Kersands' Minstrels was well known for its marching band, and the group led a Mardi Gras parade in 1886. Kersands offered $1000 to any rival who could outmarch them. He also continued to play engagements with other companies, including Richard and Pringle's Georgia Minstrels in 1890 as one of "The Vestibule Car Porters and Drum Majors". In 1904, Kersands performed in an urban, black-produced show in the East. He only stayed for a short time, instead preferring the blackface minstrelsy he knew best. He formed another troupe and took up touring primarily in the South. Kersands answered the inevitable question of why he had not made the move to vaudeville thus: "All of my money came from the people of the South, the white and the colored, while playing down there. Whether they meant it or not, the way I was treated by them, and still am, I feel at home. I also make a good living with no worries." Kersands's comedy act centered on his enormous mouth, which he exuberantly contorted into countless shapes. He peppered his songs with these movements and their accompanying noises. One observer remarked, "The slightest curl of his lip or opening of that yawning chasm termed his mouth was of itself sufficient to convulse the audience." He could even fit several billiard balls or a cup and saucer into his mouth and still perform a dance routine or fill the theater with boisterous laughter. Tom Fletcher wrote that while touring in England, Kersands told Queen Victoria that if his mouth was any bigger, his ears would have to be moved. This physical feature fit well into racist white-created stereotypes of blacks having large lips and mouths. Kersands further embraced such disparaging caricatures by affecting the stage persona of a slow and ignorant Sambo. He also sang songs that reinforced these racist views. In his "Mary's Gone with a Coon", he sang of a black man "lamenting" his daughter's impending marriage to a black man: "De chile dat I bore, should tink ob me no more / Den to run away wid a big black coon." His "Old Aunt Jemima" lent its name to the stereotyped mammy Aunt Jemima that later was developed into an iconic trademark for a brand of pancakes. Despite Kersands's reinforcement of negative black stereotypes, very few African Americans disdained his act. Part of his appeal for them lay in his mixing of elements of African American folklore into his show in a way that would appeal to his black audience but be ignored or derided by whites.