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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 + choreographer

musical theatre star

cinema dramatist + singer


Ginger Rogers

a.k.a. Virginia Katherine McMath

a.k.a. backwards and in high heels

Earthbody-Entry Sunday 16-July-1911

Earthbody-Exit 25-Apr-1995 (age 83)


dramatist + comedienne + dance + choreographer + activist * 1911-1995 * Ginger Rogers

birth data from ht * tentatively rectified by BP Lama

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

Rising Nakshatra

Feminine Nativities

Arudra-Orion * Trinetra

BPL commentary

For Arudra-Orion births of a feminine valence, the disposition of mesmerizing, hypnotic, shadowy, exciting, passionate, ambitious, opportunistic, privilege-seeking Professor Rahu may considerably affect the outcome.

For those born into the paradigm of Rahu-ruled Rudhira, exotics, ethnic mixers, opportunists, fascinators, mesmerizers, privilege-seekers, impostors, rogues, intensifiers of passion and desire, self-proclaimers, self-promoters, agents-provocateur, charlatans, masters of smoke and oils, and entrancingly ambitious persons may be especially influential.

Instructional guidance is provided by emissaries from Orion. Their purpose is to communicate the passionate animal vitality via stormy, turbulent, swaying, exciting gesture and signal.

Passionately Communicative

Rahu-ruled Arudra-Orion ladies have stormy temperament. They may be considered capricious, inconsistent, and demanding. Often they are found in sensuous, writhing, twisting, fascinating roles. Mesmerizing dancers, they use the communicative signaling of hands, shoulders, legs, hips, and pelvic thrust to great advantage.

Depending upon Arudra-Orion's social environment, their seductive appeal may express as private or public When professionalized, Tiruvaatira-born may be stage performers of high excellence, who send waves of desire (Rahu) through an audience numbering one or one-million.

Rahu-ruled Arudra-Orion displays the animal intensity of the storm. Arudra women often are blessed with the capacity to regenerate their physical vitality and recreate their persona.

Arudra-Orion women are often the diva type who are sensuously clever (Rahu) verbally quick, and impatient with those who are less communicatively responsive. Thiruvaathira-born may be gifted in handcraft, commerce, painting, descriptive writing, evocative song-writing, and the arts of seductive imagery such as photography, costume, and arts-of-style (Budha).

Themes of stimulating signal patterns, passionate messaging, volatility, intense cycles of attraction-and-repulsion, and stormy outbursts may contextualize Arudra-Orion's terrestrial experience. Applies also to Chandra in Arudra-Orion.

QUOTATION from Shil-Ponde. (1939). Hindu Astrology Joytisha-Shastra, p 93.

"A critical fault-finding disposition is apparently conferred ...

Her disagreeable disposition,

coupled with a sarcastic manner and speech,

  • makes it difficult for other people to tolerate her.

Although she is extremely clever in her conversation

and many people will be impressed by her speech,

  • while still disliking her.

She is extravagant to the point of wastefulness,

  • but on herself rather than on others,

  • although at times she will be grudgingly generous
  • to those with whom she comes in contact.

She has weak lungs and should be careful of colds and coughs,

  • as there is a tendency towards tuberculosis."


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

Biographical data matched to Vimshottari Dasha timeline



Photo of Ginger Rogers from the March 1941 issue of International Photographer (her age 30)

Guru Mahadasha * age birth until age 9.4

16-Jul-1911 Earth-birth in Independence, Missouri, USA * Guru-Budha bhukti

Shani Mahadasha age 9.4 until age 28.4

1928 (age 17) first nationwide vaudeville dance tour, accompanied by mother * Shani-Zukra bhukti * Zukra 3-ensemble performance music

1929 (age 17) first minor cinema roles * Shani-Zukra bhukti * Zukra-3 purvaphalguni, Zukra-2voice, face, song

29-Mar-1929 (age 17) exchange of vows in marriage-1 * duration less than 3 months * Shani-Zukra bhukti * samchara Rahu-Ketu via Mesha-Thula contact radical R-K

1929 begin the Great Depression

1931 * divorce-1 * Shani-Chandra bhukti * Chandra rules 2-divorce

1931 (age 19) * Ginger becomes an overnight star in the Broadway musical, Girl Crazy * Shani-Surya bhukti * Surya rules Zukra-3-Simha = celebrity

1933 national recognition for her dramatic role in the popular film 42nd Street * Shani-Mangala bhukti * Kuja-yuti-Rahu-11 = revenues, goals

1934 * exchange of vows in marriage-2 * Shani-Rahu bhukti * samchara Rahu-Ketu via Makara-Karkata

Budha Mahadasha * age 28.4 until age 45.4

1940 won Academy Award for Best Actress in cinema drama Kitty Foyle. Ranked as highest paid actress in Hollywood * Budha-Budha swabhukti * Budha lagnesha + karmesha

1941 * divorce-2 * Budha-Budha swabhukti * Budha rules 8th-from-Chandra

1943 * exchange of vows in marriage-3* Budha-Zukra bhukti * samchara Rahu-Ketu via Simha-Kumbha contact navamsha R-K

1949 * divorce-3 * Budha-Rahu bhukti

1953 * Marriage-4 * Budha-Guru bhukti * Guru rules Meena swamsha* samchara Rahu-Ketu via Karkata-Makara

Ketu Mahadasha * age 45.4 until age 52.4

1957 * divorce-4* Ketu-Zukra bhukti * Zukra rules 12-dissolution

1961 * Marriage-5 * Ketu-Guru bhukti * Guru rules Meena swamsha* samchara Rahu-Ketu via Simha-Kumbha contact D-9 R-K axis

Zukra Mahadasha * age 52.4 until age 72.4

1971 * divorce-5 * Zukra-Rahu bhukti

25-May-1977 * grieved the decease of mother (Ginger's age 66) * Zukra-Shani bhukti * Shani rules 12th-from-4th

Surya Mahadasha * age 72.4 until age 78.4

Chandra Mahadasha * 78.4 until decease age 83

1991 publication of autobiography Ginger, My Story * Chandra-Rahu bhukti * Rahu-11 marketplace revenue

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

Distinctive Features of the Nativity

Surya * pitrikaraka * Jyotikaraka

  • Surya-Karkata * Bhanu * ray of light
  • Surya in bhava-2 * center of values-fulfillment lineage * intelligence for languages * bright knowledge of history * focus on treasuries * banking entitlements * bright face-speech-song * eye on capitalization * dad holds the center of family * sparkling center of the treasury-drama * father may be a banker-collector-conservationist
  • Surya-yuti-Budha * confidently conversational * bright messenger * entitled to discuss * creatively intelligent sibling-cohort * discursive father-figure * gestures conduct the spiritual rays of the Sun * radiantly descriptive * articulate in drama * smart game-player * self-confident announcements * talks about ideals * narrative of power-politics * recites love poems * describes divine romance

Surya in bhava-2 face voice rules Arudha lagna = bhava-3 media messaging signal gesture communication

Surya-2 rules Zukra-SImha-3 theatre. = ensemble performance = song, media-messaging, cinema, the production processes of drama, ensemble work centered on face, voice, song, speech, sensual pleasures, valuable goods


The parents enjoyed very little agreement.

Notoriously, dad kidnapped little Virginia Catherine during a prolonged marital dispute. They were soon divorced. Surya occupies the emotionally toxic 6th-from-Chandra

Chandra * matrikaraka * garha-karaka

  • Chandra-Kumbha * comforted rhythmic pulsing network linkage
  • Chandra in Purvabhadrapada pada 1-2-3 * comforted by expansive understanding * protectors of philosophical caretaking * soothed by charitable parenting needs to provide shelter for teachers * preaches a broad perspective on human needs
  • Chandra in classroom-9 * comfort in the paradigm of belief * familiar with doctrine * accustomed to routine patronage * soothed by globalist perspective * needs to feel the repeating pulse of preaching sermons * calmed by a broad worldview * acculturated to principled understanding * emotionally sensitive father-figures * habitually seeks guidance * settled into the rhythm of philosophical humanism * undulating convictions


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

GRs started theatrical touring at the vulnerable age of 17 during her Shani-Zukra bhukti (Zukra-3 Simha touring).

her mother generally travelled with her for protection.

Chandra-9 Mother-figure = muse, guide, devotional.

Chandra rules journalistic Budha-2 ++ Chandra drishti to Zukra-Simha-3. 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.

GR'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. The pair were so close, and her other relationships (with father and husbands and business partners) were so weakened by Surya in 6th-from-Chandra, that they created for each other the primary life support relationship. Ginger Rogers' ashes were interred with her mother's remains

MARRIAGE expectations of partnership support


  • mate-1 = bhava-3 siblings, teamwork, smallgroup cooperation

2nd-from- 7th-from-Chandra-9

  • mate-2 = bhava-10


  • mate-3 = bhava-5


  • mate-4 = bhava-12


  • mate-5 = bhava-7

Kuja * bhratru-karaka * virya-karaka

  • Mangala-Meza * moolatrikona 0-18 deg. * Swakshetra * 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-11 * drive toward connectivity * competitive earnings * pursuit of profits* dynamic marketplace actions * champion of community activism * invasive networking * vigorous sporting friends * energized scientific systems * economic conquests
  • 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 * excited competition * energized pretense * dynamic desires * masculine force joins opportunistic ambition * potential for aggressive pursuit of privileges

Shani-yuti-Mangala + Kuja-yuti-Rahu occupies profitable 11 * economic enterprise * raised by a scrappy single mother, Rogers started financially with nothing. She earned by industry and talented effort. She later invested in a profitable real-estate portfolio

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

Mangala in bhava-11 rules Karakamsha Virschika-6 = her scandalous divorces filled the pages of Tinseltown gossip magazines. However according to the marketing dictum, there is no such thing as bad publicity. Her revolving-door romances kept Ginger Rogers profile in the public eye, and she remained the highest-paid Hollywood actress for many years.

Budha * bandhava-karaka * zisya-karaka

lagnesha for Mithunaya radical lagna = identity, physique, movement

  • Budha-Karkata * comfortable communications * hand, arm, shoulders make protective gestures * rhythmic articulation of root culture * discusses nationality + ethnicity * writes about routine behaviors * argues for foundational stability * describes walls + moats + fencing + policing * defensive posture in discourse * converses with parental personalities * environmental wardens * issues customary pronouncements * delivers messages about sustainable settlements * habitual topics of patriotism, land use, shielding, cultivation, and nourishment
  • Budha in bhava-2 * narrative of value-fulfillment * conversations about natural resources, history * instructions for conservation, banking, treasuries * discusses sound values, speech-song, eyes-face * tells stories * defines storage * describer of family lineage * explainer of wealth preservation * delivers instructions for preservation of collected assets * talks about knowledge base * conserves libraries * quick with language * repeats from memory
  • Budha-yuti-Surya * amusing explanations * central roles in communication * bright, clear descriptions * confidently delivers instruction * articulation of radiant authority * political messenger * talkative father-figures

Budha in bhava-2 filmscripts touring schedules words gesture face song

Bantering Budha rules Kanya 10th navamsha

lagnesha Budha rules 4th-from-4th mother's parents ** Raised partly by maternal grandparents

Budha in bhava-2 occupies the emotionally toxic 6th-from-Chandra * five divorces

Budha Mahadasha * age 28.4 until age 45.4

choreographer, writer, ensemble performer, businesswoman During Budha-Budha swabhukti 1940 * Rogers won an Oscar for dramatic, as well as dancing, prowess on the theatrical stage.

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

  • The Great Depression began during her Shani-Zukra bhukti (GR age 18) and continued throughout her Budha Mahadasha
  • The widespread unemployment, poverty, and despair of the USA Great Depression drove people to the urban film theatres in great numbers. During the 1930's Rogers made nine joyful dancing films with her dance-partner Fred Astaire. The productions featured beautiful set designs, romantic storylines, and upbeat music.

GR's dance films were enormously popular.

  • They 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, and her income provided her investment capital to fund her real-estate business in retirement. Rogers-and-Astaire films are still enjoyed today.

Guru * dhavakaraka * bahuta-karaka

  • Guru-Thula * many trades * variety of exchanges * much negotiation * believes in justice * doctrine of contractual exchange * multiple alliances * diversity of arrangements * equable guidance * widens the scope of balanced design
  • Guru in bhava-5 * much creativity * many intelligences * many entitlements * numerous games * diverse entertainments * many romances * extensive self-glorification * children identified with paradigmatic beliefs * expansion of political display * development of drama * optimistic in speculations * patron of creative performance * in a wifely nativity, husband-figure may be a game-player Many bright ideas, numerous fun adventures, expands the extent of glittering fashion and fame.
  • 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

Dhavakaraka Guru-yuti-Ketu rules Dhanuzya-7 = five husbands, each released (Ketu)

Guru Mahadasha * age birth until age 9.4

Early years of Guru Mahadasha afflicted by disconnected wandering of Ketu = Guru-yuti-Ketu

Ginger's parents were fighting over her custody during their divorce. Her father kidnapped little Ginger and after this crime, he abandoned the family. Her mother aimed to create a Hollywood career and left Ginger in the care of her grandparents.

Zukra * svadhu-karaka * kalatra-karaka

  • Zukra-Singha * appreciation of royal confidence * likes admiration and applause * attracted to creative performers * pleasures of radiant central roles * attracted to celebrity * enjoys intellectual display * brightly theatrical arrangements
  • Zukra-3 * seeks pleasure via communications * talks about relationships * sweetens the administrative tasks * pleasant style of messaging * enjoys commercial harmony * satisfied by literacy + numeracy * prefers collaborative teamwork * aesthetically phrased announcements * appreciation of conversation * nice designs to adorn the ears * lovely arms * balanced shoulders * graceful hands * chatty sisters- aunts-neighbors * attuned to the cohort * likes musical groups * fair-and-balanced management

Zukra in Simha entertainment, glamour, glitter, celebrity

Zukra-Singha mutual aspect with Chandra-Kumbha provides her glowingly attractive countenance

Zukra Mahadasha * age 52.4 until age 72.4 == 1963-1983

Although Rogers' earnings from entertainment performances began to dwindle in the late 1940's, the twenty-year mahadasha of Zukra ran from 1963 until 1983. She managed her own stock portfolio, which was a very unusual empowerment for a woman in that era. The long-lasting Zukra Mahadasha combined with the signature speculative-finance advantage of Zukra-3 commerce.

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.

GR was also however a shrewd businesswoman who successfully managed her own stock portfolio, bought and sold property, and negotiated her own Hollywood contracts (7),

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

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.

Shani * duro-karaka * jara-karaka


  • Shani-Meza * nichha * heavy old blood-feuds * brain cramp, blocked bloodflow, muscle seizure * limits on innovation * must bear the weight of old aggressions * social limitations on individual championship * social restrictions on expression of new ideas * obliged to conform to the dominating winners * pressure to launch dry explosives * attacked by proletarian weaponry * must endure race-fighting * must materialize orderly competition for survival energies * must endure exhausting contests * insufficient initiative for pioneering invasions * at times, survival requires great effort * vital energy compression stress zone = head-brain * strictly imposed consequences of conquest * must continue to sustain forward movement despite scarce available resources
  • Shani in Bhava-11 * Structured, orderly, time-conscious goals. One must connect, must earn with hard effort. Cautious, conventional marketplace linkage; tense and limited gainfulness, chronic pressure to produce revenues; heavy legacy pressure against freely chosen associations, Resistance to new friends. Resentment toward changes in economic systems. Intolerance toward unconventional earnings..Wage-earner's fatigue.. Support for socially-approved, rigidly dutiful roles as economist, community organizer, salary-worker, paymaster.
  • 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 * socially constrained opportunism * shimmering illusion of systematic conformity * irregular achievements * over-reaching elders * restricted risks

Kuja-yuti-Rahu (11)

Shani-yuti-Rahu = both in Bharani-11

= networked passions working toward the revenues, disciplined, 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 rules 9 paradigms of belief, sangha (sangiti, the reciters). lifelong Christian Scientisttm"> Christian Scientist and Republican Party

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 bhukti (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-Meza-Arya * 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 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-11 * passion for prizes, achievements * in Roguish Rahu's swabhava co-ruled with Sober Shani ,* the Shadowy Specter seeks privilege via glamorous or unusual social goals and economic attainments. Desires an important, linkage role in social participation and financial networks. Exciting, opportunistic, ambitious friends. Craves profit and gain. Rahu-11 thrives in culturally-mixed commodity-exchange systems. Rahu the Poseur may pose as a friend, a voluntary linker, an economic achiever, a relative of the father's people. Rahu-11 trespasses the cultural boundaries of friendship and community. Boundary-breeching, risk-rewarding Rahu typically enjoys material success in marketplace profits, revenue, earnings due to His social-participation genius. Rahu in Meza-Arya *craving for dominant force, mask of competitive, pioneering, urgent push forward; fascinated by conquest * seeks special importance via heroic actionn
  • 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 * magnified systematics * exotic social conventions * tricky regulations * opportunistic elders * fascinating (but perhaps illusory) appearance of strictly lawful structures * hypnotic ascent to privileged rank * pragmatic cross-cultural mixing

Ketu * kavandha-karaka * chidra-karaka

  • Ketu-Thula * 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-5 * ambivalent toward celebrations * eccentric offspring * apathetic toward political displays * disregards limitations on financial speculation * ungrounded intelligence * dissolves the creative focus * disperses romantic ideals * disinterested in games * liberation via surrender of entitlements * unless other graha in 5, may prefer to live without children
  • Ketu-yuti-Guru * freedom to abandon empty theories * many vacuums * wandering teachers * wisdom of surrender * misunderstandings due to incomplete comprehension * doctrine of impermanence * Other-Worldly viewpoint * walks away in disbelief * uninterested in charity * liberating philosophy * for wifely nativities, Ketu may release the dhavakaraka husband-figure..

Guru-yuti-Ketu = Thula-5 with an intense drishti of Rahu-11 + Shani-yuti-Mangala-11 indicating her multiple marriages and divorces. She married and divorced five times. All of her ex-husbands spoke well of her.

Ketu Mahadasha * age 45.4 until age 52.4

During the Ketu years, except for making her fifth marriage-and-divorce arrangements, Rogers had little 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, in 1965 when Zukra-Zukra swabhukti began, she returned to the stage and screen with both Broadway and television success.


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