kick

Pakistan says talks between the United States and Iran which were postponed on Friday will begin in Switzerland on Sunday, as Tehran announced it was again closing the Strait of Hormuz because of continued Israeli attacks in Lebanon.

Iran’s foreign ministry spokesman, Esmail Baghaei, confirmed on Saturday that an Iranian delegation, including Parliament Speaker, Mohammad Bagher Ghalibaf, Foreign Minister, Abbas Araghchi and other senior officials, was heading to Switzerland.

In Washington, Vice President JD Vance confirmed that the top US negotiators Jared Kushner and Steve Witkoff were already in Switzerland working through technical details of anticipated negotiations on Iran’s nuclear programme.

Vance told Fox News that he expects to leave for Switzerland “sometime in the next couple of days” but acknowledged that “it’s always a delicate coordination dance.”

The planned meeting on Sunday will start technical-level negotiations towards a final US-Iran deal. That is after both sides signed a memorandum of understanding (MoU) earlier in the week declaring a permanent end to “military operations on all fronts”, including in Lebanon.

The MoU stipulates that a final deal should be reached within 60 days, “extendable with mutual consent”.

But even getting to the negotiating table following the MoU proved difficult. A round of talks originally planned for Friday was pushed back after Iran failed to send its delegation, as deadly Israeli strikes persisted in Lebanon.

Although Israel agreed to a renewed ceasefire with Hezbollah on Friday, its attacks in Lebanon continued into Saturday, killing at least 32 people, according to Lebanon’s civil defence and state media reports.

On Friday, Israeli attacks killed 83 people and wounded 141, Lebanon’s health ministry said.

Iran’s Islamic Revolutionary Guard Corps (IRGC) on Saturday announced it was re-imposing restrictions on the Strait of Hormuz over Israeli “crimes” in Lebanon and what it called a US violation of commitments to establish a ceasefire.

It warned ship crews not to approach the strategic waterway, saying their security would be at risk ⁠if they do.

Mohammad Mokhber, an adviser to Iran’s supreme leader, warned that the flow of energy in the Middle East would halt so long as the US-Iran agreement “remains only on paper”.

The US military said its forces were still operating in the “general area” of the Strait of Hormuz and “remain present and vigilant” to make sure “all aspects of the agreement with Iran are adhered to”. It said 55 commercial vessels had transited the strait on Saturday and that safe passage was still “intact”.

‘Things are moving backwards’

According to Pakistan’s foreign ministry, Pakistani and Qatari mediators will join the US-Iran talks on Sunday in the Swiss mountain resort of Burgenstock.

Reporting from there, Al Jazeera’s Osama bin Javaid said there has been a flurry of behind-the-scenes diplomatic activity ahead of the formal negotiations, with Qatar’s Prime Minister, Sheikh Mohammed bin Abdulrahman bin Jassim Al Thani, already holding meetings. Pakistan’s Foreign Minister, Ishaq Dar, has been holding talks in Egypt and Pakistan’s Interior Minister, Mohsin Naqvi, travelled to Iran.

Iranian foreign ministry spokesman Baghaei has signalled that progress may be scarce until Iran feels the US is living up to its end of the interim deal.

In comments broadcast by Iran’s IRIB, Baghaei said Iran “must naturally be very firm and serious in demanding fulfilment of obligations” considering the US’s past “failure to honour commitments”.

Al Jazeera’s James Bays, reporting from Burgenstock, said there are indications “things are moving backwards from when the MoU was signed”, citing Israel’s continued bombardment of southern Lebanon.

“The Iranians see this as a serious breach of the MoU,” he said. “Their first sanction was by not coming here. They have now utilised their best weapon by closing the Strait of Hormuz.

“Iran believes this tactic will help get things back on track with regard to southern Lebanon,” added Bays.

MEXICO CITY — The Mexican national team will kick off the 2026 World Cup against South Africa on Thursday with the weight of entertaining 83,000 at iconic Azteca Stadium and soccer fans around the globe.

The match at the venue known as Mexico City Stadium during the World Cup will kick off at noon PDT and air on Fox and Telemundo.

Once the ball starts rolling, the stadium’s altitude — 7,216 feet above sea level — will be one of the biggest assets for the Mexican lineup led by coach Javier Aguirre.

It will be Mexico’s eighth opening match in a World Cup, and El Tri carries a historical burden. It has never won a tournament opener, with a record of 0-5-2, including a 1-1 draw against South Africa in the opening match of the 2010 World Cup in Johannesburg.

Mexico coach Javier Aguirre directs his players during a friendly against Australia on May 30 at the Rose Bowl.

(Kyusung Gong / Ap Photo/kyusung Gong)

Aguirre will likely deploy the 4-3-3 formation he used during Mexico’s final warm-up match against Serbia.

“We’re ready; we’ve been working for 22 months,” said Aguirre, 67, who took the reins of the national team on Aug. 1, 2024, following Jaime Lozano’s failure at that year’s Copa América, when Mexico was knocked out in the group stage.

Since his arrival, Aguirre has led the team to its first Concacaf Nations League title and the Gold Cup. Mexico enters the tournament on an eight-game unbeaten streak, though several of those results came against lower tier opponents and at home. The two most encouraging highlights of that streak were the draws against Belgium and Portugal.

“If my teams are known for anything, it’s for their character,” Aguirre said. “My team is just like me.”

The starting goalkeeper position remains a topic of debate, but it appears Aguirre has already made his decision. Guillermo Ochoa, who will be playing in his sixth World Cup with Mexico, is considered by many to be the ideal experienced goalkeeper to use during the opener, when nerves are sure to be high. However, Raúl Rangel has been the starting goalkeeper during Mexico’s past three warm-up matches, playing the full 90 minutes each time.

Rangel, who was 10 years old when Mexico tied South Africa in the opening match of the 2010 World Cup and who fondly remembers El Tri’s victory over France that tournament, is confident between the posts.

Mexico could turn to veteran goalkeeper Guillermo Ochoa to calm nerves during the World Cup opener on Thursday.

(Ronaldo Bolanos/Los Angeles Times)

“We’re in great shape; we proved it against Portugal and Belgium, two teams that are among the world’s elite,” said Rangel, who noted that Ochoa has instilled a sense of calm in the team.

“I do believe we can be champions. We have to start keeping that in mind and believe that it’s possible. Not everyone can boast that they played in a World Cup on home soil.”

The Mexican team’s lack of elite club experience, however, is obvious and could be a problem. El Tri has few players in top-tier leagues and lacks game-changers on the wings, as Diego Lainez, Uriel Antuna and Hirving Lozano were left off the final roster. Offensive output is a cause for concern. In tight matches, goals have come mainly from defenders, with César Montes and Johan Vásquez being the primary threats on set pieces.

The commitment to youth appears to be a key factor in Aguirre’s approach to building the roster. Mexican American Brian Gutiérrez brings freshness and dynamism to the midfield, alongside Erik Lira’s energy. As an option off the bench, Aguirre could turn to 17-year-old Gilberto Mora, the youngest player in the tournament, who is sure to draw cheers from the crowd.

For his part, South Africa’s 74-year-old head coach, Hugo Broos, knows the Azteca Stadium well, having marked Maradona during the 1986 World Cup semifinals. To acclimate his players to the altitude, he held training camp in Pachuca, at an elevation of 7,979 feet.

“This game is special. I’ve played in European championships, but there’s nothing like a World Cup. And we’re going to play at the Azteca Stadium — it’s incredible that this is going to happen,” Broos said.

South Africa coach Hugo Broo talks with Nigeria’s players during a World Cup qualifying match against Nigeria in Bloemfontein, South Africa, on Sept. 9.

(Themba Hadebe / Associated Press)

He expects to be challenged by Mexico.

“They’re a very well-rounded team, with great mobility and teamwork,” Broos said of El Tri. “You can tell they want to be world champions.”

South Africa will pose a real threat with Mbekezeli Mokoena driving the midfield and the speed of Oswin Appollis and Relebohile Mofokeng on the wings. The team’s main weakness lies in finishing, as Lyle Foster is their only striker, and if he doesn’t perform well, the South African side will suffer.

“We can’t say we don’t have a chance against Mexico, because that’s not true,” said Broos about his team, which is ranked 60th in FIFA rankings and will tangle with a Mexican squad ranked No. 14.

Pregame entertainment will kick off at 10:30 a.m. PDT with performances by Shakira, Burna Boy, Maná, J Balvin, and Alejandro Fernández. As a new ceremonial feature, all 26 players from each team — starters and substitutes — will participate in the ceremony by lining up around the tournament’s central emblem on the field, rather than in the traditional pregame formation.

The match is expected to be played in the rain. Protests are expected around the stadium throughout the day, including demonstrations by the teachers’ union and groups representing the families of missing persons.

The World Cup arrives in L.A. on Thursday. This marks the first time the festivities have taken place in the Southland since 1994, when Pasadena’s Rose Bowl hosted the final between Brazil and Italy, which famously ended in a scoreless tie and was decided by a penalty shootout that led to Brazil winning its fourth World Cup title. (The U.S. hosted the Women’s World Cup in 1999 and 2003, with the finals at the Rose Bowl and Home Depot Center [now known as Dignity Health Sports Park], respectively.)

Soccer is art and art is soccer and soccer is life — and also one of the most beloved sports on the planet — and thankfully for you, dear arts lover, you can mix your passion for art and fútbol by heading to a free public viewing party at a number of local museums and cultural institutions.

This year sees Spain and France as favorites, with England, Brazil, Portugal and defending champions Argentina all in the running. No matter who your team is, there is a museum watch party for you. Here are your top choices, in no particular order:

The Getty Center: A variety of watch parties will take place on newly installed big screens at the museum’s Trellis Bar & Lounge and Garden Terrace Cafe, which will also feature themed menu items and drinks. The Getty will stay open until 9 p.m. on June 12, 19, 26 and July 3 to accommodate evening games. Normal Friday hours will resume July 10. Admission is free, but a reservation is required. Parking is free after 5 p.m.

Los Angeles County Museum of Art: The museum is hosting two free outdoor watch parties on large screens located on its Smidt Welcome Plaza on Wilshire Boulevard. Mexico vs. Korea can be seen from 6 to 8 p.m. on June 18; and Uruguay vs. Cape Verde will take place at 3p.m. on June 21.

LACMA is also hosting a few soccer-themed events, including “Andell Family Sundays: ‘Fútbol Is Life’,” set to take place on June 7, 14 and 28 from 12:30 to 3:30 pm. The event features art-making workshops inspired by the museum’s ‘Fútbol Is Life’ exhibit featuring soccer miniatures by Lyndon J. Barrois Sr., and led by artists Karl Petion and Patricia Yossen. There is also an event called “Let’s Play: Soccer Juggling,” from noon to 3 p.m. on June 21. This is also tied to the exhibit and offers lessons in soccer basics through a drop-in juggling and accuracy workshop led by representatives from American Youth Soccer Organization. All ages and experience levels are welcome. RSVP required.

The Autry Museum of the American West: The Autry’s free Griffith Park watch party will take place at 4 p.m. June 12 when Paraguay takes on USA. The event will feature food trucks, themed cocktails, soccer-inspired games and activities, and local vendors selling specialty wares. Free, but an RSVP is required.

The Music Center: It’s not a museum, but it’s one of the city’s most beloved cultural centers. It’s also hosting a free public screening of Spain vs. Uruguay from 5 to 7 p.m. on June 26 on its lovely Jerry Moss Plaza, including family-friendly activities and themed refreshments. Bring a picnic or pick your dinner from an on-site restaurant. Stick around after the game for a free global dance party celebrating the start of the 22nd season of the Music Center’s Dance DTLA.

I’m Arts editor Jessica Gelt putting my game face on. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Gustavo Dudamel: Celebrating 17 Years
In his final concert as L.A. Phil music director at Disney Hall, the maestro joins his Venezuelan and American identities, conducting two poetry-inspired choral symphonic works. John Adams’ “Harmonium” borrows texts from Emily Dickinson and John Donne to explore time, harmony and rhythm. “Cantata Criolla” by composer Antonio Estévez follows a Venezuelan troubadour who squares off against the devil.
8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Haunted
In this one-act dance opera, composer Paul Salerni unites poetry and music to share a tale of doomed love entwined with a ghost story with an unexpected conclusion. Based on a libretto by former California Poet Laureate Dana Gioia.
8 p.m. Friday and Saturday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

SATURDAY

Family Fest: Pride
A free, outdoor event celebrating love, identity and inclusivity, featuring Bob Baker Marionette Theater, Iwalani Music, Everybody Dance LA, Drag Story Time, Color Me Face Painting and more.
11 a.m.-2 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

“Catapult” by Alex Gardner, 2025. Acrylic on canvas.
48 1/16 x 96 1/16 inches.

(Wild Don Lewis Photography; courtesy of Alex Garden and Perrotin)

Alex Gardner, Gabriel Rico and Makiko Kudo
A trio of new exhibitions connected through the natural world and the creatures, great and small, who inhabit it: In “Animals,” painter Alex Gardner explores his experience of fatherhood; Gabriel Rico’s “Gabrielinos (I Am You And What I See Is Me),” the artist’s first solo show in Los Angeles, uses textile, assemblage and sculpture to encourage viewers to think about the world around them; the life and death of Japanese painter Makiko Kudo’s pet cat inspired “Reincarnation,” a series of oil paintings.
Opening reception, 6-8 p.m.; exhibitions run through July 11. Perrotin Los Angeles, 5036 W. Pico Blvd. perrotin.com

Magnificent Mozart & Mahler
Eckart Preu conducts the Long Beach Symphony in two classical masterpieces, “Eine Kleine Nachtmusik” and Mahler’s Fifth.
7:30 p.m. Long Beach Terrace Theater, 300 E. Ocean Blvd. longbeachsymphony.org

Will Geer Theatricum Botanicum
The summer repertory season launches with Shakespeare’s “Romeo and Juliet” and “A Midsummer Night’s Dream” in the great outdoors of Topanga Canyon.
“Romeo and Juliet,” 7:30 p.m. Saturday-Sept. 26; “A Midsummer’s Night Dream,” Sunday-Oct. 10. Will Geer Theatricum Botanicum, 1419 Topanga Canyon Blvd., Topanga. theatricum.com

SUNDAY

Juneteenth Block Party
Debbie Allen Dance Academy (DADA) hosts its annual free community celebration featuring free dance master classes, live performances, carnival rides, games, food trucks, music and a marketplace for local and minority-owned businesses. Noon-7 p.m. Debbie Allen Dance Academy, 1850 S. Manhattan Place, L.A. debbieallendanceacademy.com

L’Chaim America!
The Braid theater company performs real stories of American Jewish life centered on gratitude and possibility.
2:30 p.m. Skirball Cultural Center, 2701 N. Sepulveda Blvd., L.A. skirball.org

MONDAY
National Museum of the Aftermath
The project, conceived and titled by Cauleen Smith and curated by Jon Rubin and Harrison Kinnane Smith, travels from city to city adopting a different name and form in each location. For two months, it will operate within Oxy Arts, challenging the status quo of history and speculating on the future.
11 a.m.-4 p.m. Tuesday-Saturday; through Aug. 8. Oxy Arts, 4757 York Blvd., L.A. oxyarts.oxy.edu

WEDNESDAY

Denise Burse, from left, Charlayne Woodard and Deborah Joy Winans in rehearsal for “Angry, Raucous, and Shamelessly Gorgeous” at Geffen Playhouse.

(Isaak Berliner.)

Angry, Raucous, and Shamelessly Gorgeous
An expat actor of a certain age returns to the U.S. primed for a comeback, only to face a new generation with very different ideas from her own. Written by Pearl Cleage and directed by LaTanya Richardson Jackson. Denise Burse, Olivia Washington, Deborah Joy Winans and Charlayne Woodard star.
Through July 12. Geffen Playhouse, 10886 Le Conte Ave., Westwood. geffenplayhouse.org

The Revolutionists
Playwright Lauren Gunderson turns France’s Reign of Terror on its ear in this raucous comedy about women fighting for égalité. Directed by Jamie Torcellini.
Previews, 7:30 p.m. Wednesday and Thursday; 7:30 p.m. Thursday-Saturdays and 2 p.m. Sundays, through June 28. International City Theatre, 330 E. Seaside Way, Long Beach. https://ictlongbeach.org/therevolutionists/

THURSDAY

Double Take: Photographs in Pairs
An intriguing exhibition matching photographs based on their formal qualities: the angle of a body, the geometry of a space, the relationship between figures and the interpretation of color. Photographers featured include Diane Arbus, Walker Evans, Robert Frank, Lauren Greenfield, Mary Ellen Mark, Helmut Newton, Irving Penn, Herb Ritts, Sam Taylor-Johnson, Bruce Weber and Bastiaan Woudt.
Opening reception 7-9 p.m. Thursday; exhibition runs through July 18. Fahey/Klein Gallery, 148 N. La Brea Ave. faheykleingallery.com

Esa-Pekka Salonen conducts the Los Angeles Philharmonic at the Walt Disney Concert Hall in 2025.

(David Swanson/For The Times)

Ojai Music Festival
This year’s music director, Esa-Pekka Salonen, is in the spotlight as a composer with the U.S. premiere of his new work for violin and cello and the first complete performance of his “Six Preludes” for piano, and other works; Salonen also conducts the Friday, Saturday and Sunday evening concerts. In its 80th year, the festival pays tribute to its defining musical figures and welcomes L.A. Phil New Music Group, Colburn Orchestra, L.A. Dance Project and many other noteworthy artists.
Through June 14, 2026. Libbey Bowl, 210 S Signal St., Ojai. ojaifestival.org

Rheology
This experimental play by Pulitzer Prize finalist and Obie winner Shayok Misha Chowdhury is a collaboration with his mother, physicist Bulbul Chakraborty, filled with dramatic urgency.
8 p.m. Thursday, and June 12-13. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

Thursday Night Jazz
Weekly series featuring guest musicians backed by the Jack Lieberman Trio. Upcoming guests include the Tyler Hammond Jazz Experience (June 11); Ido Eylon and Willem Jochems (June 18); and Joey Du Bois with Kahlil Childs (June 25).
8 p.m. Thursdays. The Spotlight, 1601 N. Cahuenga Blvd., Hollywood. thespotlight.la

Arts anywhere

New and recent releases of arts-related media.

Ann Patchett and her novel “Whistler.”

(Los Angeles Times illustration; images from Emily Dorio, Harper)

Ann Patchett, ‘Whistler’
What does a literary novelist have to do with the performing and visual arts? In Patchett’s stories, the past is often inextricably entwined with the present and within those threaded timeframes lie traces of genetic code leading to the arts and art-adjacent worlds. In “Taft” (1994), the protagonist is a former jazz musician turned Memphis bar owner; “The Magician’s Assistant” (1997) finds the title character unraveling the illusions of her own life; “Bel Canto” (2021) features a famous American soprano at the center of a hostage crisis; and “Tom Lake” (2023) revolves around a Michigan woman’s long ago love affair with a soon to be famous actor during a summer stock production of Thornton Wilder’s “Our Town.” Of the writer’s latest book, “Whistler,” Times contributor Leigh Haber wrote, “This exquisite writer has once again delivered an incandescent work of fiction — sweet, but never sentimental, infinitely wise and suffused with love. It’s also an ode to New York City itself.” And that ode notably begins with the protagonist and her husband at the Metropolitan Museum of Art. A place that Haber notes, “one gets the sense, they know by heart.” This connection to art may prove to be tangential — I’ve only read a quarter of the book — but Patchett’s appreciation of these worlds is anything but.
Harper: 304 pages, $30

— Kevin Crust

Culture news and the SoCal scene

Jeff LeBeau, left, and Tim Cummings in the West Coast premiere of Samuel D. Hunter’s “Grangeville” at the Ruskin Group Theatre Arts Center, dairected by John Perrin Flynn.

(John Perrin Flynn)

Times theater critic Charles McNulty reviewed the West Coast premiere of playwright Samuel D. Hunter’s “Grangeville,” directed by John Perrin Flynn, at the Ruskin Group Theatre. The play, which explores the lives of two estranged half brothers from a small Idaho town, is “beautifully acted,” McNulty writes, adding, that Hunter, “the bard of Idaho,” is “one of the theater’s outstanding American realists.”

McNulty also loved the Alicia Keys jukebox musical, “Hell’s Kitchen,” which staged its L.A. debut last week at the Hollywood Pantages Theatre. The musical tells the story of Key’s upbringing in the Manhattan neighborhood of the show’s title, but the story isn’t where the show shines, writes McNulty, noting that the joy comes from the way Keys’ music is seamlessly integrated into the narrative.

Yo-Yo Ma plays the solo for the premiere of Angelica Negron’s “Mudillo” on Thursday, May 28, 2026.

(Jason Armond / Los Angeles Times)

“Our streets are garlanded with ‘Gracias, Gustavo’ banners and billboards. The Walt Disney Concert Hall shop has become a Dudamel-torium, aisles bursting with Gustavo T-shirts, hoodies, tote bags, refrigerator magnets and this and that,” writes Times classical music critic Mark Swed in a review of Dudamel’s penultimate weekend at Walt Disney Concert Hall, including one featuring cellist Yo-Yo Ma.

Dancers from choreographer Benjamin Millepied’s L.A. Dance Project rehearse at LACMA’s David Geffen Galleries on Friday, May 22, 2026, in Los Angeles.

(Carlin Stiehl / For The Times)

Benjamin Millepied’s L.A. Dance Project is staging a free, two-week-long series of public shows called “City of Dance” which take place at nine Southern California landmarks, including LACMA, Hollywood Forever Cemetery, Tongva Park and Stearns Wharf. Read all about how the project came to be, including its use of Philip Glass’ score from the critically acclaimed 1982 documentary film, “Koyaanisqatsi.”

Wallis Annenberg Center for the Performing Arts announced its 2026-27 season.

(Jason Kempin / Getty Images for Wallis Annenber)

Wallis Annenberg Center for the Performing Arts has unveiled its 2026-27 season, its first under the leadership of its new executive director and CEO, Jean Davidson. Highlights include music by Joshua Redman Quartet; Ronald K. Brown and his dance company Evidence, comedy and cabaret by performers including Sandra Bernhard and designer Isaac Mizrahi; recitals by L.A. Opera, concerts featuring Los Angeles Chamber Orchestra and much more. “At the heart of this season is a belief in the power of live performance to connect people to ideas, to one another, and to the shared human experience. We are proud to support artists who spark curiosity, foster empathy, and invite dialogue, while continuing to strengthen The Wallis as a vibrant gathering place for all audiences,” said Davidson in a news release. See the full schedule here.

Pacific Jazz Orchestra also announced its 2026-27 season led by composer, arranger and conductor Chris Walden. The 40-piece string orchestra and big band hybrid is entering its fourth season with five programs dedicated to jazz, swing, soul R&B, Broadway and pop, staged in six venues across the region, including in Beverly Hills, Irvine, Northridge, Palm Desert, Santa Barbara and Ventura. Featured guest artists include Broadway star Sutton Foster, pianist David Benoit and vocalist Nayanna Holley. See the full schedule here.

UCLA’s Center for the Art of Performance has announced “Far Away, Here,” a new multiyear international opera initiative that will launch in the 2026-27 season with the U.S. premiere of a new adaptation of “Kafka’s Letter to His Father, “ scheduled to run Nov. 12-14 at the UCLA Nimoy Theater. The initiative will continue to present U.S. premieres of under-the-radar operas by artists from around the world, and is curated and produced by tenor Timur Bekbosunov, in collaboration with CAP UCLA’s executive and artistic director, Edgar Miramontes.

— Jessica Gelt

And last but not least

I told you where to watch the World Cup at area museums, but here’s a list for folks who would like to watch the old-fashioned way, at restaurants and bars.

U.S. Special Operations Command (SOCOM) is about to kick off the search for what it is calling a Flyweight Assault Machine Gun (FAMG). This will be a new 5.56x45mm caliber belt-fed machine gun to succeed the Mk 46, a lightweight special operations-specific cousin of the M249 Squad Automatic Weapon (SAW).

Lt. Col. Alan Wood, SOCOM’s Program Manager for Special Operations Forces (SOF) Lethality, touched on the FAMG briefly in an exclusive interview with TWZ‘s Howard Altman during the annual SOF Week conference last week. Readers can find the bulk of the interview here.

There are “three separate machine gun programs within SOCOM: Lightweight Machine Gun-Medium, Light Machine Gun-Assault, and soon to be FAMG, which is the Flyweight Assault Machine Gun,” Wood explained. “The Medium is your .338 [Norma Magnum], the Assault is your 7.62 NATO [7.62x51mm], and then the FAMG is a 5.56[mm]. All belt-fed machine guns.”

We subsequently reached out to SOCOM for more information about the FAMG, an effort that does not appear to have been previously disclosed.

“The Flyweight Assault Machine Gun (FAMG) will be a 5.56mm belt fed weapon that will replace the MK46 Light Machine Gun,” a spokesperson for the command told us. “Details on the requirement will be published on SAM.gov in the near future.”

While we do not know yet what SOCOM is looking for specifically in the FAMG, beyond its caliber, we do know what the command wants to replace. The Mk 46 traces back to the early years of the Global War on Terror. It is based on the M249 SAW, which is itself a version of the Minimi light machine gun from Belgian gunmaker FN (and later its American subsidiaries).

FN had initially developed what it called the Special Purpose Weapon (SPW), a significantly lightened version of the Minimi with a shortened barrel that also had a thinner profile. The gun, which was marketed heavily toward special operations forces, featured the collapsing stock that had already been used on short-barreled ‘paratrooper’ versions of the Minimi and the M249, as well.

The standard Minimi design also has a secondary magazine well that allows it to fire ammunition from NATO-standard box magazines like the ones used with AR-15/M16-series rifles, as well as belts. This feature was carried over to the M249. It was omitted on the SPW to further cut weight.

The baseline Mk 46 Mod 0 was a direct evolution of the SPW concept. It most notably used the polymer buttstock found on standard Minimi and M249 light machine guns, which is fixed in length, but also lighter than the collapsing paratrooper type. It also came with a new handguard with rails on four sides for optics, laser aiming devices, lights, and other accessories. The handguard design is very tall on the top side to bring it in line with an additional rail on the gun’s top cover.

An improved Mk 46 Mod 1 variant was subsequently developed, which “incorporates improved receiver pins, a feed tray with retention pawls and a vented hand guard with improved heat shield and three MIL-STD-1913 rails,” according to the entry on FN America’s website at the time of writing. “The MK 46 MOD 1’s cold hammer-forged MIL-SPEC barrel has a hard-chromed bore for longer life and improved accuracy, and serves as the mounting point for the carry handle.”

To make a more direct comparison, the Mk 46 Mod 1, with its 16.3-inch barrel, weighs just under 15-and-a-half pounds empty with no accessories, per FN America. The version it shows on its website currently does also has a more traditional handguard configuration. A current-generation M249 with a full-length 20-and-a-half-inch barrel tips the scales at 17 pounds without any ammunition, optics, or other attachments.

After years of the U.S. military, including SOCOM, increasingly moving away from 5.56x45mm in favor of calibers that offer longer reach, for rifles and machine guns, there is something of a question as to why the command is now pursuing the FAMG. It had already been relatively rare to see variants of the Mk 46 in actual operational use. For decades now, U.S. special operators have also been using a succession of lightweight 7.62x51mm machine guns, as well, including compact versions of the M60 and a derivative of the Minimi/M249 designated the Mk 48. The aforementioned Light Machine Gun-Assault is a replacement for the Mk 48.

The U.S. Army is also moving to replace at least a substantial portion of its standard M249s with new 6.8x51mm caliber M250 machine guns, which might also make their way into service elsewhere across the U.S. military. The 5.56x45mm M27 Infantry Automatic Rifle (IAR) has also largely supplanted the M249 in the U.S. Marine Corps.

All this being said, U.S. special operators routinely conduct missions in close-quarters environments where the added firepower of a belt-fed machine gun can be beneficial, but the added range offered by a heavier design is not necessary. A design that cuts as much weight as possible is very attractive to fast-moving special operations teams that typically use belt-fed machine guns for brief periods of suppressing fire, as well.

SOCOM is now separately pursuing new hypervelocity 5.56x45mm ammunition that could significantly extend the reach of weapons chambered in that caliber as part of an effort called the Hypervelocity Improved Carbine (HICAR).

In addition, there is value in having commonality in ammunition with other existing rifles and machine guns, as well as those in use with allies and partners. The latter point is especially relevant for special operations forces, which are often forward-deployed alongside their foreign counterparts in locales where access to traditional supply chains is not guaranteed. There are training benefits to being able to use more readily available, less specialized, and often less expensive ammunition, as well.

SOCOM’s Lt. Col. Wood highlighted all of this while speaking more generally during his interview with us last week:

“So, HICAR’s got me excited. Back in the late teens, the Army went down this higher velocity [route], and I’m intentionally using the word velocity and not pressure in what they’ve done with the M7 and M8 rifles. They’ve been able to increase the velocity and therefore create a flatter shooting rifle as well as a rifle that has greater energy on target, and that does incredible things for barrier defeat in a lot of situations. Now we’ve had 10 years, almost, for that technology to mature, people have learned things, and the question then becomes, what could we do for special operators in calibers that are not new?”

“The advantage for SOF [special operations forces] operators is I’ve got, say, the Green Berets who do a lot of partnering with foreign SOF operators, but there’s no [6.8mm] ammo running around central Africa, or you know, pick your favorite spot where we like to do partnering operations around the world. But there’s a lot of 5.56mm and other common cartridges of that nature, and so what we want to…achieve is maybe not the same effect as what the Army’s done with the M7 and the M8 and that high-velocity ammunition that they have, but where could we get close to that in 5.56 and potentially other calibers in the future.”

5.56x45mm could turn out to be just the baseline caliber for FAMG, too. SOCOM has long had a fondness for guns with interchangeable calibers, allowing for different cartridges to be used as appropriate for specific missions. As a tangential example, the command just recently confirmed to TWZ‘s sister site Task & Purpose that its new Mid-Range Gas Gun-Assault (MRGG-A) rifles, now also designated the Mk 24, will be able to be configured to fire either 6.5mm Creedmoor or 7.62x51mm.

It is also worth noting that the U.S. Army’s elite 75th Ranger Regiment has already begun using the 5.56x45mm Light Assault Machine Gun (LAMG) from Knights Armament Company (KAC), at least on a limited level in recent years, alongside current-generation versions of the M249. KAC’s website presents a typical LAMG configuration featuring a 15-inch barrel and weighing 11.4 pounds empty, which is more compact and lightweight than the Mk 46.

The LAMG also has what is known as a “constant recoil system,” which is designed to significantly reduce felt recoil and, by extension, improve accuracy during sustained autonomous fire. KAC says this makes the gun “more controllable than other similar machine guns that weigh nearly twice as much.”

There are other 5.56x45mm machine guns on the market today, which could be adaptable to meet the FAMG requirements, as well. This includes FN’s own newer EVOLYS design, which is available in 5.56x45mm, as well as a variety of other calibers.

As SOCOM has said, more details about its requirements and plans for the FAMG are set to come soon.

Contact the author: joe@twz.com

Route 66 was 20 years old and World War II had just ended when Bobby Troup, an aspiring songwriter from Pennsylvania, decided to go west. As it turned out, that drive in early 1946 did more than anyone could have imagined to establish the road as a symbol of footloose American freedom.

Stories, photos and travel recommendations from America’s Mother Road

Troup, 25 at the time, had already earned an economics degree from the University of Pennsylvania, written a hit song (1941’s “Daddy,” sung by Sammy Kaye), worked for bandleader Tommy Dorsey and served as a Marine through the war years. But to restart his career as a songwriter and actor, he believed that he needed to be in Los Angeles. So he and his wife, Cynthia, pointed their 1941 Buick toward California.

They started on U.S. 40, then picked up Route 66 in Illinois. Along the way, as Troup told author Michael Wallis in the book “Route 66: The Mother Road,” Cynthia came up with a phrase she thought was songworthy.

Bobby Troup, composer of the hit song “Route 66” and grand marshal of Duarte, Calif.’s Salute to Route 66 parade, rides in a 1948 Buick convertible and waves to fans in 1996.

(Louisa Gauerke / Associated Press)

“Get your kicks on Route 66,” she said.

Troup took it from there, creating “a kind of musical map of the highway.”

As Troup later recalled in an introduction to a Route 66 book by Tom Snyder, they heard Louis Armstrong play a club in St. Louis, stopped at Meramec Caverns in Missouri and found that “a good part of the highway was absolutely miserable — narrow, just two lanes, and very twisting through the Ozarks and Kansas.” Then came a snowstorm in Texas.

By the end of the drive, the up-tempo tune was half-done. Then, not quite a week after arrival, Troup landed a chance to pitch a few songs to Nat “King” Cole, who had already won fame with hits including “Sweet Lorraine” and “Straighten Up and Fly Right.”

They were sitting by a piano on stage — after Cole’s last set of the night at the Trocadero on Sunset Strip — when the nervous young songwriter decided to share his unfinished road song.

“I got up on the riser, pulled the piano bench back a little bit — and it went over the side and I fell over backwards,” Troup confessed in a later interview.

Still, Cole “loved it,” Troup recalled. “As a matter of fact, he got on the piano with me and played it.”

This was February. By mid-March, the song was done and Cole was recording it in a studio on Santa Monica Boulevard, part of Route 66.

The finished version name-checked a dozen cities along the route, including these words:

Now you go through Saint Looey

Joplin, Missouri,

And Oklahoma City is mighty pretty.

You see Amarillo,

Gallup, New Mexico,

Flagstaff, Arizona.

Don’t forget Winona,

Kingman, Barstow, San Bernardino.

Won’t you get hip to this timely tip

When you make that California trip

Get your kicks on Route 66.

In April, Capitol Records released “(Get Your Kicks on) Route 66” and the tune quickly rose to #11 on the Billboard chart of top-selling singles. Before 1946 was out, it had been recorded again, this time by Bing Crosby with the Andrews Sisters. That version went to #14.

Musicians Nat “King” Cole, left, and Bing Crosby, circa 1945.

(NBC / NBCU Photo Bank / NBCUniversal via Getty Images via Getty Images)

Coming just as postwar America was rediscovering leisure travel, the song was a big hit — and for many, a painful irony. Even with guidance from the Green Book used by many African American travelers in those days, it would have been deeply risky — and illegal in some places — for any Black man, Nat King Cole included, to eat and sleep on Route 66. This was a year before Jackie Robinson integrated baseball’s major leagues, two years before the U.S. Army was integrated.

As Candacy Taylor puts it in her 2020 book “Overground Railroad: The Green Book and the Roots of Black Travel in America,” “the open road wasn’t open to all.” Into the 1950s, Taylor writes, “about 35% of the counties on Route 66 didn’t allow Black motorists after 6 p.m.” and six of the eight states on the route still had segregation laws. Cole may have helped sell Route 66, Taylor writes, but “the carefree adventure he was promoting was not meant for him.”

Documentary photographer Candacy Taylor at the New Aster Motel in Los Angeles in 2016. In her book “Overground Railroad,” she writes about the discrimination Black travelers faced while driving on Route 66.

(Brian van der Brug / Los Angeles Times)

Two years after recording the song, when the increasingly wealthy Cole and his family bought a Hancock Park mansion and became the neighborhood’s first Black homeowners, many neighbors tried to keep him out, poisoned the family dog and burned racist insults into his lawn.

The Coles stayed put. The family was still in that home on South Muirfield Road in 1956, when Cole became the first African American to host a network television show, and in 1965, when Cole died of cancer at 45.

Troup, who later was divorced from Cynthia and married singer/actor Julie London, went on to record more than a dozen albums and had other songs recorded by Little Richard and Miles Davis. As an actor, Troup filled many guest-star roles on television, played Dr. Joe Early on the 1970s TV show “Emergency!” and had a small part in Robert Altman’s 1970 film “MASH.”

Meanwhile, the song kept rolling. As years passed, Perry Como, Sammy Davis Jr., Chuck Berry, the Rolling Stones, the Manhattan Transfer, Michael Martin Murphey, Asleep at the Wheel, Buckwheat Zydeco, Depeche Mode, Glenn Frey, the Brian Setzer Orchestra and John Mayer recorded versions. At different points in the 2006 movie “Cars,” you hear Berry’s and Mayer’s versions. Troup, who died in 1999, never forgot the difference the song made, both in his life and the way people think about the road.

“On the basis of that song, I was able to go out and buy a house and stay in California,” Troup told Wallis. “I never realized when I was putting it together that I was writing about the most famous highway in the world. I just thought I was writing about a road — not a legend.”

The Rolling Stones are among the countless musicians who have recorded versions of “Route 66.”

(David Redfern / Redferns via Getty Images)

Marco Reus scored two goals, the second one on a penalty kick in the 85th minute, to rally the Galaxy to a 2-1 victory over Real Salt Lake on Sunday.

Reus scored from 21 yards out off a free kick to give the Galaxy a 1-0 lead in the ninth minute. The kick was awarded after Gabriel Pec was fouled by Real Salt Lake midfielder Stijn Spierings.

Galaxy goalkeeper JT Marcinkowski was charged with an own goal in the final minute of stoppage time, tying it 1-1 at halftime. The ball deflected off the post and into the net when he dove to make a save on Zavier Gozo’s shot.

Reus scored the winner on a PK after a foul on Sam Junqua for shoving Elijah Wynder in the back on a corner kick. It was the fourth goal this season for Reus and his 10th in 37 career appearances.

Marcinkowski saved nine shots for the Galaxy (3-4-3).

Rafael Cabral totaled four saves for Real Salt Lake (5-3-1).

Real Salt Lake went 5-0-1 in a six-match stretch before losing 2-0 to visiting Inter Miami on Wednesday. The club falls to 1-2-1 on the road.

The Galaxy were coming off a 1-1-1 road trip and improve to 2-2-1 at home.