He was absolutely right. I used to balance a ball on my heel and head while I juggled five sticks and turned around in a circle very slowly. But I never got much applause for it and stopped doing it when I came to the States. It's all in the performance, not the props.

 

You have to have an act that's more than tricks. You have to keep in mind that you're working for an audience. Its nice to talk about what you can do, but it doesn't pay your salary. The person I was most impressed with was Francis Brunn. He was a ball of fire! Another of the most impressive things I have ever seen was Rudy Horn's three ball routine. To me his speed and dexterity is unmatched.

 

The performance with Frankie Laine was my first appearance in Europe, but after that my time was split between Europe and Las Vegas. I went back to Mexico every couple years to work for short periods at the El Patio. I would always sign contracts for the run of the show wherever I was, but the last time I signed for the run of the show, it was at the Lido and the show ran for six years, 1974-1982 (including time they were closed to move to a new building). The first five years I didn't have a single day off! Then they passed a new law that said everyone got four weeks off, so for the first time I had a vacation. Then my last time at the Star Dust in Las Vegas I was there for three years.

 

I won the Rastelli Prize for jugglers in Bergamo, Italy, in 1967, but to me it was no competition. It was an exhibition. Really the greatest award I ever received was the Cantinflas Award in 1975 in Mexico. That is an extremely hard award to win, and when you receive it you are almost automatically nominated to be buried in the Cemetery of Illustrious Men in Mexico City. That's where the actors, scientists, politicians and others of whom Mexico is most proud are buried. If I receive that honor, I will be the first circus person buried there.

 

In 1949 I was also part of the first color TV show ever broadcast. They picked up certain acts from all over and brought us to Washington. They put us together in a show that all the dignitaries and President Truman saw. I used to do black hats, but they told me to do color so it would show up on the new TV. I've done colored hats ever since.

 

Richard Nixon was also a big fan of mine. I performed for him three times in Washington, then the last time he was in France, he came to see me at the Lido with his wife, Pat. He said he heard I was there and wanted to see me. I was very honored, he stood up and interrupted my act twice to speak to me and shake my hand! I also worked three times for Charles de Gaulle, and performed at three inaugurations of presidents of Mexico. In about 1985 President Echevarria of Mexico invited me to be in the welcoming ceremonies for the Queen of England when she visited I was also with Bob Hopes last show in Vietnam.

 

You know, I've had my share of misfortunes. It happened when I was working at the Riviera in the Splash show. I didn't exactly want to work there because the stage was so small, and there was water all over it. But they insisted I try, and I agreed to do it for a few weeks. The third or fourth week I slipped and did an involuntary split and damaged my left leg. It was practically paralyzed. I thought I had pulled some muscles and went to see a chiropractor and several doctors, but they couldn't do anything.

 

I knew there were some famous doctors of soccer players in Spain, and I called friends of mine there to get me an appointment. In Barcelona the moment that doctor saw me walk he said it was my hip. He said it wasn't that bad, that I didn't need a hip replacement, but that I should do different exercises like riding bicycles. So that's what I've been doing.

 

But sometimes when I watch TV and see an athlete with an artificial hip I wonder whether I should do it. I was in Paris when Francis Brunn had his hip replacement, and went to see him in the hospital. From what I understand he has done very well after that operation. I'm confused about the whole thing. I can do most of my act without pain, but the stick and ball is very difficult.

 

To tell the truth, I feel the same now as I did when I was 14, but my bones and legs know the difference. The doctor told me I am a model of fitness, but said I worked too hard and am in danger of abusing my body.

 

Still I practice 4-5 hours every week day. I have a very big 24 x 26 room at home, but I can't throw things high there. For that, I go out to the tennis court very early or late in the day so the sun doesn't get in my eyes. I don't practice the stick and ball much because it hurts my leg, but I practice the hats and the billiard pockets. You need to practice the pockets or you lose your timing.

 

You must practice no matter how good you are. Rastelli said if you don't practice one day you'll know the difference, if you don't practice a second day other artists will know the difference, and if you don't practice a third day the audience will know the difference because of all the props on the floor!

 

I've turned down several jobs here in Vegas and in Palm Springs because I don't want to work if I'm not at my best. I don't mind working in Japan for a few weeks, but I'm not going to work here for a long run unless I'm in my best shape. I'm not retired, though. I'm still looking for the doctor who can fix my hip. If someone can do that, within five months I'll be doing everything I used to do!