Probably the Jukebox’s highest-rated day ever for days when Chicago is the southernmost point represented…

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[5.67]

Andy Hutchins: Months after it first set the ‘Net on fire, there’s still nothing wrong with Young Chop’s instrumental: a demented music box melody, snare rattles, and thumping bass is the logical playground for Chicago kids playing childish games. Depending on your level of empathy, it is somewhere from too bad to nationally tragic that the games are not just that, but even those who would protest saying that authenticity is no substitute for quality would have to concur that the menace here is very real, and that Fredo in the cut, that’s a scary sight.
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Alex Ostroff: I always understood the appeal of world-crushing Lex Luger-esque beats, in theory, but I never really felt them on a visceral level until “I Don’t Like”. I’m not sure exactly what it is about Chief Keef, but he does what neither Waka nor Rick Ross were able to do. The phrases are spare and direct, but Keef doesn’t feel the need to boom over the clamor. The loudest the vocals get are during the chorus, which relies more on repetition than volume anyhow. 
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Patrick St. Michel: Hang around teenagers long enough and you find out they love talking about the shit they don’t like but very few of them could turn a glorified list of complaints into one of the catchiest rap hooks of the year. Chief Keef does that with “I Don’t Like,” and does it while sounding like he’s having a lot of fun listing off the stuff he hates alongside a few things he does enjoy. He also sounds stonefaced about some pretty grim stuff, stuff that’s a daily part of life in the South Side of Chicago. “I Don’t Like” isn’t upbeat, but it sounds gleeful: kids finding some solace from the real world by reciting stuff that pisses them off in a giddy way.
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Alfred Soto: A sucker for closed circuit hip-hop party fodder like Rick Ross’ “B.M.F.,” this variant may be asinine but it ain’t stupid. The Chief’s snotty tone would have kept me hooked for ten or twenty more verses.
[6]

Anthony Easton: I am reading Eco’s anthology of lists right now, and he talks about how the list has to contain both a re-iteration and a variation. So, it has to have a spine, and then a way to articulate from that spine — but there is room for the same phrase repeated ad infinitum, a kind of blunt, club like power. And if I was African-American, I wouldn’t talk to the cops either. Both of those caveats aside, this is ugly; the misogyny, of course, but the cheap rhymes, the muddy production, the arrogance, too. It’s not even a good list.  
[2]

Will Adams: It’s a bit distressing that I couldn’t decide what offended me more: the obnoxiously loud kick drum or the condemning of snitching. Is something wrong with me?
[2]

Zach Lyon: I try to only create the shit I’d want to consume, and every time over the past year that I’ve daydreamt of stealing and half-learning the software to become an amateur producer, I imagined creating this beat. Not exactly the same, and not nearly as well, because Young Chop’s work is a vision. I have no right to be bitter about it, so I won’t be.
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Jonathan Bogart: It’s been good to finally be able to put a beat and a hook to the “that’s that shit I don’t like” word-string that’s been popping up all over the Internet for a minute, but other than the gift of a catchphrase to the world (which, don’t get me wrong, is always a serious plus), there’s not a lot left to love. I was left absurdly grateful to Little Reese for breaking up the monotony.
[6]

Brad Shoup: There’s something imperial about the chorus; specifically, the effete way Keef brushes people off. This kind of woozy music-box-and-pirate-shanty thing — that Lost Boy shit — has really grown on me the last few months. Big problems with the inhale sound, though. Super weak, but I’m sure J-Zone will post a decent list soon. 
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