Joel Kim Booster’s comedic talents are so vast and impressive that they were never going to be confined to just one medium. 

After studying theater at Millikin University in Decatur, Illinois, and impressing with a play at the Chicago Fringe Festival right out of school, Booster wrote and acted in storefront theater for several years. Following his strong start in the world of theater, Booster decided to try his hand at stand-up comedy after it was suggested to him by his friend Beth Stelling.

“Chicago is such a great incubator for people who want to write or perform or do stand-up. For me, it was always about finding a platform to tell a story. But I didn’t see a lot of gay comics. I didn’t see a lot of comics that were talking about things I was interested in,” Booster tells the Chicago Reader in a phone interview. 

Booster’s first stand-up performance was as the opener at a variety show fundraiser.“It was a very safe opportunity. The stakes felt low and I happened to do well that night. Then I bombed for two years as I performed all over the place.”

Booster was so eager to replicate the feeling he got from his debut gig that he never gave up. By 2014, he’d moved to New York to pursue his comedy career. In 2016, he performed a set on Conan. Soon he began writing for the acclaimed television shows Billy on The Street, Big Mouth, and The Other Two. 

This was just the beginning. This summer sees Booster move into another new medium with Fire Island, his debut feature film as a writer, which he also stars in alongside his real-life best friend, Saturday Night Live star Bowen Yang. Heavily inspired by Jane Austen’s Pride and Prejudice, the romantic comedy follows a group of best friends as they enjoy a weeklong vacation on Fire Island, the famous hotspot for queer culture that’s located just off Long Island, New York. 

“The idea came when I went to Fire Island for the first time with Bowen and I brought Pride and Prejudice with me to read. I realized how relevant Jane Austen’s observations about class and how we communicate were. Especially the very subtle ways that gay men suppress each other and separate each other into upper and lower classes. It just became very clear to me.”

Booster actually originally wrote Fire Island for television. His half-hour pilot script was passed on by Comedy Central. It was eventually accepted by Quibi, only for the short-form streaming platform to fold in December 2020, before the pilot could be shot. 

Rather than giving up on the project, Booster pivoted and turned it into a feature film. On June 30, 2021, Searchlight Pictures announced that they’d bought Booster’s script, which he had sought to make as original as possible. 

“It had become boring to me to watch movie after movie where people are dealing with coming out or homophobia,” Booster explains. “It was much more interesting to me to deal with the everyday issues that gay men face. Such as body fascism and class and how we can overcome them.”

Fire Island
R, 105 min.
Streaming on Hulu June 3.

As well as being a rom-com, Fire Island is also a celebration of friendship, insists Booster—in particular, his friendship with Yang, which was a refuge during their rise through the comedy circuit. 

“It’s a story about my friendship with Bowen and the power that comes from knowing someone inside and out,” admits Booster, who says that much of what happens in Fire Island actually happened to them. 

While Fire Island takes place around 900 miles away from Plainfield, Illinois, where he was raised by the “conservative, white, evangelical family”  who adopted him from South Korea, Booster sees it as the natural next step in his work.  

“The first several years of my work were primarily focused on how I was raised and moving beyond that. I had to explain where I was coming from and how being an Asian guy who was gay and adopted affected me as a person. Now that stuff isn’t at the forefront of my stand-up and work. It only tangentially touches on it and it’s mainly focused on my POV. I’m just so happy that I make my living doing all of this.”

Read More

Joel Kim Booster’s comedic talents are so vast and impressive that they were never going to be confined to just one medium. 

After studying theater at Millikin University in Decatur, Illinois, and impressing with a play at the Chicago Fringe Festival right out of school, Booster wrote and acted in storefront theater for several years. Following his strong start in the world of theater, Booster decided to try his hand at stand-up comedy after it was suggested to him by his friend Beth Stelling.

“Chicago is such a great incubator for people who want to write or perform or do stand-up. For me, it was always about finding a platform to tell a story. But I didn’t see a lot of gay comics. I didn’t see a lot of comics that were talking about things I was interested in,” Booster tells the Chicago Reader in a phone interview. 

Booster’s first stand-up performance was as the opener at a variety show fundraiser.“It was a very safe opportunity. The stakes felt low and I happened to do well that night. Then I bombed for two years as I performed all over the place.”

Booster was so eager to replicate the feeling he got from his debut gig that he never gave up. By 2014, he’d moved to New York to pursue his comedy career. In 2016, he performed a set on Conan. Soon he began writing for the acclaimed television shows Billy on The Street, Big Mouth, and The Other Two. 

This was just the beginning. This summer sees Booster move into another new medium with Fire Island, his debut feature film as a writer, which he also stars in alongside his real-life best friend, Saturday Night Live star Bowen Yang. Heavily inspired by Jane Austen’s Pride and Prejudice, the romantic comedy follows a group of best friends as they enjoy a weeklong vacation on Fire Island, the famous hotspot for queer culture that’s located just off Long Island, New York. 

“The idea came when I went to Fire Island for the first time with Bowen and I brought Pride and Prejudice with me to read. I realized how relevant Jane Austen’s observations about class and how we communicate were. Especially the very subtle ways that gay men suppress each other and separate each other into upper and lower classes. It just became very clear to me.”

Booster actually originally wrote Fire Island for television. His half-hour pilot script was passed on by Comedy Central. It was eventually accepted by Quibi, only for the short-form streaming platform to fold in December 2020, before the pilot could be shot. 

Rather than giving up on the project, Booster pivoted and turned it into a feature film. On June 30, 2021, Searchlight Pictures announced that they’d bought Booster’s script, which he had sought to make as original as possible. 

“It had become boring to me to watch movie after movie where people are dealing with coming out or homophobia,” Booster explains. “It was much more interesting to me to deal with the everyday issues that gay men face. Such as body fascism and class and how we can overcome them.”

Fire Island
R, 105 min.
Streaming on Hulu June 3.

As well as being a rom-com, Fire Island is also a celebration of friendship, insists Booster—in particular, his friendship with Yang, which was a refuge during their rise through the comedy circuit. 

“It’s a story about my friendship with Bowen and the power that comes from knowing someone inside and out,” admits Booster, who says that much of what happens in Fire Island actually happened to them. 

While Fire Island takes place around 900 miles away from Plainfield, Illinois, where he was raised by the “conservative, white, evangelical family”  who adopted him from South Korea, Booster sees it as the natural next step in his work.  

“The first several years of my work were primarily focused on how I was raised and moving beyond that. I had to explain where I was coming from and how being an Asian guy who was gay and adopted affected me as a person. Now that stuff isn’t at the forefront of my stand-up and work. It only tangentially touches on it and it’s mainly focused on my POV. I’m just so happy that I make my living doing all of this.”

Read More

Back in 1996, the late playwright August Wilson delivered an address at the annual conference for Theatre Communications Group, the national service organization for theaters in the U.S. Entitled “The Ground on Which I Stand,” Wilson’s speech (later released as a book) took aim at racism and Eurocentrism in American theater, particularly when it comes to funding in the arts. “Black theatre doesn’t share in the economics that would allow it to support its artists and supply them with meaningful avenues to develop their talent and broadcast and disseminate ideas crucial to its growth,” said Wilson. “The economics are reserved as privilege to the overwhelming abundance of institutions that preserve, promote, and perpetuate white culture.”

That dynamic is still present, and it also affects funding for Latino arts organizations. But on May 16, leaders in Latino arts in Chicago got together for “Quienes Somos—¡Aqui Estamos! (Who We Are—We Are Here!), the Chicago Latino Arts and Culture Summit.”

Sponsored by the Paul M. Angell Family Foundation, the summit brought together representatives from 22 local arts organizations (including the Chicago Latino Theater Alliance, the International Latino Cultural Center, the National Museum of Mexican Art, and the Puerto Rican Arts Alliance) with decision-makers in the foundation world to address the chronic issues of underfunding and other structural challenges facing them.

Wendy Mateo, co-artistic director of Teatro Vista, echoed Wilson’s 26-year-old observation during the summit by noting, “We have to work double to get a fraction of what predominantly white institutions have historically received. We are often forced to partner with these institutions because it raises our visibility or gives us the credit we need. But what happens when we partner? The larger institutions mine us for their new audiences. They don’t give us an equitable portion of the box office. They apply for our grants. They think the credit is enough. Funders, please stop redirecting funds that should go to marginalized artists through predominantly white institutions. We don’t need the credit, we need the funds.”

I checked in with Mateo, as well as Mike Angell, cofounder and director of the Paul M. Angell Family Foundation, and Carlos Hernández Falcón, executive director and founder of the Puerto Rican Arts Alliance, to get their perspectives on why the summit was necessary and what they hope the next steps will be.

Angell, whose foundation has been in operation since 2011, says, “Our performing arts program focuses primarily on classical music and theater. Several years ago, Teatro Vista submitted an application, which we funded. They were the first [of the Latino arts organizations]. So we got to know them. And not long after Myrna Salazar [cofounder and executive director of CLATA] and Carlos Tortolero [founder and president of the National Museum of Mexican Art] came to tell me about CLATA, which had formed just recently. [CLATA produces the annual Destinos Chicago International Latino Theater Festival.] And so it’s through them that we got to know more of the Latino theater companies, and it was such an eye-opener and a wonderful thing. And so we’ve been funding the Latino theaters in Chicago, most of them, for several years now.”

Angell notes that his foundation had previously held small discussion groups with Latino arts leaders prior to the pandemic. “I was speaking with a number of groups and I mentioned to them that it was my wish that arts groups would come out of the pandemic with big plans, because I was fearful that the public was too accustomed to going without live arts performances. And then I realized if I’m going to be asking others to go big, what can we do that’s big? So the idea came out in March of 2021 to expand the luncheon to a full-day event that went beyond a pleasant social gathering to something whereby the leaders of more of Chicago’s Latino arts groups could get together, network, discuss topics of interest to them.” Angell shared the idea with Audra Yokley, program officer for the performing arts at the foundation, and the summit took off from there.

The summit provided breakout sessions on “Racism and the Latino Community,” “Fundraising and Technical Support,” and “Advocacy and Media Presence.” 

For Mateo, one crucial need filled by the event was building more bridges to other organizations. “I was an independent artist for so long in this community and always looking for a place to call home,” she says. “And the way that we would create our artistic home was really by our collaboration, that we created across community with people, with artists, with different partnerships or producers. Lorena [Diaz, co-artistic director for Teatro Vista] and I both were excited in our [new] roles that we would be able to do that on this level. We want to be able to create collaborations across organizations, because if the pandemic taught us anything, it’s that we cannot survive alone. We can’t survive without our community. We can’t survive without our audience.” She adds, “I’m excited about creating solidarity, not only across multiple disciplines in the Latino community, but outside of the Latino community, creating strategic partnerships with Black organizations, uplifting them, making sure that there’s amplification of that.”

Founded by Hernández Falcón 25 years ago, the Puerto Rican Arts Alliance has provided support for music performance, studio arts training for youth, and much more, including, as Hernández Falcón notes, “an archive program that stores and researches the Puerto Rican community in the midwest, through the digitization and preservation of historical photographs from our community.” He led the breakout on fundraising and tech support.

“To run a nonprofit organization, you have to wear many hats,” he notes. “For Latino and other organizations of color, to me, it’s like three or four times more of a challenge than other mainstream institutions, because we have been just so marginalized by funders. While we’ve been receiving support by funders, over the years, you know there’s just a big gap. Much of the money that goes to the arts organizations in Chicago and throughout the country goes to mainstream white organizations.” 

Roughly a third of Chicago’s population is Latino, and it’s growing, as illustrated by data shared during the conference by Dr. Teresa Córdova, director of the Great Cities Institute at the University of Illinois-Chicago. So that makes it even more vital that arts organizations that reflect the diversity of those communities receive equitable funding.

“We’re trying to advocate and demonstrate that we’re here,” says Hernández Falcón. “And the idea here is that we need people to learn that and to dig deeper into who we are as part of the cultural fabric in Chicago, as a cultural community in Chicago. There’s two things going on here. Number one is that there are rich individuals, there are well-funded foundations who think about art as being Eurocentric, who think that is fine, right? ‘That is what I fund. That is how I am programmed. Those are my values. That’s what my heart thinks about when I fund art.’ And what we’re trying to do here is to change that mind frame and say, ‘Look, there’s a broader community out here in Chicago that’s not just the Art Institute or the Field Museum.’” 

There may be hopeful signs; the National Museum of Mexican Art received a record-breaking $8 million grant last year from billionaire MacKenzie Scott (ex-wife of Amazon founder Jeff Bezos, who has pledged to support “smaller arts organizations creating these benefits with artists and audiences from culturally rich regions and identity groups that donors often overlook.”)

And in terms of Angell’s hope that Latino arts organizations would find ways to come back big, it’s worth noting that Teatro Vista’s current production, Somewhere Over the Border, Brian Quijada’s acclaimed new musical about his mother’s trek from El Salvador to the U.S. in the late 70s, has one of the biggest budgets in the company’s history, and will be filmed as well for livestreaming later this year, so it’s accessible to wider audiences. Mateo notes that the stories of Central Americans are sometimes overlooked by people in the U.S., as are other intersectional identities. “We’re working to build solidarity amongst organizations. Blackness is alive in Latine culture. Indigeneity is alive in Latine culture, and we need to recognize that intersection.”

“Make an investment in our organizations, and you’re gonna get a bigger bang for your investment, because your funding is gonna go right into the Chicago communities,” says Hernández Falcón. “The future of our communities are the populations that exist in Chicago, and the Latino community is thriving. And we can make Chicago communities bigger and stronger by supporting the arts and in our case, supporting the Latino arts.”

Closing the House

Even as Latino arts organizations were envisioning a stronger future, one longtime Chicago company announced it was closing up shop. House Theatre of Chicago, founded 21 years ago by a group of theater grads from Southern Methodist University, made its mark with epic storytelling and physical productions, often utilizing and/or deconstructing “hero’s journey” narratives. Some of their hits included The Sparrow, Death and Harry Houdini (featuring magician Dennis Watkins, whose long-running The Magic Parlour has been at the Palmer House for several years), and The Terrible Tragedy of Peter Pan.

The Tragedy of King Christophe at House Theatre ended up being the last production in the company’s history. Credit: Michael Brosilow

In a May 31 press release, House board president Renee Duba said, “Thanks to the hard work and patience of so many—as well as the Shuttered Venue Operating Grant funding we qualified for—we were able to rise from the challenges of the initial pandemic hibernation and point the company in a new direction. . . . However, our strategic assessment looking to the future made it clear that we did not have the financial momentum or audience/donor support to continue beyond this fiscal year. We chose instead to maximize our current year programming and to honor all present commitments and partnerships with a thoughtfully planned exit from the Chicago theater scene—and a wealth of pride in what The House Theatre of Chicago has accomplished.”

Original founding artistic director, Nathan Allen, left during the pandemic in 2020, and the company, aiming to move in the direction of more diversity, brought on Lanisse Antoine Shelley in March of 2021.

Shelley produced two shows for House: The Snow Queenthis past winter, featuring Shelley’s own adaptation of the Hans Christian Andersen classic, and the just-closed The Tragedy of King Christophe by West Indian poet and activist Aimé Césaire, which focused on the story of a general-turned-tyrant in post-revolution Haiti. (Shelley was born in Haiti and adopted by parents in the U.S.) 

In a May 31 Chicago Tribune article about House’s closing, Chris Jones quotes Allen as saying, “We were a unicorn in that we operated on 70% earned income and attracted audiences who didn’t go to the theater. . . .  In many ways, that was our kryptonite. When we couldn’t sell tickets in the pandemic, we were toast. Smaller companies had a far better chance than us of making it through.”

Whether that imminent toasting was made clear to Shelley when she was brought on board is in question. Jones also quoted former company member Josh Horvath, who told him, “She brought to us a company that would be more inclusive, one that would get rid of the ‘white bro’ culture, dive into digital productions, uplift other artists outside of the theatrical realm, and foster more community outreach on the West Side of Chicago,” and expressed his belief that the board owed Shelley “an apology” for lack of transparency about the financial situation.

When I interviewed Shelley just after she took the position, she told me, “From the very beginning, from the very first interview and even in my first proposal, I told [the board] who I was. . . . Which is an artist, a woman who is passionate about diversity and inclusivity, and passionate about a global experience, because that is my perspective. That is where I will be drawing my inspiration from. And from the beginning they said, ‘Yes, we see you and we are interested in that vision.’”

Read More

Back in 1996, the late playwright August Wilson delivered an address at the annual conference for Theatre Communications Group, the national service organization for theaters in the U.S. Entitled “The Ground on Which I Stand,” Wilson’s speech (later released as a book) took aim at racism and Eurocentrism in American theater, particularly when it comes to funding in the arts. “Black theatre doesn’t share in the economics that would allow it to support its artists and supply them with meaningful avenues to develop their talent and broadcast and disseminate ideas crucial to its growth,” said Wilson. “The economics are reserved as privilege to the overwhelming abundance of institutions that preserve, promote, and perpetuate white culture.”

That dynamic is still present, and it also affects funding for Latino arts organizations. But on May 16, leaders in Latino arts in Chicago got together for “Quienes Somos—¡Aqui Estamos! (Who We Are—We Are Here!), the Chicago Latino Arts and Culture Summit.”

Sponsored by the Paul M. Angell Family Foundation, the summit brought together representatives from 22 local arts organizations (including the Chicago Latino Theater Alliance, the International Latino Cultural Center, the National Museum of Mexican Art, and the Puerto Rican Arts Alliance) with decision-makers in the foundation world to address the chronic issues of underfunding and other structural challenges facing them.

Wendy Mateo, co-artistic director of Teatro Vista, echoed Wilson’s 26-year-old observation during the summit by noting, “We have to work double to get a fraction of what predominantly white institutions have historically received. We are often forced to partner with these institutions because it raises our visibility or gives us the credit we need. But what happens when we partner? The larger institutions mine us for their new audiences. They don’t give us an equitable portion of the box office. They apply for our grants. They think the credit is enough. Funders, please stop redirecting funds that should go to marginalized artists through predominantly white institutions. We don’t need the credit, we need the funds.”

I checked in with Mateo, as well as Mike Angell, cofounder and director of the Paul M. Angell Family Foundation, and Carlos Hernández Falcón, executive director and founder of the Puerto Rican Arts Alliance, to get their perspectives on why the summit was necessary and what they hope the next steps will be.

Angell, whose foundation has been in operation since 2011, says, “Our performing arts program focuses primarily on classical music and theater. Several years ago, Teatro Vista submitted an application, which we funded. They were the first [of the Latino arts organizations]. So we got to know them. And not long after Myrna Salazar [cofounder and executive director of CLATA] and Carlos Tortolero [founder and president of the National Museum of Mexican Art] came to tell me about CLATA, which had formed just recently. [CLATA produces the annual Destinos Chicago International Latino Theater Festival.] And so it’s through them that we got to know more of the Latino theater companies, and it was such an eye-opener and a wonderful thing. And so we’ve been funding the Latino theaters in Chicago, most of them, for several years now.”

Angell notes that his foundation had previously held small discussion groups with Latino arts leaders prior to the pandemic. “I was speaking with a number of groups and I mentioned to them that it was my wish that arts groups would come out of the pandemic with big plans, because I was fearful that the public was too accustomed to going without live arts performances. And then I realized if I’m going to be asking others to go big, what can we do that’s big? So the idea came out in March of 2021 to expand the luncheon to a full-day event that went beyond a pleasant social gathering to something whereby the leaders of more of Chicago’s Latino arts groups could get together, network, discuss topics of interest to them.” Angell shared the idea with Audra Yokley, program officer for the performing arts at the foundation, and the summit took off from there.

The summit provided breakout sessions on “Racism and the Latino Community,” “Fundraising and Technical Support,” and “Advocacy and Media Presence.” 

For Mateo, one crucial need filled by the event was building more bridges to other organizations. “I was an independent artist for so long in this community and always looking for a place to call home,” she says. “And the way that we would create our artistic home was really by our collaboration, that we created across community with people, with artists, with different partnerships or producers. Lorena [Diaz, co-artistic director for Teatro Vista] and I both were excited in our [new] roles that we would be able to do that on this level. We want to be able to create collaborations across organizations, because if the pandemic taught us anything, it’s that we cannot survive alone. We can’t survive without our community. We can’t survive without our audience.” She adds, “I’m excited about creating solidarity, not only across multiple disciplines in the Latino community, but outside of the Latino community, creating strategic partnerships with Black organizations, uplifting them, making sure that there’s amplification of that.”

Founded by Hernández Falcón 25 years ago, the Puerto Rican Arts Alliance has provided support for music performance, studio arts training for youth, and much more, including, as Hernández Falcón notes, “an archive program that stores and researches the Puerto Rican community in the midwest, through the digitization and preservation of historical photographs from our community.” He led the breakout on fundraising and tech support.

“To run a nonprofit organization, you have to wear many hats,” he notes. “For Latino and other organizations of color, to me, it’s like three or four times more of a challenge than other mainstream institutions, because we have been just so marginalized by funders. While we’ve been receiving support by funders, over the years, you know there’s just a big gap. Much of the money that goes to the arts organizations in Chicago and throughout the country goes to mainstream white organizations.” 

Roughly a third of Chicago’s population is Latino, and it’s growing, as illustrated by data shared during the conference by Dr. Teresa Córdova, director of the Great Cities Institute at the University of Illinois-Chicago. So that makes it even more vital that arts organizations that reflect the diversity of those communities receive equitable funding.

“We’re trying to advocate and demonstrate that we’re here,” says Hernández Falcón. “And the idea here is that we need people to learn that and to dig deeper into who we are as part of the cultural fabric in Chicago, as a cultural community in Chicago. There’s two things going on here. Number one is that there are rich individuals, there are well-funded foundations who think about art as being Eurocentric, who think that is fine, right? ‘That is what I fund. That is how I am programmed. Those are my values. That’s what my heart thinks about when I fund art.’ And what we’re trying to do here is to change that mind frame and say, ‘Look, there’s a broader community out here in Chicago that’s not just the Art Institute or the Field Museum.’” 

There may be hopeful signs; the National Museum of Mexican Art received a record-breaking $8 million grant last year from billionaire MacKenzie Scott (ex-wife of Amazon founder Jeff Bezos, who has pledged to support “smaller arts organizations creating these benefits with artists and audiences from culturally rich regions and identity groups that donors often overlook.”)

And in terms of Angell’s hope that Latino arts organizations would find ways to come back big, it’s worth noting that Teatro Vista’s current production, Somewhere Over the Border, Brian Quijada’s acclaimed new musical about his mother’s trek from El Salvador to the U.S. in the late 70s, has one of the biggest budgets in the company’s history, and will be filmed as well for livestreaming later this year, so it’s accessible to wider audiences. Mateo notes that the stories of Central Americans are sometimes overlooked by people in the U.S., as are other intersectional identities. “We’re working to build solidarity amongst organizations. Blackness is alive in Latine culture. Indigeneity is alive in Latine culture, and we need to recognize that intersection.”

“Make an investment in our organizations, and you’re gonna get a bigger bang for your investment, because your funding is gonna go right into the Chicago communities,” says Hernández Falcón. “The future of our communities are the populations that exist in Chicago, and the Latino community is thriving. And we can make Chicago communities bigger and stronger by supporting the arts and in our case, supporting the Latino arts.”

Closing the House

Even as Latino arts organizations were envisioning a stronger future, one longtime Chicago company announced it was closing up shop. House Theatre of Chicago, founded 21 years ago by a group of theater grads from Southern Methodist University, made its mark with epic storytelling and physical productions, often utilizing and/or deconstructing “hero’s journey” narratives. Some of their hits included The Sparrow, Death and Harry Houdini (featuring magician Dennis Watkins, whose long-running The Magic Parlour has been at the Palmer House for several years), and The Terrible Tragedy of Peter Pan.

The Tragedy of King Christophe at House Theatre ended up being the last production in the company’s history. Credit: Michael Brosilow

In a May 31 press release, House board president Renee Duba said, “Thanks to the hard work and patience of so many—as well as the Shuttered Venue Operating Grant funding we qualified for—we were able to rise from the challenges of the initial pandemic hibernation and point the company in a new direction. . . . However, our strategic assessment looking to the future made it clear that we did not have the financial momentum or audience/donor support to continue beyond this fiscal year. We chose instead to maximize our current year programming and to honor all present commitments and partnerships with a thoughtfully planned exit from the Chicago theater scene—and a wealth of pride in what The House Theatre of Chicago has accomplished.”

Original founding artistic director, Nathan Allen, left during the pandemic in 2020, and the company, aiming to move in the direction of more diversity, brought on Lanisse Antoine Shelley in March of 2021.

Shelley produced two shows for House: The Snow Queenthis past winter, featuring Shelley’s own adaptation of the Hans Christian Andersen classic, and the just-closed The Tragedy of King Christophe by West Indian poet and activist Aimé Césaire, which focused on the story of a general-turned-tyrant in post-revolution Haiti. (Shelley was born in Haiti and adopted by parents in the U.S.) 

In a May 31 Chicago Tribune article about House’s closing, Chris Jones quotes Allen as saying, “We were a unicorn in that we operated on 70% earned income and attracted audiences who didn’t go to the theater. . . .  In many ways, that was our kryptonite. When we couldn’t sell tickets in the pandemic, we were toast. Smaller companies had a far better chance than us of making it through.”

Whether that imminent toasting was made clear to Shelley when she was brought on board is in question. Jones also quoted former company member Josh Horvath, who told him, “She brought to us a company that would be more inclusive, one that would get rid of the ‘white bro’ culture, dive into digital productions, uplift other artists outside of the theatrical realm, and foster more community outreach on the West Side of Chicago,” and expressed his belief that the board owed Shelley “an apology” for lack of transparency about the financial situation.

When I interviewed Shelley just after she took the position, she told me, “From the very beginning, from the very first interview and even in my first proposal, I told [the board] who I was. . . . Which is an artist, a woman who is passionate about diversity and inclusivity, and passionate about a global experience, because that is my perspective. That is where I will be drawing my inspiration from. And from the beginning they said, ‘Yes, we see you and we are interested in that vision.’”

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Change is afoot at Black Ensemble Theater as it prepares to embark on a new era, leveraging a $5 million grant to implement founder and CEO Jackie Taylor’s longtime vision of a Free To Be corridor, which would expand the footprint of the theater campus and provide housing and support opportunities for artists and community. Taylor’s vision of growth doesn’t end at infrastructure, however. She’s also invited a new associate director, Michelle Reneé Bester, to the Black Ensemble artistic team. Bester, who is the writer and director of the new musical Grandma’s Jukebox, represents a welcome addition to the artistic leadership team, which in the long term stands to greatly benefit from a refreshing young, female voice bringing a new perspective to the established Black Ensemble brand. 

Grandma’s Jukebox
Through 6/26: Fri 7 PM, Sat 3 and 7 PM, Sun 3 PM; Black Ensemble Theater Cultural Center, 4450 N. Clark, 773-769-4451, blackensembletheater.org, $55.

In the past, the theater has mostly featured historical cabaret-style shows—jukebox musicals which string together an artist’s greatest hits, or the hits of an era, together with a series of vignettes that loosely construct a story. Bester’s new work (though still a jukebox musical) radically departs from this form by following a traditional narrative structure, a refreshing change of pace. Grandma’s Jukebox follows the story of a Black family mourning the recent loss of their matriarch. When confronted with the details of their grandmother’s will and last requests, the family struggles to pull together in their sorrow, but finds encouragement through Grandma’s unexpected presence speaking through otherworldly means. 

The family members are played by Aeriel Williams, Vincent Jordan, Jessica Brooke Seals, and Blake Reasoner. Williams convincingly plays a childlike, tenderhearted woman overwhelmed by grief, from whom no one expects much of anything. Jordan is hilarious as an older brother trying to hustle his way out of the stigma of having a criminal record. Seals is heartbreakingly dynamic as the tough cookie powering through a bad relationship alone. And Reasoner is a fun and earnest younger brother who uses humor as healing for unspeakable trauma. J. Michael Wright delivers nonstop chuckles as the family friend and unofficial adopted child whom Grandma tasks with carrying out her final wishes. 

Unsurprisingly, the vocals in this show are absolutely amazing, as is the case with every Black Ensemble show. Other theaters may have amazing singers, but this theater has the corner on the market for those who can SANG. Every play doubles as a top-notch concert that is worth the price of admission alone, backed by the truly excellent band, led by Oscar Brown Jr. 

Outside of the vocals, however, the play is challenged structurally. The first hour drags by very slowly, weighed down by clunky exposition and dialogue, and an unfortunate lack of forward momentum and surprise. Many of the recollections of Grandma feel repetitive and cliché. At one point, when the characters reveal a bit of specificity—that Grandma was married multiple times—one glimpses the possibility of much more interesting storylines not followed. The elements of magical realism are teased throughout, but brought to bear too late, and not frequently enough. I was left yearning for a lot more of the hilarious communication with Grandma, parenting her family from the great beyond. 

During the last half hour the play finally finds a rhythm, and Bester utilizes some interesting storytelling devices. The exploration of themes of generational trauma and intentional healing are a welcome addition to the theatrical conversation that left the audience with quite a bit to contemplate. 

It is refreshing to see one of the most established theaters in Chicago take a new and promising writer and allow her grace to experiment and grow with a fully-backed production on its mainstage. Many theaters may claim to take “risk” while putting out perfectly polished (and perfectly safe) new works, but this is an example of real risk, with the real reward of creative experimentation. When Bester walked out onto the stage at the end of the play to an applauding audience and was praised by Taylor, both of their eyes shimmered with tears, a testament to what real risk, bravery, and generational mentorship looks like. One certainly looks forward to seeing what Bester’s next piece will bring to the Black Ensemble stage.

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Change is afoot at Black Ensemble Theater as it prepares to embark on a new era, leveraging a $5 million grant to implement founder and CEO Jackie Taylor’s longtime vision of a Free To Be corridor, which would expand the footprint of the theater campus and provide housing and support opportunities for artists and community. Taylor’s vision of growth doesn’t end at infrastructure, however. She’s also invited a new associate director, Michelle Reneé Bester, to the Black Ensemble artistic team. Bester, who is the writer and director of the new musical Grandma’s Jukebox, represents a welcome addition to the artistic leadership team, which in the long term stands to greatly benefit from a refreshing young, female voice bringing a new perspective to the established Black Ensemble brand. 

Grandma’s Jukebox
Through 6/26: Fri 7 PM, Sat 3 and 7 PM, Sun 3 PM; Black Ensemble Theater Cultural Center, 4450 N. Clark, 773-769-4451, blackensembletheater.org, $55.

In the past, the theater has mostly featured historical cabaret-style shows—jukebox musicals which string together an artist’s greatest hits, or the hits of an era, together with a series of vignettes that loosely construct a story. Bester’s new work (though still a jukebox musical) radically departs from this form by following a traditional narrative structure, a refreshing change of pace. Grandma’s Jukebox follows the story of a Black family mourning the recent loss of their matriarch. When confronted with the details of their grandmother’s will and last requests, the family struggles to pull together in their sorrow, but finds encouragement through Grandma’s unexpected presence speaking through otherworldly means. 

The family members are played by Aeriel Williams, Vincent Jordan, Jessica Brooke Seals, and Blake Reasoner. Williams convincingly plays a childlike, tenderhearted woman overwhelmed by grief, from whom no one expects much of anything. Jordan is hilarious as an older brother trying to hustle his way out of the stigma of having a criminal record. Seals is heartbreakingly dynamic as the tough cookie powering through a bad relationship alone. And Reasoner is a fun and earnest younger brother who uses humor as healing for unspeakable trauma. J. Michael Wright delivers nonstop chuckles as the family friend and unofficial adopted child whom Grandma tasks with carrying out her final wishes. 

Unsurprisingly, the vocals in this show are absolutely amazing, as is the case with every Black Ensemble show. Other theaters may have amazing singers, but this theater has the corner on the market for those who can SANG. Every play doubles as a top-notch concert that is worth the price of admission alone, backed by the truly excellent band, led by Oscar Brown Jr. 

Outside of the vocals, however, the play is challenged structurally. The first hour drags by very slowly, weighed down by clunky exposition and dialogue, and an unfortunate lack of forward momentum and surprise. Many of the recollections of Grandma feel repetitive and cliché. At one point, when the characters reveal a bit of specificity—that Grandma was married multiple times—one glimpses the possibility of much more interesting storylines not followed. The elements of magical realism are teased throughout, but brought to bear too late, and not frequently enough. I was left yearning for a lot more of the hilarious communication with Grandma, parenting her family from the great beyond. 

During the last half hour the play finally finds a rhythm, and Bester utilizes some interesting storytelling devices. The exploration of themes of generational trauma and intentional healing are a welcome addition to the theatrical conversation that left the audience with quite a bit to contemplate. 

It is refreshing to see one of the most established theaters in Chicago take a new and promising writer and allow her grace to experiment and grow with a fully-backed production on its mainstage. Many theaters may claim to take “risk” while putting out perfectly polished (and perfectly safe) new works, but this is an example of real risk, with the real reward of creative experimentation. When Bester walked out onto the stage at the end of the play to an applauding audience and was praised by Taylor, both of their eyes shimmered with tears, a testament to what real risk, bravery, and generational mentorship looks like. One certainly looks forward to seeing what Bester’s next piece will bring to the Black Ensemble stage.

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LeBron James has become the first active NBA player to have a net worth of $1 billion, according to Forbes.

The Los Angeles Lakers megastar, a four-time NBA champion and the league’s No. 2 career scorer, made $121.2 million from May 2021 to May 2022 in on-court salary and off-court earnings, according to Forbes. The total trailed only that of Lionel Messi, who made $130 million, on Forbes’ highest-paid athletes list

Reaching $1 billion is something James has been thinking about for some time.

“I want to maximize my business,” James told GQ in 2014. “And if I happen to get it, if I happen to be a billion-dollar athlete, ho. Hip hip hooray! Oh, my god. I’m gonna be excited.”

Although the Lakers struggled in 2021-22 and James missed the playoffs for just the fourth time in his career, he did become, at 37, the oldest player to average 30 points per game in a season (30.3 PPG).

Off the court, James starred in “Space Jam: A New Legacy” and, according to Forbes, sold a minority stake in his production company, SpringHill, at a $725 million valuation. SpringHill produced the “Space Jam” sequel, which grossed $163 million worldwide; “The Shop,” which moved from HBO to YouTube last year; and a docuseries with tennis star Naomi Osaka. The company is also producing a remake of the 1990 comedy “House Party.”

James has made more than $385 million in salary from his 19-year career with the Lakers, Cleveland Cavaliers and Miami Heat.

Forbes’ estimates for where James made the rest of his $1 billion:

o More than $500 million from cash and investments. Along with SpringHill, James made money from the sale of Beats by Dre to Apple in 2014 and has shares in fitness company Beachbody.

o $90 million from Fenway Sports Group. James was at one time a minority owner of Liverpool FC. He exchanged that for an estimated 1% ownership stake in Fenway Sports Group. The group owns Liverpool, Fenway Park, the Boston Red Sox and half of Roush Fenway Racing and recently agreed to spend $900 million to purchase the Pittsburgh Penguins.

o About $80 million in real estate holdings, including a $10 million mansion in Akron, Ohio, and two homes in the Los Angeles area for which James paid a combined $59.75 million.

o Interests in the food and beverage industry that include $30 million in pizza chain Blaze Pizza, which James bought a 10% stake in for less than $1 million in 2012.

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While some people like to be in a relationship, others don’t have the time or flexibility to be in one. People get too busy with work or other activities and they just don’t have time to invest in a full relationship. There’s nothing wrong with that. Successful relationships take a tremendous amount of time, effort, and patience, and that’s why casual hookups have become mainstream.

With so many hookup sites to choose from, it’s important to note that different sites cater to different tastes. We’ve reviewed the best hookup sites and casual dating apps to get some action. Yes, this is another list, but we’ve actually tried them all.

Please note that when we say free, we mean you can use the basic features without cost. If you decide to meet up with someone, you’ll have to crack open the wallet. We’ve included each site’s pricing to help you choose the best option.

Let’s dive into the reviews and ratings.

16 Best Free Hookup Sites and Apps for Casual Dating in 2022

RankBrandBest For1.Adult FriendFinderBest overall hookup site2.BuddyBangRunner-up best3.BeNaughtyBest for flirtiest singles4.Ashley MadisonBest for affairs5.Seeking ArrangementBest for sugar baby/sugar daddy/mommy6.ALTBest for alternative and BDSM sex7.OKCupidTop choice for millennials8.HingeSomewhat serious, but mostly FWB9.ZooskBest for short-term dating10.BumbleSafest for women11.Plenty of FishBest for lots of options12.TinderMost popular app13.Pure AppBest for fantasy based14.FeeldMost open-minded singles15.Sex MessengerBest for anonymous hookups16.Reddit R4RBest completely free option

1.  Adult Friend Finder – Best overall hookup site

Adult Friend Finder is one of the oldest, so consequently most popular, hookup sites. It prides itself in being the best casual dating site to find adult singles for whatever arrangement you’re looking for.

This dating site caters to swinging, non-monogamous relationships, threesomes, and experimental experiences. Whether you’re looking for an NSA (no-strings-attached) relationship, a one-night stand to spice up your marriage, or a quick fling, you will find a plethora of options and arrangements on this site.

Once you create a profile on Adult Friend Finder, you can customize your search to narrow down people interested in the same arrangement as you. It also provides additional content such as webcam shows and erotic stories.

Pros:

1oo percent designed for sex, sex, and more sexYou’ll find any kink on the spectrumRelatively easy to find people into the same things as you

Cons:

Pro memberships are expensiveFree version has too many ads

Pricing:One-month membership: $39.95 total
Three-month membership: $26.95/month
One-year membership: $19.95/month

2.  BuddyBang – Runner-up best site

BuddyBang helps you find a buddy to sleep with. That shouldn’t be hard for you to figure out. This no-judgement site operates like an express train to the friends-with-benefits phase. It’s as simple as browse, chat, bang.

While you won’t find romance here, you will find passion. Lustful adults flock to BuddyBang to chat and make connections. Ultimately, the goal is to arrange a meetup with a saucy stranger in your area. If you’re lucky, that one-night stand might turn into a long-term arrangement.

With a relatively affordable monthly subscription and advanced search filters, getting laid on BuddyBang is a piece of cake. It’s way easier than shelling out tons of cash for dinner dates that may lead nowhere.

Pros:

Users are very responsiveEveryone is to-the-pointAdvanced search and filter functionsAffordable

Cons:

Annoying ads when you use the free versionHard to get to know users because they’re so thirsty

Pricing:One-year membership: $19.95/month
One-month membership: $39.95 total
Three-month membership: $26.95/month

3.  BeNaughty – Best for flirty singles

BeNaughty naturally draws some of the most frisky singles in your area. It’s in the name. Plus, breaking the ice is easy as BeNaughty gives users tons of ways to connect. Browse the gallery or enter a naughty chat room for potential dates. When you find someone you like, you can send a wink, a message, or start a live one-on-one chat.

BeNaughty works because it’s to-the-point. While users are looking for fast fun, there is no time for games. They want a hookup, and quickly.

Open-minded and discreet, BeNaughty gives you the option to seek out singles or couples for a fast fling. By adjusting your search filter, you can find your ideal scenario and weed out people who aren’t your type.

Pros:

Various ways to connectNo judgement when it comes to kinksGreat for finding singles and couplesCheap three-day trial

Cons:

Users tend to be appearance-drivenYou’ll eventually want a premium membership

Pricing:Three-day trial: $1.05/day
One-month membership: $27.01 total
Three-month membership: $15.15/month
Six-month membership: $12.24/month

4.  Ashley Madison – Best for affairs

Ashley Madison has the reputation of being a site for affairs and discreet married dating. Its slogan is literally “Life is short. Have an affair.” The brand has become notoriously known over the years for being a site for married people to flirt and hook up.

The site caters to students in relationships, lonely wives, married men, and everyday people who want to find a safe space to maintain an affair and not be judged. This hookup site is excellent for those who are attached and seeking excitement from a monotone lifestyle and exploring the world of extramarital affairs.

Ashley Madison is the first married dating website and is committed to discretion. Despite the backlash and reputation, this site continues to be popular and has an immense database that crosses every major city in the world.

Pros:

Free for women to useVery discreetJudgment-free because nearly everyone is married and looking

Cons:

Not the most moral hookup optionExpensive for men to use

Pricing:Basic Plan: 100 credits at $0.59/credit
Classic Plan: 500 credits at $0.34/credit
Elite Plan: 1000 credits at $0.29/credit

5. Seeking Arrangement – Best for sugar relationships

Seeking Arrangement has a straightforward target audience: rich and experienced individuals seeking the young and gorgeous. This sugar daddy site is about helping daddies and mommas find sugar babies or cubs for hookups.

It has a much higher user base of women because the “sugar baby” theme brings many young women to the site. The site claims to have four times the number of women than men in their database. The prerequisite is that sugar daddies have to be wealthy and successful. They give priority to verified “elite members” who join with the sole intention of spoiling their sugar babies with money and attention.

Seeking Arrangements is a great site for beautiful young women looking for fun, attention, and a “daddy” to spoil them! This site is not the best to find a lasting love story—it’s geared toward hookups and has a more transaction-like nature.

Pros:

Free for women to sign upGreat for rich men because of the number of women using the siteGreat for women to find verified wealthy men

Cons:

Not for men who are on a budgetHookups feel almost transactional

Pricing:Women are free
One-month membership: $89.95/month
Three-month membership: $79.95/month
Diamond membership (more premium features): $249.95/month

6.  ALT – Best for alternative relationships

ALT is a full-on casual sex website. It’s not for anyone who is on the hunt for a serious relationship. This site is all about casual sex in every form to gratify any sex-seeker! The website’s community is made up of those who are into alternative bondage, who enjoy hooking up online, live, and in-person for sex dates.

It caters to people who want to find alternative, BDSM, bondage, and fetish partners who can connect online and meet in person. ALT speaks to swingers, dominatrixes, and mistresses looking for power exchange.

ALT is the leading BDSM site, with almost 2 million members. You can easily customize your fetish and find someone who is into the same kinks as you! Remember that this site is all about kink, such as orgies, being humiliated, or being tortured, and not about vanilla sex. So, if you’re looking for just plain sex, opt for another option on this list.

Pros:

Easily find people that share your kinkLots of X-rated content to browse throughLive cams and shows

Cons:

Too many fake profilesHave to buy a premium account to get the most access

Pricing:Silver Membership: $19.95/month (with longer plans available)
Gold Membership: $29.95/month (with longer plans available)

7.  OKCupid – Best for millennials and young people

OKCupid is a mainstream dating app that caters to many different kinds of relationships. It provides a multitude of choices for millennials looking not just for long-term relationships but options for short-term relationships, casual dating, and hookups. All you have to do is set that as what you are looking for, and they match you to like-minded people!

This site gears toward a generally younger audience—the age group between 18-29. This site is also one of the most inclusive mainstream dating websites that includes many gender and orientation options, helping you zero in on the particular pool of choices you want!

OKCupid may be a mainstream dating app that includes finding long-term relationships, but given its wide range of options, filters, and preferences, it’s a great app for hookups and casual sex as well. Just be up-front and be prepared to meet a great bunch of locals looking for the same things as you.

Pros:

Vast user base of peopleFind locals who are looking for casual sex and datingAffordable

Cons:

May find many looking for long-term relationshipsWill have to answer quite a few questions to see matches

Pricing:One-month membership: $19.95 total
Six-month membership: $9.95/month

8.  Hinge – Best for hybrid serious and FWB relationships

Hinge is a mainstream dating app that focuses on finding real romance—but it is also used to find casual sex and friends with benefits. The truth about Hinge is that it’s “designed to be deleted.”

But fear not! This app is incredibly popular with the younger crowd (18 to 29 years of age) and has filters to state the nature of the relationship you’re interested in. This setup is the best for friends with benefits because you have to answer questions about yourself and your preferences, which will bring you closer to meeting someone you share similar interests with and are attracted to!

Hinge is a great hookup app for those who want to find a casual relationship where you hook up with the same person a few times instead of just a one-night stand. Just be straight up with what you’re looking for—and you might just meet a new FWB with absolutely no strings attached.

Pros:

Popular with millennialsMatchmaking algorithm is great (apt for FWB)

Cons:

Created for finding long-lasting relationshipsMay not find a large user base of casual sex enthusiasts

Pricing:One month: $12.99 total
Three-month membership: $20.99 total
Six-month membership: $29.99 total

9.  Zoosk – Best for short term dating

Zoosk is a great short-term dating site that is internationally famous. It has a community of 35 million users in 80 different countries, and it is open to singles of all ages, races, religions, and sexual orientations—making it one of the most diverse dating apps.

This app may not be the best for casual hookups and one-night stands, but it is a good contender for short-term dating. If you’re in your early to mid-20s, you’ll find a great selection of singles who are interested in short-term or casual relationships.

Pros:

Very active usersUsed in over 80 countriesDiverse selection to find what you’re looking for

Cons:

May not be the best site for casual sexAdditional features cost extra

Pricing:One-month membership: $29.95 total
Three-month membership: $19.98/month
Six-month membership: $12.49/month

10.  Bumble – Safest for women

Bumble has gained a reputation for being different from most other mainstream dating and hookup apps. If you haven’t heard of this app already, Bumble is one of the first and only sites where women make the first move and get to screen potential men immediately. Men simply cannot reach out to any women unless they’ve initiated contact and interest.

It is catered towards and attracts more women than men looking to mingle or find networking opportunities, friends, or hookups! Even though it has a relatively positive and clean rep, it’s a great site for educated, good-looking men who are searching for successful, bold women.

Pros:

More women than menWomen initiate contactComprehensive and easy-to-use interface

Cons:

Other relationships (friendships and business networking) get in the way of potentials

Pricing:
Premium Membership: $8.99/week

11.  Plenty of Fish – Best for lots of options

Plenty of Fish has the largest user base. POF was launched in 2003, being one of the oldest dating sites. Since it’s free and easy to sign up, you’re going to be exposed to a lot of different types of people, looking for different things, so you’ll have to filter through them all.

Since it’s been around for a long time, it has gained a reputation as a matchmaker site that will ask questions about your family, career, and interests to match you with similar users. It’s catered for people who want to dip their toes into dating and hookup sites to explore options.

Plenty of Fish may or may not have people looking for casual sex, depending on your luck. It’s a matchmaker site that is geared more for a long-term commitment. So you have to be prepared to screen different kinds of people.

Pros:

Multiple search filtersLargest user base of profiles

Cons:

May come across bots or fake accounts

Pricing:One-month membership: $19.99 total
Three-month membership: $9.80/month
One-year membership: $5.95/month

12.  Tinder – Most popular app

You didn’t think this list was going to end without this sex gem of an app, did you? Tinder is the most widely known hookup app of this generation. It boasts an infamous rep for finding casual sex ASAP.

Tinder caters to men and women looking to get laid based on appearance. It’s known for its classic swiping left to reject and swiping right to like someone’s profile. If you’re looking for sex, Tinder has a huge user base and a large number of locals, meaning you can probably secure a sex date tonight—but the catch is that your profile needs to stand out. If you’re not conventionally attractive, you’re going to struggle to find dates.

For men who can’t seem to find dates, Tinder has a large user base of escorts who will private message their rates. If you’re horny and want it—then maybe you can meet a potential escort on Tinder!

Pros:

Best starter app for quick sexLots of escorts

Cons:

Lots of fake profilesVery superficial and appearance-focused

Pricing: Free: limited swipes
One month: $9.99 total if you are under 30
One month: $19.99 total if you are over 30

13.  Pure App – Best for fantasy based hookups

Pure App was created for shameless and judgment-free fantasy and desire-based dating. This app is purely for NSA affairs and is completely secretive and anonymous. It encourages its users to be whoever they choose to be and still be themselves.

It caters to people who have wild fantasies or desires that aren’t celebrated on mainstream dating and hookup apps. It allows your individuality to shine through—choosing your gender and sexuality—and providing guaranteed privacy and safety to video chat and meet whoever shares the same fantasies as you.

Pure App uses your GPS location on your phone to find other Pure users looking for some NSA action. You just have to post a photo and an up-front headline and wait to see if anyone close is interested. When you’re done, your profile will vanish, along with all your messages and photos—no need to worry about deactivating or privacy issues.

Pros:

Profiles, messages, and photos shared will disappear once you’re doneStarting up is easy: post a photo and sentenceEmbraces individuality and authentic fantasies

Cons:

Only popular in major cities

Pricing:One week: $14.99 total
One month: $29.99 total

14.  Feeld

Feeld is a hookup app for couples and singles to explore their desires. It was created to be an honest and open platform where you don’t judge others and explore the potential of your desire.

It includes couples’ accounts where you and your partner can date a lover or meet someone for a threesome. It’s inclusive for all genders and sexual orientations. Overall, it’s a sex-positive space for anyone looking to explore beyond “the norm” in today’s society.

Feeld prides itself on being responsible and ethical. It connects people with like-minded folk and encourages curious monogamous couples to link with partners who are also interested. It is a safe space that allows couples to explore their desires in the most honest way possible.

Pros:

One of the largest open-minded communities worldwideSex-positive and promotes ethical dating choices

Cons:

Premium version is not available on AndroidMust have a Facebook account to verify your identity during sign-up

Pricing
One-month membership: $14.99 total
Three-month membership: $29.98 total

15.  Sex Messenger – Best for anonymous hookups

Sex Messenger is an anonymous instant messaging app—like WhatsApp or Facebook Messenger. But you never share your name because it’s meant to be discreet and only for sexting and trading nudes.

This app is an adult social network that is much more than an online sex chat. It caters to people who want to connect with other people who want to engage in sex and dirty talk, and fulfill each other’s sexual fantasies. Instant messaging on this app and posting blog entries will help you gain the attention you want from like-minded people.

All members must verify their accounts, so this weeds out fake profiles, scammers, and bots. Members can contribute to the website through Sex Messenger’s forums, chats, group sections, sex stories, and blogs. It’s all anonymous and fully discrete. This app is a great way to sext, increase sexual tension, and finally meet up to do the deed!

Pros:

Safe way to send and receive nudesAnonymity is keyGoal is to meet up for anonymous sex—NSA!

Cons:

Need to pay for a premium account to access live chat or live cams

Pricing
One-month membership: $14.95 total

16.  Reddit R4R – Best completely free options

Reddit R4R is one of the best options for browse casual sex options for free. If you’re looking for a hookup but don’t want to sign up, post photos of yourself, and write out a bio to describe who you are and what you want . . . you found the site for you!

This site works as a personals subreddit. It works like any other subreddit. Anyone can post—no photos, no personal information needed! All you have to do is list some things about yourself and the type of person you’re looking for. And then you wait to see if anyone responds to your post.

Reddit R4R is free, so all you have to do is download the Reddit app, and you don’t need to worry about spending money. If you want to be a trusted member and not get blocked, just follow the posting rules! Users love this site to get laid because it’s easy to use, free, and starts an instant conversation with like-minded people.

Pros:

FreeNo membership neededLots of daily interactions and hits

Cons:

Hard to stand outCan’t pay to boost your posts

Pricing: Free

Hookup Site Guide

Still on the fence about whether or not you should start using hookup apps? Or maybe you’re already using them but want some more information? Check out this useful guide to answer any lingering questions you may have and walk away with some important safety tips about casual sex.

What Makes a Hookup Site Good?

It’s important to note that different sites cater to different kinds of people. So before creating a profile on any old hookup site, read the reviews to make sure it meets your needs.

Here are a few tips to find the best hookup site specific to you:

If you have a particular kink or preference, keep an eye out for it. (example: Looking for discreet affairs? Ashley Madison is the one for you!)Make sure the size of the user base is relatively large. More options mean a better chance of finding someone to hook up with.Find a site that allows users to be up-front about what they want. Usually, apps have preferences, and you can set yours to “casual relationship” or “hookup.”Make sure the customer service contact information is front and center. You shouldn’t have to go on an expedition to contact the site.

FAQs About Hookup Sites

Q: Are hookup sites dangerous?
Hookup sites and online dating can be dangerous if you don’t take proper safety measures. Generally, apps and websites catered to casual sex and sexual exploration try their best to regulate safety by banning bots and scammers and having options to report any bad behavior. So if you’re planning on joining, be aware and try your best not to be too gullible—you can never be sure who you will come across online!

Q: Are there any free hookup sites?It sucks that most dating apps and casual sex apps require you to subscribe to get optimum results. But sites like Reddit R4R and Craigslist Activities offer a free platform to chat, flirt, and arrange for sex dates. But the only downside is that there is no moderation and you won’t be talking to a verified profile and have to be extra cautious.

Q: What hookup sites are free for women?
The reality is that dating apps make it very easy for women to find sex. Most high-rated dating sites offer women free memberships (mostly to balance out the male/female ratio on their site). Sex sites that are free for women include Bumble, OkCupid, Tinder, Seeking, Hinge, Her, and Pure.

Final Verdict

If you’re looking for some action tonight, welcome to the world of casual sex sites and apps. With so many different ones to choose from, all you have to do is pick the one that speaks to you, your individuality, and your desires the most, and sign up!

The best hookup sites are on top for a reason—everyone on there is eager to find sex and casual flings just like you! More than mainstream dating apps that cater to a plethora of things such as long-term dating, friendships, and so on, hookup apps are catered only towards sex and NSA fun!

The best hookup site on this list is Adult Friend Finder. It emphasizes anonymity, safety, a massive user base, and a brand name that is verified. Most people on this site are looking for a good time with so many different types of kinks and fantasies. So what are you waiting for?

Hopefully, this list gives you an idea of what sex app is the best for you to get started on today!

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