of lactate from one mole of glucose, and heterofermentative species producing one mole of lactate from one mole of glucose as well as carbon dioxide and acetic acid/ethanol.

Chemical production
Racemic lactic acid is synthesized industrially by reacting acetaldehyde with hydrogen cyanide and hydrolysing the resultant lactonitrile. When hydrolysis is performed by hydrochloric acid, ammonium chloride forms as a by-product; the Japanese company Musashino is one of the last big manufacturers of lactic acid by this route. Synthesis of both racemic and enantiopure lactic acids is also possible from other starting materials (vinyl acetate, glycerol, etc.) by application of catalytic procedures.

Molecular biology
-Lactic acid is the primary endogenous agonist of hydroxycarboxylic acid receptor 1 (HCA1), a Gi/o-coupled G protein-coupled receptor (GPCR).

Metabolism and exercise
During power exercises such as sprinting, when the rate of demand for energy is high, glucose is broken down and oxidized to pyruvate, and lactate is then produced from the pyruvate faster than the body can process it, causing lactate concentrations to rise. The production of lactate is beneficial for NAD+ regeneration (pyruvate is reduced to lactate while NADH is oxidized to NAD+), which is used up in oxidation of glyceraldehyde 3-phosphate during production of pyruvate from glucose, and this ensures that energy production is maintained and exercise can continue. During intense exercise, the respiratory chain cannot keep up with the amount of hydrogen ions that join to form NADH, and cannot regenerate NAD+ quickly enough, so pyruvate is converted to lactate to allow energy production by glycolysis to continue.

The resulting lactate can be used in two ways:
 * Oxidation back to pyruvate by well-oxygenated muscle cells, heart cells, and brain cells
 * Pyruvate is then directly used to fuel the Krebs cycle
 * Conversion to glucose via gluconeogenesis in the liver and release back into circulation by means of the Cori cycle
 * If blood glucose concentrations are high, the glucose can be used to build up the liver's glycogen stores.

Lactate is continually formed at rest and during all exercise intensities. Lactate serves as a metabolic fuel being produced and oxidatively disposed in resting and exercising muscle and other tissues. Some sources of excess lactate production are metabolism in red blood cells, which lack mitochondria that perform aerobic respiration, and limitations in the rates of enzyme activity in muscle fibers during intense exertion. Lactic acidosis is a physiological condition characterized by accumulation of lactate (especially -lactate), with formation of an excessively high proton concentration [H+] and correspondingly low pH in the tissues, a form of metabolic acidosis.

The first stage in metabolizing glucose is glycolysis, the conversion of glucose to pyruvate− and H+:

 * C6H12O6 + 2 NAD+ + 2 ADP(3-) + 2 HPO4(2-) -> 2 CH3COCO2- + 2 H+ + 2 NADH + 2 ATP(4-) + 2 H2O

When sufficient oxygen is present for aerobic respiration, the pyruvate is oxidized to CO2 and water by the Krebs cycle, in which oxidative phosphorylation generates ATP for use in powering the cell. When insufficient oxygen is present, or when there is insufficient capacity for pyruvate oxidation to keep up with rapid pyruvate production during intense exertion, the pyruvate is converted to lactate− by lactate dehydrogenase), a process that absorbs these protons:

 * 2 CH3COCO2- + 2 H+ + 2 NADH -> 2 CH3CH(OH)CO2- + 2 NAD+

The combined effect is:

 * C6H12O6 + 2 ADP(3-) + 2HPO4(2-) -> 2 CH3CH(OH)CO2- + 2 ATP(4-) + 2 H2O

The production of lactate from glucose (glucose → 2 lactate- + 2 H+), when viewed in isolation, releases two H+. The H+ are absorbed in the production of ATP, but H+ is subsequently released during hydrolysis of ATP:

 * ATP(4−) + H2O → ADP(3-) + HPO4(2-) + H+

Once the production and use of ATP is included, the overall reaction is

 * C6H12O6 -> 2 CH3CH(OH)CO2- + 2 H+

The resulting increase in acidity persists until the excess lactose and protons are converted back to pyruvate, and then to glucose for later use, or to CO2 and water for the production of ATP.

Neural tissue energy source
Although glucose is usually assumed to be the main energy source for living tissues, there is evidence that lactate, in preference to glucose, is preferentially metabolized by neurons in the brains of several mammalian species that include mice, rats, and humans. According to the lactate-shuttle hypothesis, glial cells are responsible for transforming glucose into lactate, and for providing lactate to the neurons. Because of this local metabolic activity of glial cells, the extracellular fluid immediately surrounding neurons strongly differs in composition from the blood or cerebrospinal fluid, being much richer with lactate, as was found in microdialysis studies.

Brain development metabolism
Some evidence suggests that lactate is important at early stages of development for brain metabolism in prenatal and early postnatal subjects, with lactate at these stages having higher concentrations in body liquids, and being utilized by the brain preferentially over glucose. It was also hypothesized that lactate may exert a strong action over GABAergic networks in the developing brain, making them more inhibitory than it was previously assumed, acting either through better support of metabolites, or alterations in base intracellular pH levels, or both.

Studies of brain slices of mice show that β-hydroxybutyrate, lactate, and pyruvate act as oxidative energy substrates, causing an increase in the NAD(P)H oxidation phase, that glucose was insufficient as an energy carrier during intense synaptic activity and, finally, that lactate can be an efficient energy substrate capable of sustaining and enhancing brain aerobic energy metabolism in vitro. The study "provides novel data on biphasic NAD(P)H fluorescence transients, an important physiological response to neural activation that has been reproduced in many studies and that is believed to originate predominantly from activity-induced concentration changes to the cellular NADH pools."

Lactate can also serve as an important source of energy for other organs, including the heart and liver. During physical activity, up to 60% of the heart muscle's energy turnover rate derives from lactate oxidation.

Blood testing
Blood tests for lactate are performed to determine the status of the acid base homeostasis in the body. Blood sampling for this purpose is often arterial (even if it is more difficult than venipuncture), because lactate levels differ substantially between arterial and venous, and the arterial level is more representative for this purpose.

During childbirth, lactate levels in the fetus can be quantified by fetal scalp blood testing.

Polymer precursor
Two molecules of lactic acid can be dehydrated to the lactone lactide. In the presence of catalysts lactide polymerize to either atactic or syndiotactic polylactide (PLA), which are biodegradable polyesters. PLA is an example of a plastic that is not derived from petrochemicals.

Pharmaceutical and cosmetic applications
Lactic acid is also employed in pharmaceutical technology to produce water-soluble lactates from otherwise-insoluble active ingredients. It finds further use in topical preparations and cosmetics to adjust acidity and for its disinfectant and keratolytic properties.

Lactic acid containing bacteria have shown promise in reducing oxaluria with its descaling properties on calcium compounds.

Fermented food
Lactic acid is found primarily in sour milk products, such as kumis, laban, yogurt, kefir, and some cottage cheeses. The casein in fermented milk is coagulated (curdled) by lactic acid. Lactic acid is also responsible for the sour flavor of sourdough bread.

In lists of nutritional information lactic acid might be included under the term "carbohydrate" (or "carbohydrate by difference") because this often includes everything other than water, protein, fat, ash, and ethanol. If this is the case then the calculated food energy may use the standard 4 kcal per gram that is often used for all carbohydrates. But in some cases lactic acid is ignored in the calculation. The energy density of lactic acid is 362 kcal per 100 g.

Some beers (sour beer) purposely contain lactic acid, one such type being Belgian lambics. Most commonly, this is produced naturally by various strains of bacteria. These bacteria ferment sugars into acids, unlike the yeast that ferment sugar into ethanol. After cooling the wort, yeast and bacteria are allowed to "fall" into the open fermenters. Brewers of more common beer styles would ensure that no such bacteria are allowed to enter the fermenter. Other sour styles of beer include Berliner weisse, Flanders red and American wild ale.

In winemaking, a bacterial process, natural or controlled, is often used to convert the naturally present malic acid to lactic acid, to reduce the sharpness and for other flavor-related reasons. This malolactic fermentation is undertaken by lactic acid bacteria.

While not normally found in significant quantities in fruit, lactic acid is the primary organic acid in akebia fruit, making up 2.12% of the juice.

Separately added
As a food additive it is approved for use in the EU, United States and Australia and New Zealand; it is listed by its INS number 270 or as E number E270. Lactic acid is used as a food preservative, curing agent, and flavoring agent. It is an ingredient in processed foods and is used as a decontaminant during meat processing. Lactic acid is produced commercially by fermentation of carbohydrates such as glucose, sucrose, or lactose, or by chemical synthesis. Carbohydrate sources include corn, beets, and cane sugar.

Forgery
Lactic acid has historically been used to assist with the erasure of inks from official papers to be modified during forgery.

Cleaning products
Lactic acid is used in some liquid cleaners as a descaling agent for removing hard water deposits such as calcium carbonate.

title: Lactic acid


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Makossa

Makossa is a music genre originating in Douala, Littoral Region, French Cameroons in the late 19th century. Like much other music of Sub-Saharan Africa, it uses strong electric bass rhythms and prominent brass. Makossa uses guitar accompaniments, in the forms of solo and rhythm guitar, with a main singer (lead vocalist) and a choir of backup singers, with the focus being on the texture of the guitar, the role it plays in the song, the relationship between it and other instruments (including the bass, drum set, horns, synthesizers, etc.), the lyrical content and languages sung as well as their relationship (as far as timbre goes) with the music, the uses of various percussion instruments, including the bottle, the groove of the bass as well as the drums, and the use of technical knowledge and microprocessors to make the music. It is in common time (4/4) for the vast majority of cases. Language-wise, it is typically sung in French, Duala or Pidgin English. Tempo-wise, it is typically in between 130 and 170 BPM. It traditionally consisted of guitar-picking techniques that borrows from bikutsi; with a guitar-structure of a guitar switching from solo to rhythm from assiko; supplanted with complex bass grooves, and gradually picked up on brass section, from funk and later in the 70s, string section, from disco. It along with this acquired the sebene from Congolese rumba. In the 1980s makossa had a wave of mainstream success across Africa and to a lesser extent abroad. It is considered to be one of the greatest Cameroonian and even African "adventures" as a music.

Makossa, which in some accounts is said to mean "the contortions" and others to mean "(I) dance" in the Duala language, originated from a Duala dance called the kossa. Emmanuel Nelle Eyoum started using the refrain kossa kossa in his songs with his group "Los Calvinos". The style began to take shape in the 1950s though the first recordings were not seen until a decade later. There were artists such as Eboa Lotin, Misse Ngoh and especially Manu Dibango, who popularised makossa throughout the world with his song "Soul Makossa" in 1972. It is the most sampled African song, in history to date. The chant from the song, mamako, mamasa, maka makossa, was later used by Michael Jackson in "Wanna Be Startin' Somethin'" in 1983. In 2007, Rihanna similarly sampled it too for "Don't Stop The Music". Many other performers followed suit. The 2010 World cup also brought makossa to the international stage as Shakira sampled the Golden Sounds popular song "Zamina mina (Zangalewa)".

Etymology
The word "makossa" is originated from the Duala words "m'a" and "kossa". "Kossa" is a term that was a term at the edge of neologism expressed initially as a cry of exhortation, and as "a kind of swear word that has the status of a stimulus, a spur. In the book Le Makossa: une musique africaine moderne, a passage including this quote is written as follows: "En effet, le terme Makossa, dérive de << m'a kossa >> qui veut dire littéralement en langue duala et au pluriel les contorsions ; au singulier < > la contorsion. Ce vocable << Kossa >> est un terme à la lisière du néologisme et du cri d'exhortation, mieux, une sorte de juron ayant statut de stimulus, d'aiguillon." In the same book, the author explains that according to Remy Minko Mba (late journalist), "Kossa is a kind of exclamation, a cry of joy that is usually uttered to give more vigor, [and] more energy to the dance." In the original French version, a passage including the translated version of this quote reads, "Remy MINKO MBA poursuit: << Kossa est une sorte d'exclamation, un cri de joie que l'on pousse généralement pour donner plus de vigeur, plus d'énergie à la danse. Il s'agit donc d'une sorte de stimulus qui doit nécessairement provoquer une réaction positive >>." In Cameroonian Pidgin English, a cognate that could one of the ultimate underlying origins of the word "makossa" is: "kosh". One of the definitions of this word is: "to insult, abuse, curse, swear at." In the context of the word "makossa", the last two verbs would be most logical. Why this went on to come along into the Duala language and overarching Sawa culture is because of the huge influence that Cameroonian Pidgin English, also known as Kamtok, has in Cameroon. Furthermore, because of the influence of European colonizers and their imposing of their languages on indigenous peoples in Africa, as well as their culture, words came along that didn't exist in at least some parts of Africa. Words like "window" and of course, "curse" were brought along to Africa, along with the Standard English as spoken by the British at the time of colonization, which led to the mutation of the word in the Kamtok version "kosh", then into "kossa", and finally into "makossa". Other schools of thought have equally attributed the origin of this word to the Spanish word for "thing", or "cosa". This is given the fact that at a certain time, Cuban and other Latin American rumba records in which this word was used were broadcast on the radio in Douala. It can also be noted that this Latin American music spread to the Congo and Zaire, with whom there was a musician that Emmanuel Nelle Eyoum had frequent contact with.

Origins
Before "makossa" as a word existed, the genre of music known as makossa today emerged in the late 19th century. It was based on the currents of musical influence in the city where it was born. The term makossa was founded by Nelle Eyoum. He did this when casually shouting out "kossa kossa". This was to stimulate partners on the dance floor to redouble or increase in fervency in the dance, especially during the frenzied part of the composition, commonly called "secousse" or "balle à terre". But even though Nelle Eyoum coined the term, they were others who played a significant role in the developing of the music. These include musicians such as Lobe Lobe Rameau, Mouelle Guillaume, Ebanda Manfred, Tibo Essombe, Epee Mbende Richard, Eitel Tobbo, Ebolo Emmanuel, Charles Lembe, Ruth Soppo, Jacqueline Ewondo, Tapelon, Epata, Eyoum Decca, Willy le Pape, etc. Labels such as Opika, Decca, Ngoma, Disques Cousins, etc., allowed them to record for them. These pioneers established the basic characteristics of makossa, such as the tempo, harmonies, melodic phrases possible, timbre that goes along with the phoneme of the Duala language, and the singing technique. They set the basic rules of makossa, in other words. Other rules that came into play include 1-3 chords, from the rhythm guitar and a song that alternates in a melody that they both have in common. Bass and percussion set the stage in a persistent manner, playing as separate elements. Many are truly considered virtuosos in the guitar playing field. Their music is often referred to as a "one man show", despite having more than one musician. Duos exist, such as Rameau and Jacquy Lobe, Ekotto Robert and Ruth Soppo, Mouelle Guillaume and Jaqueline Ewondo. Rumba and merengue influenced the development of makossa. Makossa can seem, upon attentive listening, to be a slowed-down version of assiko. Assiko itself is a variant of palm-wine music from Sierra Leone. Palm wine music was brought to Cameroon when Kru sailors arrived in Douala. Their merchants ships docked in the port city from other African cities such as Lagos, Nigeria via Cotonou in Benin, Monrovia in Liberia and Freetown in Sierra Leone in late 19th century. The influx of instruments and musical ideas filtered to the local population and influenced the development of this music in the city of Douala.

Early development

Makossa developed, expanded and evolved into one of most popular and ubiquitous modern music genres in Cameroon. Its influence shaped and altered the musical discourse in the country for more than half a century, so much so that its reach expanded far beyond the nation's borders to other parts of West and Central Africa. It is the rhizomic evolutionary offshoot of the musical confluence arising from the colonial era and its revolutionary relationship between the West and sub-Saharan Africa in the 18th century. Along with this came variegated cultural ideas and expressions, intellectual concepts, religious values, as well as radical and disruptive new technologies from Europe that were at the presence of African societies. The outcome was a plethora of newer musical forms and modes of expression along the coast of West and Central Africa. Like the Kru people of Sierra Leone and Liberia, business people, migrant workers, travelers, and musicians who were from the French Congo also brought along another stream of music with them to Douala.

This junction between "old Africa and a new world of modernity" produced new auditory and visual frontiers. It allowed for a sensory experiential interface which culminated into a wide array of artistic and contemporary forms in West and Central African previously unheard before. It was out of this milieu that makossa would emerge, in one which was being revolutionized by new experimental and experiential realms which would revolutionize the entire continent.

Makossa is a type of funky dance music, best known outside Africa for Manu Dibango, whose 1972 single "Soul Makossa" was an international hit. Outside of Africa, Dibango and makossa were only briefly popular, but the genre has produced several Pan-African superstars through the 70s, 80s and 90s. Following Dibango, a wave of musicians electrified makossa in an attempt at making it more accessible outside of Cameroon. Another pop singer in 1970s Cameroon was André-Marie Tala, a blind singer who had a pair of hits with "Sikati" and "Potaksima".

By the 1970s, bikutsi performers like Maurice Elanga, Les Veterans and Mbarga Soukous added brass instruments and found controversy over pornographic lyrics. Mama Ohandja also brought bikutsi to new audiences, especially in Europe. The following decade, however, saw Les Tetes Brulées surpass previous artists in international popularity, though their reaction at home was mixed. Many listeners did not like their mellow, almost easy listening-styled bikutsi. Cameroonian audiences preferred more roots-based performers like Jimmy Mvondo Mvelé and Uta Bella, both from Yaoundé.

1980s
By the 1980s, makossa had moved to Paris and formed a new pop-makossa that fused the fast tempo zouk style popularized by Kassav from the French Caribbean. Prominent musicians from this period included Moni Bilé, Douleur, Bébé Manga, Ben Decca, Petit-Pays, and Esa.

The 80s also saw rapid development of Cameroon's media which saw a flourishing of both makossa and bikutsi. In 1980, L'Equipe Nationale de Makossa was formed, joining the biggest makossa stars of the period together, including Grace Decca, Ndedi Eyango, Ben Decca, Guy Lobe and Dina Bell. Makossa in the 80s saw a wave of mainstream success across Africa and, to a lesser degree, abroad, as Latin influences, French Antilles zouk, and pop music changed its form. While makossa enjoyed international renown, bikutsi was often denigrated as the music of savages and it did not appeal across ethnic lines and into urban areas. Musicians continued to add innovations, however, and improved recording techniques; Nkondo Si Tony, for example, added keyboards and synthesizers, while Elanga Maurice added brass instruments. Les Veterans emerged as the most famous bikutsi group in the 80s, while other prominent performers included Titans de Sangmelima, Seba Georges, Ange Ebogo Emerent, Otheo and Mekongo President, who added complex harmonies and jazz influences.

In 1984, a new wave of bikutsi artists emerged, including Sala Bekono formerly of Los Camaroes, Atebass, a bassist, and Zanzibar, a guitarist who would eventually help form Les Têtes Brulées with Jean-Marie Ahanda. 1985 saw the formation of Cameroon Radio Television, a television network that did much to help popularize Cameroonian popular music across the country.

Jean-Marie Ahanda became the most influential bikutsi performer of the late 80s, and he revolutionized the genre in 1987 after forming Les Têtes Brulées, whose success changed the Cameroonian music industry. The band played an extremely popular form of bikutsi that allowed for greater depth and diversity. Guitarist Zanzibar added foam rubber to the bridge of his guitar, which made the instrument sound more like a balafon than before, and was more aggressive and innovative than previous musicians. Les Têtes Brulées emerged as a reaction against pop-makossa, which was seen as abandoning its roots in favor of mainstream success. The band's image was part of its success, and they became known for their shaved heads and multi-colored body painting, done to represent traditional Beti scarification, as well as torn T-shirts that implied a common folkness in contrast to the well-styled pop-makossa performers of the period. They also wore backpacks on stage, a reference to Beti women's traditional method of carrying babies while they danced bikutsi.

It took only a few weeks for Les Têtes Brulées to knock makossa off the Cameroonian charts, and the band even toured France. While in France, Les Têtes Brulées recorded their first LP, Hot Heads, which was also the first bikutsi music recorded for the CD. Hot Heads expanded the lyrical format of the genre to include socio-political issues. Tours of Japan, Africa, Europe and the United States followed, as well as Claire Denis' film Man No Run, which used footage from their European tour.

1990s
In the 1990s, both makossa and bikutsi declined in popularity as a new wave of genres entered mainstream audiences. These included Congolese-influenced new rumba and makossa-soukous, as well as more native forms like bantowbol, northern Cameroonian nganja (which had gained some popularity in the United Kingdom in the mid-80s) and an urban street music called bend-skin.

Les Têtes Brulées remained the country's most well known musical export, especially after accompanying the Cameroonian soccer team to the World Cup in 1990 in Italy and 1994 in the United States. A new wave of bikutsi artists arose in the early 1990s, including Les Martiens (formed by Les Têtes Brulées bassist Atebass) and the sexually themed roots singer Katino Ateba ("Ascenseur: le secret de l'homme") and Douala singer Sissi Dipoko ("Bikut-si Hit") as well as a resurgence of old performers like Sala Bekono. Bikutsi's international renown continued to grow, and the song "Proof" from Paul Simon's Rhythm of the Saints, released to mainstream promotion and success in 1990, gained yet more renown from international audiences. Vincent Nguini also contributed guitar arrangements and performance to Simon's Rhythm of the Saints, which became an influential world music album, introducing many North American listeners to the wide range of instrumentation and genres.

In 1993, the Pedalé movement was born as a reaction to the Cameroonian economic slump. Youthful artists like Gibraltar Drakuss, Zele le Bombardier, Eboue Chaleur, Pasto, Roger Bekono, Mbarga Soukous and Saint-Desiré Atango was a return to the aggressive, earthy sound of bikutsi roots. Meanwhile Henri Dikongué, whose music incorporated, amongst others, bikutsi and makossa, began to release albums which met international success. He went on to tour Europe and North America. The most recent form of Cameroonian popular music is a fusion of Congolese soukous and makossa, a scene which has produced Petit Pays, Marcel Bwanga, Kotto Bass, Papillon and Jean Pierre Essome. Other popular genres include tchamassi, mangambeu and makassi.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Makossa


text:
Dream, After Dream

Dream, After Dream, performed by the American rock band Journey, is the soundtrack album to the Japanese romantic fantasy film Yume, Yume No Ato directed by fashion designer Kenzo Takada. Released in 1980 on Columbia Records, it was the seventh album-length recording by the group. The soundtrack firmly overshadowed the film itself, which enjoyed little fame. The album was a significant departure from the hard rock which characterized the band's three preceding albums, harking back to their progressive rock beginnings and relying on complex musicianship and instrumentals.

Dream, After Dream features a full vocal on three of its nine tracks, "Destiny", "Sand Castles" and "Little Girl". "Little Girl" was later released as the B-side of the "Open Arms" single and is featured on Journey's Time3 collection. It also appears as a bonus track on the 2006 reissue of Departure and the 2011 edition of Greatest Hits 2. "The Rape" is essentially an orchestral arrangement of "Conversations" from Journey's self-titled debut album.

Dream, After Dream is the last studio album to feature founding member Gregg Rolie.

Reception
Dream, After Dream has been viewed as a major departure from the commercially successful, radio-friendly pop of their previous three albums, instead harking back to their early, progressive rock-oriented work. AllMusic wrote, "One of the most overlooked albums in Journey's catalogue ... Dream, After Dream is a fine example of Journey's underrated musicianship, and recommended for devoted fans." Dave Marsh, normally an ardent detractor of the band, was even more enthusiastic, describing the album as "the band's finest recording of the 80's".

Personnel

 * Band members
 * Steve Perry – lead and backing vocals, producer
 * Neal Schon – guitars, vocals, producer
 * Gregg Rolie – keyboards, harmonica, producer
 * Ross Valory – bass, piano, recorder, producer
 * Steve Smith – drums, percussion, producer

 * Additional musicians
 * Eiji Arai, Yasuo Hirauchi, Tadataka Nakazawa, Sumio Okada - trombones
 * Toshio Araki, Yoshikazu Kishi, Kenji Yoshida, Takatoki Yoshioka - trumpets
 * Takashi Fukumori, Hachiro Ohmatsu, Kiyoshi Ohsawa, Masatsugu Shinozaki - violins
 * Hiroto Kawamura, Kazuo Okamoto - cellos
 * Masayuki Yamashiro - horn
 * Strings and horns arranged and conducted by Matthew A. Schon

 * Production
 * Kevin Elson - producer, engineer, mixing
 * Akira Fukada, Geoff Workman - engineers

title: Dream, After Dream


text:
Americana (culture)

Americana artifacts are related to the history, geography, folklore, and cultural heritage of the United States of America. Americana is any collection of materials and things concerning or characteristic of the United States or of the American people, and is representative or even stereotypical of American culture as a whole.

What is and is not considered Americana is heavily influenced by national identity, historical context, patriotism and nostalgia. The ethos or guiding beliefs or ideals which have come to characterize America, such as The American Dream, are central to the idea. Americana encompasses not only material objects but also people, places, concepts and historical eras which are popularly identified with American culture.

The name Americana also refers to Americana music, a genre of contemporary music that incorporates elements of various American music styles, including country, roots rock, folk, bluegrass, and blues, resulting in a distinctive roots-oriented sound.

As nostalgia
From the mid to late 20th century, Americana was largely conceptualized as a nostalgia for an idealized life in small towns and cities in the United States around the turn of the century, roughly in the period between 1880 and the First World War. It was believed that much of the structure of 20th-century American life and culture had been cemented in that time and place. American author Henry Seidel Canby wrote:

"It is the small town, the small city, that is our heritage. We have made twentieth-century America from it, and some account of these communities as they were ... we owe our children and grandchildren."

Many kinds of cultural artifacts fall within the definition of Americana: the things involved need not be old, but are usually associated with some quintessential element of the American experience. Each period of United States history is reflected by the advertising and marketing of the time, and the various types of antiques, collectibles, memorabilia and vintage items from these time periods are typical of what is popularly considered Americana. The Atlantic described the term as "slang for the comforting, middle-class ephemera at your average antique store—things like needle-pointed pillows, Civil War daguerreotypes, and engraved silverware sets".

The nostalgia for this period was based on a remembrance of confidence in American life that had emerged during the period due to such factors as a sense that the frontier had finally been "conquered", with the U.S. Census Bureau's declaration that it was "closed" in 1890, as well as the recent victory in the Spanish–American War. By 1912, the contiguous United States was at last fully politically incorporated, and the idea of the nation as a single, solid unity could begin to take hold.

As Canby put it,

"Americans at this time 'really believed all they heard on the Fourth of July or read in school readers. They set on one plane of time, and that the present, the Declaration of Independence, the manifest destiny of America, the new plumbing, the growth of the factory system, the morning paper, and the church sociable. It was all there at once, better than elsewhere, their own, and permanent. ... They had just the country they wanted...and they believed it would be the same, except for more bathtubs and faster trains, forever ... for the last time in living memory everyone knew exactly what it meant to be an American.'"

On growing up Italian-American, novelist Don DeLillo stated:

"It’s no accident that my first novel was called Americana. This was a private declaration of independence, a statement of my intention to use the whole picture, the whole culture. America was and is the immigrant's dream, and as the son of two immigrants I was attracted by the sense of possibility that had drawn my grandparents and parents."

The zeitgeist of this idealized period is captured in Disneyland and Magic Kingdom's Main Street, U.S.A. section (which was inspired by both Walt Disney's hometown of Marceline, Missouri and Harper Goff's childhood home of Fort Collins, Colorado), as well as the musical and movie The Music Man and Thornton Wilder's stage play Our Town. Especially revered in nostalgic Americana are small-town institutions like the barber shop, drug store, soda fountain and ice cream parlor; some of these were eventually resurrected by mid-twentieth century nostalgia for the time period in businesses like the Farrell's Ice Cream Parlour chain, with its 1890s theme.

Cultural symbols

 * American football
 * Baseball
 * Blue jeans
 * Clark Kent
 * Cowboy
 * Flag of the United States
 * Fourth of July
 * Mount Rushmore
 * Route 66
 * Small town
 * Statue of Liberty
 * Tent revival
 * Thanksgiving
 * White picket fence
 * Wild West

Food

 * Apple pie
 * Barbecue
 * Bubble gum
 * Brownies
 * Buffalo wings
 * Corn flakes
 * Meatloaf
 * Hamburgers
 * Hot dogs
 * Fried chicken
 * Milkshake
 * Muffins
 * Pizza, american-style

Music

 * Blues
 * Country
 * Jazz
 * Rock and roll
 * "The Star-Spangled Banner"

Religion

 * Camp meeting
 * Tent revival

Clothing and fashion

 * Blue jeans
 * T-shirt
 * Cowboy hat
 * Motorcycle jacket
 * Denim jacket
 * Cowboy boots
 * Penny loafer
 * Workwear
 * College prep
 * Western shirt

Brand names

 * Alden
 * Allen Edmonds
 * Budweiser
 * Chevrolet
 * Coca-Cola
 * Ford
 * Harley-Davidson
 * Jack Daniel's
 * JanSport
 * Jim Beam
 * Kellogg's
 * Levi's
 * Marlboro
 * Nike
 * Timberland
 * Zero Halliburton

Similar concepts

 * Australiana, for cultural artifacts from Australia
 * Canadiana, for cultural artifacts from Canada
 * Communist nostalgia, a similar concept in former or currently communist countries
 * Floridiana, artifacts relating to the state of Florida.
 * Hawaiiana, Native Hawaiian cultural artifacts from Hawaii.
 * Kiwiana, for cultural artifacts from New Zealand
 * Ostalgie, a similar concept in East Germany
 * PRL nostalgia, a similar concept in Poland
 * Rhodesiana, a similar concept in Zimbabwe relating to items made when it was known as Rhodesia
 * Soviet nostalgia, a similar concept in the former Soviet Union
 * Yugo-nostalgia, a similar concept in the former Yugoslav states

title: Americana (culture)


text:
Rough breathing

In the polytonic orthography of Ancient Greek, the rough breathing (δασὺ πνεῦμα or δασεῖα daseîa;  spiritus asper) character is a diacritical mark used to indicate the presence of an  sound before a vowel, diphthong, or after rho. It remained in the polytonic orthography even after the Hellenistic period, when the sound disappeared from the Greek language. In the monotonic orthography of Modern Greek phonology, in use since 1982, it is not used at all.

The absence of an sound is marked by the smooth breathing.

The character, or those with similar shape such as, have also been used for a similar sound by Thomas Wade (and others) in the Wade–Giles system of romanization for Mandarin Chinese. Herbert Giles and others have used a left (opening) curved single quotation mark for the same purpose; the apostrophe, backtick, and visually similar characters are often seen as well.

History
The rough breathing comes from the left-hand half of the letter H. In some archaic Greek alphabets, the letter was used for (Heta), and this usage survives in the Latin letter H. In other dialects, it was used for the vowel (Eta), and this usage survives in the modern system of writing Ancient Greek, and in Modern Greek.

Usage
The rough breathing ( ̔ ) is placed over an initial vowel, or over the second vowel of an initial diphthong.
 * αἵρεσις haíresis 'choice' (→ Latin haeresis → English heresy)
 * ἥρως hḗrōs 'hero'

An upsilon or rho at the beginning of a word always takes a rough breathing.
 * ὕμνος hýmnos 'hymn'
 * ῥυθμός rhythmós 'rhythm'

Inside a word
In some writing conventions, the rough breathing is written on the second of two rhos in the middle of a word. This is transliterated as rrh in Latin.
 * διάῤῥοια diárrhoia 'diarrhoea'

In crasis (contraction of two words), when the second word has a rough breathing, the contracted vowel does not take a rough breathing. Instead, the consonant before the contracted vowel changes to the aspirated equivalent (i.e., π → φ, τ → θ, κ → χ), if possible, and the contracted vowel takes the apostrophe or coronis (identical to the smooth breathing).
 * τὸ ἕτερον → θοὔτερον (not *τοὕτερον) 'the other one'
 * tò héteron → thoúteron

Under the archaizing influence of Katharevousa, this change has been preserved in modern Greek neologisms coined on the basis of ancient words, e.g. πρωθυπουργός ('prime minister'), from πρῶτος ('first') and ὑπουργός ('minister'), where the latter was originally aspirated.

In the ancient Laconian dialect, medial intervocalic σ would become a rough breathing: ἐνῑ́κᾱἑ for Attic ἐνῑ́κησε.

Technical notes
In Unicode, the code point assigned to the rough breathing is. It is intended to be used in all alphabetic scripts (including Greek and Latin).

It was also used in the original Latin transcription of Armenian for example with in t̔.

The pair of space + combining rough breathing is. It may bind typographically with the letter encoded before it to its left, to create ligatures for example with in tʽ, and it is used for the modern Latin transcription of Armenian (which no longer uses the combining version).

It is also encoded for compatibility as mostly for usage in the Greek script, where it may be used before Greek capital letters to its right and aligned differently, e.g. with, where the generic space+combining dasia should be used after the letter it modifies to its left (the space is inserted so that the dasia will be to the left instead of above that letter). Basically, U+1FFE was encoded for full roundtrip compatibility with legacy 8-bit encodings of the Greek script in documents where dasia was encoded before the Greek capital letter it modifies (it is then not appropriate for transliterating Armenian and Semitic scripts to the Latin script).

When is used incorrectly after a Latin letter it is supposed to modify, for example with  in t῾d, a visible small gap will occur between the leading Latin letter t and the Greek dasia, and the Greek dasia may interact typographically with the Latin letter d following it to suppress this gap, like in Greek.

There is a polytonic Greek code range in Unicode, covering precomposite versions (breathing mark + vowel etc.): Ἁ ἁ, Ἇ ἇ, ᾏ ᾇ, ᾉ ᾁ, Ἑ ἑ, Ἡ ἡ, Ἧ ἧ, ᾟ ᾗ, ᾙ ᾑ, Ἱ ἱ, Ἷ ἷ, Ὁ ὁ, Ῥ ῥ, Ὑ ὑ, Ὗ ὗ, Ὡ ὡ, Ὧ ὧ, ᾯ ᾧ, and ᾩ ᾡ.

The rough breathing was also used in the early Cyrillic alphabet when writing the Old Church Slavonic language. In this context it is encoded as Unicode

In Latin transcription of Semitic languages, especially Arabic and Hebrew, either or a symbol similar to it,, is used to represent the letter ayin. This left half ring may also be used for the Latin transcription of Armenian (though the Armenian aspiration is phonetically nearer to the Greek dasia than the Semitic ayin).

title: Rough breathing


text:
Talk:Los Angeles International Airport

Noise lawsuits
There used to be residential neighborhoods right up to the property line, on the north side. After a lawsuit, in (I believe) the 1960s or 1970s, the houses were bought up and the homes razed, forming a noise buffer zone. It looks bizarre to see the remaining streets, sidewalks, trees, and streetlamps with no homes! Maybe it is still that way; I haven't flown out of LAX since 1992, though. Hi

Terminals 4 and 7
I screwed up when editing those two sections. Anything to fix that?

phonetic sounding of initials
when we say that it is LAX, pronounced ELL 'AY 'EX, 'could' there be some parenthetical thingy that says the bleeding obvious to the obviously thuck as a bruck, where it is is explained ? Not as in laxitive, as in L A X. d'dur .....

How the hell is this vandalism?
I put that african destinations were not included in the maps of the world, to inform users, not to vandalize. Why does it keep getting reverted. — Preceding unsigned comment added by 187.172.212.47 (talk) 17:43, 27 December 2018 (UTC)

Usefulness of this photo

Can anyone actually see LAX in this photo - apparently it is left centre and I know LA reasonably well and I can't really see it. I suspect this was originally put in in the erroneous view that the bottom left lighted area was the airport - but this is the LA port at longbeach as stated in a couple of edits ago and in the actual photo description. I think the kindest thing to do with this photo is to remove it entirely. Andrewgprout (talk) 01:24, 9 March 2019 (UTC)

A Commons file used on this page has been nominated for deletion
The following Wikimedia Commons file used on this page has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 09:51, 25 November 2019 (UTC)
 * Lax sign.jpg

"The 'X' in LAX" section
But where does the "X" come from or what does it stand for? 2600:8800:785:9400:C23F:D5FF:FEC4:D51D (talk) 02:14, 25 January 2021 (UTC)

 * I feel like the section in the article is pretty clear that it doesn't stand for anything. They needed another letter to fill out a three-letter abbreviation. Probably used it because it could serve as a placeholder in a formula. --Jfruh (talk) 01:09, 17 March 2023 (UTC)

Tom Bradley
Can you tell me why Aer Lingus, Aeromexico, Aeromexico Connect, Air Canada, Alaska Airlines' international flights, American Airlines' international flights, American Eagle's international flights, Avianca, Avianca Costa Rica, Avianca San Salvador, Copa Airlines, Delta Air Lines' international flights, Delta Connection's international flights, Dynamic Airways, Hainan Airlines, Interjet, Qatar Airways, Southwest Airlines' international flights, United Airlines' international flights, United Express's international flights, Virgin America's international flights, Virgin Atlantic, Volaris, and Westjet are located at other terminals instead of the Tom Bradley International Terminal and why ATA's international flights, Eastern Airlines' international flights, Northwest Airlines' international flights, Pacific Southwest Airlines' international flights, Pan American World Airways' international flights, TACA International Airlines, Trans World Airlines' international flights, and Western Air Lines' international flights were located at other terminals instead of the Tom Bradley International Terminal? — Preceding unsigned comment added by Clrichey (talk • contribs) 00:35, 29 November 2021 (UTC)

 * The name of the terminal is somewhat misleading; the other terminals all predate it, and many have their own customs facilities to receive international flights. For airlines that have a big presence in the airport, like United or American, they'd rather have their international flights come into the same terminal as their domestic flights to make it easier for passengers to transfer from one to the other. Most of the airlines that have international service out of the Tom Bradley terminal are non-US carriers whose only flights into our out of LAX are international and often only have a few flights a week. (Some entirely domestic routes go into and out of Tom Bradley too!) Jfruh (talk) 01:06, 17 March 2023 (UTC)

title: Talk:Los Angeles International Airport


text:
Belt (clothing)

A belt is a flexible band or strap, typically made of leather, plastic, or heavy cloth, worn around the natural waist or near it (as far down as the hips). The ends of a belt are free; and a buckle forms the belt into a loop by securing one end to another part of the belt, at or near the other end. Often, the resulting loop is smaller than the hips. Belts come in many lengths because of the variety in waist sizes, and most belts can be adjusted at the buckle to suit the wearer's waist.

Description
Belts are used variously to secure or hold up clothing, such as trousers, shorts, and skirts; to carry objects, such as tools and weapons; and to define or accentuate the waist.

Some garments have a series of belt loops at the waist, through which a belt can be threaded. Additionally, many belts have a "keeper loop" affixed to one end, near the buckle. The keeper loop stops the free end of the belt from flapping around once the belt is buckled. Some belts also have an end tip (made of metal or leather) covering the free end of the belt to protect it from damage.

On dresses, robes, and gowns, belts do not hold up the garment but may draw in its waist and define or accentuate it. These garments, because they maintain their position on the body by hanging from the shoulders or by friction against the torso, do not need belts in order to stay up. The breadth of belts worn with such garments need not be limited by the size of belt loops: some wide belts called waist cinchers overlap with corsets in appearance and function.

Belts that do hold up clothing work by friction and often take advantage of the narrow circumference (and the compressibility) of the torso above the hips. (Suspenders, also used to hold up such clothing as trousers, rely not on friction, compression, and the waist–hip proportion, but on maintaining distance between the shoulders of the wearer and the waist of the garment: the garment is held up by suspension (hanging), without need for the friction and compression of a belt; and the same principle applies in bib overalls. A garter belt (also called a suspender belt) employs both methods: the belt maintains its position on the body by friction and/or compression at or near the waist and/or by being smaller than the hips, and it maintains stockings' position on the legs by suspension. A sock garter works in the same way as a suspender belt, but for one leg only, the upper band of the garter being worn around the thigh or the calf, rather than the waist. A plain garter, a band worn on one leg to hold up hosiery, works like a belt, using friction and compression.)

Belts often are used as fashion accessories, with many colours, styles, and finishes. In heavy metal subculture, bullet belts and studded belts are worn. Belt buckles, often made of metal, vary from simple, one-color finishes to elaborately decorated belt plates with embossed or bas-relief images or multicolored logos. Pouches to carry objects, such as coin purses, holsters, scabbards, and inrōs, can be attached to belts and used instead of a garment's pockets. Many belts are marketed for one sex or the other, despite their universal functionality.

History
Belts have been documented as male clothing since the Bronze Age. Both sexes have used them off and on, depending on the fashion trends. In the western world, belts have been more common for men, with the exception of the early Middle Ages, late 17th century Mantua, and skirt/blouse combinations between 1901 and 1910. Art Nouveau belt buckles are now collectors' items. In the latter half of the 19th century and until the First World War, the belt was a decorative as well as utilitarian part of military uniform, particularly among officers. In the armed forces of Prussia, Tsarist Russia, and other Eastern European nations, it was common for officers to wear extremely tight pressing into their stomachs and gutting them up, wide belts around the waist, on the outside of the uniform, both to support a saber and for aesthetic reasons. These tightly cinched belts served to draw in the waist and give the wearer a trim physique, emphasizing wide shoulders and a pouting chest. Often the belt served only to emphasize the waist made small by a corset worn under the uniform, a practice which was common especially during the Crimean Wars and was often noted by soldiers from the Western Front. Political cartoonists of the day often portrayed the tight waist-cinching of soldiers to comedic effect, and some cartoons survive showing officers being corseted by their inferiors, a practice which surely was uncomfortable but was deemed to be necessary and imposing.

In modern times, men started wearing belts in the 1920s, as trouser waists fell to a lower line. Before the 1920s, belts served mostly a decorative purpose, and were associated with the military. Moreover, prior to that trousers did not even have belt loops. As sportswear, trousers with belt loops were already present in the 19th century. Today it is common for men to wear belts with their trousers. In the US military belts are worn snugly at dress events or at inspection so as convey impressions of fitness and discipline. From 1989 onward the US military standards regarding belt tightness during normal duty and non-duty activities have been somewhat more relaxed to prevent deleterious effects of prolonged excessive abdominal constriction.

In some countries, a father's belt could be associated with corporal punishment. As belts are constructed out of materials like leather that are both strong and light, a belt can be easily wielded to produce intense pain by using it as a whip to strike the buttocks of a misbehaving child. Moreover, belts were convenient disciplinary tools, as they are generally immediately available for use. The belt can symbolize fatherly authority and paternal responsibility for one's children's behavior and moral development, but corporal punishment is not recommended for use in modern society as it was in the past.

Since the 1980s and more commonly in the mid-1990s, the practice of sagging the pants, in which the waistbands (usually secured by a cinched belt) of trousers or (typically long) shorts are worn at or below the hips, thereby exposing the top part of any underwear not obscured by an upper-body garment, has been seen among young men and boys. This practice is believed to have originated with prison gangs and the prohibition of belts in prison (due to their use as weapons and as devices for suicide) -- historically, including in the latter part of the 20th century, gang-affiliated young men and boys were expected to wear their belts fastened tightly.

Materials
Leather is the most popular belt material because it can withstand being bent, folded, and tightened without being damaged. Genuine leather belts will also adapt to the wearer with time. Belts are also made using a range of other materials, including braided leather, tooled leather, suede, leather-backed ribbon, canvas, webbing, rope and vinyl.

Fashion and formality
Belts have transformed from a strictly utilitarian item, to a fashion accessory in today's modern era. There are several unspoken rules for belts when it comes to belt shape and color, especially for men wearing suits, vs. a woman's choice of belt that is rooted in fashion trend, and not out always out of necessity.

Formal
Belts for formal dress pants/attire are usually 28–32 mm wide (a little under 1$1/4$ inch). These belts offer specialty accents such as trapunto straps, beveled edges, fine stitch gauge, and a tapered tip. The leather, if it is made of leather, is commonly in a semi or high-shine finish (ex: spazzalato leather), with a tight grain, and a smooth leather backing. Dress belts typically have a buckle in a polished metal finish.

Casual
Casual belts commonly worn with denim are usually between 35 mm and 42 mm wide (a little under 1$1/2$ inch). These are typically made out of a one-piece leather construction with a textured appearance, with a belt buckle in an antiqued finish, wider, thicker stitching, or bar-tacking, to ensure a strong construction.

title: Belt (clothing)


text:
1929 in film

This is an overview of 1929 in film, including significant events, a list of films released and notable births and deaths.

Top-grossing films (U.S.)
The top ten 1929 released films by box office gross in North America are as follows:

Events
The days of the silent film are numbered. A mad scramble to provide synchronized sound is on.
 * February 1 – The Broadway Melody is released by MGM and becomes the first major musical film of the sound era, sparking a host of imitators as well as a series of Broadway Melody films that will run until 1940.
 * February 18 – The first Academy Awards, or Oscars, are announced for the year ended August 1, 1928.
 * March 3 – William Fox announces that he has taken control of Loews Inc., including its subsidiary Metro-Goldwyn-Mayer, buying shares from Marcus Loew's widow and sons and Nicholas Schenck for $50 million. The acquisition eventually falls through.
 * May 16 – The first Academy Awards are distributed at The Hollywood Roosevelt Hotel in Los Angeles.
 * May 26 – Fox Grandeur News is shown in Fox Film's new widescreen 70 mm Grandeur film format
 * July 13 – The first all color talkie (in Technicolor), On with the Show, is released by Warner Bros. who lead the way in a new color revolution just as they had ushered in that of the talkies.
 * July 17 – William Fox is badly injured in a car accident which kills his chauffeur.
 * August 3 – The Cock-Eyed World beats every known gross for any box office attraction throughout the world with a reported first week gross of $173,391 at the Roxy Theatre (New York City).
 * August 20 – Hallelujah! is the first Hollywood film to contain an entire black cast.
 * August 22 – First in the Walt Disney Productions' animated short Silly Symphony series, The Skeleton Dance, is released.
 * September – Paramount Pictures acquires 49% of CBS.
 * October 24 – Jean Harlow signs a five-year, $100 per week contract with Howard Hughes.
 * October 30 – Entertainment newspaper Variety report that Wall Street Lays An Egg leading to many prominent showman and film stars losing money on their investments.
 * November – Warner Bros. gain complete control of First National Pictures buying Fox Film's 36% stake for $10 million
 * November 10 – Première of John Grierson's documentary film Drifters about North Sea herring fishermen, made for the Empire Marketing Board, effectively inaugurating the British Documentary Film Movement. (It debuts at the private Film Society in London on a double-bill with the U.K. première of Eisenstein's The Battleship Potemkin.)
 * November 15 – U.K. release of Atlantic, a film about the sinking of the RMS Titanic which is one of the first British sound-on-film movies and, in its simultaneously-shot German-language version, the first to be released in Germany; also the first Titanic movie with sound.
 * December – Anti-trust suits are filed against William Fox and Warner Bros. by the US Department of Justice for Fox's acquisition of Loews and Warners' acquisition of the Stanley Corporation of America and First National.

Academy Awards
The 2nd Academy Awards honored the best films released between August 1, 1928, and July 31, 1929. They took place on April 3, 1930, at an awards banquet in the Cocoanut Grove of the Ambassador Hotel in Los Angeles.

Most nominations: In Old Arizona (Fox Film Corporation) – 5

 * Best Picture: The Broadway Melody (MGM)
 * Best Director: Frank Lloyd – The Divine Lady
 * Best Actor: Warner Baxter – In Old Arizona
 * Best Actress: Mary Pickford – Coquette

Most awards – no film won more than 1 award

Note: Prior to 1933, awards were not based on calendar years. Best Picture, Actress and Director went to 1930 films.

Notable films released in 1929
United States unless stated otherwise.

A

 * After the Verdict (lost), directed by Henrik Galeen, starring Olga Chekhova – (GB)
 * Alibi, directed by Roland West, starring Chester Morris and Mae Busch, based on the 1927 stage play Nightstick by Elaine Sterne Carrington
 * The Alley Cat (Nachtgestalten), directed by Hans Steinhoff, starring Mabel Poulton – (GB/Germany)
 * The American Prisoner, directed by Thomas Bentley, starring Carl Brisson and Madeleine Carroll – (GB)
 * Ang Mutya Ng Pamilihan (The Pearl of the Markets), directed by José Nepomuceno – (Philippines)
 * Applause, directed by Rouben Mamoulian, starring Helen Morgan
 * Arsenal (Арсенал), directed by Alexander Dovzhenko – (U.S.S.R.)
 * Asphalt, directed by Joe May, starring Gustav Fröhlich – (Germany)
 * Atlantic, directed by E. A. Dupont, starring Madeleine Carroll – (GB)
 * The Awful Truth (lost), directed by Marshall Neilan

B

 * Berth Marks, directed by Lewis R. Foster, starring Laurel and Hardy
 * Big Business, directed by James W. Horne and Leo McCarey, starring Laurel and Hardy
 * Big Time, directed by Kenneth Hawks, starring Lee Tracy
 * Black and Tan, directed by Dudley Murphy, starring Duke Ellington and Fredi Washington
 * Blackmail, directed by Alfred Hitchcock, based on the 1928 stage play by Charles Bennett – (GB)
 * Black Waters (lost), directed by Marshall Neilan
 * The Bridge of San Luis Rey, directed by Charles Brabin, starring Lili Damita
 * Broadway, directed by Paul Fejos, starring Evelyn Brent
 * The Broadway Melody, directed by Harry Beaumont, starring Charles King, Anita Page and Bessie Love
 * Bulldog Drummond, directed by F. Richard Jones, starring Ronald Colman

C

 * Cagliostro, directed by Richard Oswald, based on the 1929 novel by Johannes von Guenther – (Germany)
 * The Canary Murder Case, directed by Malcolm St. Clair, starring William Powell, Louise Brooks and Jean Arthur
 * Chamber of Horrors, directed by Walter Summers – (GB)
 * The Charlatan, directed by George Melford
 * Un Chien Andalou (An Andalusian Dog), directed by Luis Buñuel and Salvador Dalí – (France)
 * Children of the Ritz (lost), directed by John Francis Dillon
 * The Clue of the New Pin, directed by Arthur Maude – (GB)
 * The Cocoanuts, directed by Robert Florey and Joseph Santley, starring the Marx Brothers
 * A Cottage on Dartmoor, directed by Anthony Asquith – (GB)
 * Coquette, Directed by Sam Taylor, starring Mary Pickford, Johnny Mack Brown and Matt Moore

D

 * Dangerous Curves, directed by Lothar Mendes, starring Clara Bow and Richard Arlen
 * Darkened Rooms, directed by Louis J. Gasnier, starring Evelyn Brent and Neil Hamilton
 * Desert Nights, directed by William Nigh, starring John Gilbert, Ernest Torrence, and Mary Nolan
 * The Desert Song, directed by Roy Del Ruth
 * Devil-May-Care, directed by Sidney Franklin, starring Ramón Novarro
 * Diary of a Lost Girl (Tagebuch einer Verlorenen), directed by G. W. Pabst, starring Louise Brooks – (Germany)
 * Disraeli, directed by Alfred E. Green, starring George Arliss and Joan Bennett
 * Drifters, documentary by John Grierson – (GB)
 * Dynamite, directed by Cecil B. DeMille, starring Conrad Nagel and Kay Johnson

E

 * Eternal Love, directed by Ernst Lubitsch, starring John Barrymore

F

 * Fancy Baggage (lost), directed by John G. Adolfi, starring Audrey Ferris and Myrna Loy
 * Father Vojtech (Páter Vojtěch), directed by Martin Frič – (Czechoslovakia)
 * Finis Terræ, directed by Jean Epstein – (France)
 * The Flying Fleet, directed by George Hill, starring Ramón Novarro, Ralph Graves and Anita Page
 * The Flying Scotsman, directed by Castleton Knight, starring Ray Milland – (GB)
 * Footlights and Fools (lost), directed by William A. Seiter, starring Colleen Moore and Fredric March
 * The Four Feathers, directed by Merian C. Cooper, starring William Powell, Richard Arlen, Fay Wray, Clive Brook and Noah Beery Sr.
 * Fox Movietone Follies of 1929 (lost), directed by David Butler
 * Fräulein Else (Miss Else), directed by Paul Czinner, starring Elisabeth Bergner – (Germany)

G

 * General Crack, directed by Alan Crosland, starring John Barrymore
 * The General Line (Staroye i novoye), directed by Grigori Aleksandrov and Sergei Eisenstein – (U.S.S.R.)
 * Glorifying the American Girl, directed by John W. Harkrider and Millard Webb, starring Mary Eaton
 * Gold Diggers of Broadway (lost), directed by Roy Del Ruth
 * The Great Gabbo, directed by James Cruze, starring Erich von Stroheim and Betty Compson
 * The Greene Murder Case, directed by Frank Tuttle, starring William Powell

H

 * Hallelujah, directed by King Vidor
 * Hardboiled Rose, directed by F. Harmon Weight, starring Myrna Loy
 * Hearts in Dixie, directed by Paul Sloane, starring Stepin Fetchit and Clarence Muse
 * Hell's Heroes, directed by William Wyler, starring Charles Bickford
 * High Treason, directed by Maurice Elvey, starring Jameson Thomas and Benita Hume – (GB)
 * His Glorious Night, directed by Lionel Barrymore, starring John Gilbert
 * The Hole in the Wall, directed by Robert Florey, starring Edward G. Robinson and Claudette Colbert
 * The Hollywood Revue of 1929, directed by Charles Reisner, starring Conrad Nagel and Jack Benny
 * Hot for Paris (lost), directed by Raoul Walsh, starring Victor McLaglen
 * The Hound of the Baskervilles (Der Hund von Baskerville), directed by Richard Oswald, based on the 1902 novel by Arthur Conan Doyle – (Germany)
 * House of Horror (lost), directed by Benjamin Christensen, starring Thelma Todd
 * The House of Secrets (lost), directed by Edmund Lawrence, based on the 1926 novel by Sydney Horler

I

 * The Informer, directed by Arthur Robison, starring Lya De Putti and Lars Hanson – (GB)
 * The Iron Mask, directed by Allan Dwan, starring Douglas Fairbanks

K

 * The Kiss, Jacques Feyder, starring Greta Garbo and Conrad Nagel
 * Kitty, directed by Victor Saville – (GB)
 * A Knight in London (Eine Nacht in London), directed by Lupu Pick, starring Lilian Harvey – (GB/Germany)

L

 * The Lady Fare, directed by William Watson, screenplay by Spencer Williams Jr.
 * The Lady Lies, directed by Hobart Henley, starring Walter Huston and Claudette Colbert
 * Lady of the Pavements, directed by D. W. Griffith, starring William Boyd and Lupe Vélez
 * Laila, directed by George Schnéevoigt, starring Mona Mårtenson
 * Land Without Women, directed by Carmine Gallone, starring Conrad Veidt – (Germany)
 * The Last Performance, directed by Paul Fejos, starring Conrad Veidt and Mary Philbin
 * The Letter, directed by Jean de Limur, starring Jeanne Eagels
 * The Locked Door, directed by George Fitzmaurice, starring Rod La Rocque and Barbara Stanwyck
 * The Love Parade, directed by Ernst Lubitsch, starring Maurice Chevalier and Jeanette MacDonald
 * Lucky Star, directed by Frank Borzage, starring Janet Gaynor and Charles Farrell
 * Ludwig II, King of Bavaria (Ludwig der Zweite, König von Bayern), starring and directed by William Dieterle – (Germany)

M

 * Marianne, directed by Robert Z. Leonard, starring Marion Davies
 * Madame X, directed by Lionel Barrymore, starring Ruth Chatterton and Lewis Stone
 * Man with a Movie Camera (Chelovek s kinoapparatom), documentary directed by Dziga Vertov – (USSR)
 * The Manxman, directed by Alfred Hitchcock – (GB)
 * Married in Hollywood (lost), directed by Marcel Silver
 * Melody of the Heart, directed by Hanns Schwarz, starring Dita Parlo and Willy Fritsch – (Germany)
 * The Miraculous Life of Thérèse Martin (La Vie miraculeuse de Thérèse Martin), directed by Julien Duvivier – (France)
 * Les Mystères du Château de Dé (The Mysteries of the Chateau of Dice), starring and directed by Man Ray – (France)
 * The Mysterious Dr. Fu Manchu, directed by Rowland V. Lee, starring Warner Oland, Neil Hamilton and Jean Arthur, based on the 1913 novel The Mystery of Dr. Fu-Manchu by Sax Rohmer
 * The Mysterious Island, directed by Lucien Hubbard, starring Lionel Barrymore

N

 * Navy Blues, directed by Clarence Brown, starring William Haines, Anita Page and Karl Dane
 * The New Babylon (Novyy Vavilon), directed by Grigori Kozintsev and Leonid Trauberg – (USSR)
 * New York Nights, directed by Lewis Milestone, starring Norma Talmadge and Gilbert Roland

O

 * On with the Show!, directed by Alan Crosland
 * The Organist at St. Vitus' Cathedral (Varhaník u sv. Víta), directed by Martin Frič – (Czechoslovakia)

P

 * Pandora's Box (Die Büchse der Pandora), directed by G. W. Pabst, starring Louise Brooks – (Germany)
 * Paris (lost), directed by Clarence G. Badger, starring Irène Bordoni
 * Patria Amore, starring Julian Manansala – (Philippines)
 * Piccadilly, directed by E. A. Dupont, starring Anna May Wong and Gilda Gray – (GB)
 * Pointed Heels, directed by A. Edward Sutherland, starring William Powell and Fay Wray

Q

 * Queen Kelly, directed by Erich von Stroheim, starring Gloria Swanson

R

 * Rain, documentary directed by Mannus Franken and Joris Ivens – (Netherlands)
 * Rasputin, directed by Max Neufeld – (Germany)
 * Redskin, directed by Victor Schertzinger, starring Richard Dix
 * The Rescue, directed by Herbert Brenon, starring Ronald Colman and Lili Damita
 * Resia Boroboedoer (Secret of Borobudur) – (Dutch East Indies)
 * The Return of the Rat, directed by Graham Cutts, starring Ivor Novello and Isabel Jeans – (GB)
 * The Return of Sherlock Holmes, directed by Basil Dean, starring Clive Brook
 * Rio Rita, directed by Luther Reed, starring Bebe Daniels and John Boles
 * The River (lost), directed by Frank Borzage, starring Charles Farrell and Mary Duncan
 * The Runaway Princess, directed by Anthony Asquith and Fritz Wendhausen, starring Mady Christians – (GB/Germany)

S

 * Sa Landas ng Pag-ibig (The Path of Love), directed by José Nepomuceno – (Philippines)
 * Sally, directed by John Francis Dillon, starring Marilyn Miller, Joe E. Brown and Pert Kelton
 * Salute, directed by John Ford, and starring George O'Brien, Helen Chandler and Stepin Fetchit
 * The Saturday Night Kid, directed by A. Edward Sutherland, starring Clara Bow and Jean Arthur
 * Seven Footprints to Satan, written and directed by Benjamin Christensen, starring Thelma Todd and Creighton Hale
 * Seven Keys to Baldpate, directed by Reginald Barker, starring Richard Dix, based on the 1913 novel by Earl Derr Biggers and stage play by George M. Cohan
 * Show Boat, directed by Harry A. Pollard, starring Laura La Plante and Joseph Schildkraut, based on the 1926 novel by Edna Ferber
 * The Show of Shows, directed by John G. Adolfi
 * Side Street, directed by Malcolm St. Clair, starring the Moore Brothers
 * The Silent House, directed by Walter Forde, based on the 1928 novel by John G. Brandon
 * The Singing Brakeman, a short featuring Jimmie Rodgers
 * The Single Standard, directed by John S. Robertson, starring Greta Garbo, Nils Asther and Johnny Mack Brown
 * The Skeleton Dance, a Walt Disney animated short
 * Smilin' Guns, directed by Henry MacRae, starring Hoot Gibson
 * Spite Marriage, directed by Edward Sedgwick and Buster Keaton, starring Buster Keaton
 * St. Louis Blues, directed by Dudley Murphy, starring Bessie Smith
 * Den starkaste (The Strongest), directed by Axel Lindblom and Alf Sjöberg – (Sweden)
 * Stark Mad (lost), directed by Lloyd Bacon, starring H. B. Warner and Louise Fazenda
 * Street Girl, directed by Wesley Ruggles, starring Betty Compson
 * Sunny Side Up, directed by David Butler, starring Janet Gaynor and Charles Farrell
 * Syncopation, directed by Bert Glennon

T

 * The Taming of the Shrew, directed by Sam Taylor, starring Mary Pickford and Douglas Fairbanks
 * The Thirteenth Chair, directed by Tod Browning, starring Conrad Nagel and Leila Hyams, based on the 1916 stage play by Bayard Veiller
 * This Thing Called Love (lost), directed by Paul L. Stein, starring Edmund Lowe and Constance Bennett
 * The Three Kings (Ein Mädel und drei Clowns), directed by Hans Steinhoff – (GB/Germany)
 * The Three Passions, directed by Rex Ingram, starring Alice Terry – (GB)
 * Thunder (lost), directed by William Nigh, starring Lon Chaney and Phyllis Haver
 * Thunderbolt, directed by Josef von Sternberg, starring George Bancroft, Fay Wray and Richard Arlen
 * A Throw of Dice, directed by Franz Osten – (Germany/GB/India)
 * The Trespasser, directed by Edmund Goulding, starring Gloria Swanson and Robert Ames
 * Turksib, documentary directed by Viktor Alexandrovitsh Turin – (U.S.S.R.)

U

 * The Unholy Night, directed by Lionel Barrymore, starring Ernest Torrence and Roland Young

V

 * The Vagabond Lover, directed by Marshall Neilan, starring Rudy Vallée and Marie Dressler
 * The Virginian, directed by Victor Fleming, starring Gary Cooper, Walter Huston, Richard Arlen and Mary Brian

W

 * Wait and See, starring and directed by Walter Forde – (GB)
 * Wall Street, directed by Roy William Neill, starring Ralph Ince and Aileen Pringle
 * Welcome Danger, directed by Clyde Bruckman, starring Harold Lloyd
 * Where East Is East, directed by Tod Browning, starring Lon Chaney, Lupe Vélez and Estelle Taylor
 * The White Hell of Pitz Palu (Die weiße Hölle vom Piz Palü), directed by Arnold Fanck and G. W. Pabst, starring Leni Riefenstahl – (Germany)
 * Why Be Good?, directed by William A. Seiter, starring Colleen Moore and Neil Hamilton
 * Wild Orchids, directed by Sidney Franklin, starring Greta Garbo, Lewis Stone and Nils Asther
 * Wolf Song, directed by Victor Fleming, starring Gary Cooper, Lupe Vélez and Louis Wolheim
 * Woman in the Moon (Frau im Mond), directed by Fritz Lang – (Germany)
 * The Woman in White, directed by Herbert Wilcox, starring Blanche Sweet, based on the 1859 novel by Wilkie Collins – (GB)
 * Wonder of Women (lost), directed by Clarence Brown, starring Lewis Stone and Leila Hyams
 * The Wonderful Lies of Nina Petrovna (Die wunderbare Lüge der Nina Petrowna), directed by Hanns Schwarz – (Germany)
 * Words and Music, directed by James Tinling
 * The Wrecker (Der Würger), directed by Géza von Bolváry – (GB/Germany)

Serials

 * The Ace of Scotland Yard, 10 chapters (215 minutes)
 * The Black Book, 10 chapters
 * The Diamond Master, 10 chapters
 * The Fatal Warning, 10 chapters (200 min)
 * The Fire Detective, 10 chapters
 * The King of the Kongo, 10 chapters (213 min)
 * The Pirate of Panama, 12 chapters
 * Queen of the Northwoods, 10 chapters
 * Tarzan the Tiger, 15 chapters (266 min)

Short film series

 * Buster Keaton (1917–1941)
 * Our Gang (1922–1944)
 * Laurel and Hardy (1921–1943)

Animated short film series

 * Felix the Cat (1919–1936)
 * Aesop's Film Fables (1921–1933)
 * Krazy Kat (1925–1940)
 * Oswald the Lucky Rabbit
 * Homeless Homer
 * Yanky Clippers
 * Hen Fruit
 * Sick Cylinders
 * Hold ‘em Ozzie
 * The Suicide Sheik
 * Alpine Antics
 * The Lumberjack
 * The Fishing Fool
 * Stage Stunts
 * Stripes and Stars
 * The Wicked West
 * Ice Man's Luck
 * Nuts and Jolts
 * Jungle Jingles
 * Weary Willies
 * Saucy Sausages
 * Inkwell Imps (1927–1929)
 * Mickey Mouse
 * The Barn Dance
 * The Opry House
 * When The Cat's Away
 * The Barnyard Battle
 * The Plow Boy
 * The Karnival Kid
 * Mickey's Follies
 * Mickey's Choo-Choo
 * The Jazz Fool
 * Jungle Rhythm
 * The Haunted House
 * Wild Waves
 * Silly Symphonies
 * The Skeleton Dance
 * El Terrible Toreador
 * Springtime
 * Hell's Bells
 * The Merry Dwarfs
 * Screen Songs (1929–1938)
 * Talkartoons (1929–1932)

Births

 * January 1 – Haruo Nakajima, Japanese actor (died 2017)
 * January 3 – Sergio Leone, Italian director, producer and screenwriter (died 1989)
 * January 7 – Terry Moore, American actress
 * January 8 – Saeed Jaffrey, Indian-born actor (died 2015)
 * January 9 – Ulu Grosbard, Belgian-American theatre and film director and film producer (died 2012)
 * January 20 – Arte Johnson, American actor (died 2019)
 * January 31 – Jean Simmons, English-American actress (died 2010)
 * February 4 – Jerry Adler, American actor
 * February 8 – Claude Rich, French actor (died 2017)
 * February 10 – Jerry Goldsmith, American composer (died 2004)
 * February 14
 * Roman Kłosowski, Polish actor (died 2018)
 * Allan Miller, American actor and director
 * Vic Morrow, American actor (died 1982
 * February 17 - Patricia Routledge, English actress
 * February 22
 * James Hong, American actor, voice actor, producer and director of Chinese descent
 * Donald May, American actor (died 2022)
 * Rebecca Schull, American actress
 * March 4 - Columba Domínguez, Mexican actress (died 2014)
 * March 10 - Harry Bugin, American actor and musician (died 2005)
 * March 11 – Timothy Carey, American actor (died 1994)
 * March 13 – Peter Breck, American actor (died 2012)
 * March 16 - Nadja Tiller, Austrian actress (died 2023)
 * March 23 – Mark Rydell, American actor, director and producer
 * March 24 – Pat Renella, American actor (died 2012)
 * March 27 – Anne Ramsey, American actress (died 1988)
 * March 30 - Richard Dysart, American actor (died 2015)
 * April 1
 * Barbara Bryne, British-American actress (died 2023)
 * Jane Powell, American actress, singer and dancer (died 2021)
 * April 5 – Nigel Hawthorne, English actor (died 2001)
 * April 6 - Joi Lansing, American actress (died 1972)
 * April 10
 * Liz Sheridan, American actress (died 2022)
 * Max von Sydow, Swedish actor (died 2020)
 * April 11 - Jack Betts, American actor
 * April 12 - Elspet Gray, Scottish actress (died 2013)
 * April 15 – Mariano Laurenti, Italian director and actor (died 2022)
 * April 17 – Michael Forest, American actor
 * April 28 – Bhanu Athaiya, Indian costume designer (died 2020)
 * May 2 – Eddie Garcia, Filipino actor (died 2019)
 * May 4 – Audrey Hepburn, British actress (died 1993)
 * May 5 – Ilene Woods, American actress and singer (died 2010)
 * May 8 – Miyoshi Umeki, Japanese singer and actress (died 2007)
 * May 10 - George Coe, American actor (died 2015)
 * May 11 - Margaret Kerry, American actress and director
 * May 17 – Miriam Byrd-Nethery, American actress (died 2003)
 * May 23 – Paul Wexler, American actor (died 1979)
 * May 24 - Brian Wenzel, Australian actor, comedian, director and singer (died 2024)
 * May 25 – Ann Robinson, American actress
 * May 26 – Lloyd Reckord, Jamaican actor and filmmaker (died 2015)
 * May 28 – Shane Rimmer, Canadian actor (died 2019)
 * May 31
 * Menahem Golan, Israeli director and producer (died 2014)
 * Fakhri Khorvash, Iranian actress (died 2023)
 * June 3 – Chuck Barris, American game show host (died 2017)
 * June 8 – Gastone Moschin, Italian actor (died 2017)
 * June 16 – Gerson da Cunha, Indian actor (died 2022)
 * June 17 – James Shigeta, American actor, singer and musician of Japanese descent (died 2014)
 * June 19 - Thelma Barlow, English actress and writer
 * June 20 – Bonnie Bartlett, American actress
 * June 23 – Claude Goretta, Swiss producer and director (died 2019)
 * July 5 – Katherine Helmond, American actress (died 2019)
 * July 11 – David Kelly, Irish actor (died 2012)
 * July 21
 * Asta Vihandi, Estonian opera singer, actress and dancer (died 1993)
 * John Woodvine, English actor
 * July 22 - Perry Lopez, American actor (died 2008)
 * July 23 – Maya Buzinova, Russian animator (died 2022)
 * July 30 - Sid Krofft, Canadian puppeteer and film producer
 * July 31
 * Pat Cooper, American actor and comedian (died 2023)
 * Don Murray, American actor (died 2024)
 * August 1 – Camillo Milli, Italian actor (died 2022)
 * August 12 - John Bluthal, Australian actor and comedian (died 2018)
 * August 15 – George Martin, American actor (died 2010)
 * August 21
 * Vija Artmane, Latvian actress (died 2008)
 * John McMartin, American actor (died 2016)
 * August 23 – Vera Miles, American actress
 * August 28 – Ken Gampu, South African actor (died 2003)
 * September 2 – Hal Ashby, American director (died 1988)
 * September 3 – Irene Papas, Greek actress (died 2022)
 * September 4 – Nina Urgant, Russian actress (died 2021)
 * September 5
 * Edward S. Feldman, American producer (died 2020)
 * Bob Newhart, American actor and comedian (died 2024)
 * September 11 – Eve Brent, American actress (died 2011)
 * September 18 – Elizabeth Spriggs, English actress (died 2008)
 * September 20
 * Kurt Kren, Austrian experimental director (died 1998)
 * Vittorio Taviani, Italian director (died 2018)
 * September 21 – Elsa Raven, American character actress (died 2020)
 * September 22 – Maria Charles, English actress, director and comedian (died 2023)
 * September 25 – Ronnie Barker, English actor and comedian (died 2005)
 * September 28 - Frances Taylor Davis, American dancer and actress (died 2018)
 * October 2 – Moses Gunn, American actor (died 1993)
 * October 4 - Scotty Beckett, American actor (died 1968)
 * October 14 – Norbert Gastell, German voice actor (died 2015)
 * October 15 - Witold Sobociński, Polish actor (died 2018)
 * October 16
 * Jane Griffiths, English actress (died 1975)
 * Fernanda Montenegro, Brazilian actress
 * October 24 – Clifford Rose, English actor (died 2021)
 * October 28
 * Jack Hedley, British actor (died 2021)
 * Joan Plowright, English actress
 * November 6 – June Squibb, American actress
 * November 12
 * Etchika Choureau, French actress (died 2022)
 * Grace Kelly, American-Monégasque actress (died 1982)
 * November 15 – Ed Asner, American actor (died 2021)
 * November 20 – Jerry Hardin, American actor
 * November 21 – Niall Tóibín, Irish actor and comedian (died 2019)
 * November 28 – Berry Gordy, American producer
 * November 30
 * Dick Clark, American television and radio personality, television producer and actor (died 2012)
 * Joan Ganz Cooney, American television writer and producer
 * December 1 – David Doyle, American actor (died 1997)
 * December 6 – Alain Tanner, Swiss film director (died 2022)
 * December 8 – Paddy O'Byrne, Irish radio broadcaster and actor (died 2013)
 * December 9 – John Cassavetes, American actor, director (died 1989)
 * December 13 – Christopher Plummer, Canadian actor (died 2021)

Deaths

 * January 5 – Marc McDermott, Australian actor (born 1881)
 * February 18
 * Hardee Kirkland, American stage and screen actor (born 1868)
 * William Russell, American actor (born 1884)
 * February 24 – Frank Keenan, American actor (born 1858)
 * May 9 – Fred C. Truesdell, stage & film actor (born 1870)
 * May 12 – Charles Swickard, German-American director and actor (born 1861)
 * July 2 – Gladys Brockwell, American actress (born 1894)
 * July 3 – Dustin Farnum, American stage & silent screen star (born 1874)
 * July 6 – Cliff Bowes, American comedian (born 1894)
 * August 2 – Mae Costello, American actress (born 1882)
 * September 2 – Paul Leni, German film and art director (born 1885)
 * October 3 – Jeanne Eagels, American actress (born 1890)
 * October 31 – Norman Pritchard, actor, Olympic athlete (born 1877)
 * November 2 – Leo D. Maloney, actor and director (born 1888)
 * November 24 – Raymond Hitchcock, American actor (born 1865)

Film debuts

 * Adrienne Ames – Sally
 * Eve Arden – Song of Love
 * Hooper Atchley – Love at First Sight
 * Lew Ayres – The Sophomore
 * Virginia Bruce - The Love Parade
 * Lita Chevret – Fox Movietone Follies of 1929
 * Mae Clarke – Big Time
 * D. A. Clarke-Smith – Atlantic
 * Jackie Cooper – Fox Movietone Follies of 1929
 * Cecil Cunningham – Their Own Desire
 * Henry Daniell – The Awful Truth
 * Frances Dee – Words and Music
 * James Dunn - In the Nick of Time
 * Maurice Evans – White Cargo
 * Glenda Farrell – Lucky Boy
 * Frank Fay - The Show of Shows
 * Norman Foster - Gentlemen of the Press
 * Kay Francis – Gentlemen of the Press
 * Paulette Goddard – The Locked Door
 * Minna Gombell – The Great Power
 * Gavin Gordon - The Medicine Men
 * Betty Grable – Happy Days
 * Dorothy Granger – Words and Music
 * Danny Green – The Crooked Billet
 * John Huston – The Shakedown
 * Walter Huston – Gentlemen of the Press
 * Warren Hymer – Speakeasy
 * Dean Jagger – The Woman from Hell
 * Vi Kaley – Piccadilly
 * Pert Kelton – Sally
 * Franziska Kinz – Diary of a Lost Girl
 * Florence Lake – New Year's Eve
 * Allan Lane – Not Quite Decent
 * Lola Lane – Speakeasy
 * Charles Laughton – Piccadilly
 * Anderson Lawler – River of Romance
 * Peter Lorre – The Missing Wife
 * Jeanette MacDonald – The Love Parade
 * Fred MacMurray – Girls Gone Wild
 * Marx Brothers - The Cocoanuts
 * Raymond Massey – High Treason
 * Frank McHugh - If Men Played Cards as Women Do
 * Nina Mae McKinney - Hallelujah
 * Marilyn Miller - Sally
 * Robert Montgomery – The Single Standard
 * Dennis Morgan - The Canary Murder Case
 * Una O'Connor – Dark Red Roses
 * Lee Patrick – Strange Cargo
 * George Raft – Queen of the Night Clubs
 * Gene Raymond - The Marriage Playground
 * Rene Ray – High Treason
 * Claire Rochelle – Tanned Legs
 * Ginger Rogers - A Day of a Man of Affairs
 * Regis Toomey – Alibi
 * Lupita Tovar – The Veiled Woman
 * Lee Tracy – Salute
 * Rudy Vallée - Rudy Vallée and His Connecticut Yankees
 * Nella Walker – Tanned Legs
 * Johnny Weissmuller – Glorifying the American Girl
 * Wheeler & Woolsey - Rio Rita

title: 1929 in film