User:Gblnco/sandbox

History
The rise of Spanglish in music within the United States also creates new classifications of Latin(o) music, as well as the wider Latin(o) music genre. In some growing music scenes, it is noted that for artists go beyond music and bring in political inclinations as a way to make wider commentary. Although Los Angeles Chicano bands from the 1960s and 1970s are often remembered as part of the Chicano-movement as agents for social chance, Latin(o) music has long been a way for artists to exercise political agency, including the post-World War II jazz scene, the New York City salsa of the 1970s, and the hip-hop movement of the 80s. Some of the topics addressed in these movements include: redlining and housing policies; immigration; discrimination; and transnationalism.

Commercialization
Over time, however, this more explicit show of political nature might have been lessened due to the desire to compete in the music business of the English speaking world. This however, did not stop the a change in U.S. music, where English-speaking musicians have moved towards collaborative music, and bilingual duets are growing in popularity, indicating an audience demand for multi-language entertainment, as well as a space for traditional Latinx artists to enter the mainstream and find chart success beyond the Spanish-speaking world. This is despite the slower-growing opportunities for Latinx musicians to occupy higher-up positions such as promoters, business owners, and producers.

Present-day
With this growing demand for Spanglish duets, there has also been a rise in indie Latinx artists who incorporate Spanglish lyrics in their music. One such artist is Omar Apollo, who combines Spanglish lyrics with music influenced by traditional corridos . Other up and coming Latinx artists, such as Kali Uchis, Empress Of, and Ambar Lucid have also led to a greater prominence of Hispanic performers and lyricism in the contemporary top charts. These types of artists, also being second-generation Spanish speakers, suggests that there is less fear or feelings of intimidation of using Spanish in public spaces. Moreover, this lack of negative connotation with public use of Spanglish, and heritage-language language tools points to a subconscious desire to challenge negative rhetoric, as well as the racism that may go along with it. Given the fact that Spanglish has been the language of communication for a growing Hispanic-American population in the United States, its growing presence in Latin(o) music is considered, by some scholars, a persistent and easily identifiable marker of an increasingly intersectional Latin(o) identity.