During a recent episode of “It Is What It Is,” Cam’ron pulled no punches about the damage R. Kelly and Kanye West have done to their hometown, Chicago. “I ain’t saying nothing about the city of Chicago,” Cam’ron attempted to clarify before going into a pointed criticism. “It’s a lot of sh*t going on with two of the biggest superstars […] Not just from Chicago, ever in music history. His tone, clipped from a viral broadcast on Kollege Kidd, was one of frustration that comes only from somebody who genuinely respects the game. Both artists are hugely influential and have significantly contributed to the music world, yet their shame has tainted their images, to say the least.

The case of R. Kelly, who is now serving a 30-year sentence after being convicted of sex trafficking and racketeering, among other charges related to child pornography. Kanye, who is not embroiled in any legal battles of this magnitude, has come under fire in recent years for irresponsible behavior and provocative opinions that have tarnished his formerly brilliant image. Cam’ron’s note felt like the voice of someone trying to wake up the room. “Ya’ll putting a stain on a good city, man,” he added. “Y’all need to chop the sh*t baby.” It is rare that artists call out peers so directly, especially not when those peers are industry titans.

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But Cam’s position is that Chicago is owed more than the junk that a pair of musical icons has left in its wake. His statements had nothing to do with cancel culture or clout. They were about accountability as representatives of a city that took immense pride in its deep talent. Some of the strongest critiques are made from the inside. Cam’ron’s words won’t unwrite the damage of a legacy, but they add an honest voice to the conversation, a voice that won’t discount the price of celebrity scandal on the communities they once uplifted.

In recent news that puts her in the spotlight, SZA has officially reigned for longer than Adele on one of Billboard’s most impressive chart races. Her 2022 album “SOS” just this week clocked its 85th week in the top 10 of Billboard’s 200 chart, according to Billboard and Luminate, surpassing Adele’s 2011 behemoth “21” and claiming a new title of the longest-charting top 10 album by a female solo artist. It’s a huge moment for SZA and modern R&B. Battlecraft, 2017 64. Tasha Cobbs Leonard, ‘I’m Getting Ready Tasha Cobbs Leonard, ‘I’m Getting Ready (feat. Nicki Minaj)’ We have mostly lost the big glossy gospel song in 2017, traded for meditation and affirmations.

It speaks volumes that a deeply emotional, genre-blurring project like “SOS,” which resonated with so many millions, still demonstrates it has the longevity of a classic. And all that while SZA was crisscrossing the country on her “Grand National” tour, opening for revolutionary legends Kendrick Lamar and Mustard. “SOS” has been at the No. 1 position since 2022 and has not let up. It has occupied the No. 1 position on 12 occasions, returning twice to the top this year following the reissue of the album as the LANA deluxe edition. And “SOS” may now wear the crown for female artists, but it is also climbing into extremely rarefied air overall.

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For some perspective, the reigning all-time top 10 are the My Fair Lady soundtrack (a staggering 173 weeks starting May 5, 1956) and Morgan Wallen’s Dangerous, at 158 weeks. For many fans, “SOS” was a soundtrack for healing, heartbreak, and reflection. It has officially been added to a list of one of the longest-running works of the modern era. Adele’s 21 walked so “SOS” could run straight into the history books. And with SZA still on tour and still making and connecting to music, who knows how many more weeks she’ll lead.