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Swing Time 1911-1995 dance 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.


Ginger Rogers in c. 1930

Golden Age of Hollywood

celebrated dancer


musical theatre star

cinema dramatist



Ginger Rogers

a.k.a. Virginia Katherine McMath

// backwards and in high heels //

Earth-birth Sunday 16-Jul-1911

dematerialization 25-Apr-1995 [age 83]








Ginger Rogers

birth data from

tentatively rectifiedby BP Lama Jyotishavidya

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

Rising Nakshatra

Feminine Nativities

Bharani - Yamya

Apa-bharanishe * Varni

BPL commentary

For Bharani births of a feminine valence, the condition of sweetly musical, artistic, harmony-seeking, negotiating, balancing, diplomacy, designing, matching, pairing, sensually pleasuring akarshana-karaka Bright Beautiful Bhrigu may considerably affect the outcome.

For those born into the Shukra-ruled paradigm of Yamya, feminine figures such as sisters, aunts, and wives, along with partnerships, sensual pleasures, arrangements, valuation, pricing, equity, bargains, trades, treaties, trusts, adjustments, justice, finance, artistic beauty, treasuries, alignment, attunement, harmonies, and music, may be especially influential.

Guidance provided by instructors from the civilizations of Apis. Their purpose is acquisition of treasuries, carrying of beautiful objects , and preservation of values across the generations.

Feminine births within a nakshatra of Shukra carry a special benevolence for music, beauty, treasuries, ornaments, design, and gracious relationships. Nevertheless, energized by action-driven Mangala, these ladies are competitive, and they play to win.

Burdened Busy Bee

[Shukra] -ruled Bharani women are the Money Gals. Yamuna-born are often found in the worlds of banking, valuation, capital markets, currency-trading, mints and coinage.

Depending upon Shukra's scope, Yamya-born may be involved in the financial aspect of any form of brokerage and deal-making, including real-estate. They may guide public fiscal affairs. Connoisseurs of pricing and aggressive bargainers, they vigorously seek acquisition of luxuries and precious objects. In addition to their financial abilities, their intuitive understanding of sound-and-color values, often leads to careers in music and arts.

The harmonious arrangements of Apa-bharanishe may be lovely even while they vigorously compete for dominance.

Their expertise in the fields of preservation, containment, and collecting may extend to wines, perfumes, fine textiles, works of art and design, and any commodity which may capitalize or increase in value. Like all Shukra-governed births, Yameza-born must take care to avoid the misuse of drugs and alcohol.

Themes of competitive acquisition, precious sounds and song, and investment in cherished values may contextualize Bharani's terrestrial experience. Applies also to Chandra in Bharani.

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."


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


Photo of Ginger Rogers from the March 1941 issue of International Photographer [GR age 30]

Ginger Rogers in the 1943 movie, Tender Comrade. GR's enduring career featured important roles and promotional materials that highlighted working women in action.

RogersGinger_c1935.png Biographical data matched to Vimshottari Dasha timeline

[Guru Mahadasha] age birth until age 11.3

16-Jul-1911 Earth-birth as Virginia Katherine McMath in Independence, Missouri, USA * Guru-Budha bhukti

Shani Mahadasha * age 11.3 until age 30.3

1928 [GR age 17] first nationwide vaudeville dance tour, accompanied by Mother * Shani-Budha bhukti * Shani in touring 3rd-from-Chandra * Budha rules 3-itineraries

29-Mar-1929 [GR age 17] consecration of marriage 1-of-5 to childhood friend and entertainer, Jack Culpepper * in less than 3 months, GR returned to her mother * Shani-Ketu bhukti [Guru-yuti-Ketu] * Ketu unsustainable * Guru rules Meena 7th navamsha * samchara Rahu-Ketu via Mesha-Tula contact radical R-K ++ Rahu-Return

1929 [GR age 17] first minor cinema roles * Shani-Shukra bhukti* Shukra -5 entertainment rules 7-contracts

1929 begin the Great Depression

25-Dec-1929 [GR age 18] opening day of GR's Broadway debut in the musical Top Speed * Shani-Shukra bhukti* Shukra -5 entertainment

1931 [GR age 20] divorce from alliance-1 * Shani-Shukra bhukti* Shukra rules 8th-from-7

1931 [GR age 20] * Ginger becomes an overnight star in the Broadway musical, Girl Crazy * Shani-Shukra bhukti* Shukra -5 entertainment

1933 [GR age 22] national recognition for her dramatic role in the popular film 42nd Street * Shani-Surya bhukti * Surya rules 5-celebrity ++ dvadasa Sade-Sati

1934 [GR age 23] consecration of marriage-2-of-5 with Lew Ayres, a television and cinema actor * Shani-Chandra bhukti * samchara Rahu-Ketu via Makara-Karkata ++ janma Sade-Sati

Mar-1934 until Mar-1937 Janma Sade-Sati Kumbha

1940 [GR age 29] won Academy Award for Best Actress in cinema drama Kitty Foyle . Ranked as highest paid actress in Hollywood - Shani-Guru bhukti * Guru rules 9-celebrity awards [11th-from-11]

1941 [GR age 30] divorce from alliance-2 -of-5 * Shani-Guru chidra-dasha * [Guru-yuti-Ketu] Guru rules 12 = 6th-from-7

[Budha Mahadasha] age 30.3 until age 47.3

1943 [GR age 32 ] consecration of marriage-3-of-5 with radio broadcaster Jack Briggs * Budha-Budha svabhukti * Budha rules Kanya svamsha* samchara Rahu-Ketu via Simha-Kumbha contact navamsha R-K

1949 [GR age 38] divorce from alliance-3-of-5 * Budha-Chandra bhukti * Chandra rules 6th-from-Chandra

1953 [GR age 42] consecration of marriage-4-of-5 with Jacques Bergerac [1927-2014] dramatic actor, businessman * Budha-Rahu bhukti * samchara Rahu-Ketu via Karkata-Makara

1957 [GR age 46] divorce-4-of-5 * Budha-Shani chidradasja * Shani rules separations

[Ketu Mahadasha] age 47.3 until age 54.3

1961 [GR age 50] consecration of marriage-5-of-5 with executive producer William Marshall * Ketu-Rahu bhukti * samchara Rahu-Ketu via Simha-Kumbha contact D-9 R-K

Jan-1964 until Dec-1966 Janma Sade-Sati Kumbha

[Shukra Mahadasha] age 54.3 until age 74.3

1971 [GR age 60] divorce-5-of-5 * Shukra-Mangala bhukti * Mangala-1 rules 8-identity transformation

25-May-1977 [GR age 66] grieved the decease of mother - Shukra-Guru bhukti * matrimaraka Guru rules 2nd-from-Chandra

[Surya Mahadasha] age74.3 until age 80.3

1991 [GR age 79] publication of popular autobiography Ginger, My Story * Surya -Shukra bhukti* Shukra -5 entertainments

[Chandra Mahadasha] age 64.7 until decease age 83

Mar-1993 until Jun-1995 Janma Sade-Sati Kumbha

25-Apr-1995 [GR age 83] embodiment dematerialization by heart-attack * Chandra-Guru bhukti [Guru-yuti-Ketu] ++ janma Sade-Sati

Distinctive Features of the Nativity


pitri-karaka [father] jyoti-karaka [light]

[creative-gaming vidya-pati for for Mesha indriya-lagna]

[confident reporter-announcer]

[charismatic commercial displays]

[self-focused event management]

[intelligence for gambling]

[confident in political games]

[brightly entertaining conversation]

[identified with detailed writing]

[father may be communicator-manager-publicist]


[ Atmakaraka ] celebrity entertainment sparkle drama romance

[collaborative Punarvasu-3] [navamsha Surya-Mithuna] confident communications [vargottamsha]

  • [Surya-Mithunaya] Mithra - neighbor, companion * brightly charismatic confidence of Center-stage Surya radiates through the conversational gesturing rashi of Budha
  • [Surya in bhava-3] center of commerce * mercantile intelligence * smart reports * dramatic instructional delivery * creative descriptions * sparkling retinue * splendid games of manual-skill * self-referential announcements * admirable handcraft * cinematic genius * smart technology * focus on teamwork * entertaining explanations * administrative entitlements * confident writing * eye on process management * regal messaging * bright center of discourse * brilliant gesturing * father may be a businessman-craftsman-communicator


[Surya in bhava-3] rules [5] entertainment celebrity artistic performance = cinema, scripts, choreography, ensemble drama, tours , writing filmscripts, comedy routines, memoire


matrikaraka [mother] * garha-karaka [village]

[homebound-anchoring bandesha for Mesha indriya-lagna]


[financial Purvabhadra-2] = [navamsha Vrishabha-Urisha] intuitively hoarding [Pushkara Navamsha]

  • [Chandra-Kumbha] comforted by friendship * sensitive to gridworks * needs marketplace connection
  • [Chandra in Purvabhadra - Pegasus pada 1-2-3] soothed by expansive understanding * protectors of philosophical doctrine * preaches a broad perspective on human needs
  • [Chandra in classroom-11] comfortable with networks * calmed by earnings * familiar with fellowship * routine associations * accustomed to distributive systems * settled into community rhythms * acculturated to social participation * needs popularity * feels the repeating pulse of connectivity * soothed by profitable linkage * undulating friendships * mother may be a socialite, fundraiser, community-activist


Mom = GR's closest friend [11] bodyguard, advocate, and business partner.

Chandra-caretaker-figures = beloved mother and maternal grandfather [9th-from-Chandra = Guru-7]

[community-minded Chandra-Kumbha] rules

  • 4 home childhood household foundations mother

Mom's child previous to Ginger had died at birth. It was likely just Ginger, needing to regroup before re-incarnating in a dynamically physical incarnation.

Writing, planning, itineraries, Management

  • Mom was a Hollywood scriptwriter

Mom was a Stage Mother

Mom was a super-friend who stayed tightly bonded to Ginger throughout their lives.

During a lifetime fraught with extraordinary public exposure, demanding work schedules, and disappointing husbands, their mother-daughter bond formed GR's most reliable relationship.

  • Mom lived until Ginger turned 63.
  • GR's ashes were interred with her mother's remains

GRs started theatrical touring at the vulnerable age of 17 during Shani-Budha bhukti

  • Budha rules 3-management
  • her mother generally toured with GR for protection [Chandra].

3rd-from-Chandra contains the rulers of 1 + 8 + 10 + 11 + Rahu
  • Mom was a newspaper theatre critic and journalist, who matured into writing film scripts [3]
  • As a detail-oriented manager, Mom was considered fearless and somewhat driven. Mom arranged performance venues in small towns along railroads, along the burllesque circuit.
  • Mom was not intimidated [Mangala] by the ways of Hollywood and the New York drama culture
  • the Momager was willing for GR to take some risks [Rahu] in order to build her professional reputation in the entertainment world [10 reputation]

MARRIAGE partnership emotional equity support expectations


  • marriage 1-of-5
  • bhava-5 entertainment, amusement
  • Simha drama, celebrity, artistic performance, sparkle
  • husband Jack Culpepper [1902-1979] vaudeville dancer, radio entertainer, singer, comedian, musician, nightclub manager, cinema-TV dramatist.

2nd-from- [7th-from-Chandra-11]

  • marriage 2-of-5
  • Meena imagination, visions
  • bhava-12 quietude, ioslation
  • husband Lew Ayres [1908-1996] had a 6-decades-long career as a TV-cinema actor
  • Ginger was his wife 2-of-3 from 1934 until 1941. They spent relatively little time together.


  • marriage 3-of-5
  • Tula bargaining, trades
  • bhava-7 negotiation, alliances, partnership contains [Guru-yuti-Ketu]
  • husband life-career radio broadcaster Jack Briggs


  • marriage 4-of-5
  • Urisha values, heritage, collections, language, face
  • bhava-2 finance
  • husband Jacques Bergerac [1927-2014] dramatic actor businessman


  • marriage 5-of-5
  • bhava-9 patronage, father-figures ruled by [Guru-yuti-Ketu]
  • Dhanus philosophical viewpoint, beliefs
  • husband executive producer William Marshall

Swing Time 1911-1995 dance theatre Ginger Rogers married and divorced five times. Her mother was Ginger's closest friend, bodyguard, advocate, and business partner. GR married for the fifth and final time to a business partner, the executive entertainment producer William Marshall. They created a joint venture production company in Jamaica. Marshall's alcoholism contributed to the failure of the venture. and the marriage was dissolved in 1971. GR lived happily as a single women for the next 25 years of her life.


bhratru-karaka [brother] virya-karaka [virile]



[Ruchaka Yoga]

[energizing-identifying lagnesha for Mesha indriya-lagna]

[mysterious-initiatory randhresha for Mesha indriya-lagna]

[Kuja Dosha for alliance-1]


[mūlatrikoṇa Aśvini-3] = [navamsha Kuja-Mithuna] business

[Kuja-yuti-Shani ]

[Aśvini] Kuja-yuti-Rahu

  • [Mangala-Mesha] vigorous pursuit of dominance * straightforward dynamic actions * competitive winner * propulsive battering weaponry * push toward conquest * pioneering vitality * hot yang-energy * thrusting force * forward-driving movement * champion of innovation
  • [Mangala in bhava-1] forward fighter * muscular champion * competitive winner * drive toward performance vitality * embodied action * primal sexuality * pursuit of progress * direct movement * physical engineering * thrusting vigor * dominating personality * pushy * dynamic innovator * energized conquests * athletic body
  • [Kuja-yuti-Shani] repressed movements * constant tension between sexual energy vs social rules * dynamic structuring * competitive force must cooperate with disciplined hierarchies * potential for punitive reactions to change * required containment of natural forces * military officer * musculo-skeletal challenges.
  • [Kuja-yuti-Rahu] thrill of muscular action * competitive ambition * passion to win * fascinating physicality * compulsive drive toward heroic battle * dynamic desires * champion of culture-clash * forward thrust toward opportunity * forceful pursuit of privilege


[Mangala in bhava-1] rules

  • 1 physical movement, dance, athletic prowess
  • 8 intensity, transformation, penetrating energies, discoveries

innovative Ashvini-Mangala = physique, movement, dancing prowess

  • [Kuja-yuti-Shani] GR created the // working girl // role that profoundly re-shaped the American cultural landscape

the 1920's and 1930's were times of dramatic change in North American fashion and culture.

  • GR's contribution was to model extraordinary physical ability [Kuja] along with cinema roles that demonstrated a woman having her own identity [1] from her own work [Shani] and having love relationships that aimed for fun, not for marriage [Rahu}

Kuja does things in His own way.

[Shani-yuti-Mangala] + [Kuja-yuti-Rahu]

  • It was said that Rogers had little patience [Kuja-yuti-Rahu impatient] for those who lacked her lifelong passion [Rahu], personal discipline [Shani] and kinetic drive [Kuja].


jamayah-karaka [sibling] sandeza-karaka [message] zisya-karaka [student]

[busy-messaging sahaja-pati for Mesha indriya-lagna]

[inimical-medicating rogesha for Mesha indriya-lagna]

[ethno-cultural narrative of commerce and accusation]

[talks soothingly about security and defensive war]

[sensitive discussions on the place of belonging]

[detailed businesslike domestic routines]

[childhood home is familiar, chatty, transactional, and conflicted]

[mother may be an explainer-instructor-manager]


[hidden-power Pushya-4] [navamsha-Budha-Vrischika]

  • [Budha-Karkata] comfortable communications * hand-arm-shoulders make protective gestures * rhythmic articulation of root culture * discusses ancestral morality * prescriptive routines * argues for foundational stability * describes protective fencing * parochial talk * converses about caretaking * environmental wardens * issues customary pronouncements * delivers land-use information * patriotic declarations * habitually chats about the local settlement
  • [Budha in bhava-4] narrative of cultural roots * skillfully describes parochial routines * delivers ritual instructions * discusses protective caretaking * talks in rhythmic comfortable style * analysis of foundational security * conversations about defense * skilled handcraft of fenced shelters * explainer of homeland customs * patriotic slogans * detailed communication about nourishment * team collaboration in farming-and-fishing * transportation scheduling * s easonal planning * familiar sibling conversations


choreographer, writer, ensemble performer, businesswoman

[Budha in bhava-4] rules

  • 3 ensemble performance, film-scripts, touring schedules, words, gesture writing -- contains [vargottamsha Surya-Mithunaya]
  • 6 disputes, disagreements, service to others, helpfulness
  • occupies the emotionally toxic [6th-from-Chandra] [4]
  • activates Karakamsha Mithuna-3 touring, ensemble performance, cinema

Budha activates commercial publications cinema-radio-advertising Mithuna 10th navamsha containing the brightly kinetic Surya-Mangala team

Budha rogesha rules 3 = [6th-from-Chandra]emotional dysregulation with publicity.

  • GR's scandalous divorces filled the pages of Tinseltown gossip magazines. [3]
  • However, according to the marketing dictum, there is no such thing as bad publicity.
  • Her revolving-door romances [Surya-3 romance, tabloid press] kept Ginger Rogers profitably in the public eye


dhava-karaka [husband] bahuta-karaka [variety]

[philosophical-doctrinal dharmesha for Mesha indriya-lagna]

[retreating-contemplative vyaya-pati for Mesha indriya-lagna]

[multiple marriages with bargaining spouses]

[expansive inclusive multiplicity of personal and professional partnerships]

[numerous optimistic negotiating alliances]


[hierarchical Arcturus-2] [navamsha Guru-Makara-nicha] intuitively expansive broad-scope optimism materialism lawful development

[Guru-yuti-Ketu] apathetic husbands

  • [Guru-Tula] many trades * variety of exchanges * optimistic negotiations * believes in justice * doctrine of contractual exchange * multiple alliances * permission to bargain * diversity of arrangements * equable guidance * widens the scope of balanced design
  • [Guru in bhava-7] many contracts * optimistic negotiations * much partnership * abundant agreement * numerous alliances * extensive bargaining * multiple trusts * expansion of advocacy * fertile match-making * typically more than one spouse * patron of legal arrangements * proliferation of promises * in a wifely nativity, husbandly-companion may be an attorney-counselor-broker
  • [Guru-yuti-Ketu] multiple options for severance * broad permission to abandon unsustainable connections * diverse wanderings * many occasions of surrender * philosophy of impermanence * large-size vacuums * many holy pilgrimages


  • 9 father-figures, guidance, philosophical belief
  • 12 sanctuary, retreat, fantasy, privacy, clairsentience

Dharmesha [Guru-yuti-Ketu] directs the beliefs

  • GR was a lifelong adherent of Christian Scientist doctrine
  • and a stalwart of the Republican Party.

[Guru in bhava-7] partnerships

  • GR's success came largely via partnerships. She performed in many pairs and duo arrangements. Several dancing partners provided her male balance, including the famed Fred Astaire.

[Guru Mahadasha] age birth until age 11.3

The earliest years of Guru Mahadasha , during her childhood, emphasized Shani's power of separation, isolation, and divorce as ruler of 12.

  • GR's parents were fighting over her custody during their divorce. Her father kidnapped little Ginger [Ketu]
  • He soon abandoned the family Guru-yuti-Ketu]
  • Her mother aimed to create a Hollywood career, and Mom left Ginger in the care of her maternal grandparents.

Fortunate Dharmesha Guru rules 7-alliances, contracts

In an era when most women were grossly exploited in Hollywood, GR negotiated high-pay contracts. Her many prizes and awards helped her to bargain for larger paychecks.

  • 1940 [GR age 29] won Academy Award for Best Actress in cinema drama Kitty Foyle . Ranked as highest paid actress in Hollywood * * Shani-Guru bhukti * Guru rules 9-celebrity awards [11th-from-11]

Dhava-karaka Guru-yuti-Ketu = five husbands, each released [Ketu]


svadu-karaka [sweet] kalatra-karaka [wifely companion]

[banking dhanesha for Mesha indriya-lagna]

[bargaining-balancing jaya-pati for Mesha indriya-lagn]

[harmonious delight in theatrical games]

[enjoys drama of poetic romance] [equity-focused political relationships]

[aesthetic taste for brightly glittering fashion]


[entertaining Pūrvaphalgunī- 1] [navamsha Shukra-Simha] [vargottamsha]

  • [Shukra-Singha] appreciation of regal confidence * likes admiration * enjoys applause * prefers creative partners * attracted to artistic performers * bargains to play radiant central roles * delighted by celebrity * charmed by romantic pleasures * pleased by ceremonial display * brightly theatrical arrangements
  • [Shukra-5] seeks pleasure via refined gaming * enjoys center-stage beauty * creative feminine-figures * pleasing children * talented students * delights in financial speculation * political grace * aesthetic designs to adorn the heart * graceful solar plexus * dramatic relationships * sweet celebrity romance * delights in fine arts * appreciation of entitlements * in a husbandly nativity, wifely-companion may be a dramatist-politician-artist-genius * in a husbandly nativity, wifely-companion may be a dramatist-politician-artist-genius


bright ideas, fun adventures, Shukra enriches glittering fashion and fame.

[Shukra-Singha] entertainment, glamour, sparkle, celebrity, romance, creative performance, speculative finance [stock market]

Shukra rules

  • 2 finance, hair, voice, face, eyes, genetics, heritage, family
  • 2 = 4th-from-Chandra = mother's parents GR was raised partly by maternal grandparents
  • 7 contracts agreements marriage

GR exemplified the old saying that for ladies, your face is your fortune.

  • Her face-voice-hair were admired by millions of theatre-goers and movie-watchers. [Shukra-5 rules-2]

GR was a respected and successful activist for fair treatment of women in the entertainment industry

  • financial speculations [5] produced considerable wealth from self-managing her own stock portfolio.
  • Unlike many Hollywood ladies who lacked savings and often fell on hard times, GR was able to retire comfortably in uninterrupted peace and quiet.

Shukra rules Bharani indriya-lagna

  • GR created significant wealth in later life, using her own earnings as capital
  • She took an independent [Kuja] but cautious approach [Shani labha-pati]

GR was considered exceedingly independent minded to manage her stock portfolio without depending on a male adviser.

  • Prevailing opinion was that her financial investments would fail, because she did not [could not] understand the markets
  • She was shrewd and attentive in financial dealings, and her personally selected investments flourished.

[Shukra Mahadasha] age 54.3 until age 74.3

At the end of Ketu Mahadasha, GR's earnings from entertainment performances began to dwindle. She was substantially capitalized however, and Shukra was her time to invest.

the twenty-year mahadasha of Shukra ran from 1965 until 1985. She managed her own stock portfolio, which was a very unusual empowerment for a woman in that era. The long-lasting Shukra Mahadasha combined with the signature speculative-finance advantage of Shukra ruling 2-asset accumulation.

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 romantic female roles to the leading male performers of the time.

However, there was another aspect to GR's Bharani life. In her 40's, GR morphed [8] into a shrewd businesswoman who successfully managed her own investments, bought and sold property, and negotiated her own Hollywood contracts. [Shukra rules 7 contracts]


duro-karaka [endurance] * jara-karaka [Jahre, years]


[dutiful-hierarchical karmesha for Mesha indriya-lagna]

[profitable labha-pati for Mesha indriya-lagna]





  • [Shani-Mesha] harsh old blood-feuds * brain cramp * blocked bloodflow * muscle seizure * limits innovation * overburdened aggressions * fierce resistance * freezes new ideas * law of the winners * proletarian battles * must enforce dominance * contempt for independence * burdened by championship * cruel competitions * endurance contests * at times, survival requires great effort * obligation to fight * normalizes war * structural pressure upon head-brain * lurching forward push * conquest brings oppressive duty * must sustain physical supremacy * constricted vitality * maintainer of bitter old competition-for-resources
  • [Shani in Bhava-1] time-structured personality * mature conduct * must produce under pressure * strictly orderly movement * regimented appearance * grim determination to survive * tense competition * muscular fatigue * required activity drills * chronically impeded self-expression * bodily seizures * identified with heavy responsibility * resists unnecessary change * often looks older * lives to work * elders preserve class-conscious identity
  • [Shani-yuti-Mangala] social resistance to competitive action * pragmatic pursuits * cautious innovation * limited pace of progress * delayed [but not denied] championship * physical discipline * constraints on instinctive movement * conventionally regulated sports * tension from contradictory push-pull impulses.
  • [Shani-yuti-Rahu] stiff resistance to unbridled ambition * formally regulated cultural mixing * disciplined thrills * class-based limitations upon privilege * repressed quest for intriguing importance * s ocially constrained opportunism * shimmering illusion of systematic conformity * irregular achievements * over-reaching elders * restricted risks


[Shani-yuti-Mangala] + [Shani-yuti-Rahu] occupies 3rd-from-Chandra

  • media messaging signal gesture communication
  • ensemble performance
  • cinema, scripting, the production processes of drama
  • GR's mom was a Hollywood scriptwriter

Shani rules Makara-10 Arudha lagna

  • GR was internationally known [karmesha in 1]. She formed corporations and made top-down decisions.
  • With both Rahu and Shani in Bharani, GR was a capable financial executive.

[Shani rules Chandra-11]

  • raised by a scrappy single mother, Rogers started financially with nothing.
  • She earned by industry and talented effort.
  • Chandra-11-Kumbha provided the Massive nationwide popular audiencefor her dance-movies during the Great Depression

[Shani Mahadasha] age 11.3 until age 30.3

Success during Tough Times [nicha-Shani]

GR was one of the relatively small group of Americans who made big money during the Depression.

  • [GR age 18]
  • The Great Depression began during her Shani-Shukra bhukti
  • Shukra-5 entertainment rules 2-finance, banking, wealth-accrual ++ 7- contracts, agreements, partnerships
  • Earnings continued throughout her Shani Mahadasha

The widespread unemployment, poverty, and despair of the USA Great Depression [Shani] drove miserable people into the urban film theatres in great numbers.

  • During the 1930's Rogers made nine joyful dancing films with her dance-partner [Shukra] Fred Astaire.
  • The productions featured beautiful set designs, romantic storylines, and upbeat music. [Shukra Simha]
  • Grateful enchanted audiences received an hour's respite from their grief.

GR's dance films were enormously popular [proletarian Shani].

  • GR 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

GR's cinema roles celebrated the new social role of the independent " working girl" .

  • Often women in the Depression could find jobs more easily than men.

1930's celebrity pushed Ginger Rogers into the ranks of highest-paid actress in Hollywood. She was a canny saver [Shani]. The income [11] provided her investment capital [2] which she used to fund stock market investments and a real-estate business in retirement.

Work Ethic

[nicha-Shani in Bhava-1] rules Makara Arudha lagna. Although she had to endure monumental misogynistic resistance [nicha-Shani prejudice] GR was a corporation.

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.

[Bharani-Shani + Azvini-Kuja + Bharani-Rahu] rules 11

  • she remained the highest-paid Hollywood actress for many years.

GR lived an increasingly private life with diminishing Hollywood involvement in either cinema or television. She appeared to have fallen off the cultural and professional radar, as would be expected of an aging actress in a fickle industry.

  • However, during Ketu-Shani bhukti ++ her Sade-Sati in 1965 during her mid-fifties, GR returned to the stage and screen with both Broadway and television success. [Shani age]


rajyalobha-karaka [ambition] picchala-karaka [slippery]


[Bharani-1] = [navamsha Rahu-Simha] fascinating theatrics



  • [Rahu-Mesha] shimmering illusion of championship * craving for superiority * exotic use of dominating force * mask of competitive action * mirage of first-arrival pioneer * over-reaching urgency * extraordinary birth * extravagant muscularity * mesmerizing forward movement * unusual athleticism * fascinating conquests * marvelous warriorship * seeks special importance via apparent [but perhaps not authentic] attributes of heroic action * seeks privilege via innovator-roles
  • [Rahu in bhava-1] passion for prestige appearance * in svabhava of Competitive Kuja, the Shadowy Specter seeks privilege via glamorous physical visage * extraordinary athletic action * outsider who cleverly insinuates into a noble identity * smoky, oily aura * desires competitive advantage * exceptionally recognizable embodiment * exhilarating force of nature * thrilling champion of non-standard lifestyles * social mobility sought via dynamic movement * powerful personality * innovative behavior challenges existing norms * culturally mixed self-image * embodies exciting new energies * self-promotion via blood-and-birth * double agent * over-reaching ambition for empowered individuality * craves special importance * trespasses cultural limitations of race-class-creed-gender * fascinating figure * may represent a cult of personality
  • [Rahu-yuti-Mangala] amplified competition * magnified championship * exotic pursuits * tricky innovation * opportunistic brother-warriors * fascinating [but perhaps illusory] appearance of dynamic energy * hypnotic attack * passion for engines * craves hot movement * invasive force of cross-cultural mixing
  • [Rahu-yuti-Shani] amplified public formality * pragmatic exaggeration * exotic social conventions * s lippery hierarchies * tricky rules * opportunistic elders * fascinating [but perhaps illusory] strict conformism * regulated risk-taking * hypnotic outsider insinuates normalcy * orderly cross-cultural mixing * thrilling legitimations


[Rahu in bhava-1] personality-appearance lauches the challenge to rigid social practices in movement, vitality, physical power

[Rahu in bhava-1] seeks privilege via important - often risky - cultural-mixing roles in athletics, muscular performance, innovative activities, competition, pioneering, championship

In Bharani, Rahu gains extra emphasis on asset conservation, collections, and wealth portfolio.

[Rahu-yuti-Mangala] Her bodily movements [Mangala} were adulated as over-the-top, captivating, and above all the obvious result of disciplined practice [Shani-Mangala].

Despite her ability to bargain for top pay in the women's bracket [she was the best-paid female Hollywood actress-dancer of her era] for many years, GR was paid grossly less than masculine peers.

  • Slowly, [Shani] she challenged [Kuja] the Hollywood industry gender-gapped pay standards. Shani provided enduring cultural struggle over women's rights [Rahu drishti into Shukra-5 rights]
  • after decades of persistent work [Shani] and legendary success in entertainment, GR had the last laugh by becoming an HNWI on her own initiative [Mesha].

[Rahu gender role upheaval]

GR was a trend-setter and fashion icon of the new " working girl" image [Shani working]. Her dramatic persona [1] symbolized profound social changes [5 = 8th-from-10 social changes.

These revolutionary changes had been propelled [Kuja] by women's large-scale entrance into the job market [11 marketplace] and their sudden access to independent money [Bharani] via earning their own salary [11]

GR helped to prove to a generation that limitations on personal independence could be personally challenged [Kuja] albeit cautiously and responsibly [Shani] with fascinating results [Rahu fascinating]

GR's professional and financial [Bharani] success eventually pushed the envelop [Kuja] of culturally acceptable action for women [Mesha independence].

[Bharani-Shani rigid old financial rules]

Women could not rationally manage money. // Everyone knows that. //

Still she persisted [Shani] .

GR became a remarkably wealthy woman through her own independent investing decisions. Her insistence of managing her own corporate stock and real-estate investments was extremely rare at the time for women. Old-school male financial experts were appalled. Plenty of nay-sayers predicted dire financial consequences for her challenge to social boundaries.

However, GR's winning combination beat the odds.

  1. astoundingly persistent work ethic, disciplined rehearsals [Shani]
  2. physical drive and dancing expertise [Mangala]
  3. over-reaching, privilege-grasping, boundary-challenging Rahu.
  4. Rahu drishti into 5-7-9
  5. amplifying-expanding mutual drishti Rahu-Guru


kavandha-karaka [headless] chidra-karaka [gaping] vasana-karaka [vacuum]

[for Mesha indriya-lagna]

[apathy toward partnership]

[surrenders outdated promises]

[forgives unnecessary contractual obligations]

[dissolves legal arrangements]


[profitable Arcturus-3] [navamsha Ketu-Kumbha]


  • [Ketu-Tula] justly dissociates from negotiation * wanders away from compromise * eccentric alliances * abandons agreements * apathetic trades * surrenders trust * ignores restriction on match-making * releases a pale pastel cloud of fair deals into the misty abyss
  • [Ketu in classroom-7] equably ambivalent toward agreements * absentee advocates * disregards contractual loyalties * disinterested in mutuality * wanders from the middle-balance * irrelevance of equity * surrenders alliances * abandons the usual covenants * ignores advice * incoherent promises * liberation via surrendered negotiations * unless other graha in 7, may prefer to live free from partners
  • [Ketu-yuti-Guru] misunderstandings * unsustainable convictions * abandons empty theories * believes in non-existence * vacuous catechism * wandering teachers * apostasy * wisdom of surrender * incomplete comprehension * doctrines of impermanence * Other-Worldly viewpoint * walks away in disbelief * liberating philosophy * for wifely nativities, Ketu may release the dhavakaraka husbandly-companion. .


Pitri-pati Ketu-yuti-Guru

  • Notoriously, dad kidnapped little Virginia Catherine during a prolonged marital dispute with her mother. The parents were soon divorced [Ketu].

Guru-yuti-Ketu rules Dhanus = [11th-from-Chandra] earnings

  • Swing Time 1911-1995 dance theatre Ginger Rogers A very popular actress, dancer, and singer, GR was nonetheless grossly underpaid proportional to her ticket-sales value.

  • Male artistic partners and male " farceurs" whose names graced the performance marquis -- but who did not appear on the stage -- earned much more than she did, for much less performance effort.
  • Yet, she soldiered on (staunch worker Shani rules 11 earnings).

[Ketu-Tula] receives the risk-rewarding drishti of Rahu-1 + [Shani-yuti-Mangala] adding further dynamism, independence, and taboo-challening power to the existing benevolent dissolution indicated by [Ketu-yuti-Guru]

  • She married and divorced five times.
  • All of GR's ex-husbands spoke well of her [benevolent generous Guru].

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