Carlos Tena, a prominent journalist, music critic, radio presenter, and Spanish television host, has died at the age of 79, according to sources close to the journalist who shared the news through social networks. His passing marks the end of a long and influential career that left an indelible mark on Spanish media and the country’s music journalism landscape.
Based in Madrid, Tena built a diverse career spanning radio, television, and print, becoming one of the most respected voices in Spanish music criticism. Over the years he contributed to countless programs, reported on evolving scenes, and helped shape public understanding of contemporary music. During the early to mid-1980s, he also produced several albums for groups such as Mario Tenia, Johnny Comomollo, Tilburi, and Paraíso, extending his influence from critique into hands-on music production and artist development. His work bridged the worlds of journalism and music creation, offering listeners and readers both informed analysis and a palpable sense of the era’s cultural energy.
On Televisión Española, Tena’s work reflected a close association with Movida Madrileña, a vibrant cultural movement that redefined youth culture in Spain during the late 1970s and 1980s. He contributed to programs including Popgram’ (1977) and later created a slate of shows throughout the 80s such as Music, teacher (1981), Rhythm box (1983), Pop What? (1984), and Auanbabulubabalambambú (1985-1986). These programs showcased music, media, and youth culture, positioning Tena as a key figure in how Spanish audiences encountered and debated contemporary popular music on screen. His presence helped translate a transformative period into accessible content for a broad audience, strengthening the connection between critics, artists, and fans across the country and beyond borders.
Beyond his television work, Tena’s career encompassed radio, press, and live media, where he cultivated a reputation for thoughtful, sometimes provocative, commentary. He engaged with a generation of musicians and industry insiders while also reaching daily audiences through radio broadcasts and written critiques. His approach combined perceptive listening, historical context, and a willingness to challenge trends, contributing to a more nuanced public discourse around music in Spain. In addition to his critical duties, he mentored younger journalists and helped set standards for how music journalism could inform, entertain, and provoke discussion in a rapidly changing media environment.
Among the most notable moments associated with his career were the discussions surrounding controversial broadcasts that tested the tolerance and boundaries of national television at the time. For example, a musical number by the group Vulpes, which aired on Caja de ritmas, sparked heated debate and contributed to broader conversations about censorship, artistic expression, and network standards within Spanish media. These episodes are often cited in retrospectives as turning points that reflected the tensions and evolving norms of Spanish broadcast culture during that era. Tena’s role in reporting, framing, and commenting on such moments underscored his influence in shaping how audiences understood and reacted to riskier, more provocative content on television and radio. This part of his legacy continues to be examined by scholars and enthusiasts tracing the history of Movida and its lasting impact on Spanish popular culture.