“For a white woman […] to imagine herself into a real-life black identity without any lived black experience, to turn herself into a black history professor without a history degree, to place herself at the forefront of local black society that she had adopted less than a decade earlier, all while seeming to claim to do it better and more authentically than any black person who would dare challenge her—well, it’s the ultimate “you can be anything” success story of white America […] Another branch of manifest destiny. No wonder America couldn’t get enough of the Dolezal story.” — Ijeoma Oluo
“Then comes the motherfuckin’ Christopher Columbus Syndrome. You can’t discover this! We been here. You just can’t come and bogart. There were brothers playing motherfuckin’ African drums in Mount Morris Park for 40 years and now they can’t do it anymore because the new inhabitants said the drums are loud. My father’s a great jazz musician. He bought a house in nineteen-motherfuckin’-sixty-eight, and the motherfuckin’ people moved in last year and called the cops on my father. He’s not — he doesn’t even play electric bass! It’s acoustic! We bought the motherfuckin’ house in nineteen-sixty-motherfuckin’-eight and now you call the cops? In 2013? Get the fuck outta here!
Nah. You can’t do that. You can’t just come in the neighborhood and start bogarting and say, like you’re motherfuckin’ Columbus and kill off the Native Americans. Or what they do in Brazil, what they did to the indigenous people. You have to come with respect. There’s a code. There’s people.”