Although it was called Charles Loiseaueveryone knew him as Caloi, Clemente’s father. The cartoonist, cartoonist and driver born in Salta and raised in Adrogué died on May 8, 2012, at the age of 63, due to colorectal cancer. It was fair ten years ago.
Caloi began his career in the magazines Tía Vicenta (in 1966, during her last year at the National College of Buenos Aires), María Belén (1967), Analysis (1968-1971) and later in El Gráfico (1976-1982), while also campaigning advertising. Furthermore, in 1968 he entered the Clarin newspaperwhere he worked for more than four decades.
Precisely for the Kaleidoscope section in Clarín, he created in 1973 the strip “Bartolo the machinist”, which was about a porteño tram conductor. He got there that same year Gracious, a secondary character, striped, with no definable shape or upper limbs, who soon devoured the strip. In his first appearance, Bartolo presented him as a dog, although Clemente was much more like a bird with a beak and his first word was “Piii”.
Caloi, Clemente’s father: an unforgettable character
Clement was popular, Peronist and soccer fanaticlike its creator. But he was a fan of Boca Juniorsunlike Caloi, a fan of River Platefor whose shirt he designed the shield with the Lion that the team (directed by Héctor Veira) premiered when they became champions of the Copa Libertadores and the Intercontinental Cup in 1986.
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During the World Cup that was played in Argentina in 1978, Clemente had a special “role”, precisely inciting the fans to throw little pieces of paper: “Throw little pieces of paper, boys!” That’s how he won the game against reporter José María Muñoz, who wanted to show the world a very clean field.
Although it was never possible to know what kind of animal it was GraciousThe truth is that he was very lovesick. His two great loves were very different: the beautiful and stylized Mimí bow tie, almost aristocratic, and the exuberant and explosive Mulatona.
Caloi, Clemente’s father: on television
Between 1982 and 1989, Caloi brought Clemente to television, for a program with dolls that passed Channel 13 and its repeating signals. And in 1990 a new challenge began on TV: Caloi in his ink, a cult program to broadcast animated films, which ran until 2008 on ATC (Argentina Televisora Color) and cable.
The Legislature of the City of Buenos Aires appointed him “Outstanding Personality of Culture” and to his invention Clemente gave him the title of “Cultural Heritage of the City” in 2004.
“I have been a born and net cartoonist. I’ve been drawing pretty much from the time a boy can pick up a pencil,” he said. Caloi five years later, when the Buenos Aires Legislature also appointed him Distinguished Citizen.
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His works remain forever in the memory and in more than 30 books, such as The Long Book of Caloi (1968); Caloi’s Free Humor (1972); Clemente (and Bartolo) 1 to 4 (1977-1978); Clemente and the World Cup (1978); You don’t play sports with 1, 2, 3 and 4 (1987, 1988, 1994, 2000) and Humor de amores (1989). Other of his unforgettable works are Caloi, Clemente and psychoanalysis (1979, reissued and enlarged in 1989); Everything is culture (1993), Clemente’s book (1996); Clemente 1 and 2 (new series 1998 and 2001) and Desfortunados en el humor (2004).
Caloi, Clemente’s father, received many awards in Argentina and abroad, although he always insisted on clarifying that the recognition of his colleagues, his friends and his readers mattered more to him. Without a doubt, he did too.