Then I went back to South America for the first time by myself. I was in Rio for six weeks on the show with the great Carmen Miranda in the La Urca night club, and then on to Buenos Aires. I was immediately arrested when I entered Argentina because I was too young to travel alone. Oh, the problems! They treated me well, but technically I was in jail! It was eventually worked out, and I did four shows a day in Argentina.

 

Before I left Mexico, though, I promised myself if possible I would work with the great comic Mario Moreno Cantinflas when he came back to work in Mexico City. I got the chance when I was 13. I told the people in La Urca I had to go and flew back to Mexico City right away. So I worked with Cantinflas at the Teatro Iris, and that was the most talented show I ever worked with! We had the magician and ventriloquist Paco Miller, who was the biggest thing in Latin America, three great composers there who had their own orches­tras on the stage, two ballets... I've never seen a show like that! But backstage everyone was commenting on me because I was so full of energy and they never saw anything like me.

 

After that I went to Cuba for a half-year to work at the Casino Nacional, and that led me to America. My Cuban manager sold my act to the Olympia Theatre in Miami, which was owned by Paramount. They weren't eager to have another juggler, but he told them if they didn't like Rudy he would pay for me and send them any other of his top acts for free. They ended up keeping me for five years, and I was twice voted best novelty act for Paramount in late 1940s.

 

I was assigned to the agent Jack Davis, and they offered me a five year job. I joined a show in San Francisco with Bob Hope, Lucille Ball and Desi Arnaz, and traveled all around the country playing at Paramount Theatres. It was hard work! I only did six minutes, but in Chicago you did a minimum of five shows a day, and sometimes up to ten.

 

The only thing between the shows was a travelogue, so there wasn't even time to eat. You lived in the theatre. Right after I finished working I would go practice. I lived in the theatre. I never knew anyone or met anyone outside the theatre. They said I was insecure, and that was why I worked so hard. I just thought that was what you did if you wanted to be a good juggler.

 

I traveled a lot with a lot of famous stars with Paramount, it was quite an experience. But I worked like a slave, there was no time to do anything else. Eventually I met Joy and married her. If I hadn't met her I don't think I would have stayed. I would have returned to South America or Mexico.

 

We married over Christmas in 1950. Her family was from the Bible-belt South and she was a student, visiting an aunt in New Jersey when we met. I flipped over her and not long after that we got married. No one had hope for the marriage because I was young and she was younger. They said it wouldn't last a year, but it's been 45 years so far!

 

We have a son, Dolf, who was a Green Beret with three tours in Vietnam and is now a scientist. Our daughter, Melissa, rides horses professionally on the World Cup Grand Prix circuit.

 

Joy traveled with me most of the years we were married while Dolf studied in England and Melissa studied in Paris. Dolf said all his friends had fathers who were diplomats, generals and admirals, but he was a big novelty because his father was a juggler. They both finished school in Las Vegas when the Lido show moved here from Paris in 1960 and I came with it. Neither of my children ever expressed any interest in juggling, though. I don't think I ever saw either of them even pick up a prop.

 

I never tried to teach them or anyone else to juggle. I believe the greatest teachers of jugglers aren't great jugglers. My father taught me, and he was not a juggler. He wasn't even from the circus, but he developed a lot of innovations that circus people never thought about, like my shaker cups.