![]() Even his play on Ol’ Blue Eyes feels more like a Dick Tracy comic book character than a signification of slickness or timeless cool, as Sinatra is for perpetual cornball Logic. It’s an image enhanced by his delightfully absurdist mixtape covers, usually designed by surrealist mixtape visionary KD Designz, casting Peewee as pieces of candy or bowls of spaghetti. Peewee has long leaned into the cartoonishness suggested by his name, rapping with a playful candor. He’s now something of a link between multiple eras of regional hip-hop history-the rap game Rat Pack of Longway Sinatra 2 is made up of everyone from legendary Memphis producer Jazze Pha, to new stars in the Southern constellation like Lil Baby and Blac Youngsta, to similarly underrated Atlanta workhouse Hoodrich Pablo Juan. On Longway Sinatra 2, Peewee pulls the listener closer for some of his most intimate and introspective tracks yet-call it In the Peewee Small Hours. The first Longway Sinatra might have had the swagger, but it lacked close-to-the-mic crooning. Most recently, Peewee has positioned himself as part of a tag team with fellow Georgia self-starter and crypto-entrepreneur Money Man together the two are a classic opposites-attract odd couple pairing, Money Man like a more menacing Red Power Ranger to Peewee’s goofier “Blue M&M.” ![]() He’s cited by peers as something of a mover and shaker behind the scenes, even as mainstream momentum has slightly eluded him-he helped facilitate Migos’ original deal with Quality Control, and Gucci Mane credits Peewee with introducing him to the enigma and icon that is Thugger, one of the most fruitful and paradigm-shifting creative relationships of rap’s last decade.
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