Rivera, nicknamed "Maelo", born in Santurce, Puerto Rico, was the first of five children born to Luis and Margarita Rivera. His father, Luis, was a carpenter and his mother a housewife. As a child, Rivera was always singing and banging on cans with sticks. He received his primary education at the Pablo G. Goyco elementary school and then went on to learn carpentry at a vocational school. He shined shoes to help his family financially and when he was 16 years old, he worked as a carpenter. During his free time he would hang around the corner with his best friend Rafael Cortijo and sing songs.
In 1948, Rivera and Cortijo joined El Conjunto Monterrey, where Rivera played the conga and Cortijo the bongos. Rivera was unable to work full-time as a musician, due to the fact that he worked as a carpenter.
In 1952, Rivera joined the U.S. Army but, was quickly discharged as he didn't speak English. When he returned to Puerto Rico he went to work with the Panamerican Orchestra, thanks to the recommendation of his friend Cortijo. Rivera recorded and scored his first "hits" with the songs "El Charlatan", "La Vieja en Camisa" (The Old Lady in a Shirt) and "La Sazon de Abuela". However, an incident between Rivera and another band member over a girl, led to his departure from the band.
Cortijo's Combo continued to gain fame and so did Rivera's reputation as a lead singer. Benny More visited the island and was impressd with Rivera's voice, he baptized Rivera "El Sonero Mayor" (The Premiere Improviser). The band went to New York City and played in the famed Palladium Ballroom, where the orchestras of Tito Rodriguez, Tito Puente and Charlie Palmieri also played.
In 1959, Rivera, together with Cortijo and his Combo, participated in the European produced movie titled "Calipso", starring Harry Belafonte. He traveled with Cortijo's Combo, which also included Rafael Ithier and Roberto Roena, to Europe, Central and South America. Rivera was suspected of being involved with an illegal drug transaction during a trip to Panama. He was arrested upon his arrival to Puerto Rico, convicted and sentenced to jail. This event led to the break-up of Cortijo's Combo. Shortly after, Rafael Ithier, regrouped some of the former members and formed El Gran Combo de Puerto Rico.
Upon his release from jail, Rivera formed his own band called Ismael Rivera and his Cachimbos. The successful band lasted for eight years. Rivera reunited with Cortijo and recorded "Juntos Otra Vez" (Together Again). Later, Rivera went solo and did well with the recordings of "El Sonero Mayor" and "Volare (salsa style)". He was to score his greatest "hit" with "Las Cara Lindas (De Mi Gente Negra)" (The Pretty Faces (Of My Black People) written by Tite Curet Alonso. One of his last public performances was in Paris, as an opener for Bob Marley in 1979.[3]
The death of his childhood friend, Rafael Cortijo in 1982, affected him emotionally to the point that he couldn't sing in the tribute to Cortijo celebrated at the Roberto Clemente Coliseum. Rivera was actively involved in the creation of a historical museum which depicts the contributions made to the cultural life of Puerto Rico by the black Puerto Ricans.
Rivera was a faithful pilgrim of the Black Christ procession in Portobelo, Panama, from 1975 to 1985,
and even wrote a song about the Black Christ, known affectionately as "El Nazareno".
Ismael Rivera died on May 13, 1987 in the arms of his mother Margarita, from a heart attack. Celia Cruz recorded a tribute to Ismael Rivera and so did Dario y su ComboRican. On September 27, 2001, the Puerto Rican Senate approved the law #134 declaring October 5 as "Ismael Rivera Day". In Villa Palmeras, Santurce, Puerto Rico, there is a plaza named "Plaza de los Salseros" which has a statue and plaque dedicated to Ismael.
Las Caras Lindas
Ismael Rivera Lyrics
Jump to: Overall Meaning ↴
Las caras lindas de mi gente negra,
son un desfile de melaza en flor,
que cuando pasa frente a mi se alegra,
de su negrura todo el corazon,
las caras lindas de mi raza prieta,
son las verdades que la vida reta,
pero que llevan dentro mucho amor,
somos la melaza que rie,
la melaza que llora,
somos la melaza que ama,
y en cada beso es conmovedora,
por eso vivo orgulloso de su colorido,
somos betun amable, de clara poesia,
tienen su ritmo, tienen melodia,
las caras lindas de mi gente negra,
Coro.
las caras lindas, las caras lindas,
las caras lindas de mi gente negra.
que lindas pero... pero mira que lindas son,
las caras lindas, las caras lindas,
las caras lindas de mi gente negra,
tienen, tienen, tienen, tienen de llanto,
mucha melodia, te digo belen tienen belleza,
y tambien tienen poesia de la bien linda,
las caras lindas, las caras lindas,
las caras lindas de mi gente negra,
caritas lindas de gente negra,
que en la calma tengo un monton,
las caras lindas de mi gente negra,
son un vacilon,
las caras lindas, las caras lindas,
las caras lindas de mi gente negra,
somos te digo la melaza que rie, jajajajaja,
que canta y que llora y en cada beso,
bien conmovedora y cautivadora,
las caras lindas, las caras lindas,
linda, linda, linda, linda, lindas, que lindas son,
las caras lindas de mi gente negra,
te digo que en portobello panam
The song Las Caras Lindas by Ismael Rivera is a tribute to the beauty of black people. The song expresses pride and admiration for the lovely faces of the black race, which carry the weight of their sorrows and struggles, but also radiate love and resilience. The lyrics describe them as a parade of sweet molasses, bringing joy to the heart of whoever sees them pass. They are the embodiment of the enduring spirit of black people, who can both laugh and cry, love and fight, and express themselves through rhythm, melody, and poetry.
According to the chorus, these beautiful faces belong to Ismael's black people, who are full of love, melody, and poetry. They are proud of their color, and their faces are a blend of pain and joy, which makes them even more captivating. For Ismael, they are the "betun amable," the amiable shoe polish that shines and beautifies everything it touches. The song exudes a sense of discovery and celebration of black beauty, which transcends physical appearance and encompasses the richness of the black culture, music, and art.
In conclusion, Las Caras Lindas is a song that celebrates the beauty, resilience, and creativity of black people. It conveys a message of pride, admiration, and affection for their lovely faces, which reflect their inner struggles, but also their deep connection to their cultural heritage. The song is a powerful reminder that black is beautiful, and that black people have contributed immensely to the richness and diversity of human experience.
Contributed by Caroline A. Suggest a correction in the comments below.
@Luis-nk3bv
Corrían los años 80, exactamente 1981, era un 20 de marzo. Un día muy especial. Me casaba.....y le comenté a mi pareja si le parecía bien bailar esta canción en nuestra boda. Le encantó. Tanto que me comentó que ni Danubio Azul ni nada....LAS CARAS LINDAS!!!.....¡FELICIDAD COMPLETA !
Hoy 5 de agosto de 2022....seguimos disfrutando juntos esta melodía !!!
Y solo para dejar en constancia, no somos de color....vaya no somos de las caras lindas!!
Esto me da que pensar que quizás en un vida anterior lo fuimos....no sé.... me estoy liando...no sé cómo explicarlo...pero somos felices al escuchar esta obra de arte !
@marialuisacastroherazo7414
😅😅b
@gilbertourbina9237
Son las verdades que la vida reta....abrazos para ustedes desde España...
@ezequielpougerman9836
Ese matrimonio sí que está bendecido.
@hannibalid
UNO DELOS MEJORES CANTANTES..in my opinion..
@user-nb8oq6bg7u
Joda gracias maestro por este temazo que pone en alto la raza,negra...que viva la negrura del mundo entero carajo..
@user-co4rt8nl8y
Es maravillosa la buena salsa. Guajiras, Guarachas , Rumba y Son de Cuba. La Plena y La Bomba de Puerto Rico, La Cumbia y el Ballenato de Colombia y El Merengue de la República Dominicana. Todos hermosos ritmos y nunca malas palabras ni agresiones a las mujeres como el nefasto Reggeton. Cuánto tendría que aprender toda la gente de América Latina y el Caribe. La salsa son letras hermosas cantando a los paisajes, al amor y a las costumbres de cada pueblo. El Reggaeton es totalmente lo contrario en sus melodías musicales, en las malas palabras y es la degradación total al sexo femenino. Vivan las décadas de los 60, 70, 80 y 90. Lo que vino después de los 2000 en adelante es una basura en musicalidad y en letras. Un saludo grande para todos los verdaderos salseros. Daniel Oscar de Montevideo Uruguay!!!
@josenicieza8692
No soy Negro,soy Latino pero que Linda que Linda Las Negras son como son.Gracias Maelo
@Zameth29
Ismael cuando llego a Colón Panamá, miro mucha gente negra luchadora y trabajadora que eran devotos del cristo negro y de hay saco este gran tema. Y claro inspirado en el cristo negro de Portobelo Colón Panamá 🇵🇦🇵🇦🇵🇦🇵🇦
@agathac4286
La escribió el gran Tite Curet Alonso.