The guy in the middle of the shot is a soccer fan and the girl over there… oh…

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[3.83]

Will Adams: Four points for the beat, because everything else — the annoying rappers on top, the perfunctory chest-puffing, the fucking video — is working so hard to undermine it.
[4]

Anthony Easton: I think to understand the social politics of this, I would have to be second or third generation South African — especially the Trojan horse irony of white Africans criticizing Americans of the African diaspora using the hooks that were last used by an Anglo-Sri Lankan, who gave up her politics to marry the scion of a Jewish Canadian bootlegger turner Hollywood Mogul. 
[6]

Jonathan Bradley: I’m suspicious of Die Antwoord’s concerted, albeit understandable, desire to speak for all of South Africa; nations are bodies too layered and contradictory for their contours to be mapped by a single voice. I’m also suspicious of the relish with which Ninja and Yo-Landi Ve$$er spit the word “fuck.” Lines like “rappers are fucking boring” and “one big inbred fuckfest” are too reminiscent of those penned by novice rhymers who don’t habitually pepper their verses with Afrikaans slang but are under the impression that hip-hop’s disruptive properties lie in its expletives. (Note: It wasn’t the curse word that made “Fuck the Police” so incendiary.) I’m suspicious of the lazy discordance too; Yo-Landi’s deliberately grating sing-song and the arrangement’s elevation of clatter over propulsion seem to be intentionally unpleasant rather than experimental. Punk, even at its most fatuous, has always been built on play-acting, but the performance should be convincing enough to erase even legitimate doubts about its fraudulence.
[4]

Brad Shoup: I saw these goons at ACL, and I started to get the Juggalo vibe something fierce. Most of it is circumstantial (they both talk about ninjas a lot, they’re fiercely territorial, they share an affection for dance-pop cheese, Yo-Landi’s pipsqueak interjections are a combination of MC George Castanza’s meows and Lil Blaster from the Gathering parodies). “Fatty Boom Boom” is obnoxious in a way that twists my dial: multi-vector anger, bratty delivery, provocative lines that go unhighlighted. All this is put over by a souped-up percussive track that thumps, clangs, and beeps like an idle arcade cabinet.
[7]

Alfred Soto: The helium-voiced one is more compelling than the normal one — if you consider “rapping like you imagine Justin Timberlake” might.
[2]

Jonathan Bogart: When someone says “that joke isn’t funny any more,” what they really mean is that it never was.
[0]