Gladys Pizarro
Where are you from? How did your Afro-Latin roots develop your 'ear' & taste in music?
I grew up in Spanish Harlem in New York City. My family is from Puerto Rico, and we played all types of music in my house. I had a sister that loved rock music and R&B, and a father that blasted his Salsa records so loud you can hear the music outside. I think because all these genres of music were being played at my house, it gave me an eclectic ear at a very young age. I was versatile with my musical upbringing and living near the projects taught me about Disco, R&B, and Rap music. That’s what the DJs use to play in the block/street parties.
As many DJs & house music aficionados can attest, the name Gladys Pizarro is synonymous with 'underground NYC house music', as your name is credited on every release on Strictly Rhythm records. Can you take us down memory lane for a bit: What was the energy like inside the 'Strictly' office in the early-mid '90s?
In the beginning, it was tough. I needed some credibility to work with some of my favorite producers. I use to go to the clubs in NYC looking for the "hot producer". I was putting the word out in the street that I was looking for House Music. The word got out and finally, Eddie Maduro & Wayne Gardiner came to my office to let me hear a track they produced called ‘The Warning’. It was exactly what I was looking for. I knew I had to give that record to the ‘tastemaking’ DJs - one being Tony Humphries that worked at Club Zanzibar in New Jersey. He was also a DJ on 98.7 KISS FM in NYC. He played that record on his mix show and twice at the club. When I went to work on Monday, the phones were ringing from the stores wanting to order. That record gave the label street cred, Producers then started to send their demos and arrange meetings with me so I could hear their tracks. From that point on, Todd Terry & Kenny ‘Dope’ Gonzalez started coming to the label, and a guy I approached to do a record for me, by the name of Roger Sanchez. The office was now buzzing with some talented house producers.
You are credited with launching & accelerating the careers of so many DJ/producers like Roger Sanchez, Todd Terry, Louie Vega, Kenny 'Dope' Gonzalez, Erick Morillo, DJ Pierre, and Armand Van Helden. Were there any particular releases that took you by surprise by stretching beyond the 'NYC' sound & market into international markets?
Yes, EVERYONE! That was what was great about Strictly Rhythm: each producer had their own style. Also, at Strictly, the consumer didn't know what they were going to get that week. For instance, one week we would release a soulful house track produced by Mood 2 Swing. Next week, it could be a tech-house track produced by Josh Wink. Being versatile worked for all the different markets nationwide and overseas. We didn't stick to one genre of music. In the beginning, we started out as an underground house label, then we started to experiment with commercial tracks like ‘Planet Soul’ or ‘I Like to Move It’. These were successful dance core tracks that ‘crossed over’ in the commercial-radio market.
During a time where other deep/underground house labels like Nugroove, Nervous Records, and Eightball Records were spreading the New York sound, Strictly kept expanding with experimental sounds, releasing electro-hiphop tracks like Planet Soul "Set U Free", and even arguably drafting the blueprint of 'NYC hard house' - a sound that offered a percussive, tribal element that distinguished itself from the European techno sound imported from overseas. Was this a conscious effort to stay ahead of the competitor labels or was this a reflection of 'demand & supply' aka 'giving the people what they want'?
I just think, at a particular time, I was ahead of the game. I even started the Latin House trend by putting out tracks that were pioneered by the Vargas Brothers, Boriqua Posse.
Share with us one of those epiphany moments where you heard one of your label's releases out loud in the club and knew the track was 'gonna be huge'. What release was it, where were you, and who was the DJ playing it?
Louie Vega came to my office and gave me a DAT (Digital Audio Tape). He gave me the HARDRIVE EP that consisted of 4 sample tracks. ). I waited for him to leave. When I heard the EP, I ran to Mark (Finkelstein)’s office and told him I needed a contract right away. I needed to sign this track called ‘Deep Inside’. I knew this record was going to put Louie on the map. Now, mind you, he was already on the map with his Latin Freestyle productions and remixes. But this EP was going to transition him from freestyle to house. This EP is very special, and I knew I had an underground hit in my hands.
Although House Music has never died, it has, however, undergone many shifts in popularity. Even to the point of being rechristened as EDM. Do you feel this categorization has harmed or helped the dance music industry?
Like they say, music comes in cycles. The late '80s and early ’90s were a pivotal point in house music. People came out to dance their asses off, release tension, get together with friends, and have a drink. People enjoyed the music. They didn't stare at the DJ, film the DJ, stand in the crowd, or just move side to side. I think the genre has expanded but differently into this form - and it a good thing. I’m just happy I was exposed to it early on. When EDM broke, it gave DJs gigs worldwide and the music festivals became popular. Great revenue. It lasted for over 10 years - Now there’s change again. It came back to house.
Although Strictly Rhythm changed ownership hands, you've continued & evolved with the times. Vinyl pressing & sales sustained a crushing blow in the early 2000s, yet you pivoted towards digital services & licensing deals while many were still figuring out the next move. When the Reel 2 Real (aka Erick Morillo - RIP) single, "I Like to Move It" was used by Pixar's animated movie, "Madagascar" (2005), did you feel justified in your decision to embrace licensing early in the game?
ABSOLUTELY! Licensing was a huge part of our revenue. It also gave us visibility in different countries. So, yes, it was awesome to see SR establish a great relationship way in advance with other global labels, bringing revenue and opportunities to exploit House Music in that territory.
Today, you lead Launch Entertainment, focusing on dance music entertainment, utilizing the lessons learned and modifying for an evolving industry. You launched in 2008, but quickly paused all activity, and re-launched in 2018. Why this decision?
I had a distribution deal with SR and they wanted to go in a more commercial direction. I gave it a try, but wasn't happy with the outcome of certain departments within the company. There were new people at the label running it. It was best for us to terminate the label deal. So, we did, amicably.
Name one track/song that you wish you had signed under your guidance.
Lola’s Theme by The Shapeshifters
Is A&R a 'lost art' in today's music industry?
Unfortunately, yes. That’s why there’s a lot of ‘shy’ music out there. (laughs)
The million-dollar question: What's the next big thing for the dance music industry, in a post-Covid-19 world?
House Music festival via streaming.
What advice would you give to a young person from the diaspora who wants to do what you do?
BE HUNGRY. Meaning, be a ‘go-getter’. But, stay humble. Never walk over someone. Love what you do. Do what you love, by helping people achieve their dreams through music, or whatever the case may be. It’s a cool way to serve humanity. You will go to sleep with a clean heart knowing you did your best.