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RogersAstaire_TopHat_1935.jpg

Swing Time 1911-1995 musical theatre Ginger Rogers and frequent dance partner Fred Astaire in the musical cinema Top Hat, 1935. Ginger Rogers dazzled and distracted sad audiences during the Great Depression, bringing a ray of sunshine to many during that dark time.

RogersGinger_c1930.png

Ginger Rogers in c. 1930

Golden Age of Hollywood

musical theatre cinema star, dramatist, dancer, singer, choreographer, writer

backwards and in high heels

Ginger Rogers

a.k.a. Virginia Katherine McMath

Lightbody Descent into Fleshbody (birth) 16-July-1911

fleshdeath 25-Apr-1995 (age 83)

RogersGinger_00h45m_d1d910.png 

dramatist, comedienne, dancer, choreographer, activist * 1911-1995 * Ginger Rogers

birth data from http://en.wikipedia.org/wiki/Ginger_Rogers * tentatively rectified by BP Lama

charts, graphs and tables produced by Shri Jyoti Star * adapted by BP Lama

Rising Nakshatra

Feminine Nativities

Bharani * Yamuna


BPL commentary:

For Bharani natives, the condition of sweetly musical, artistic, harmony-seeking, negotiating, balancing, arranging, designing, matching, pairing, sensually pleasuring akarshana-karaka Bright Bhrigu considerably affects the outcome.

Feminine figures such as sisters, aunts, and wives, along with partnerships, sensual pleasures, artistic beauty, treasuries, and music, may be especially influential.

Guidance by instructors from the civilizations of Apis.

QUOTATION from Shil-Ponde. (1939). Hindu Astrology Joytisha-Shastra . p 79


"...a rather quarrelsome and treacherous nature.

She will have a tendency towards wicked, vicious and envious thoughts

  • regarding other women, particularly.

to her husband and friends,

  • she will be arrogant and overbearing.

Underneath it all

  • she is cold, shrewd, and calculating."

Biographical data matched to Vimshottari Dasha timeline


RogersGinger_c1935.png


RogersGinger_1941.jpg

Photo of Ginger Rogers from the March 1941 issue of International Photographer

Guru Mahadasha * age birth-11

16-July-1911 Lightbody Descent into Fleshbody (birth) * Guru-Budha period


Shani Mahadasha age 11-30

1928 (age 16) first nationwide vaudeville dance tour, accompanied by mother * Shani-Budha period * Budha rules 3-ensemble performance

1929 (age 17) first minor cinema roles * Shani-Zukra period * Zukra-5 entertainment, Zukra-2 voice, face, song

29-Mar-1929 (age 17) Marriage-1 * duration less than 3 months * Shani-Ketu period * Ketu samchara Rahu-Ketu via Mesha-Thula contact radical R-K

1931 * divorce-1 * Shani-Zukra period * Zukra rules 2-divorce

1931 (age 19) * Ginger becomes an overnight star in Girl Crazy  * Shani-Zukra period * Zukra-5 celebrity

1934 * Marriage-2 * Shani-Chandra period * samchara Rahu-Ketu via Makara-Karkata

1940 won Academy Award for Best Actress in cinema drama Kitty Foyle. highest paid actress in Hollywood * Shani-Guru chidradasha* Guru rules 9-celebrity, awards for achievement (11th-from-11th)

1941 * divorce-2 * Shani-Guru chidradasha* Guru rules 12-disagreement in marriage 6th-from-7th * Guru-yuti-Ketu-chidrakaraka


Budha Mahadasha * age 30-47

1943 * Marriage-3* Budha-Budha swabhukti * samchara Rahu-Ketu via Simha-Kumbha contact navamsha R-K

1949 * divorce-3 * Budha-Chandra period * Chandra rules 6th-from-Chandra

1953 * Marriage-4 * Budha-Rahu period * samchara Rahu-Ketu via Karkata-Makara

1957 * divorce-4* Budha-Shani chidradasha * Shani rules 12th-from-Chandra + 6th navamsha


Ketu Mahadasha * age 47-54

1961 *1961 * Marriage-5 * Ketu-Rahu period * samchara Rahu-Ketu via Simha-Kumbha contact navamsha R-K


Zukra Mahadasha * age 54-74

1971 * divorce-5 * Zukra-Mangala period * Mangala rules 8-transformation of identity

25-May-1977 * decease of Mother * Zukra-Guru period * Guru rules 2nd-from-Chandra


Surya Mahadasha * age 74-80


Chandra Mahadasha * age 80 until decease age 83

1991 publication of autobiography Ginger, My Story * Chandra-Chandra swabhukti * Chandra rules 4-end of things, conclusions

25-Apr-1995 * Lightbody Lift-off by heart-attack (age 83) * Chandra-Guru period * Guru-7 gives effect of Ketu

Distinctive Features of the Nativity


RogersGinger_moviecard_193x.jpg

Swing Time 1911-1995 musical theatre Ginger Rogers in a 1930's movie card

Surya * pitrikaraka * Jyotikaraka

Atmakaraka

  • Surya-Mithunaya * Mithra * neighbor, companion
  • Surya in bhava-3 * center of commerce, intelligence for reports, announcements, descriptions, * brightly explaining, focus on communication, eye on messaging

Surya rules the empowered 10th navamsha containing Rahu-yuti-Zukra in Simha entertainment, glamour, glitter, celebrity

Surya-3  filmscripts touring schedules rules  5 theatre, and 5 = 3rd-from-3rd writing

FATHER


Chandra * matrikaraka * garha-karaka

  • Chandra in classroom-11 * comfort in networks, familiar with connection, community, soothed by social linkage; undulating friendships
  • Chandra-Kumbha * comforted rhythmic pulsing network linkage
  • Chandra in Purvabhadrapada pada 1-2-3 * comforted by expansive understanding * protectors of philosophical caretaking, charitable parenting, shelter for teachers, broad perspective on human needs

MOTHER

Raised partly by maternal grandparents (4th-from-Chandra = bhava-2 family)

Rogers started theatrical touring at the vulnerable age of 17; however, her mother generally travelled with her for protection. Chandra-11 bandhesha provides security, stable basis  = Chandra-11 Mother-figure = mentor, elder-sister role. Mom was a newspaper theatre critic and journalistic writer, familiar with the ways of Hollywood and the New York drama culture, and always close with Ginger.

Ginger Roger's mother was her best friend and her most reliable companion during a lifetime fraught with demanding work schedules, unpredictable husbands, and extraordinary public exposure. Chandra-11 friendly mother. The pair were so close, and her other relationships (with father and husbands and business partners) were so weakened by Guru-Ketu-7, that they created for each other the primary life support relationship. After her fleshdeath, Ginger Rogers  ashes were interred with her mother's remains

MARRIAGE expectations of partnership support

 life-partnership pattern based in Chandra-11

mate-1 = bhava-5

mate-2 = bhava-12

mate-3 = bhava-7

mate-4 = bhava-2

mate-5 = bhava-9


Kuja * bhratru-karaka * virya-karaka

lagnesha

  • Mangala-Meza * moolatrikona 0-18 deg. * vigorous pursuit of championship, innovation, first-arrivals; push toward conquest
  • Mangala in bhava-1 * drive toward embodied performance vitality, pursuit of competition, direct physical action, thrusting vigor, energized muscular conquests
  • Kuja-yuti-Shani * energized rules, dynamic structuring, masculine force joins disciplined regulation, potential for aggressive or punitive reactions to change
  • Kuja-yuti-Rahu * energized pretense, dynamic desires, masculine force joins opportunistic ambition, potential for aggressive pursuit of privileges

A brightly charismatic and dynamically energized theatrical personality with Rahu + Shani-yuti-Mangala in 1-identity, physique, movement

It was said that Rogers had little patience (Kuja-1 impatient) for those who lacked her lifelong passion (Rahu), discipline (Shani) and drive (Kuja).


Budha * bandhava-karaka * zisya-karaka

  • Budha-Karkata * comfortable communications, articulation of rhythmic root culture, customs, security, foundations
  • Budha in bhava-44* narrative of mother-figure, comfort, security, describer of sheltering protection, familiarity, explainer of homeland customs, delivers instructions for roots, routine, ritual* narrative of mother-figure, comfort, security, describer of sheltering protection, familiarity, explainer of homeland customs, delivers instructions for roots, routine, ritual

Budha rules Karakamsha Mithunaya-3 = ensemble performance = song, media-messaging, cinema, the production processes of drama, ensemble work centered on face, voice, song, speech, sensual pleasures, valuable goods


Guru * dhavakaraka * bahuta-karaka

  • Guru-Thula * many trades, exchanges, much negotiation, believes in justice, doctrine of contractual exchange
  • Guru in bhava-7 * many contracts, much negotiation, much partnership, abundant agreement, numerous alliances
  • Guru-yuti-Ketu upeksha-karaka * * multiple disregarder-disperser figures, many disconnections, much surrender, abandons the humanistic perspective

Guru-yuti-Ketu rules Dhanuzya-9   paradigms of belief, sangha (sangiti, the reciters). lifelong Christian Scientist and Republican Party  

Shani-Guru period 1940 * Rogers won an Oscar for dramatic, as well as dancing, prowess on the theatrical stage. * Guru rules-9 fame and Guru rules the financially gainful 2-11 from Chandra


Zukra * svadhu-karaka * kalatra-karaka

  • Zukra-Singha * appreciation of royal confidence, pleasures of radiant central roles, brightly theatrical arrangements
  • Zukra-5 * * pleasure of dramatic gaming, enjoys center-stage equity, feminine-figures are prominent in the creative, political environments, literary and fine arts, appreciation of creativity

Zukra mutual aspect with Chandra provides her glowingly attractive countenance

Zukra rules financially savvy Bharani lagna

Although Rogers' earnings from entertainment performances began to dwindle in the late 1940's, the twenty-year mahadasha of Zukra  ran from 1965 until 1985. She managed her own stock portfolio ( a very unusual action for a woman then). The long-lasting Zukra Mahadasha combined with the signature speculative-finance advantage of Zukra-5 gambling ensured her financial comfort. 

Most remember Ginger Rogers as a remarkably talented, attractive, and vivacious dancer who wore a spectacular array of beautiful, flattering costumes as she played various female roles to the leading male performers of the time.

She was also however a shrewd businesswoman who successfully managed her own stock portfolio, bought and sold property (Zukra rules-7 4th-from-4th), negotiated her own Hollywood contracts (7),

Zukra-5 entertainment, fame, creative performance rules 7-partnership

She remains best known for her oft-repeated role as Fred Astaire's romantic and dancing partner in a series of hugely popular and iconic Hollywood musical films.


Shani * duro-karaka * jara-karaka

  • Shani in Bhava-1 * must act under pressure, move but slowly, push forward against stiff limitations; cautious, conventional identity; tense competition, chronic impeded movement
  • Shani-Meza** nichha* old feuds, pressured invasions, old competitions, proletarian survival, pressure in the head-brain, imposed competition, must conquer with scarce resources
  • Shani-yuti-Mangala * resistance against vital birth, physical discipline, constrained movement
  • Shani-yuti-Rahu* resistance against ambition, disciplined risk, constrained opportunism, irregular elders

Shani-1  rules Arudha lagna = bhava-10 high public visibility, iconic roles

Shani-yuti-Mangala-1 is incredibly productive. Ginger Rogers produced 70 movies, many of which represented the best Euro-American performance dancing of her century. Her dance partner Fred Astaire commented that Ginger was the hardest-working woman he had ever known.

Shani Mahadasha 1922-1941

An appreciative audience found in Ginger Rogers an icon of the light-hearted, unmarried working girl (Shani-1 work identity) This new social identity started in US society just about when Ginger started, in the late 1920's.

1933-1939 * era of famed musical cinema with dancing partner Fred Astaire * Shani-Surya until Shani-Guru period (remainder of hardworking Shani Mahadasha)

Shani-Rahu-Mangala in 3rd-from-Chandrs siblings  =  only child of her parents, who divorced after her birth and fought over her custody


Rahu * rajyalobha-karaka * picchala-karaka (slippery)

  • Rahu in bhava-1 * the Shadowy Specter seeks privilege via glamorous, exotic, or mesmerizing physical appearance, extraordinary competitive movement, special championship. Seeks social mobility via fascinatingly energized physical body-form. Exciting, opportunistic, ambitious conditions of birth. May become a focus of a cult of personality.
  • Rahu-Meza*craving for dominant force, mask of competitive, pioneering, urgent push forward; fascinated by conquest * seeks special importance via heroic actionn
  • Kuja-yuti-Rahu * * amplified competition, magnified championship, exotic pursuits, tricky innovation, opportunistic brother-warriors
  • Shani-yuti-Rahu * amplified orderliness, magnified systematics, exotic rules, tricky rules, opportunistic elders


Ketu * kavandha-karaka * chidra-karaka

  • Ketu-Thula * incomplete alliance, empty trades, surrendered trust, dispersed negotiations
  • Ketu in classroom-7 * ambivalent toward promises and agreements, absentee spouse, disregards contractual loyalties, dissolves the alliances, irrelevance of terms of partnership
  • Guru-yuti-Ketu* * surrendered abundance, empty expansions, apathetic diversity* surrendered abundance, empty expansions, apathetic diversity

 Guru-yuti-Ketu = Thula-7 with an intense drishti of Rahu + Shani-yuti-Mangala  indicating her multiple  marriages and divorces. She married and divorced five times.

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