Latinos Call Out Karol G but Still Embrace Songs Like ‘La Colegiala’ That Actually Sexualize Underage Girls

Karol G’s latest single, +57, has ignited controversy in Colombia for a lyric describing herself as a “mamacita” since age 14. Fans and critics quickly reacted, with some claiming that the line glorifies the troubling dynamics of older men sexualizing young girls — an issue especially sensitive in Colombia, where exploitation by foreign men has a fraught history.

In a statement, she clarified that the original intent had no sinister undertone, and her collaborators, Colombian reggaeton icons Feid, J Balvin, Maluma, Blessd, DFZM, and Ryan Castro, defended her and the song. 

While Karol G quickly addressed the backlash, explaining that her words were taken out of context, she nonetheless changed the lyric from “14” to “18” in response to public concerns. The change seems to be getting rolled out slowly. So far, some Spotify users have confirmed that the lyrics have changed.

‘La Colegiala’ and Other Songs Are Part of an Unfortunate Double Standard

Interestingly, this incident shines a light on a broader pattern in Latin music, where lyrics by male artists have long ventured into similar territory but often without the backlash Karol G now faces. Iconic songs in the Latin genre have depicted relationships and attractions involving young girls, frequently presented without critique. Karol G’s treatment raises questions about the double standards women face in music, where suggestive lyrics by male artists have been embraced or overlooked. 

One prominent example is El Apagón by Yuri, a hit from the 1990s that became one of her best-selling singles, reaching the top charts across Latin America. The song’s lyrics tell a dark tale of harassment and implied assault during a blackout. The story unfolds as the protagonist, a young woman, is grabbed in the darkness by an unseen figure, only to discover in a disturbing twist that the person is her own father. The lyric, “Con el apagón, qué cosas suceden,” continues, “Me tomaron por el talle, me llevaron al cubo de un zaguán.” In the climax, she realizes, “cuando encendieron las luces, ¡ay!… era mi papá.” Despite its harrowing narrative, the song was not only accepted but celebrated, and Yuri still performs it to this day, albeit with a slight adjustment to remove the father’s role in the story. 

Ismael Serrano’s Tierna y Dulce Historia de Amor offers another controversial depiction. In this song, Serrano narrates a story where an older politician becomes infatuated with a 15-year-old schoolgirl. The song reflects the unsettling dynamic between the politician, who is so besotted that he neglects his career and wife to be with the young girl. Lyrics like, “Cuando te vi pasar por la otra acera, con tus recién cumplidos quince años, salías de la escuela,” set the tone for a relationship rooted in questionable ethics. Serrano has defended the song, saying it was intended as an ironic portrayal of political hypocrisy. He described it as a satire of “a conservative politician abandoning all moral pretensions for a girl far too young,” underscoring his aim to expose the contradictions in political figures’ lives. 

Eddy Herrera’s Demasiado Niña, from the album that earned him a Latin Grammy nomination, is another frequently cited example. The song revolves around an adult’s attraction to a 13-year-old, whom he ultimately chooses not to pursue due to her age. Lyrics like, “Eres demasiado niña para empezar a amar, eres como una fruta nueva que no se debe tumbar,” seem to toe a troubling line. Yet, Demasiado Niña has remained a beloved merengue hit in the Latin American music scene, with little public critique of its premise. 

Niña Coqueta by Luis Miguel del Amargue also centers on a young girl. In the lyrics, the protagonist refers to the girl as his “tesoro mañanero” and attempts to justify the story as an innocent attraction. The song has consistently ranked high on Latin charts, even though its portrayal of a young girl as an object of adult desire has been criticized by some listeners. 

Finally, La Colegiala, a cumbia classic composed by Walter León Aguilar, captures a flirtation with a schoolgirl who is asked to say “yes” despite being a minor. “Colegiala, colegiala, colegiala linda colegiala, colegiala no seas tan coqueta,” the lyrics plead. Popularized by Rodolfo Aicardi, the song has become a staple in holiday festivities, especially in Colombia. Despite its premise, it remains a celebrated tune, illustrating how romanticization of youth has long found acceptance within Latin music. 

It’s Not Okay that Latino Culture Has Popularized Songs That Sexualize Underage Girls

Karol G’s experience sheds light on the complex standards applied to male and female artists alike. Critics have noted that songs with similar themes by male performers have often been accepted or overlooked in the past, suggesting that Karol G’s gender may have influenced the swift backlash she faced. Her lyric adjustment and apology seem to acknowledge public sensitivity around the issue, but the discussion has raised questions about how different standards are applied in an industry with a history of romanticizing youth.