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This image also gave the impression that black women could not be rape victims because they always desired sex, thereby legitimizing sexual assault of black female slaves by white males.

White slave owners not only used the Jezebel image as a justification for their forced procreation among slaves, they used this image as a legal defense when raping African-American women.

The character found great favor among the Whites of Great Britain and Australia as well, into the late 20th century.

Notably, as with Sambo, the term as an insult crosses ethnic lines; the derived Commonwealth English epithet Wog is applied more often to people from the Arabian Peninsula and Indian Subcontinent than to Africans, though "Golly dolls" still in production mostly retain the look of the stereotypical blackface minstrel.

These stock characters are still continuously used and referenced for a number of different reasons.

The term pickaninny, reserved for children, has a similarly broadened pattern of use; while it originated in a Portuguese word for 'small child' in general, it was applied especially to African-American children in the United States, then later to Australian Aboriginal children.

Although not usually used alone as a character name, the pickaninny became a mainstream stock character in White-dominated fiction, music, theater, and early film in the United States and beyond.

As a stereotypical caricature "performed by white men disguised in facial paint, minstrelsy relegated black people to sharply defined dehumanizing roles." With the success of T. Rice and Daniel Emmet the label of "blacks as buffoons" was created.

One of the earliest versions of the "black as buffoon" can be seen in John Lewis Krimmel's "Quilting Frolic." The violinist in the 1813 painting, with his tattered and patched clothing, along with a bottle protruding from his coat pocket appears to be an early model for Rice's Jim Crow character.