bicycle-talk: dkg cnc

american-made components. often synonymous with the best of the best. chris king. phil wood. thomson. white industries. profile racing. if you know bikes, these are names you've heard. maybe parts you own. more likely if you've ever put together a custom build, because you probably took good consideration for just about every single component you installed. from the hubs to the headset. from the pedals to the saddle. from the seatpost to the handlebars. but what about seatpost clamps?

before i got to the arena of custom builds i would just use what came with the bike, like my first new bmx bike or my first second-hand mountain bike. then, whatever the bike shop had would usually do; a good reason i rode a primo viking on my T1 for a few years. luckily my first custom build-up (my brooklyn machine works park bike) saw a salsa flip-off at the base of my thomson post. both arguably the best out there. then when i started locking it up more, i needed a bolt-on clamp. another stroke of luck landed me a used nyc freeride (yay for local! when i was in new york) clamp. my next three frames would come with their own clamps; decent and functional and not too exciting. but should they be?

on the verge of completing another build i find out about this guy dave up in san rafael who's been making seatpost clamps (among other things) for a long time. he actually made the original salsa flip-off with ross shafer. while this next bike will rep a whole lot of oregon, some florida, some japan, italy and australia, i can at least have one part from the bay.

these are really local, simple and well-made, affordable and just plain nice.

http://dkg-cnc.com/bicycle.html

A Physical Autobiography of Sorts

I have begun compiling and writing in detail Kali the Filipino Art as I have been taught it by Guro Victor Velez and his Sifu Joe Musse. While I have not attended Sifu Joe's classes as a weekly pupil, I have attended several of his 6 hour seminars and am under his pupil's tutelage so I thought it was worth more than mentioning. Guro Victor Velez has been guiding me for nearly 5 years now (since summer 2004) and will continue to do so for a long long time to come.

As it happens, the Filipino Art of Kali has become the strongest driving force in my Martial Arts Career, since I began it more than 10 years ago as a preteen at the Shaolin Kung Fu Overseas Headquarters in Flushing, N.Y. I spent several years there training weekly throughout the year and daily in the summers before losing steam. I had almost learned backflips, done well with the staff form and also learned a sparring form, but I needed a break.

I began cycling. More specifically, riding BMX. (I always needed a physical activity of some sort to outlet my energy and exert my body. Before martial arts I danced a short, but illustrious career, performing at Carnegie Hall, Symphony Space, Central Parks' Delacorte Theater, the Kennedy Center, and even the White House. This is 13 years ago (1996).) I still ride bikes to this day but it is a passion for another passage.

Jump to late secondary education at Hunter College High School where I participated and eventually directed the martial arts segment of the Asian Cultural Society annual show for several years. Breaking boards, weapons forms, and fight choreography included. Mortal Kombat soundtrack optional but encouraged.

During my first two years in college at Clark University I sparingly participated in a campus "fight club" where a student and MMA trainer held sessions to teach us groundfighting and sparring situations. A handful of guys there referred to me as "flying armbar" for a while. I used spare time to study UFC and PrideFC, ended up buying the Fighter's Notebook, and began bringing my close attention to body geometry, mechanics, and their implication and exploitation in grappling. But, being a short, slim fellow, I soon drifted away from this style.

One year I attended an open style philosophy class, where one assignment was a paper on any subject, but in philosophical terms. Martial Arts was an easy choice, and so I did a good deal of research on several arts from several countries, tracing the backgrounds of their ideologies and that reflection in their techniques. The Filipino styles spoke to me most because of their concept of "defanging the snake", meaning the destructions of your opponents weapons. Translation from weapons-in-hand to empty-hands was also very appealing.

So that year I borrowed my sister-in-law's dusty Kali sticks that she had around from a class she had taken for a long time, bought a couple books on the arts, and began my intellectual studying of the art. When I returned home the summer of 2004, I met my master.

I was riding my bike with my friends along the East Riverside Park, when I rolled up to a group of fellows tapping with double sticks. I recognized it immediately as a Filipino Art. I approached cautiously, and when I was noticed, the Guro turned from his students and met me.

I said "Excuse me, but what school are you with?"

He said "Well, what school are you with?"

I replied "Oh, no, I don't mean to ask like that!"

He smiled and laughed and told me he was kidding. I told him I'd recently become interested in the Filipino Arts and he responded kindly, asking about my martial arts experience, telling me a bit about his teachings, and offering a trial class. I took down his information and gave him mine, and saw him sometime in the next week or so.

We met at the bandshell towards the water from Corlears Hook Park in the LES at 8pm on a Saturday morning. I brought my sticks and an open mind. He brought me everything. We continued there for years, even in the rain, even in the snow. Visible exhalations into the cold winter air while drilling footwork and counter-attacking are among the great memories of training. While we have studio spaces to use now, every once in a while training returns to the park and I value it highly. Artists will understand “en plein air”.

Several years later and here I am, living in Oakland for my second year. I have returned to New York many times to train. Guro and I are in good touch and he is helping me along to my next steps. I am also now teaching Martial Arts at after school programs for grades K -5 and 9-12. I hope to go further in my training and share good things from my training. Let’s see what happens.