Many Puerto Ricans living on the island of St. Croix speak in informal situations a unique Spanglish-like combination of Puerto Rican Spanish and the local Crucian dialect of Virgin Islands Creole English, which is very different from the Spanglish spoken elsewhere.

[10] The use of Spanglish has become important to Hispanic communities throughout the United States in areas such as Miami, New York City, Texas, and California.

[13] Other places where similar mixed codes are spoken are Gibraltar (Llanito), Belize (Kitchen Spanish), Aruba, Bonaire, and Curaçao (along with Dutch and Papiamento).

[citation needed] Spanglish is the fluid exchange of language between English and Spanish, present in the heavy influence in the words and phrases used by the speaker.

[18] As mentioned previously, the phenomenon of Spanglish can be separated into two different categories: code-switching, and borrowing, lexical and grammatical shifts.

[19] Code-switching has sparked controversy because it is seen "as a corruption of Spanish and English, a 'linguistic pollution' or 'the language of a "raced", underclass people'".

[23] Expressions with pa'trás are found in every stable English-Spanish contact situation:[24] the United States,[25] including among the isolated Isleño[26] and Sabine River communities,[27] Gibraltar,[28] and sporadically in Trinidad and along the Caribbean coast of Central America where the local English varieties are heavily creolized.

[24] Because of this, and because they're consistent with existing Spanish grammar, Otheguy (1993) argues they are likely a result of a conceptual, not linguistic loan.

[33][page needed] Loanwords occur in any language due to the presence of items or ideas not present in the culture before, such as modern technology.

As a sociolinguistic phenomenon, speakers who subconsciously insert so into their Spanish usually spend most of their time speaking English.

[39][page needed] Fromlostiano is a type of artificial and humorous wordplay that translates Spanish idioms word-for-word into English.

The name fromlostiano comes from the expression From Lost to the River, which is a word-for-word translation of de perdidos al río; an idiom that means that one is prone to choose a particularly risky action in a desperate situation (this is somewhat comparable to the English idiom in for a penny, in for a pound).

The use of Spanglish is often associated with the speaker's expression of identity (in terms of language learning) and reflects how many minority-American cultures feel toward their heritage.

Commonly in ethnic communities within the United States, the knowledge of one's heritage language tends to assumably signify if one is truly of a member of their culture.

The hope to retain their cultural heritage/language and their dual-identity in American society is one of the major factors that lead to the creation of Spanglish.

[42] Immigrant youth in the United States have become prevalent social actors to sociologists because of their role as moderators and translators in their homes and the community.

Orellana centers the ethnographic study around youth who have worked as translators in different spheres of societal issues for their communities.

It showcases the division of labor passed onto members of the immigrant population and the navigational skills obtained by those obliged to utilize their bilingualism and Spanglish as a means of survival.

The lyrical emergence of Spanglish by way of Latin American musicians has grown tremendously, reflective of the growing Hispanic population within the United States.

[54] Although Los Angeles Chicano bands from the 1960s and 1970s are often remembered as part of the Chicano-movement as agents for social chance,[55] 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.

[56] 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,[57] indicating an audience demand for multi-language entertainment, as well as a space for traditional Latino artists to enter the mainstream and find chart success beyond the Spanish-speaking world.

This is despite the slower-growing opportunities for Latino musicians to occupy higher-up positions such as promoters, business owners, and producers.

[58] Other up and coming Latino 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.

[59][page needed] 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 Latino music is considered, by some scholars, a persistent and easily identifiable marker of an increasingly intersectional Latino identity.