The song not only re-imagines that moment as a sudden, frightening and irrevocable loss of innocence to the seductive illusions of the screen, a decidedly formative moment for Tcheka, but it also establishes the visual as the predominant theme and narrative methodology of his compositions. Tcheka describes his creative process thus: ‘When I create a song, it is like a sequence of images, like the frames of a film, before my eyes. The melody is itself a story I actually see in my head, and then I write the lyrics according to that vision’.
Nyimbo hiyo haikua tu ikikumbushia wakati wa ghafla, wa kutisha na kutoweza kubadilishwa kwa kupotea kwa heshima kunakoletwa na njozi zenye kutongoza katika luninga, lakini pia inatambulisha kwa Tcheka muonekano huo kama dhima kuu na njia ya uwasilishaji wa tungo zake. Tcheka anaelezea mchakato wa uundaji wake: ‘wakati natengeneza nyimbo, ni kama vile mtiririko wa picha, kama fremu za filamu mbele ya macho yangu. Mlio wenyewe ni hadithi ambayo naiona katika kichwa change kisha naandika mashairi kutokana na picha hiyo’. Kiukweli, kitu ambacho kwa haraka kinamtenganisha Tcheka na waandishi wengine wa Cape Verde ni hali ya kipekee na isiyofuata mtiririko maalum anayotumia katika kuunda nyimbo zake, mara nyingi kukiwa na mabadiliko ya ghafla katika kasi ya mapigo, mlio, mada katika mashairi na hisia, ikiashiria mikato ya haraka na mabadiliko ya picha kama ilivyo katika filamu.