Education is Elevation
The Set Was Good, Though I sat in my chair and I let Tony Hinchcliffe finish, the way I let everybody finish, and now I’m doing the thing this country keeps confusing for an attack: I’m giving a criticism. Freedom of speech does not equal freedom from critique. No one is above criticism. Nothing is above criticism especially comedy. Freedom of speech has never meant freedom from critique. On May 10th, Netflix ran The Roast of Kevin Hart, and Tony Hinchcliffe, the same MAGA comic who got on a stage at a Trump rally in Madison Square Garden and called Puerto Rico a floating island of garbage, looked out at the crowd and said the Black community was so proud of Kevin, and that George Floyd was, quote, looking up at us all laughing so hard he can’t breathe. He took a man’s dying words, the words a whole planet heard him cry out for his mama with a knee on his neck, and he flipped them into a punchline at a Black man’s celebration. Then weeks go by. George Floyd’s brothers, Terrence and Philonise, say plainly that real pain is not comedy to their family, that at some point y’all have to stop playing with us. And Kevin Hart, who attended George Floyd’s funeral, pulls up to The Breakfast Club and does the one thing that tells you everything. He defended the white man. Not with a fist. With a posture. “It wasn’t a tasteful joke to our culture, to our audience,” he says, and then in the same breath, “but Tony Hinchcliffe arguably had the best set or one of the best sets.” “Y’all worried about the joke, but the set was good though. Remove me from it, I didn’t say it, we move on.” That’s not a defense of comedy. That’s a man with more energy and more effort for publicly protecting a white comedian’s craft, than for protecting the humanity of his own people. The people who bought your tickets, attend your shows, and made you visible from the beginning. Two Things Can Be True Now let me be fair, because two things can be true and I’m not here to do what they do to us, which is flatten a whole person into one bad night. Roast comedy is provocation. That’s the genre. Kevin caught it too: they joked about his dead mama, his dead father, put him on a slave ship in a bottle. I’m not pretending he was the only target or that he didn’t take his licks. The question was never whether Tony tells offensive jokes. We know what Tony does. Kevin himself said it: “It’s Tony Hinchcliffe, I don’t expect less.” The question is what do YOU do, Kevin, when the offensiveness stops being a bit about a celebrity and becomes a desecration of a murdered Black man whose family you sat in a pew with. Because here’s the contradiction, and I’ll name it. Kevin Hart felt individually came for, so he came to his own defense, fast, fluent, and on the biggest Black platform in the country. So I have to ask: how come Kevin didnt feel came for when your whole community is being attacked and targeted by that orange man? The same orange man Tony Hinchcliffe campaigned for. The luxury to treat George Floyd as a joke you can “move on” from is a sign that the knee was never on your neck in the way it’s on the rest of ours. The view from the top of the comedy game is a view from nowhere, and a view from nowhere is always, secretly, a view from whiteness. Racial Illiteracy: A Teaching Moment If I was still in the classroom, I’d put Kevin’s interview on the projector and I’d write two words on the board: racial illiteracy. That’s when you lack the ability to read and write situations pertaining to race. Because there is a difference, kinfolks, and it’s the whole ballgame. There’s a difference between a racial joke and being racist. There’s a difference between defending the continuity of comedy and prioritizing humanity. Kevin can read a room for a laugh better than almost anybody alive, that’s his genius, but he could not read this room, this moment, this country, and that illiteracy is not a personal failing as much as it is a learned comfort. Charles Mills called it the epistemology of ignorance, a whole social agreement to NOT know certain things, to misread the racial world in ways that keep the structure comfortable. Tim Wise says privilege costs you clarity. And when Kevin says “remove me from it, I didn’t say it,” he’s reaching for the most American defense there is, the bystander’s plea, the same logic that lets a country watch a murder on video and still ask what the victim did wrong. Pete Davidson put a Charlie Kirk joke in his set too, and Kevin shrugged at that the same way. Notice the pattern: the discomfort only ever flows one direction, away from the powerful and onto the dead who can’t clap back. Every Accusation Is a Confession “Don’t be too sensitive to take a joke,” they tell us. Every accusation is a confession. The people screaming loudest about freedom of speech turn into the most fragile beings on Earth the second the speech gets returned to sender. They’ll desecrate a man who called for his mother as he died and call it edgy, then clutch their pearls when a grieving brother says something vulgar back. They dish out cruelty for laughs and get real uncomfortable when the same energy comes home. They pissing on us and telling us it’s raining. Where is the smoke for Tony, Kevin? You found a paragraph of energy to remind us his set was strong. You had a whole rebuttal ready about your dead parents. So where’s the equal-and-opposite force for the murdered man your industry made into a closer? That silence is not neutrality. Naming neutrality as neutrality is a hustle. Silence in the presence of power is a position, and the position your silence structurally took was Tony’s. This Ain’t a Throwaway And I want to be clear, because I critique from inside the community, not from the bleachers. I’m not throwing Kevin away. I’m not calling him irredeemable. As a matter of fact, I’d love a private conversation about the ways, politically, socially, economically, that a man with his platform and his pockets could pour into Black equality, Black freedom, Black liberation, instead of pouring his protective instinct onto a comic who’d campaign against all three. You a comedian. I’m a critic. I’ma stay in my lane, that’s my ministry. But the lane I’m in says this clearly: you can care about preserving the quality of comedy AND preserving the humanity of Black people. I’m not saying you can’t hold both. I’m asking which one you reached for first, fastest, and hardest. The tape answers for you. By defending him, Kevin, you’re making whiteness visible, you’re showing us exactly whose comfort gets the bodyguard. So here’s the ask, the same one I’d give any of my folks: do better, bro. Pick humanity first next time. Because this ain’t the wrong side of comedy, this is the wrong side of history, and I don’t say that as a threat, I say it as a promise that the receipts keep. Critical Historical Context To understand why a single roast joke detonated the way it did, you have to understand that turning Black death into white entertainment is not a glitch in American culture. It is one of its oldest, most profitable traditions. From the Auction Block to the Punchline Long before Netflix, the spectacle of Black suffering was sold for amusement and instruction. The lynching postcard industry of the late 1800s and early 1900s mailed photographs of murdered Black people as souvenirs and Christmas cards; Without Sanctuary, the archive assembled by James Allen, documents how white families posed and smiled beside the bodies the way Hinchcliffe’s audience laughed beside a dead man’s last words. Saidiya Hartman, in Scenes of Subjection, calls this the spectacular character of black suffering, the way Black pain gets staged, repeated, and consumed until the horror becomes comfortable, even pleasurable, for the watcher. The roast joke is that lineage in a tuxedo. The Minstrel Stage and the Comedy of Black Disposability American comedy itself was, at its commercial founding, blackface minstrelsy, the most popular entertainment form in the 19th-century United States, built entirely on the premise that Black life was a thing to be mocked, mimicked, and made grotesque for white laughter. The genre survived emancipation, survived the cakewalk, survived into film with Birth of a Nation. The throughline from Jim Crow the minstrel character to Jim Crow the legal regime is not a coincidence; the laughter was always part of the machinery of dehumanization. When a modern comic stands on a stage and treats a police killing as a setup, he is not breaking taboo. He is reactivating the founding logic of the form. George Floyd, 2020, and the Largest Protests in U.S. History On May 25, 2020, Minneapolis officer Derek Chauvin knelt on George Floyd’s neck for over nine minutes while Floyd said he could not breathe and called for his mother. His murder set off what historians have called the largest protest movement in American history, with an estimated 15 to 26 million participants across the country in the summer of 2020. The roast joke landed almost exactly six years later, in the same week as the anniversary of his death. Hinchcliffe did not pick George Floyd at random. He picked the single most recognizable symbol of the modern movement against anti-Black state violence and converted it into a closer. The joke was a referendum on whether that movement’s grief still counts. Afropessimism: Why the Joke ‘Works’ Frank Wilderson’s Afropessimism gives us the most uncomfortable but clarifying lens. Wilderson argues that anti-Black violence is gratuitous, not provoked, not economically required, not a means to an end, but a structural given. The Black body functions as fungible, an object available for the world’s use, including its enjoyment. The reason the audience could laugh is that, at the level of the libidinal economy Wilderson describes, George Floyd’s death was already available as raw material, already socially dead, already a thing rather than a person whose mourning is sacred. I hold this as descriptive, not prescriptive, alongside the Black Marxist reading that insists this structure can still be fought. But you cannot understand the ease of the laughter without it. The joke was not an aberration. It was the culture telling the truth about itself. Education Is Elevation is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. The Implication for Education I keep coming back to the phrase racial illiteracy, because it is, at root, an educational problem, and educational problems have educational solutions, which means they also have educational sabotage. Reading and writing situations pertaining to race is a literacy, a teachable skill, the same way phonics and number sense are teachable. We are not born knowing how to locate ourselves inside a structure of power; we learn it, or we are prevented from learning it. The reason a brilliant, quick-witted man like Kevin Hart could read a comedy room flawlessly and misread a racial moment catastrophically is that the second literacy was never required of him to succeed, and may have been actively discouraged, because the more racially literate a Black entertainer becomes, the harder he is to sell to a crowd that wants its Blackness apolitical. Now connect that to this exact moment in American schooling. Across the country, the machinery that teaches racial literacy is being dismantled on purpose. Anti-CRT and ‘divisive concepts’ legislation has passed in a wave of states, restricting how teachers can discuss race, racism, and history. Book bans have stripped Toni Morrison, bell hooks, and the lynching record itself out of classrooms and libraries. Advanced Placement African American Studies was politically gutted in multiple states before it ever reached the students who needed it most. The Department of Education’s capacity to enforce civil rights protections has been hollowed out. The federal retreat from public education media, the slow strangling of the PBS-and-public-broadcasting model that once made deep historical knowledge freely available, leaves a void exactly where racial literacy used to live. So here is the implication, and it’s a verdict. A society that bans the teaching of why the joke is violent will keep producing audiences that laugh. The roast crowd and the school board crowd are the same project. You cannot defund the history of lynching, ban the books that name anti-Blackness, and dismantle the curriculum that builds racial literacy, and then act surprised when a stadium full of people can’t tell the difference between edgy and evil. The classroom and the comedy club are connected by a single wire: what a people is permitted to know about its own death. Intersectional Material Impacts Symbolic harm is never just symbolic. Crenshaw teaches us that the people who fall through the cracks of a single-axis analysis are the ones carrying the heaviest material weight, so let me name who actually pays when George Floyd’s death becomes a punchline and a celebrity shrugs. Black Women and the Mothers Who Are Never the Joke’s Concern George Floyd called for his mother. The roast circuit, the defense of it, and most of the commentary that followed centered men, the comic, the host, the brothers, while the figure at the emotional center of his death, the Black mother, became invisible. Moya Bailey’s misogynoir names how Black women are simultaneously hyper-exposed to violence and erased from its mourning. The material impact: Black women, who led the Movement for Black Lives organizationally and who disproportionately do the unpaid labor of grief, protest, and care after every killing, get neither the protection nor the platform that a male celebrity commands in a single Breakfast Club segment. Class: Whose Comfort the Joke Protects Kevin Hart’s ability to “move on” is a function of his bank account. The Floyd family does not have that exit. The working-class and poor Black communities most likely to be policed the way George Floyd was policed are the ones who watched a member of their own, made wealthy by their dollars, defend the man who mocked their nightmare. Class does not insulate you from anti-Blackness, but it does buy you the option of pretending it isn’t there, and that pretense is purchased on credit borrowed from the people who can’t afford it. Sexuality, Disability, and the Hierarchy of Grievable Death Hinchcliffe’s career is built on a ladder of disposable targets, Puerto Ricans, immigrants, the disabled, the dead, and that ladder is not random. Judith Butler’s question of which lives are grievable maps directly onto who becomes safe to joke about. The same structure that makes George Floyd’s death a punchline makes disabled, queer, and undocumented people punchlines too, because they all sit on the wrong side of the line dividing lives that must be mourned from lives that may be used. An intersectional read refuses to defend Black humanity while leaving everyone else on that ladder behind. White Feminism, White Comedy, Same Complicity And I’ll say it the way I always say it: the “it’s just comedy, don’t be sensitive” defense is the comedy world’s version of White Feminism’s “I didn’t mean it that way.” Liberalism is a hell of a drug. It lets people participate in a structure of harm while reserving the right to feel like good guys, because their intent was neutral. Intent is not the metric. Material outcome is. And the material outcome here is a culture rehearsing, one laugh at a time, that Black death is content. Five Key Takeaways * Defense reveals priority. Kevin Hart found fluent, immediate energy to protect Tony Hinchcliffe’s craft and almost none to protect George Floyd’s memory. What you rush to defend tells the truth about what you value. The set being “good though” was the confession. * Freedom of speech is not freedom from critique. Hearing a joke and criticizing it are both acts of free expression. The comics demanding you not be “too sensitive” to a joke are themselves too sensitive to a critique, which means the sensitivity rule only ever runs in the direction of power. * Racial illiteracy is manufactured, not innate. The inability to read and write racial situations is a learned comfort produced by a society that increasingly bans the very curriculum, books, and public media that would teach the skill. The roast crowd and the book-banning school board are the same project. * The joke is a lineage, not an accident. From minstrelsy to lynching postcards to the roast stage, turning Black death into white entertainment is one of America’s oldest and most profitable traditions. Afropessimism explains why the laughter comes easy: the structure already treats Black death as available material. * Symbolic harm carries material weight. When Black death becomes a punchline and a wealthy celebrity shrugs, the bill is paid by Black mothers erased from the mourning, by poor communities policed like George Floyd was, and by everyone else on Hinchcliffe’s ladder of disposable targets. Center the material outcome, not the intent. Join the Digital Sanctuary and Become a Paid Subscriber Everything you just read — the history of the minstrel stage, the lynching record, Afropessimism, the link between the book ban and the laughing crowd — is exactly the kind of knowledge being stripped out of classrooms and libraries right now. That is not an accident, and naming it out loud is the work. I’m fighting to fill a critical void left by the retreat of public education media. I document and teach the histories, legal frameworks, and cultural knowledge that are being systematically erased or distorted. With no corporate backing or wealthy sponsors, this work depends entirely on readers like you. As a Black educator and researcher my work depends entirely on a community of readers, not corporate sponsors. If everyone reading this became a paid subscriber, we could build a full-time digital sanctuary: a new, independent source of PBS-depth reporting and curriculum, centered on Black expertise. But right now, less than 1% of my followers are paid subscribers. Education Is Elevation is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Related Readings (Annotated Bibliography) Saidiya Hartman, Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America (1997). Hartman’s foundational analysis of “the spectacular character of black suffering” — how Black pain is staged and consumed — is the single best frame for understanding why an audience can laugh at a recorded death. Frank B. Wilderson III, Afropessimism (2020). The accessible, memoiristic entry into Wilderson’s argument that anti-Black violence is gratuitous and the Black body socially fungible. Read as descriptive, not prescriptive. Charles W. Mills, The Racial Contract (1997). Source of “the epistemology of ignorance” — the organized social agreement to not-know that produces racial illiteracy in otherwise intelligent people. Kimberlé Crenshaw, “Demarginalizing the Intersection of Race and Sex” (1989). The origin text for intersectionality, essential for seeing who falls through a single-axis read of this controversy. Moya Bailey, Misogynoir Transformed: Black Women’s Digital Resistance (2021). Bailey’s full treatment of the term she coined, naming the specific erasure of Black women from the mourning of anti-Black violence. James Allen et al., Without Sanctuary: Lynching Photography in America (2000). The archive of lynching postcards — the historical receipt that proves the spectacle of Black death as white entertainment is centuries deep. Judith Butler, Precarious Life: The Powers of Mourning and Violence (2004). Source of the “grievable lives” framework that explains the hierarchy of disposable targets in roast comedy. bell hooks, Killing Rage: Ending Racism (1995). hooks on Black rage as legitimate response and on the demand that Black people perform composure for white comfort — directly relevant to the “don’t be sensitive” defense. Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class (1993). The definitive history of how American popular entertainment was built on the mockery of Black life, and how that logic persists. Cedric J. Robinson, Black Marxism: The Making of the Black Radical Tradition (1983). The racial-capitalism counterweight to Afropessimism — holding both is the discipline. Robinson insists the structure that profits from Black suffering can still be fought and abolished. Education Is Elevation is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit theconsciouslee.substack.com/subscribe [https://theconsciouslee.substack.com/subscribe?utm_medium=podcast&utm_campaign=CTA_2]
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