structural:summarization
Portugal

The protest songs in Portugal were mostly associated with the antifascist movement and developed chiefly among students and activists. The best known are songs by Paulo de Carvalho and José Afonso, respectively " E Depois do Adeus " (And After the Goodbye) and " Grândola Vila Morena "(Grândola Swarthy Town). They were chosen as a code to start the Carnation Revolution that would successfully triumph against the dictatorial regime. The first was written out of letters that the author, then fighting to maintain the colonies (a war that the general public was against) sent to his wife. Hence the title refers to his departure "goodbye" to the war. The other song was very explicit regarding his objective: " O Povo é quem mais ordena / dentro de ti oh cidade " (The people is the one who orders the most/ inside of you oh city). "E Depois do Adeus" was vague enough to elude the censorship and pass as an "end of love" song, which also accounts for the order of the broadcast.

Of the two, Zeca Afonso was more prolific and more identified with the movement, so much so that another of his songs was the first choice for the code "Venham mais 5" (Let 5 more come). Other artists also used some craft to hide their meanings in the song or went into exile. One example is Adriano Correia de Oliveira that masked the explicit lyrics with the vocal tone making it difficult to distinguish the critical verse, from the refrain or even other verses. In no other song is this more noted that the ballad " Trova do Vento que Passa " (Song/Poem of the Passing Wind), whose lyrics by the writer Manuel Alegre were a direct criticism of the state. The music was by António Portugal but Correia used a typical Fado rhythm to hide such provocative verses as "Mesmo na noite mais triste/em tempo de sevidão/há sempre alguém que resiste/há sempre alguém que diz não" (even in the saddest night/in time of servitude/there is always someone who stands up/there is always someone who says No).

Not only men but also women had an active participation, albeit in lesser numbers. Ermelinda Duarte, one of those women, wrote the song "Somos Livres" (We Are Free), for a 1972 theatre play called Lisboa 72, masking a deep meaning with catchy children's music. Although the version of her singing the tune is the best known it was only recorded after the carnation revolution.

Many other songwriters and singers, to generate awareness, used their talents to act in all of Portugal, sometimes without pay or transport. Fausto Bordalo Dias once sang into a mike so poorly made it needed a plastic cup to work. Other singers included the priest Francisco Fanhais, the writer José Jorge Letria; Fernando Tordo; Luís Cília; Amélia Muge; Janita Salomé; Manuel Freire; José Barata-Moura; the poet Ary dos Santos; José Mário Branco, Sérgio Godinho, Carlos Alberto Moniz, Maria do Amparo and Samuel.