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RogersAstaire_TopHat_1935.jpg

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.

RogersGinger_c1930.png

Ginger Rogers in c. 1930


Golden Age of Hollywood

choreographer, dancer

musical theatre star

cinema dramatist

singer

writer

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)

RogersGinger_03h30m_d1d910.png

dramatist, comedienne, dancer, choreographer, activist * 1911-1995 * Ginger birth data from hthttp://en.wikipedia.org/wiki/Ginger_Rogers * tentatively rectified by BP Lama

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

Rising Nakshatra

Feminine Nativities

Arudra-Orion * Trinetra


BPL commentary:

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

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.


Passionate

Rahu-ruled Arudra 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'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.

Arudra 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's terrestrial experience. Applies also to Chandra in Arudra.

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."

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 (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) 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 * 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 * 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


RogersGinger_moviecard_193x.jpg

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

Surya * pitrikaraka * Jyotikaraka

  • Surya-Karkata * Bhanu * ray of light
  • Surya in bhava-2 * center of values, intelligence for storage, conservation, containment, values; focus on treasuries, banking entitlements, bright face-speech-song, eye on capitalization-banking, * father = center of family* sparkling center of the treasury-drama
  • Surya-yuti-Budha * confidently conversational, bright messenger, entitled to discuss, radiantly descriptive

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

FATHER

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, charitable parenting, shelter for teachers, broad perspective on human needs
  • Chandra in classroom-9 * comfort in the paradigm of belief, familiar with doctrine, routine patronage, soothed by globalist perspective, needs to feel the repeating pulse of preaching sermons, settled into the rhythm of philosophical humanism; undulating understanding

MOTHER

Rogers started theatrical touring at the vulnerable age of 17 during Shani-Zukra bhukti (Zukra-3 Simha touring). However, her mother generally travelled with her for protection. Her mother was Ginger's closest friend, bodyguard, advocate, and business partner.

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.

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. 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

7th-from-Chandra-9

  • mate-1 = bhava-3

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

  • mate-2 = bhava-10

9th-from-7th-from-Chandra-9

  • mate-3 = bhava-5

4th-from-7th-from-Chandra-9

  • mate-4 = bhava-12

11th-from-7th-from-Chandra-9

  • mate-5 = bhava-7

Kuja * bhratru-karaka * virya-karaka

  • Mangala-Meza * moolatrikona 0-18 deg. * vigorous pursuit of championship, innovation, first-arrivals; push toward conquest
  • Mangala in bhava-11 * drive toward connectivity, pursuit of earnings, , marketplace dynamics, invasive networking, energized scientific systems, economic 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

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 = identity, physique, movement

  • Budha-Karkata * comfortable communications, articulation of rhythmic root culture, customs, security, foundations
  • Budha in bhava-2 * narrative of values, natural resources * narrative of speech-song, eyes-face, values, history, stories, storage, describer of family lineage ,explainer of treasuries, delivers instructions for preservation of natural resources
  • Budha-yuti-Surya * articulation of radiant authority, message of willpower and charisma, confidently talkative father

Budha in bhava-2 filmscripts touring schedules words gesture face song rules Kanya 10th navamsha

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

lagnesha Budha 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.

Rogers was one of the relatively small group of Americans who made big money during the Depression. The Great Depression began during her Shani-Zukra period (her age 18) and continued through her lagnesha Budha Mahadashaesha 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.

Roger'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, exchanges, much negotiation, believes in justice, doctrine of contractual exchange
  • Guru in bhava-5 * much creativity, many intelligences, many entitlements, numerous games, much speculation, many performances, extensive self-glorification
  • Guru-yuti-Ketu * * multiple disregarder-disperser figures, many disconnections, much surrender, abandons the humanistic perspective

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_MainPage.htm"> Zukra * svadhu-karaka * kalatra-karaka

  • Zukra-Singha * appreciation of royal confidence, pleasures of radiant central roles, enjoys intellectual display, brightly theatrical arrangements
  • Zukra-3 * pleasure of explanatory description, gracious messaging, enjoys commercial harmony, aesthetic instructions, feminine-figures (sisters, aunts, neighbors) dominate the cohort, appreciation of communications

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.

She 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

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

Atmakaraka

  • Shani-Meza** nichha* old feuds, pressured invasions, old competitions, proletarian survival, pressure in the head-brain, imposed competition, must conquer with scarce resources
  • Shani in Bhava-11 * must connect, must earn with hard effort; cautious, conventional marketplace linkage; tense and limited mentoring, chronic pressure to produce revenues; heavy pressure against freely chosen friendships
  • Shani-yuti-Mangala * resistance against vital birth, limited progress, physical discipline, constrained movement
  • Shani-yuti-Rahu* resistance against ambition, disciplined risk, limited privilege, constrained opportunism, irregular elders

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 *craving for dominant force, mask of competitive, pioneering, urgent push forward; fascinated by conquest * seeks special importance via heroic action; via apparent (but perhaps not authentic) superiority, muscularity, movement, athleticism, championship
  • 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.
  • 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 * dissociates from bargaining, incomplete alliance, empty trades, surrendered trust, dispersed negotiations, ignores restriction on deal-making
  • Ketu in classroom-5 * ambivalent toward entitlements, may have eccentric children, disregards limitations on financial speculation, displays fragmented or esoteric intelligence, dissolves the glamour of center-stage roles, disperses the romantic adoration. One abandons the usual political behaviors, ignores the conventional creativity, plays an incoherent game.
  • Guru-yuti-Ketu * surrendered abundance, empty expansions, disconnected teachers, unsustainable doctrine, apathetic diversity, disbelief, dissolution of dogma

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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