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wiki20220301en020_101227	Tomatillo	Production There is limited information about tomatillo production, even though tomatillos are distributed and grown worldwide as a home-grown garden plant. Tomatillos are mainly cultivated in outdoor fields in Mexico and Guatemala on a large scale. Smaller crops are planted in many parts of the United States. In Mexico, tomatillos are planted within a wide range of altitudes. Soil and climate requirements In general, tomatillo plants are tolerant to many different soil conditions. However, they do best in well-drained, sandy, fertile soil conditions with a pH between 5.5 and 7.3. Tomatillo plants are cold sensitive. They grow best at . Below , growth is very poor. Tomatillo plants prefer full sun exposure and warm locations. Seedbed requirement and sowing	Tomatillo. Production There is limited information about tomatillo production, even though tomatillos are distributed and grown worldwide as a home-grown garden plant. Tomatillos are mainly cultivated in outdoor fields in Mexico and Guatemala on a large scale. Smaller crops are planted in many parts of the United States. In Mexico, tomatillos are planted within a wide range of altitudes. Soil and climate requirements In general, tomatillo plants are tolerant to many different soil conditions. However, they do best in well-drained, sandy, fertile soil conditions with a pH between 5.5 and 7.3. Tomatillo plants are cold sensitive. They grow best at . Below , growth is very poor. Tomatillo plants prefer full sun exposure and warm locations. Seedbed requirement and sowing	523380
wiki20220301en020_101228	Tomatillo	Seedbed requirement and sowing Transplanting is the most common practice to plant tomatillo plants. Transplants are produced in greenhouses or in transplant beds. Germination occurs at . Transplanting occurs 6 to 8 weeks after seeding and when risk of frost is past. Transplants that were produced indoors need to harden off in a warm, sunny place for a few days before being planted outside. Direct outdoor seeding can only be done if no frost risk exists and soil temperature is higher than . Direct outdoor seeding leads to shortening of the vegetation period. Due to its branching growing pattern, a single plant requires sufficient growing space. Tomatillos are typically grown in rows apart. Although tomatillo is a perennial plant, overwintering is difficult, so it is normally cultivated as an annual plant. Fertilization and field management	Tomatillo. Seedbed requirement and sowing Transplanting is the most common practice to plant tomatillo plants. Transplants are produced in greenhouses or in transplant beds. Germination occurs at . Transplanting occurs 6 to 8 weeks after seeding and when risk of frost is past. Transplants that were produced indoors need to harden off in a warm, sunny place for a few days before being planted outside. Direct outdoor seeding can only be done if no frost risk exists and soil temperature is higher than . Direct outdoor seeding leads to shortening of the vegetation period. Due to its branching growing pattern, a single plant requires sufficient growing space. Tomatillos are typically grown in rows apart. Although tomatillo is a perennial plant, overwintering is difficult, so it is normally cultivated as an annual plant. Fertilization and field management	523380
wiki20220301en020_101229	Tomatillo	Tomatillo plants can reach heights of . Due to their rapid and branching growth it is recommended to stake them. Staking also facilitates later harvesting and prevents the fruit from touching the ground, which reduces damage to fruit and husk. Staking can also reduce disease, as well as slug damages. Fertilization is recommended at a moderate level. An application of of phosphorus is common. Depending on soil type and irrigation, other nutrients and fertilzers (N/ K) may be required. For non-commercial production, regular fertilization is recommended. Although tomatillo plants become more drought-tolerant as they age, regular watering is required. Tomatillo plants require of water per week. Water can come either from rainfall or from irrigation. Irrigation can be managed by drip, sprinkler, furrow or watering can. Irrigation frequency is dependent upon on weather and the crop's growth stage, ranging from once or twice a week to daily during hot weather periods. Weeds are a serious	Tomatillo. Tomatillo plants can reach heights of . Due to their rapid and branching growth it is recommended to stake them. Staking also facilitates later harvesting and prevents the fruit from touching the ground, which reduces damage to fruit and husk. Staking can also reduce disease, as well as slug damages. Fertilization is recommended at a moderate level. An application of of phosphorus is common. Depending on soil type and irrigation, other nutrients and fertilzers (N/ K) may be required. For non-commercial production, regular fertilization is recommended. Although tomatillo plants become more drought-tolerant as they age, regular watering is required. Tomatillo plants require of water per week. Water can come either from rainfall or from irrigation. Irrigation can be managed by drip, sprinkler, furrow or watering can. Irrigation frequency is dependent upon on weather and the crop's growth stage, ranging from once or twice a week to daily during hot weather periods. Weeds are a serious	523380
wiki20220301en020_101230	Tomatillo	furrow or watering can. Irrigation frequency is dependent upon on weather and the crop's growth stage, ranging from once or twice a week to daily during hot weather periods. Weeds are a serious challenge in tomatillo production and especially important during the first few weeks. Plastic and organic mulches help to effectively control weeds. Applications of plastic mulches also help to restrict soil water evaporation and modifying microclimate, thereby affecting tomatillo growth and yield.	Tomatillo. furrow or watering can. Irrigation frequency is dependent upon on weather and the crop's growth stage, ranging from once or twice a week to daily during hot weather periods. Weeds are a serious challenge in tomatillo production and especially important during the first few weeks. Plastic and organic mulches help to effectively control weeds. Applications of plastic mulches also help to restrict soil water evaporation and modifying microclimate, thereby affecting tomatillo growth and yield.	523380
wiki20220301en020_101231	Tomatillo	Harvest and postharvest treatment Tomatillos are harvested when the fruits fill the calyx. This state is normally achieved 65 to 100 days after transplanting. Fruit production continues for 1 to 2 months or until first frost. Harvesting occurs regularly, typically every day, and is done by hand. A single plant produces 60 to 200 fruits within a single growing season, with an average yield of about . Tomatillos can be stored for up to three weeks in a cold and humid environment.	Tomatillo. Harvest and postharvest treatment Tomatillos are harvested when the fruits fill the calyx. This state is normally achieved 65 to 100 days after transplanting. Fruit production continues for 1 to 2 months or until first frost. Harvesting occurs regularly, typically every day, and is done by hand. A single plant produces 60 to 200 fruits within a single growing season, with an average yield of about . Tomatillos can be stored for up to three weeks in a cold and humid environment.	523380
wiki20220301en020_101232	Tomatillo	Uses Tomatillos are a key ingredient in fresh and cooked Mexican and Central-American green sauces. The green color and tart flavor are the main culinary contributions of the fruit. Purple and red-ripening cultivars often have a slight sweetness, unlike the green- and yellow-ripening cultivars, so generally are used in jams and preserves. Like their close relative the Cape gooseberry, tomatillos have a high pectin content. Another characteristic is that they tend to have a varying degree of a sappy, sticky coating, mostly when used on the green side out of the husk. Ripe tomatillos keep refrigerated for about two weeks. They keep even longer with the husks removed and the fruit refrigerated in sealed plastic bags. They may also be frozen whole or sliced.	Tomatillo. Uses Tomatillos are a key ingredient in fresh and cooked Mexican and Central-American green sauces. The green color and tart flavor are the main culinary contributions of the fruit. Purple and red-ripening cultivars often have a slight sweetness, unlike the green- and yellow-ripening cultivars, so generally are used in jams and preserves. Like their close relative the Cape gooseberry, tomatillos have a high pectin content. Another characteristic is that they tend to have a varying degree of a sappy, sticky coating, mostly when used on the green side out of the husk. Ripe tomatillos keep refrigerated for about two weeks. They keep even longer with the husks removed and the fruit refrigerated in sealed plastic bags. They may also be frozen whole or sliced.	523380
wiki20220301en020_101233	Tomatillo	Ripe tomatillos keep refrigerated for about two weeks. They keep even longer with the husks removed and the fruit refrigerated in sealed plastic bags. They may also be frozen whole or sliced. As food The tomatillo can be harvested at different stages of its development. For salsa verde, it is harvested early, when the fruit is sour with a light flavor. For a sweeter taste, it can be picked later, when the fruit is seedier. In this stage, it could be suitable as a tomato substitute. Tomatillos have diverse uses in stews, soups, salads, curries, stirfries, baking, cooking with meats, marmalade, and desserts. Tomatillos can also be dried to enhance the sweetness of the fruit in a way similar to dried cranberries, with a hint of tomato flavor. The tomatillo flavor is used in fusion cuisines for blending flavors from Latin American dishes with those of Europe and North America. Botany	Tomatillo. Ripe tomatillos keep refrigerated for about two weeks. They keep even longer with the husks removed and the fruit refrigerated in sealed plastic bags. They may also be frozen whole or sliced. As food The tomatillo can be harvested at different stages of its development. For salsa verde, it is harvested early, when the fruit is sour with a light flavor. For a sweeter taste, it can be picked later, when the fruit is seedier. In this stage, it could be suitable as a tomato substitute. Tomatillos have diverse uses in stews, soups, salads, curries, stirfries, baking, cooking with meats, marmalade, and desserts. Tomatillos can also be dried to enhance the sweetness of the fruit in a way similar to dried cranberries, with a hint of tomato flavor. The tomatillo flavor is used in fusion cuisines for blending flavors from Latin American dishes with those of Europe and North America. Botany	523380
wiki20220301en020_101234	Tomatillo	Botany Description P. philadelphica grow up to and have few hairs on the stem. The leaves have acute and irregularly separated dents on the side. They are typically about in height, and can be either compact and upright or prostrate with a wider, less dense canopy. The leaves are typically serrated and can be either smooth or pubescent.	Tomatillo. Botany Description P. philadelphica grow up to and have few hairs on the stem. The leaves have acute and irregularly separated dents on the side. They are typically about in height, and can be either compact and upright or prostrate with a wider, less dense canopy. The leaves are typically serrated and can be either smooth or pubescent.	523380
wiki20220301en020_101235	Tomatillo	Classification The tomatillo is a member of the genus Physalis, erected by Carl Linnaeus in 1753. Jean-Baptiste de Lamarck described the tomatillo under the name Physlis philadelphica in 1786. Other species such as P. aeuata and P. violacea were described later. The tomatillo is also often classified as P. ixocarpa BROT. However, P. philadelphica is the most important species economically. The nomenclature for Physalis changed since the 1950s. P. philadelphica was at one time classified as a variety of P. ixocarpa. Later, the classification of P. ixocarpa was revised under the species of P. philadelphica. Today, the name P. ixocarpa is commonly used for the domestic plant and P. philadelphica for the wild one. Flower	Tomatillo. Classification The tomatillo is a member of the genus Physalis, erected by Carl Linnaeus in 1753. Jean-Baptiste de Lamarck described the tomatillo under the name Physlis philadelphica in 1786. Other species such as P. aeuata and P. violacea were described later. The tomatillo is also often classified as P. ixocarpa BROT. However, P. philadelphica is the most important species economically. The nomenclature for Physalis changed since the 1950s. P. philadelphica was at one time classified as a variety of P. ixocarpa. Later, the classification of P. ixocarpa was revised under the species of P. philadelphica. Today, the name P. ixocarpa is commonly used for the domestic plant and P. philadelphica for the wild one. Flower	523380
wiki20220301en020_101236	Tomatillo	Flower Flowers come in several colors, including white, light green, bright yellow, and sometimes purple. Flowers may or may not have purple spots toward the center of the corolla. The anthers are typically dark purple to pale blue. Tomatillo plants are highly self-incompatible, and two or more plants are needed for proper pollination. Thus, isolated tomatillo plants rarely set fruit. Fruit The tomatillo fruit is surrounded by an inedible, paper-like husk formed from the calyx. As the fruit matures, it fills the husk and can split it open by harvest time. The husk turns brown, and the fruit can be several colors when ripe, including yellow, green, or even purple. The freshness and greenness of the husk are quality criteria.Flower types: Varieties There are several varieties of tomatillos, with differences in tastes, traits, and ripening colors. Some cultivars include Amarylla, Gigante, Green Husk, Mexican, Pineapple, Purple de Milpa, Rio Grande Verde, and Yellow. Genetic	Tomatillo. Flower Flowers come in several colors, including white, light green, bright yellow, and sometimes purple. Flowers may or may not have purple spots toward the center of the corolla. The anthers are typically dark purple to pale blue. Tomatillo plants are highly self-incompatible, and two or more plants are needed for proper pollination. Thus, isolated tomatillo plants rarely set fruit. Fruit The tomatillo fruit is surrounded by an inedible, paper-like husk formed from the calyx. As the fruit matures, it fills the husk and can split it open by harvest time. The husk turns brown, and the fruit can be several colors when ripe, including yellow, green, or even purple. The freshness and greenness of the husk are quality criteria.Flower types: Varieties There are several varieties of tomatillos, with differences in tastes, traits, and ripening colors. Some cultivars include Amarylla, Gigante, Green Husk, Mexican, Pineapple, Purple de Milpa, Rio Grande Verde, and Yellow. Genetic	523380
wiki20220301en020_101237	Tomatillo	Genetic Self-incompatibility trait Tomatillos carry self-incompatible traits. The plant, i.e. the fertile hermaphrodite, is not able to produce zygotes after self-pollination occurs. This limits the ability to improve tomatillo production regarding the seed quality and the production of varieties. The self-compatibility gene is situated in the chromosomes of the tomatillo and is not inherited through cytoplasm. Only heterozygous plants can be self-compatible as the trait is controlled by a dominant gene. Tomatillo can thus produce seeds through self-pollination due to the involvement of self-compatibility traits but the germination viability is different throughout the produced seeds. This suggests that not only incompatible pollen is involved but also inviability at the seedling stage.	Tomatillo. Genetic Self-incompatibility trait Tomatillos carry self-incompatible traits. The plant, i.e. the fertile hermaphrodite, is not able to produce zygotes after self-pollination occurs. This limits the ability to improve tomatillo production regarding the seed quality and the production of varieties. The self-compatibility gene is situated in the chromosomes of the tomatillo and is not inherited through cytoplasm. Only heterozygous plants can be self-compatible as the trait is controlled by a dominant gene. Tomatillo can thus produce seeds through self-pollination due to the involvement of self-compatibility traits but the germination viability is different throughout the produced seeds. This suggests that not only incompatible pollen is involved but also inviability at the seedling stage.	523380
wiki20220301en020_101238	Tomatillo	Diseases Tomatillo is generally a very resistant crop, as long as its climatic requirements are met. However, as with all crops, mass production brings with it exposure to pests and diseases. As of 2017, two diseases affecting tomatillo have been documented, namely tomato yellow leaf curl virus and turnip mosaic virus. Symptoms of tomato yellow leaf curl virus, including chlorotic margins and interveinal yellowing, were found in several tomato and tomatillo crops in Mexico and Guatemala in 2006. After laboratory tests, the virus was confirmed. Symptomatic plants were associated with the presence of whiteflies, which were likely the cause for this outbreak.	Tomatillo. Diseases Tomatillo is generally a very resistant crop, as long as its climatic requirements are met. However, as with all crops, mass production brings with it exposure to pests and diseases. As of 2017, two diseases affecting tomatillo have been documented, namely tomato yellow leaf curl virus and turnip mosaic virus. Symptoms of tomato yellow leaf curl virus, including chlorotic margins and interveinal yellowing, were found in several tomato and tomatillo crops in Mexico and Guatemala in 2006. After laboratory tests, the virus was confirmed. Symptomatic plants were associated with the presence of whiteflies, which were likely the cause for this outbreak.	523380
wiki20220301en020_101239	Tomatillo	Turnip mosaic virus was discovered in several tomatillo crops in California in 2011, rendering 2% of commercially grown tomatillo plants unmarketable, with severe stunting and leaf distortion. The green peach aphid is a common pest in California, and since it readily transmits the turnip mosaic virus, this could be a threat to tomatillo production in California. See also Physalis peruviana Salsa (sauce) References External links Jepson Manual Treatment Physalis names "Tomatillo Fossils, 52 Million Years Old, Are Discovered in Patagonia", New York Times, Jan. 9, 2017 Physalis Edible Solanaceae Fruit vegetables Crops originating from Mexico Crops originating from Pre-Columbian North America Berries Mexican cuisine Plants described in 1786 Taxa named by Jean-Baptiste Lamarck Crops originating from indigenous Americans	Tomatillo. Turnip mosaic virus was discovered in several tomatillo crops in California in 2011, rendering 2% of commercially grown tomatillo plants unmarketable, with severe stunting and leaf distortion. The green peach aphid is a common pest in California, and since it readily transmits the turnip mosaic virus, this could be a threat to tomatillo production in California. See also Physalis peruviana Salsa (sauce) References External links Jepson Manual Treatment Physalis names "Tomatillo Fossils, 52 Million Years Old, Are Discovered in Patagonia", New York Times, Jan. 9, 2017 Physalis Edible Solanaceae Fruit vegetables Crops originating from Mexico Crops originating from Pre-Columbian North America Berries Mexican cuisine Plants described in 1786 Taxa named by Jean-Baptiste Lamarck Crops originating from indigenous Americans	523380
wiki20220301en020_101240	David Marks	David Lee Marks (born August 22, 1948) is an American guitarist who is best known for being an early member of the Beach Boys. While growing up in Hawthorne, California, Marks was a neighborhood friend of the original band members and was a frequent participant at their family get-togethers. Following his departure from the group, Marks fronted the Marksmen and performed and recorded as a session musician.	David Marks. David Lee Marks (born August 22, 1948) is an American guitarist who is best known for being an early member of the Beach Boys. While growing up in Hawthorne, California, Marks was a neighborhood friend of the original band members and was a frequent participant at their family get-togethers. Following his departure from the group, Marks fronted the Marksmen and performed and recorded as a session musician.	523381
wiki20220301en020_101241	David Marks	Marks joined the Beach Boys in February 1962, replacing Al Jardine on rhythm guitar, and performed on the band's first four albums, Surfin' Safari (1962), Surfin' U.S.A. (1963), Surfer Girl (1963), and Little Deuce Coupe (1963). Because he did not appear on the 1961 single "Surfin'", the first performance by the band that became "the Beach Boys", most historians discount him as a true founding member of the group. In August 1963, he left the band due to personal problems with manager Murry Wilson. Afterward, Marks worked with acts including Casey Kasem's Band Without a Name, the Moon, Delaney & Bonnie, Colours, and Warren Zevon, and studied jazz and classical guitar at the Berklee College of Music and the New England Conservatory.	David Marks. Marks joined the Beach Boys in February 1962, replacing Al Jardine on rhythm guitar, and performed on the band's first four albums, Surfin' Safari (1962), Surfin' U.S.A. (1963), Surfer Girl (1963), and Little Deuce Coupe (1963). Because he did not appear on the 1961 single "Surfin'", the first performance by the band that became "the Beach Boys", most historians discount him as a true founding member of the group. In August 1963, he left the band due to personal problems with manager Murry Wilson. Afterward, Marks worked with acts including Casey Kasem's Band Without a Name, the Moon, Delaney & Bonnie, Colours, and Warren Zevon, and studied jazz and classical guitar at the Berklee College of Music and the New England Conservatory.	523381
wiki20220301en020_101242	David Marks	From 1997 to 1999, Marks returned to the Beach Boys for their live performances. In 2007, he released an autobiography, entitled The Lost Beach Boy. He briefly reunited with the group for their fiftieth-anniversary tour and the 2012 album That's Why God Made the Radio. Biography Early years At age seven, David Lee Marks moved into a house across the street from the family home of the three Wilson brothers, Brian, Dennis, and Carl Wilson, later to become the founding members of The Beach Boys. Describing the neighborhood, Marks noted, "It was run down. There were no sidewalks. The houses were older and the Wilsons lived in a pretty small, modest two-bedroom home. The boys all shared a bedroom. When they got older, Brian started sleeping in the den more and more, which was a converted garage they had turned into a music room. They had a Hammond B-3 organ, an upright piano, and a little hi-fi in there."	David Marks. From 1997 to 1999, Marks returned to the Beach Boys for their live performances. In 2007, he released an autobiography, entitled The Lost Beach Boy. He briefly reunited with the group for their fiftieth-anniversary tour and the 2012 album That's Why God Made the Radio. Biography Early years At age seven, David Lee Marks moved into a house across the street from the family home of the three Wilson brothers, Brian, Dennis, and Carl Wilson, later to become the founding members of The Beach Boys. Describing the neighborhood, Marks noted, "It was run down. There were no sidewalks. The houses were older and the Wilsons lived in a pretty small, modest two-bedroom home. The boys all shared a bedroom. When they got older, Brian started sleeping in the den more and more, which was a converted garage they had turned into a music room. They had a Hammond B-3 organ, an upright piano, and a little hi-fi in there."	523381
wiki20220301en020_101243	David Marks	As the 1950s progressed, Marks sang and played music with the Wilson family at their Sunday night singalongs. Inspired by a 1958 performance by guitarist John Maus (later of the 1960s Walker Brothers), Marks asked his parents to buy him a guitar, which they did on Christmas Eve, 1958. He began taking lessons from Maus, who had been a student of Ritchie Valens. In 1959, Marks and Brian Wilson's youngest brother Carl had begun to develop their own style of playing electric guitars. Brian realized that the combination of Carl and Marks' playing brought a rock guitar sound to his original compositions, and the two teenagers participated in Brian's first songwriting efforts, that led to the band's 1963 hit single "Surfer Girl".	David Marks. As the 1950s progressed, Marks sang and played music with the Wilson family at their Sunday night singalongs. Inspired by a 1958 performance by guitarist John Maus (later of the 1960s Walker Brothers), Marks asked his parents to buy him a guitar, which they did on Christmas Eve, 1958. He began taking lessons from Maus, who had been a student of Ritchie Valens. In 1959, Marks and Brian Wilson's youngest brother Carl had begun to develop their own style of playing electric guitars. Brian realized that the combination of Carl and Marks' playing brought a rock guitar sound to his original compositions, and the two teenagers participated in Brian's first songwriting efforts, that led to the band's 1963 hit single "Surfer Girl".	523381
wiki20220301en020_101244	David Marks	Marks was not on the Beach Boys first recording, "Surfin'" for Candix Records on October 16, 1961; that roster included Al Jardine, a high school classmate of Brian Wilson's, who had been singing and playing stand-up bass with the Wilson brothers and their cousin Mike Love. Over the next couple of months, Brian experimented with various combinations of musicians, including his mother Audree Wilson, but was not able to secure interest from a major label. The Beach Boys In mid-February 1962, a new line-up was established, excluding Al Jardine who had left for dental school. On April 16, 1962, the Beach Boys recorded a demo session at Western Recorders that produced the masters for the songs "Surfin' Safari" and "409", that would become the band's first double-sided hit, landing them a long-term contract with Capitol Records.	David Marks. Marks was not on the Beach Boys first recording, "Surfin'" for Candix Records on October 16, 1961; that roster included Al Jardine, a high school classmate of Brian Wilson's, who had been singing and playing stand-up bass with the Wilson brothers and their cousin Mike Love. Over the next couple of months, Brian experimented with various combinations of musicians, including his mother Audree Wilson, but was not able to secure interest from a major label. The Beach Boys In mid-February 1962, a new line-up was established, excluding Al Jardine who had left for dental school. On April 16, 1962, the Beach Boys recorded a demo session at Western Recorders that produced the masters for the songs "Surfin' Safari" and "409", that would become the band's first double-sided hit, landing them a long-term contract with Capitol Records.	523381
wiki20220301en020_101245	David Marks	According to biographer Jon Stebbins, Marks's guitar chemistry with Carl Wilson changed the sound of the band. Writing about the difference between the Beach Boys' Candix Records single and their first Capitol Records release, Stebbins stated: Compared to 'Surfin', this was metal. No sign of stand-up bass or folk sensibility on this recording. And the tiny amateurish guitar sound and lazy feel of the [earlier demo] World Pacific version of 'Surfin' Safari' had now transformed into something crisp and modern. "It was Carl and Dave who brought that electric guitar drive into the band", says Al Jardine. "And because of that, Brian was able to expand a little bit."	David Marks. According to biographer Jon Stebbins, Marks's guitar chemistry with Carl Wilson changed the sound of the band. Writing about the difference between the Beach Boys' Candix Records single and their first Capitol Records release, Stebbins stated: Compared to 'Surfin', this was metal. No sign of stand-up bass or folk sensibility on this recording. And the tiny amateurish guitar sound and lazy feel of the [earlier demo] World Pacific version of 'Surfin' Safari' had now transformed into something crisp and modern. "It was Carl and Dave who brought that electric guitar drive into the band", says Al Jardine. "And because of that, Brian was able to expand a little bit."	523381
wiki20220301en020_101246	David Marks	Marks would continue to sing and play rhythm guitar with the Beach Boys long enough to record on the first four (plus) albums, including the early hit singles "Surfin' Safari", "409", "Surfin' U.S.A.", "Shut Down", "Surfer Girl", "In My Room", and "Be True to Your School". Marks also played over 100 concerts with the Beach Boys, toured across the United States with them, and appeared on their first string of national TV appearances. While his time in the band was relatively short, Marks contributed to their tightly knit foundational sound, as well as their youthful look on the early Beach Boys' album covers.	David Marks. Marks would continue to sing and play rhythm guitar with the Beach Boys long enough to record on the first four (plus) albums, including the early hit singles "Surfin' Safari", "409", "Surfin' U.S.A.", "Shut Down", "Surfer Girl", "In My Room", and "Be True to Your School". Marks also played over 100 concerts with the Beach Boys, toured across the United States with them, and appeared on their first string of national TV appearances. While his time in the band was relatively short, Marks contributed to their tightly knit foundational sound, as well as their youthful look on the early Beach Boys' album covers.	523381
wiki20220301en020_101247	David Marks	Although it is often assumed that Marks left the Beach Boys because Jardine wanted to return to the band, this was not the case. Marks and Jardine were both part of the 1963 Beach Boys touring line-up. Jardine initially returned on a part-time basis to fill-in on bass for Brian Wilson, who had already begun to detach himself from the touring band as early as the spring of 1963.	David Marks. Although it is often assumed that Marks left the Beach Boys because Jardine wanted to return to the band, this was not the case. Marks and Jardine were both part of the 1963 Beach Boys touring line-up. Jardine initially returned on a part-time basis to fill-in on bass for Brian Wilson, who had already begun to detach himself from the touring band as early as the spring of 1963.	523381
wiki20220301en020_101248	David Marks	At the height of their first initial wave of international success, Marks quit the Beach Boys in late August 1963 toward the end of the group's summer tour during an argument with Murry Wilson, the Wilson boys' father and the band's manager, but did not immediately leave the band until later that year when his parents and Murry came to blows over financial and managerial issues. The first show without Marks on guitar was October 19, 1963, though he would stay friends and be in close contact with various band members for many years, and he would remain, unbeknownst to him, a legal member of the Beach Boys until September 27, 1967.	David Marks. At the height of their first initial wave of international success, Marks quit the Beach Boys in late August 1963 toward the end of the group's summer tour during an argument with Murry Wilson, the Wilson boys' father and the band's manager, but did not immediately leave the band until later that year when his parents and Murry came to blows over financial and managerial issues. The first show without Marks on guitar was October 19, 1963, though he would stay friends and be in close contact with various band members for many years, and he would remain, unbeknownst to him, a legal member of the Beach Boys until September 27, 1967.	523381
wiki20220301en020_101249	David Marks	Post-Beach Boys career In February 1963, Dennis Wilson was injured in a car accident and his replacement was Mark Groseclose, who went to high school with Carl Wilson. Marks and Groseclose became friends and Marks eventually took over Groseclose's garage band, the Jaguars, which he renamed the Marksmen. The band was initially a side project for the aspiring songwriter, who was growing tired of his songs being passed over for Beach Boys records by Murry Wilson.	David Marks. Post-Beach Boys career In February 1963, Dennis Wilson was injured in a car accident and his replacement was Mark Groseclose, who went to high school with Carl Wilson. Marks and Groseclose became friends and Marks eventually took over Groseclose's garage band, the Jaguars, which he renamed the Marksmen. The band was initially a side project for the aspiring songwriter, who was growing tired of his songs being passed over for Beach Boys records by Murry Wilson.	523381
wiki20220301en020_101250	David Marks	After Marks left the Beach Boys, the Marksmen became his full-time focus, becoming one of the first acts to be signed to Herb Alpert's A&M Records in 1964. Murry Wilson reportedly threatened radio deejays in order to keep them from playing the Marksmen's records. Later, the group signed with (and released a single on) Warner Bros. Records, but in spite of packed concert venues up and down the state of California, lack of airplay precluded any further releases. The 2009 release of Marks & the Marksmen Ultimate Collector’s Edition 1963–1965 marks the first-time the entire Marksmen catalog was made available to the public.	David Marks. After Marks left the Beach Boys, the Marksmen became his full-time focus, becoming one of the first acts to be signed to Herb Alpert's A&M Records in 1964. Murry Wilson reportedly threatened radio deejays in order to keep them from playing the Marksmen's records. Later, the group signed with (and released a single on) Warner Bros. Records, but in spite of packed concert venues up and down the state of California, lack of airplay precluded any further releases. The 2009 release of Marks & the Marksmen Ultimate Collector’s Edition 1963–1965 marks the first-time the entire Marksmen catalog was made available to the public.	523381
wiki20220301en020_101251	David Marks	In 1966, Marks played with Casey Kasem's Band Without a Name. He then worked with the late 1960s psychedelic pop band, The Moon, along with Matt Moore, Larry Brown, and David Jackson. The band signed a production deal with producer Mike Curb and released two under-promoted albums on the Imperial label. He also performed with Delaney and Bonnie, Colours (recording lead guitar on their second album), and Warren Zevon. By the time Marks was 21 years old, he had been signed to five label deals and had grown disillusioned with the Los Angeles music scene. In 1969, he relocated to Boston, where he studied jazz and classical guitar as a private student at the Berklee College of Music and the New England Conservatory of Music in 1970–71.	David Marks. In 1966, Marks played with Casey Kasem's Band Without a Name. He then worked with the late 1960s psychedelic pop band, The Moon, along with Matt Moore, Larry Brown, and David Jackson. The band signed a production deal with producer Mike Curb and released two under-promoted albums on the Imperial label. He also performed with Delaney and Bonnie, Colours (recording lead guitar on their second album), and Warren Zevon. By the time Marks was 21 years old, he had been signed to five label deals and had grown disillusioned with the Los Angeles music scene. In 1969, he relocated to Boston, where he studied jazz and classical guitar as a private student at the Berklee College of Music and the New England Conservatory of Music in 1970–71.	523381
wiki20220301en020_101252	David Marks	1971–present	David Marks. 1971–present	523381
wiki20220301en020_101253	David Marks	In early 1971, after reuniting onstage in Boston with the Beach Boys, despite a public and chilly reception from Bruce Johnston, Marks received an offer from Mike Love to rejoin the band, but he declined. Instead, he spent the next 25 years playing with artists like Buzz Clifford, Daniel Moore (writer of "My Maria" and "Shambala"), Gary Montgomery, Jim Keltner, Carl Radle, Leon Russell, drummer-turned-actor Gary Busey, Delbert McClinton, Warren Zevon, and many others, earning a reputation as a solid session guitarist without cashing in on his notoriety as having been a Beach Boy. Marks briefly played lead guitar for Delaney & Bonnie and Friends, but was let go and replaced by Eric Clapton. Marks was also offered the lead guitarist spot in Paul Revere and the Raiders, but turned down the offer because he did not want to dress up in a revolutionary war-era costume every time he played a show. Marks was a close friend of Warren Zevon for many years until they had a falling-out. In 1988,	David Marks. In early 1971, after reuniting onstage in Boston with the Beach Boys, despite a public and chilly reception from Bruce Johnston, Marks received an offer from Mike Love to rejoin the band, but he declined. Instead, he spent the next 25 years playing with artists like Buzz Clifford, Daniel Moore (writer of "My Maria" and "Shambala"), Gary Montgomery, Jim Keltner, Carl Radle, Leon Russell, drummer-turned-actor Gary Busey, Delbert McClinton, Warren Zevon, and many others, earning a reputation as a solid session guitarist without cashing in on his notoriety as having been a Beach Boy. Marks briefly played lead guitar for Delaney & Bonnie and Friends, but was let go and replaced by Eric Clapton. Marks was also offered the lead guitarist spot in Paul Revere and the Raiders, but turned down the offer because he did not want to dress up in a revolutionary war-era costume every time he played a show. Marks was a close friend of Warren Zevon for many years until they had a falling-out. In 1988,	523381
wiki20220301en020_101254	David Marks	because he did not want to dress up in a revolutionary war-era costume every time he played a show. Marks was a close friend of Warren Zevon for many years until they had a falling-out. In 1988, when the Beach Boys were inducted into The Rock and Roll Hall of Fame, Marks was neither invited nor acknowledged at the ceremony, an oversight which was finally rectified in 2007.	David Marks. because he did not want to dress up in a revolutionary war-era costume every time he played a show. Marks was a close friend of Warren Zevon for many years until they had a falling-out. In 1988, when the Beach Boys were inducted into The Rock and Roll Hall of Fame, Marks was neither invited nor acknowledged at the ceremony, an oversight which was finally rectified in 2007.	523381
wiki20220301en020_101255	David Marks	Marks eventually rejoined the Beach Boys as a full-time member playing lead guitar in 1997, when Carl Wilson, fighting cancer, was unable to continue touring with the group. After playing another 300 shows as an official Beach Boy again, Marks left the band for a second time in 1999 due to his own health issues when he was diagnosed with hepatitis C. Marks became a leader in the hepatitis C community, often appearing in the media to raise awareness of the disease. In 2007, Marks co-wrote The Lost Beach Boy with Stebbins, which detailed his early career and related his "lost years", his health problems, his musical development, and his recovery and acceptance within the Beach Boys community.	David Marks. Marks eventually rejoined the Beach Boys as a full-time member playing lead guitar in 1997, when Carl Wilson, fighting cancer, was unable to continue touring with the group. After playing another 300 shows as an official Beach Boy again, Marks left the band for a second time in 1999 due to his own health issues when he was diagnosed with hepatitis C. Marks became a leader in the hepatitis C community, often appearing in the media to raise awareness of the disease. In 2007, Marks co-wrote The Lost Beach Boy with Stebbins, which detailed his early career and related his "lost years", his health problems, his musical development, and his recovery and acceptance within the Beach Boys community.	523381
wiki20220301en020_101256	David Marks	On May 20, 2005, the original Beach Boys six-man line-up (including both Marks and Jardine) was memorialized on the Beach Boys Historic Landmark in Hawthorne, California. The following year, on June 13, 2006, Marks gathered with surviving Beach Boys Brian Wilson, Al Jardine, Mike Love, and Bruce Johnston on the roof of the landmark Capitol Records building in Hollywood, where all five were presented with an RIAA Platinum record Award in recognition of two million in sales of the Beach Boys CD song collection Sounds of Summer: The Very Best of The Beach Boys. In 2008, following the release of a career retrospective, The Lost Years (released to coincide with his book), he toured the UK as a "special guest" with the Beach Boys. He also performed with Jardine and Dean Torrence of Jan & Dean, in the "Legends of Surf Music" tour.	David Marks. On May 20, 2005, the original Beach Boys six-man line-up (including both Marks and Jardine) was memorialized on the Beach Boys Historic Landmark in Hawthorne, California. The following year, on June 13, 2006, Marks gathered with surviving Beach Boys Brian Wilson, Al Jardine, Mike Love, and Bruce Johnston on the roof of the landmark Capitol Records building in Hollywood, where all five were presented with an RIAA Platinum record Award in recognition of two million in sales of the Beach Boys CD song collection Sounds of Summer: The Very Best of The Beach Boys. In 2008, following the release of a career retrospective, The Lost Years (released to coincide with his book), he toured the UK as a "special guest" with the Beach Boys. He also performed with Jardine and Dean Torrence of Jan & Dean, in the "Legends of Surf Music" tour.	523381
wiki20220301en020_101257	David Marks	On December 16, 2011, it was announced that Marks would be reuniting with Brian Wilson, Mike Love, Al Jardine, and Bruce Johnston for a new Beach Boys album and 50th anniversary tour in 2012. The group appeared at the 2012 Grammy Awards on February 12, followed by a 50-date tour that began in Tucson, Arizona in April. Mike Love commented on working with Marks once again, stating, "David rocks. A phenomenal guitarist. When he does those leads on "Surfin'", "Surfin' Safari", and "Fun, Fun, Fun" it's so authentic. He and Carl committed on playing guitar since they were ten years old and were neighbors with each other from across the street in Hawthorne. He's a fantastic musician and a really fantastic guy to be with. He went through his issues with alcohol, but he's completely cooled out for maybe ten years now. It's going to be really great to be with him." Marks also took over lead vocal duties on the songs "Hawaii" and "Getcha Back" during the anniversary tour.	David Marks. On December 16, 2011, it was announced that Marks would be reuniting with Brian Wilson, Mike Love, Al Jardine, and Bruce Johnston for a new Beach Boys album and 50th anniversary tour in 2012. The group appeared at the 2012 Grammy Awards on February 12, followed by a 50-date tour that began in Tucson, Arizona in April. Mike Love commented on working with Marks once again, stating, "David rocks. A phenomenal guitarist. When he does those leads on "Surfin'", "Surfin' Safari", and "Fun, Fun, Fun" it's so authentic. He and Carl committed on playing guitar since they were ten years old and were neighbors with each other from across the street in Hawthorne. He's a fantastic musician and a really fantastic guy to be with. He went through his issues with alcohol, but he's completely cooled out for maybe ten years now. It's going to be really great to be with him." Marks also took over lead vocal duties on the songs "Hawaii" and "Getcha Back" during the anniversary tour.	523381
wiki20220301en020_101258	David Marks	Following the 50th anniversary tour, it was announced that Marks along with Wilson and Jardine would no longer continue to tour with Johnston and Love; instead, Marks appeared with Jardine and Wilson along with Wilson's band for a short summer tour in 2013 featuring the three. On the tour Marks sang "Little Bird", "Forever", "This Car of Mine", and "Summertime Blues". The following fall, Wilson, Jardine, and Marks joined guitar legend Jeff Beck for a 23 city tour, the foursome appearing on the Jimmy Fallon show to promote their tour. For 2015, Marks and Jardine added vocals to Wilson's solo album (released April 2015); however, Marks was not a part of Wilson's Summer tour to promote the album, instead making several appearances with Love/Johnston's Beach Boys group during the rest of 2015. Marks and his wife, Carrieann, relocated to southern California in 2013 after living for a decade in North Salem, New York. In 2017, Marks made an appearance as himself on an episode of Decker.	David Marks. Following the 50th anniversary tour, it was announced that Marks along with Wilson and Jardine would no longer continue to tour with Johnston and Love; instead, Marks appeared with Jardine and Wilson along with Wilson's band for a short summer tour in 2013 featuring the three. On the tour Marks sang "Little Bird", "Forever", "This Car of Mine", and "Summertime Blues". The following fall, Wilson, Jardine, and Marks joined guitar legend Jeff Beck for a 23 city tour, the foursome appearing on the Jimmy Fallon show to promote their tour. For 2015, Marks and Jardine added vocals to Wilson's solo album (released April 2015); however, Marks was not a part of Wilson's Summer tour to promote the album, instead making several appearances with Love/Johnston's Beach Boys group during the rest of 2015. Marks and his wife, Carrieann, relocated to southern California in 2013 after living for a decade in North Salem, New York. In 2017, Marks made an appearance as himself on an episode of Decker.	523381
wiki20220301en020_101259	David Marks	Marks and his wife, Carrieann, relocated to southern California in 2013 after living for a decade in North Salem, New York. In 2017, Marks made an appearance as himself on an episode of Decker. Marks has been relatively inactive since 2015. Among his most high-profile appearances during this time was an appearance in 2019 with Jardine at the California Saga 2 event to raise money for those experiencing homelessness. Discography Solo The Marks-Clifford Band "Live At The Blue Dolphin '77" (2006) The Lost Years : Limited Edition - triple album Set (2008) Quiver Records The Marksmen : The Ultimate Collectors Edition (2008) Quiver Records The Beach Boys Surfin' Safari (1962) Surfin' U.S.A. (1963) Surfer Girl (1963) Little Deuce Coupe (1963) That's Why God Made the Radio (2012) Live – The 50th Anniversary Tour (2013) The Moon Without Earth (1968) The Moon (1969) Surf City All Stars Live In Concert (2007) Acoustic Vibrations (2009) Live In Concert (2013)	David Marks. Marks and his wife, Carrieann, relocated to southern California in 2013 after living for a decade in North Salem, New York. In 2017, Marks made an appearance as himself on an episode of Decker. Marks has been relatively inactive since 2015. Among his most high-profile appearances during this time was an appearance in 2019 with Jardine at the California Saga 2 event to raise money for those experiencing homelessness. Discography Solo The Marks-Clifford Band "Live At The Blue Dolphin '77" (2006) The Lost Years : Limited Edition - triple album Set (2008) Quiver Records The Marksmen : The Ultimate Collectors Edition (2008) Quiver Records The Beach Boys Surfin' Safari (1962) Surfin' U.S.A. (1963) Surfer Girl (1963) Little Deuce Coupe (1963) That's Why God Made the Radio (2012) Live – The 50th Anniversary Tour (2013) The Moon Without Earth (1968) The Moon (1969) Surf City All Stars Live In Concert (2007) Acoustic Vibrations (2009) Live In Concert (2013)	523381
wiki20220301en020_101260	David Marks	The Moon Without Earth (1968) The Moon (1969) Surf City All Stars Live In Concert (2007) Acoustic Vibrations (2009) Live In Concert (2013) Other appearances Mike Love, Bruce Johnston and David Marks of the Beach Boys Salute NASCAR (1998) A Postcard from California (Al Jardine, 2010) No Pier Pressure (Brian Wilson, 2015) See also Beach Boys Historic Landmark References External links Official website David Marks 2008 Interview on ilikemusic.com 1948 births Living people American people of Italian descent American rock guitarists American male guitarists American male singers American rock singers Berklee College of Music alumni The Beach Boys members People from North Salem, New York Rhythm guitarists 20th-century American guitarists	David Marks. The Moon Without Earth (1968) The Moon (1969) Surf City All Stars Live In Concert (2007) Acoustic Vibrations (2009) Live In Concert (2013) Other appearances Mike Love, Bruce Johnston and David Marks of the Beach Boys Salute NASCAR (1998) A Postcard from California (Al Jardine, 2010) No Pier Pressure (Brian Wilson, 2015) See also Beach Boys Historic Landmark References External links Official website David Marks 2008 Interview on ilikemusic.com 1948 births Living people American people of Italian descent American rock guitarists American male guitarists American male singers American rock singers Berklee College of Music alumni The Beach Boys members People from North Salem, New York Rhythm guitarists 20th-century American guitarists	523381
wiki20220301en020_101261	AVE	Alta Velocidad Española (AVE) is a service of high-speed rail in Spain operated by Renfe, the Spanish national railway company, at speeds of up to . As of December 2021, the Spanish AVE system is the longest HSR network in Europe with and the second longest in the world, after China's.	AVE. Alta Velocidad Española (AVE) is a service of high-speed rail in Spain operated by Renfe, the Spanish national railway company, at speeds of up to . As of December 2021, the Spanish AVE system is the longest HSR network in Europe with and the second longest in the world, after China's.	523382
wiki20220301en020_101262	AVE	AVE trains run on a network of high-speed rail track owned and managed by ADIF (Administrador de Infraestructuras Ferroviarias), where other high speed (, Alvia, Avlo) and mid-speed (Altaria) services also operate. The first line was opened in 1992, connecting the cities of Madrid, Córdoba and Seville. Unlike the rest of the Iberian broad gauge network, the AVE uses standard gauge. This permits direct connections to outside Spain through the link to the French network at the Perthus Tunnel. AVE trains are operated by Renfe, but private companies may be able to operate trains in the future using other brands, in accordance with European Union legislation. Some TGV-derived trains used to run on the broad-gauge network at slower speeds, but these were branded separately as Euromed until new rolling stock was commissioned for these services. translates to "Spanish High Speed", but the initials are also a play on the word , meaning "bird". History New rail link to Andalusia	AVE. AVE trains run on a network of high-speed rail track owned and managed by ADIF (Administrador de Infraestructuras Ferroviarias), where other high speed (, Alvia, Avlo) and mid-speed (Altaria) services also operate. The first line was opened in 1992, connecting the cities of Madrid, Córdoba and Seville. Unlike the rest of the Iberian broad gauge network, the AVE uses standard gauge. This permits direct connections to outside Spain through the link to the French network at the Perthus Tunnel. AVE trains are operated by Renfe, but private companies may be able to operate trains in the future using other brands, in accordance with European Union legislation. Some TGV-derived trains used to run on the broad-gauge network at slower speeds, but these were branded separately as Euromed until new rolling stock was commissioned for these services. translates to "Spanish High Speed", but the initials are also a play on the word , meaning "bird". History New rail link to Andalusia	523382
wiki20220301en020_101263	AVE	translates to "Spanish High Speed", but the initials are also a play on the word , meaning "bird". History New rail link to Andalusia Towards the end of the 1980s a new line was planned to join the Castilian Meseta with Andalusia without passing through the Despeñaperros Natural Park. After considering various options it was decided that a standard-gauge line, allowing for Spain's first high-speed rail link, would be built. The project was named NAFA (Nuevo Acceso Ferroviario a Andalucía, New Rail Link to Andalusia) and was meant to help revitalise the stagnant southern Spanish economy. The line was inaugurated on 14 April 1992 to coincide with Expo 92 being held in Seville. Seven days later on 21 April 1992 commercial service began with six daily services stopping at Madrid, Seville, Córdoba, Puertollano and Ciudad Real. In October 1992 Renfe began the AVE Lanzadera (Shuttle) service between Madrid and Puertollano and Ciudad Real.	AVE. translates to "Spanish High Speed", but the initials are also a play on the word , meaning "bird". History New rail link to Andalusia Towards the end of the 1980s a new line was planned to join the Castilian Meseta with Andalusia without passing through the Despeñaperros Natural Park. After considering various options it was decided that a standard-gauge line, allowing for Spain's first high-speed rail link, would be built. The project was named NAFA (Nuevo Acceso Ferroviario a Andalucía, New Rail Link to Andalusia) and was meant to help revitalise the stagnant southern Spanish economy. The line was inaugurated on 14 April 1992 to coincide with Expo 92 being held in Seville. Seven days later on 21 April 1992 commercial service began with six daily services stopping at Madrid, Seville, Córdoba, Puertollano and Ciudad Real. In October 1992 Renfe began the AVE Lanzadera (Shuttle) service between Madrid and Puertollano and Ciudad Real.	523382
wiki20220301en020_101264	AVE	It has been suggested that the PSOE government chose the French Alstom bid over the Siemens and Talgo bids for political rather than technical reasons, rewarding the French government for its assistance in capturing ETA activists who took "sanctuary" across the border in southern France. Seville's hosting of the 1992 World's Fair prompted the choice of that city for the inaugural AVE line, with its being the home town of then Spanish president Felipe González also playing some role. Seville is the artistic, cultural, and financial capital of southern Spain and the fourth largest city in Spain, after Madrid, Barcelona and Valencia, with a population of over 700,000 and a metropolitan area of almost 1.5 million people. It is also the capital of Andalusia, Spain's most populous autonomous community (region).	AVE. It has been suggested that the PSOE government chose the French Alstom bid over the Siemens and Talgo bids for political rather than technical reasons, rewarding the French government for its assistance in capturing ETA activists who took "sanctuary" across the border in southern France. Seville's hosting of the 1992 World's Fair prompted the choice of that city for the inaugural AVE line, with its being the home town of then Spanish president Felipe González also playing some role. Seville is the artistic, cultural, and financial capital of southern Spain and the fourth largest city in Spain, after Madrid, Barcelona and Valencia, with a population of over 700,000 and a metropolitan area of almost 1.5 million people. It is also the capital of Andalusia, Spain's most populous autonomous community (region).	523382
wiki20220301en020_101265	AVE	In January 1993 the Talgo 200 Madrid–Málaga service began, using AVE lines as far as Córdoba and then the Córdoba–Málaga Spanish-gauge conventional track to reach Málaga. On 23 April that year, the AVE set a new top speed of on a test run. Later in 1993 the mixed-method services Talgo 200 Madrid–Cádiz and Talgo 200 Madrid–Huelva began.	AVE. In January 1993 the Talgo 200 Madrid–Málaga service began, using AVE lines as far as Córdoba and then the Córdoba–Málaga Spanish-gauge conventional track to reach Málaga. On 23 April that year, the AVE set a new top speed of on a test run. Later in 1993 the mixed-method services Talgo 200 Madrid–Cádiz and Talgo 200 Madrid–Huelva began.	523382
wiki20220301en020_101266	AVE	In 1994 AVE trains on the Madrid–Seville line began to run at 300 km/h, cutting journey times by at least 40 minutes and covering the 471 km in hours, though it is unlikely that much of a saving came from the increase in maximum speed, because only a small section of the line near Los Yébenes has the alignments for 300 km/h operation. The maximum permitted speed is 270 km/h between Atocha station and Brazatortas, save for the approaches to the intermediate stations (Atocha, Ciudad Real and Puertollano). Beyond Brazatortas, the line is only authorised for 250 km/h operation, which drops to 215 km/h in the Sierra Morena mountains and 90 km/h around Córdoba station. It is more likely that time savings occurred as a result of there being fewer intermediate stops.	AVE. In 1994 AVE trains on the Madrid–Seville line began to run at 300 km/h, cutting journey times by at least 40 minutes and covering the 471 km in hours, though it is unlikely that much of a saving came from the increase in maximum speed, because only a small section of the line near Los Yébenes has the alignments for 300 km/h operation. The maximum permitted speed is 270 km/h between Atocha station and Brazatortas, save for the approaches to the intermediate stations (Atocha, Ciudad Real and Puertollano). Beyond Brazatortas, the line is only authorised for 250 km/h operation, which drops to 215 km/h in the Sierra Morena mountains and 90 km/h around Córdoba station. It is more likely that time savings occurred as a result of there being fewer intermediate stops.	523382