Download Hip Hop Instrumental Mixtape

In his book on vegetable and oil tariffs, there is an appendix (entitled Appendix B) in which the calculus of an instrumental variables estimator was worked out. Elsewhere, Philip thanked his son for his valuable contributions to what he had written, referring to the path analysis that Sewall had taught him. This path analysis, it turned out, played a key role in Appendix B.

What did we learn? First, we learned how a contemporary piece of applied microeconomics goes about using instrumental variables to identify causal effects. We saw the kinds of graphical evidence mustered, the way in which knowledge about the natural experiment and the policies involved helped the authors argue for the exclusion restriction (since it cannot be tested), and the kind of evidence presented from 2SLS, including the first-stage tests for weak instruments. Hopefully seeing a paper at this point was helpful. But the second thing we learned concerned the actual study itself. We learned that for the group of meth users whose behavior was changed as a result of rising real prices of a pure gram of methamphetamine (i.e., the complier subpopulation), their meth use was causing child abuse and neglect so severe that it merited removing their children and placing those children into foster care. If you were only familiar with Dobkin and Nicosia (2009), who found no effect of meth on crime using county-level data from California and only the 1997 ephedrine shock, you might incorrectly conclude that there are no social costs associated with meth abuse. But, while meth does not appear to cause crime in California, it does appear to harm the children of meth users and places strains on the foster care system.

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And finally, there is the monotonicity assumption. This is only strange at first glance but is actually quite intuitive. Monotonicity requires that the instrumental variable (weakly) operate in the same direction on all individual units. In other words, while the instrument may have no effect on some people, all those who are affected are affected in the same direction (i.e., positively or negatively, but not both). We write it out like this:

where $Y$ is log earnings, $S$ is years of schooling, $X$ is a matrix of exogenous covariates, and $\varepsilon$ is an error term that contains, among other things, unobserved ability. Under the assumption that $\varepsilon$ contains ability, and ability is correlated with schooling, then $C(S,\varepsilon)\neq 0$ and therefore schooling is biased. Card (1995) proposes therefore an instrumental variables strategy whereby he will instrument for schooling with the college-in-the-county dummy variable.

The judge fixed effects design is a very popular form of instrumental variables. It is used whenever there exists a wheel of randomly assigned decision makers assigning a treatment of some kind to other people. Important questions and answers in the area of criminal justice have been examined using this design. When linked with external administrative data sources, researchers have been able to more carefully evaluate the causal effect of criminal justice interventions on long-term outcomes. But the procedure has uniquely sensitive identifying assumptions related to independence, exclusion, and monotonicity that must be carefully contemplated before going forward with the design. Nevertheless, when those assumptions can be credibly defended, it is a powerful estimator of local average treatment effects.

But all this is to say, IV is an important strategy and sometimes the opportunity to use it will come along, and you should be prepared for when that happens by understanding it and how to implement it in practice. And where can the best instruments be found? Angrist and Krueger (2001) note that the best instruments come from in-depth knowledge of the institutional details of some program or intervention. The things you spend your life studying will in time reveal good instruments. Rarely will you find them from simply downloading a new data set, though. Intimate familiarity is how you find instrumental variables, and there is, alas, no shortcut to achieving that.

"I'm God" isn't included on Instrumental Mixtape; the beats here are even more diffuse, and it wouldn't really fit. It speaks to Clams' rarefied vision that he refuses to find room for an in-demand instrumental on a free download but includes an untitled final track, a bizarre, minute-long footwork-like manipulation of "Teddy's Jam" from 1980s new jack swing group Guy. This collection of instrumentals doesn't simply survey Clams' production; it turns his rap beats into moody compositions and flips the basic beat-tape concept into an album-like collection of electronic music.

I want to rap over some instrumentals like Simba by J. Cole or Dead Presidents by Jay Z for an EP. I'm not looking for any $ at all but don't want to get the tracks taken down for copyright infringement.

Yuichi Ushioda's album is pretty nice folk music for all Nick Drake lovers. It's sung in Japanese and that's were I feel a bit disconnected with my western/english trained listening preferences. Shame on me. He is really good and the only instrumental is smooth as silk.

Instrumentals is the debut mixtape of American record producer Clams Casino. It was self-released as a free digital download on March 7, 2011. It features instrumentals of tracks that he produced for various rappers, including some bonus songs. In July 2011,[1] Instrumentals was reissued by Type Records as a physical release.[2]

Instrumentals consists of Clams Casino's reconstructions of backing tracks he originally produced for rappers such as Lil B and Soulja Boy.[3] An electronic mixtape,[4] it features illbient, glitchbeat, and chillwave styles.[3] Some of the mixtape explores a more traditional hip hop sound. Its second half touches on bouncy basslines ("She's Hot"), dubstep-influenced, low-end grind ("Brainwash by London"), and vocal looping similar to the production of Kanye West ("Cold War").[1] Instrumentals appropriates Casino's previous hip hop beats into moody compositions, which are characterized by melodramatic drum crescendos and melancholic electronic sounds.[4]

Pitchfork placed Instrumentals at number 17 in its top-50 albums of 2011 list.[7] In 2014, the website also placed the album at 100 on its list of "Best Albums of the Decade So Far."[8] It ranked the song "Motivation" number 30 on its list of the Top-100 Tracks of 2011.[9] Stereogum ranked the mixtape number 21 on its year-end top albums list.[10] Fact named it as one of the best instrumental hip hop mixtapes to come after the release of J Dilla's Donuts album.[11]

One of the great musical traditions of the 2010s is waiting, Christmas-like, for Clams Casino to drop the latest installment of his instrumental mixtapes. The third volume arrived all the way back in 2013 and now Clams has unveiled Instrumental Mixtape 4, his first since releasing his debut album 32 Levels last year. He previewed the tape on Saturday night's edition of OVO Sound Radio.

Mac's production alias Larry Fisherman always delivers strange, experimental production and this new project is no different as we get a total of 27 minutes of far out, spacey extra left-field instrumental productions. He shows off his growth as a producer on this tape as It's something you can throw on in to listen to in the background and aspiring rappers can be inspired by. Enjoy! 006ab0faaa