Since he's not wealthy, his weightlifting equipment consists of portland cement molded inside cracker tin cans and linked by galvanized aluminum tubes, similar to what Fred Flintstone would use to lift weights.
Vitín is depicted as doggedly persistent and successful in anything he puts his mind into, as long as things do not go wrong (when they do, a comic sketch is born).
As a result of his blatant passing and manipulative character, however, there is no known sexual or romantic partner of Vitín's, male or female.
Whenever Vitín is not featured in a proper comedy sketch, he has a habit of receiving famous visitors to his establishments, in both his radio and his television shows.
In actuality, Vitín has always complained of having a pot belly, although he claims to take good care of his "temple", his body (using Saint Paul's verbal analogy).
He reluctantly had to set up the entire gym alone (feeling that he had been tricked into doing the work alone), and had to endure the teasing of his male friends, who made fun of his "interior decorator" skills.
("Papa" is actually a term used by natives of the United States Virgin Islands to refer to Puerto Ricans) Sometimes Vitín recites a long exchange of questions and answers that has become an audience favorite.
He may either expect the responses from either his guest (which may or may not be familiar with the exchange) or his studio audience (who usually do know it by heart; as the audience is not supposed to participate in programs Vitín claims the next-door neighbors are the ones who respond) The exchange goes like this: "Mi manguera es tu manguera / ¿Con la fría o la caliente?
(the last two repeated at least three times) The exchange was assembled little by little over the years, and can be explained this way: Vitín has recorded various songs, some of which have become cultural references.
The whole concept of Vitín owning a gym on the first place was supposedly an excuse to have potential wrestlers train at his house, where he could manipulate them psychologically.
Most candidates either fled the place immediately or did pay their cheap dues given the rudimentary quality of the gym's equipment.
King Cabra was played by Puerto Rican cuatro musician Pedro Guzmán, who was a regular player in the Sunshine's Café house band.
However, given Vitín's strict celibacy requirements as a pre-requisite for training, King Cabra eloped with Kenya, the Haitian fire-eater at the Gurabo, Puerto Rico Patron Saint feasts.
This caused Vitín considerable strife, since he considered King to be his "hermano putativo" ("putative brother", a phrase Logroño uses as a comic device, since "puta" is the vulgar Spanish term for a prostitute) Guzmán's affable character, high pitched voice and short height helped give the character a likable quality, and therefore King Cabra became an audience favorite, getting standing ovations from the program's audience whenever he appeared.
Culebro Mendoza is Vitín's current sidekick, and is played by Jesús Muñoz, a production assistant of Logroño's turned comedian.
The snake ("culebra" in Spanish) dancer caught the public's attention, and Logroño incorporated him into Vitín's sketches.
Since reaching Puerto Rico, Culebro has (either naively or because of necessity) remained in Vitín's "stable" through the years, serving as a janitor at the Musculus gym.
Due to his rather spartan living conditions and schedule, Culebro longs for female company, to which Vitín vehemently objects.
Since many of these programs were dubbed in Mexico, Arévalo played his Indio Nando character speaking with a Mexican accent, in a way similar to the dubbed Spanish version of Baba Looey (called "Pepe Luis" in Spanish) shown in local television airings of Quick Draw McGraw cartoons.
Yuca Vitín and Indio Nando had a rather constant routine: they opened telephone lines to ask listeners to suggest a public Puerto Rican personality annoying enough to be either scalped or flogged.
Since their time reference frame was 1493 (the year when Puerto Rico was "discovered" by Christopher Columbus' naval crews), they answered "the spirits talking over the magic stone" (i.e. the voice at the speaker phone) very reverently.
Logroño counters saying that, during a visit to a public school, some students approached him and told him their physical education teacher made passes similar to Vitín's; by this he implied that the character was merely a humorous take on something that naturally occurs in Puerto Rican society.