Late in the night, Beyoncé dropped an extended remix pack for “Morning Dew (Donk),” the archival release she shared last month that dates back to the Beyoncé album era. The four-track release builds on the base of the R&B track with a featured appearance from Jay-Z and new production elements that draw on releases from Soulja Boy, the Isley Brothers, and Sheck Wes.
“Bitch so bad, I had to give her my last name/Up for the cash, came diamond in the tatted rings/If you ain’t ridin’ for the gang, shut the fuck up,” Jay-Z raps on his added verse. Sheck Wes’ 2018 hit “Mo Bamba” provides an overlay on the new bridge as Jay-Z uses his first new rap verse in almost half a decade to mock any envy anyone might have over his watches or his wife.
Buried just beneath “Mo Mamba” is a sample of a song from more than a decade earlier: Soulja Boy’s “Donk.” The remix also samples “Between the Sheets,” the Isley Brothers’ R&B hit from 1983. Jay-Z previously sampled the classic track in 2007 on “Ignorant Shit.”
The other releases in the pack are the non-explicit versions of the original “Morning Dew (Donk)” recording and remix. But there’s more to come from Beyoncé. The single, written by the singer, Pharrell Williams, The-Dream, and Darius Dixon, is the first glimpse into her plans celebrating the 20th anniversary of her second album, B’Day. An anniversary edition will be released on her upcoming birthday, Sept. 4.
Shortly after the song’s initial release in July, Beyoncé joined Jay-Z on stage at Yankee Stadium during his three-night run celebrating the anniversaries of Reasonable Doubt and The Blueprint. During the first night, Beyoncé belted out the chorus of “Can’t Knock the Hustle.” She returned for night three with “Drunk in Love,” her collaboration with Jay-Z from Beyoncé
Image via Loto-Québec
Drake attends a game between the Houston Rockets and the Cleveland Cavaliers
Earl Sweatshirt Is Right: ‘Don’t Worry’ Is a Great Drake Song
Even the staunchest Drake hater can probably name at least one song that does it for them. For better or worse, Aubrey Graham has spent nearly two decades giving voice to the millennial subconscious more skillfully than any mainstream musician not named Taylor Swift, soundtracking the fears, insecurities, and romantic delusions of a generation raised on reality-TV melodrama and the first wave of social media’s main-character ethos. It should come as no surprise, then, that Earl Sweatshirt, underground rap’s poet laureate, has singled out the deep Iceman cut “Don’t Worry,” singing the song karaoke-style to close out his recent live sets. The track is the purest distillation of Drake’s appeal since the Take Care era, and a quiet reminder of why it’s hard to imagine him going away any time soon.
In the clips, which first started circulating around late May, during Earl’s Home on the Range Tour with MIKE on the heels of their Surf Gang-produced project Pompeii // Utility, it’s the song’s final turn that has Earl & Co. the most hyped up. “I just wanna see that boy beg on the pavement,” Drake coos, the type of revenge fantasy he’s built a career out of conjuring. Drake goes on. “I just wanna see that boy struggle with the phone bill,” he sings, getting specific. “The light bill/That’s how I feel.”
It’s PhD-level pettiness with a weirdly relatable spin. One must know the more treacherous depths of being broke to pinpoint the humiliation of struggling with the phone bill, and here Drake is wishing such luck onto anyone “trippin’ with the gang.” Whereas his entire catalog is fueled by this kind of anonymous sense of betrayal, it hits harder here. You can feel the sting of 2024’s rap beef in the glee with which Drake sings his imagined get-back, landing on an infectious melody all while basically giving a speech you’d expect from the Joker. “I might just get that boy hit for entertainment,” he sings.
This is classic Drake, turning the darker inner thoughts most people would be ashamed to admit into something almost beautiful. He is, in a way, rap’s Lena Dunham, finding art on the other side of cringe.
More recently, clips of Earl singing the song at the end of different tour stops — an ongoing bit at this point — went viral thanks to the never-ending stan wars between Kendrick and Drake fans. Some, unable to deny Earl’s bona fides as a rapper, assumed the whole thing must be an act of trolling, while others saw it as proof that Drake “won” the beef. The third option, of course, is that it’s a really good song, the type Drake is especially skilled at making.
At the height of the beef, like any millennial amidst a friend-group falling-out, Drake appeared to be rewatching The Sopranos, posting pictures from the show to his Instagram Stories. (Iceman’s hit single “Janice STFU” samples Tony Soprano uttering the infamous phrase to his sister, Janice.) “Don’t Worry” has the Machiavellian feeling of a classic mobster flick, a resolve for vengeance at any cost. A desire to see your enemies suffer. Across an entire album, it’s a mood that can feel heavy, but you’ve got to admit, when it hits, it hits. And that’s why Drake remains a fixture within not just hip-hop, but pop culture at large. He reconstructs embarrassingly human impulses as irresistible melodies. “Don’t Worry” might very well become the sleeper hit from Iceman, as clips from Earl’s concerts have already started to boost the song’s presence across feeds.
As he often does, Earl Sweatshirt simply speaks the truth.