En su programa para la BBC, Lomax comenta:

"[...] But all this wasn't as easy as it sounds. Each vendor considers himself an artist, and each one has to be begged, cajoled and paid in advance. The vendor with the greatest reputation was the most difficult of all; he wore a flat grey fiesta hat over a brown sleepless face and for a while he haggled in a wild Andalucian fashion. Then, with just as much temperament, he stopped and gave me his grape selling cry which has made him known to every housewife in Seville [audio]. His name was La Fleta, for he moved and talked with the feral swiftness of a man who makes his living by his wits. He waved off my compliments about his singing, and invited me to visit Bormujo, his village nearby Seville, where there were friends who could sing. That evening I sat in a little bar in Bormujo while La Fleta and his friend, little Anastacio, showed me what a poor man's huerga was like. There was no guitar. The town was too poor, to own one; Anastacio worked in the olives for less than two shillings a day. There were no hired gypsy dancers; but the wine was cheap and there was the great bitter poetry of flamenco to be shared among friends... As Anastasio began, the two friends played a slow rhythm on the table-top. [audio] Anastacio thre his head far back on high notes; the muscles in his neck swelled like a wrestlers biceps and at the top he touched his throuat with a strange and delicate gesture as if he somehow hoped to help the tone come more smoothly".

En su cuaderno de campo, Lomax anota: "Anastacio Baque Ruiz work works the [...] Madrid, singer of flamenco, pregones, saetas, tells about Compañeros [...] there's always been one in B[ormujos], but as the maestro is [...] has gone down [...] men and women with triangle, ximbomba, platillos, raddar, guitarra, catarro - [...] Pasqua, Navidad".

Fotografías tomadas por Lomax el 23 de septiembre de 1952 (el cantaor aparece indenticado como "Anastacio Baque").

• http://research.culturalequity.org/rc-b2/get-photo-details.do?photoId=2790
• http://research.culturalequity.org/rc-b2/get-photo-details.do?photoId=2800
• http://research.culturalequity.org/rc-b2/get-photo-details.do?photoId=2801
• http://research.culturalequity.org/rc-b2/get-photo-details.do?photoId=2802