Guadalajara airport, Mexico. Reported 4th January

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Updated Monday 9th February  2015


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At first glimpse, one notes a possible triskelion (, symbol of Sicily and the Isle of Man; and maybe there’s something to it.

Flag of Sicily

Flag of the Isle of Man

Guadalajara crop circle

But closer inspection reveals a tone-arm, and the spiral grooves of a phonograph record; in particular, a 45 rpm record for the “triskelion” at centre disk appears to be the adapter (Image A) with which to play a 45 rpm recording on a variable-speed turntable with 33 1/3 rpm center-post. 

Incidentally, those unacquainted with a “20th Century antique,” such as this one, may not be aware that table-top and console phonographs were frequently equipped with a tall centre spindle that allowed multiple recordings to be stacked and mechanically dropped onto the spinning platter, one after another.  So, what we see is the portable “pick-up” type that came with short center-post only (Image B).  Is this important?  I can only say it’s consistent with popular music; and in particular, during the period in which 45 rpm “hit singles” fought a losing rear-guard action against 33 1/3 rpm long-playing albums, which “drove them from the music scene”—the early-to-mid 1960s. 

The tone-arm apparently has played to the end of the recording because one sees it pressing against the triskelion adapter.  In a moment, it will robotically lift and return to its pre-play starting post, there to rest or begin again, depending on how the machine has been configured by the audiophile; that is, unless it’s the least expensive (most portable) type, in which case the tone-arm, lacking a robotic return, continuously jerks back and forth in the landing groove, awaiting the hand of the audiophile, who must manually lift and return it.  

Curiously, the device appears as a “mirror image” of itself for the relationship of tone-arm to adapter indicates counter-clockwise spin; unless it plays from inside out?! 

And so, it seems the circle-makers are reprising the technology of mid-20th Century take-along popular music.  (Do I go too far in specifying take-along popular music?  I think not because this is an inexpensive portable record-player—a “pick-up”—shunned by serious audiophiles, “long-hair” devotees of classical music, jazz or other genres; furthermore, the 45 rpm format can mean only a pop genre hit single.) 


Assuming the recording does not play from inside out, the relationship of tone-arm to centre adapter indicates the circle-makers wish to call attention to an imminent choice:

·         Allow the device to robotically start over (or manually cause it to do so) and play the same recording again—perhaps repeatedly (if enjoyable, why not?!); or

·         Change records, and play something new. 

But if the circle-makers are calling attention to an imminent choice, then why popular music of the mid-20th Century?!  Of what significance can it be?  Besides, isn’t it too late to do anything about 20th Century pop culture; or anything else for that matter? 

The image is therefore ambiguous for, unless it’s a metaphor for something else, one must reconcile the imminent choice with the historical past—finita la musica, passata la fiesta.  When was, or is, the choice to be made?  Was it not decades ago?!  And if, somehow, it’s possible to do over, does one change now, or play the same “tune” again?  I suppose it depends on how well one likes the tune . . . unless one plays it in reverse?! 

45 RPM Record Adapter T-Shirt

Image A - 45 rpm adapter

Image B - “Pick-up” phonograph with 45 rpm record and adapter on 33 1/3 short center-post


And if played in reverse it yields the same meaning, then it's a kind of latter-day technological, vice literary, palindrome (!), and symbolic of the Ouroboros, the mythical creature that consumes itself by the tail and is reborn ad infinitum!

John Del Campo Falls Church, Virginia



Please find a link for a video in English and a second link for a video in French with some explanations about the recent crop circle reported at Gaudelajara January 4, 2015.

Jean-Charles Bourquin

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Mark Fussell & Stuart Dike