In Chapter 5, I examine how four Pittsburgh Courier writers – Julia Bumry Jones, Alice Dunbar-Nelson, Blanche Taylor Dickinson, and Zora Neale Hurston – code the cabaret flapper’s “sexual spending” within both the ideology of “race motherhood” and what Erin Chapman describes as the “sex-race marketplace.” The Courier’s typical cabaret flapper indulges – in fashion, alcohol, and sexual conquests – even as she must “sell” herself to sustain her rate of consumption. These writers present the Black flapper as threatening the New Negro Man, and by extension the race due to her “wasteful” excesses and dysgenic spending, and affirm the flapper’s foil: a reconceived version of the “race mother” – modern, urban, resilient but pragmatically more conservative versions of the New Negro Woman. With help from Old Negro maternal figures, these New Negro Women fix their flawed relationships or marriages and develop more companionate unions. Refusing to indulge in the shaming of the Black light-skinned elite respectable New Negro Woman, these Old Negro mammy or auntie figures do not represent the race as “progressive and race conscious” modern New Negro mothers, but, rather, they nurture and console the Black female protagonist suffering some form of trauma associated with the Great Migration.