In our new “The Stars Behind the Stars” franchise, Billboard Latin and Billboard Español editors share stories that have yet to be told, directly from those who aren’t often in front of the spotlight. Think “todo lo que no se ve detrás de cámaras,” or “everything that happens behind the scenes.” These unsung heroes are essential to an artist’s team and its foundation. Today, we highlight Marlene Maseda, a Miami-based music publicist whose agency Fusion 4 Media celebrates 10 years this month.
In the early 2000s, Marlene Maseda was one of the first publicists to work the reggaetón genre, when she was independently hired by the Machete Music label to represent its roster of artists — which included Don Omar, Hector El Father, Magnate y Valentino, Glory, and Luny Tunes, among others.
“I was pretty much the first publicist who worked in the urban market,” she tells Billboard. “I had it tough, because at the time, none of the media outlets wanted to support urban music. They didn’t understand it. However, I was the first publicist putting these artists on popular shows like Sabado Gigante and Despierta America.”
Today, she’s the founder and COO of Fusion 4 Media, a publicity and marketing agency based in Miami, Fla. that’s celebrating 10 years since its launch this month. Her current roster includes Ivy Queen, Baby Rasta y Gringo, Pimpinela, J Alvarez, Paloma San Basilio and former Grupo Mania member Oscarito.
As a Cuban-American-Lebanese businesswoman, she also takes a lot of credit for supporting and helping shape the Cuban music scene in Miami. Most notably is her former client Osmani García, whom she worked with for almost 10 years. García, known as one of the pioneers of Cubaton (or Cuban reggaetón), gained international success via Pitbull’s “El Taxi” in collaboration with Sensato and Lil Jon. The song peaked No. 13 on the Hot Latin Songs chart in 2015.
But prior to working as a publicist, Maseda, 51, worked at concert venues such as the James L. Knight Center, where she booked shows for Tina Turner, Sting, Whitney Houston and Stevie Wonder. In her early 20s, she landed her “dream job” at Sony Discos, where she worked closely with music executives Alba “Albita” Eagan and Jorge Pino. And for eight years, she ventured into television, as part of the booking and production team of Alexis Valdes’ Esta Noche Tonight show.
“It hasn’t been easy, it’s not a walk in the park, but it’s worth it,” she says of her career today. Below, learn more about this month’s “Star Behind the Stars,” our first of 2025.
After so many years working in touring, record labels, and television, what made you want to branch out to build your own PR agency?
I feel that I had a good reputation and that people liked me. I had gained a lot of contacts and built many relationships when I worked on the Alexis Valdes show. It was the No. 1 show in the industry at the time. We had the biggest artists go to the show, but at the same time, I wanted to be on the other side of that — I wanted to be the one who takes the artists to these shows and sees their dreams come true. I felt that it was the moment. There wasn’t a certain time, but it was a feeling. I felt that I was ready, and I’m glad that I took the chance. It’s been 10 years of maintaining myself and proving that I could do it. It hasn’t been a walk in the park, but it’s worth it.
You’ve worked with notable artists such as Ivy Queen, Justin Quiles, El Tri, and Pimpinela, but you’re also known for representing a lot of the artists in the Cubaton and Reparto music scene.
We [Fusion 4 Media] were the first ones who started working with Cuban artists, because a lot of people didn’t want to get involved with their genre. Divan, Osmani, Los Van Van, Chacal y Yakarte — and then it became a trend. I feel that I take chances and it pays off. Look at the movement today. Now I’m working with Bebeshito, one of the hottest Cuban acts right now, who’s doing amazing things.
Do you face any challenges as a publicist for Cuban stars? And what change would you like to see in the movement?
Yes! Cuban artists are very misunderstood. They come from a country that’s oppressed. They don’t have access as we do to social media. They have a different mentality. In Cuba, you can be the No. 1 artist, but when you come to Miami, you’re one in a million. It’s a culture shock. I feel that someone needs to open the doors and give them a chance.
There’s definitely a market for it. I’ve never seen the craziness as I do with Bebeshito at his shows. The Cuban community sees it, he’s made an impact. The media is very powerful, and with the media support of these Cuban artists, a lot of great things can happen and a lot of doors will open for them. That’s what we need more of, the media’s respect.
What would you say is your proudest career moment until now?
Taking these Cuban artists to television networks like Telemundo and Univision for the first time. I’m making their dream come true. Another proud moment was securing Osmani Garcia a spot to sing at Times Square in New York City during New Year’s Eve in 2023. He was on live television on Telemundo, performing right when the ball dropped. That was a huge moment for me, because I’ve worked his career since he came to Miami — and to see someone who’s worked hard and perform at an international stage was incredible for me.
Looking back at your career in the Latin music industry, what do you owe your success to?
I had the best mentors. I had the people that I needed to have by my side to help me excel in this career. They saw something special in me, they invested their time in me. The most important thing is taking advice from the people you admire and who you know want to see you grow. I’m so proud that as a woman in the industry, I did everything with my own merit. Everybody is different and has their own way of getting things done, but from day one, I knew that I’m intelligent, focused, and wanted to leave a mark.
