Tetrad dlya trenirovki ruki (Russian) Hardcover – 2011. Pavlovskaya (Author) Be the first to review this item. See all formats and editions Hide other formats and editions. Price New from Used from Hardcover 'Please retry'. 60 0.01% 60 0.01%.

1 ca.1492-1501 A.D. Samurai sword in Russo-Japanese War Army Officer Kyu-gunto mounts available. This sword was carried by true Samurai. This fine antique Japanese Army Officer's Kyu-gunto sword would make an important addition to any collection. This sword is papered to godai (5th Generation) Soshu Hiromasa. This 15th/16th century sword was carried by Samurai--then was remounted for carry during the Russo-Japanese War. This sword was then later carried during World War II as well. The blade of this sword measures exactly 23 7/16' from blade tip to the bottom of the notch in the habaki (measured properly without holding the tape to the curved spine).

This sword is mounted in premium kyu-gunto military mountings. Note the black same/rayskin grip. This sword has fine horimono/carvings on each side of the blade.

Each side also has a bohi/blade groove. This Samurai sword has a fiery hamon w/ashi ('flying temper'). The hamon is very complicated. Holding the blade at a different angle under light reveals character that wasn't visible at the previous angle. Turn the blade again, and yet new activity is visible. Utsure can be seen in this fine blade. The sword fittings have a gold wash.

This tsuka/handle backstrap bears a Samurai family mon. This fine Russo-Japanese/World War II Japanese kyu-gunto sword by godai Hiromasa is in good polish. Unquestionably, this is a sword that is worthy of a fine Japanese polish. The wire tsuka wrappings are all intact with no breaks. All fittings are nice and tight on this sword.

The sword lock functions perfectly. The hamon/temper line is perfectly healthy. The bohi is perfectly healthy. This sword is guaranteed against fatal flaws. This desirable Russo-Japanese/World War II Army Kyu-gunto sword with ca.1492-1501 A.D. Samurai blade by 5th Generation Hiromasa would make an important addition to any collection.

The Violent Femmes--whose 1983 revenge-of-the-nerds DIY debut album sold a million copies without ever charting or receiving a lick of promotion--re-emerged on a pair of soundtracks: South Park: Bigger, Longer & Uncut, and Mystery Men, on which the band plays a stellar cover of the Stranglers' 'No More Heroes.' 'We're a group that plays all the time and goes all around the world,' explained Violent Femmes singer/guitarist/songwriter Gordon Gano, during a phone interview from his New York home, 'but about once a week I run into somebody who asks, 'Yeah, so what's up with you guys? Do you play anymore ever?' 'The answer is, 'Yeah, that's what I do.' ' To say that the Violent Femmes--who blend choppy guitars and bare-bones arrangements, punchy riffs, and self-effacing lyrics with often Captain Beefheartesque experimentalism--have had an up-and-down career is an understatement. Gano, the son of a preacher, has flirted with Christian messages in such tunes as 'Country Death Song' and 'Jesus Walking on the Water,' a seeming contradiction to his penchant for penning teen anthems dealing with masturbation, rebellion, and chicks ('36-24-36'). Critics often scratched their heads in confusion over the band's musical direction and issued some quite unkind assessments of Gano's religious inclinations.

'A lot of people have a hard time with different viewpoints or different ideas coming from the same writer,' says Gano, chronicler of a twisted Americana--like Aaron Copland on acid. 'In rock, songwriters are supposed to be speaking to you from their heart, meaning what they truly believe.

Critics like artists to be simple and straightforward. 'That's a problem we constantly have with this business.' Still, the Violent Femmes have had their share of success. Their eponymous 1983 debut LP on Slash/Warner stands as one of the first and most successful alternative rock releases.

Airport planning and design by sk khanna pdf free. Its 1984 follow-up, Hallowed Ground, while critically panned, is a post-punk classic. Producer Jerry Harris of the Talking Heads produced the band's third and most commercially successful album, 1986's The Blind Leading the Naked, before the band split temporarily, with Gano and bassist Brian Ritchie releasing a series of solo projects. The band regrouped three years later only to crash and burn with 1989's stylistically jumbled 3and 1991's nostalgia-fueled Why Do Birds Sing?, which included an insipid cover of Culture Club's insipid 'Do You Really Want to Hurt Me?' A 1993 greatest hits and live rarities compilation, Add it Up (1981-1993), is a strong representation of the band's most creative output.

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At Elektra Records, the band gained more artistic freedom, releasing a pair of darker discs that died on the racks. A subsequent deal with Interscope Records--home to Primus and Limp Bizkit--looked promising, but for four years the label declined to release any of the band's tapes.