These celebrity chart readings are my interpretations of what I see in their charts. It’s not about rewriting their story or psychoanalyzing their lives. For this post, I was inspired by the multi-layered, secret notes folded into Taylor Swift’s Midnights album.
Taylor’s Swift chart only has three defined centers: heart (the ego), splenic (existential awareness), and root (adrenaline pressure).
“Midnights become my afternoons.”
She’s a Projector type with an absorbing, piercing, and penetrative aura. Interacting with her or her creations can be abrasive when there isn’t recognition of her artistry.
Since her splenic authority is tied to two motor centers (heart and root), she won’t immediately relate to the notion that Projectors need extra rest. But the root center runs on adrenaline, and the heart center runs on willpower.
Can you imagine spending your day hyped on adrenaline and sheer willpower while your splenic center tells you instantaneous messages?
When the splenic center says, “drop everything and rest!” it’s time to listen. She might not have this luxury since she makes music, goes on tour, interviews, and gets heckled by the paparazzi. Ignoring this loud request from the splenic center (a center that isn’t going to tell you twice) can lead to burnout.
Projectors take a while to bounce back. While rest and a few days off of work might be enough for a Generator type and even Manifestors, Projectors can feel prolonged exhaustion in their core. If Taylor Swift ignores her fatigue, as most of us are conditioned, she might force herself to willpower through and run off of adrenaline. This only leads to more exhaustion when the tank has no chance to refill.
“Hi, it’s me. I’m the problem; it’s me.”
Taylor Swift can be seen as a perfectionist who tends to think she’s the only one that’s right.
For example, she could have a partner who needs to use every drop of shampoo before replacing the bottle in order to reduce waste. The partner adds water to the shampoo bottle to extend its life. Taylor could be the type who needs undiluted shampoo and gets irritated to find water in the bottle.
Who’s right in this situation?
Spoiler: both and neither.
Taylor Swift and the people around her need to find a suitable compromise. In the above example, she might purchase three packs of all shampoos to have a fresh bottle when it gets to the bottom. Her partner can add water to the almost-finished bottle, and both are happy.
The channel of judgment (18-58) is responsible for this.
Needs to have things done a certain way has been (wrongly) armchair diagnosed as “being OCD.” At first, it’s nice to live with someone like this because everything is in a predictable place. Then, you leave a hairbrush where it doesn’t belong. You shift where the plates go in the cabinet. From that perspective, Taylor can be seen as a pain in the ass or challenging to be around.
When it comes to working, this can be a hindrance or appreciated. Taylor Swift can comb over every musical note, every word, and every harmonic shift before she releases something into the world. The catch is that the channel of judgment is a projected channel. Taylor Swift needs to be invited to share her thoughts, or it gets glossed over.
“You did some bad things, but I’m the worst of them.”
In the ’90s and 2000s, young female pop stars were expected to come off innocent while being sexualized.
“Sometimes I feel like everybody is a sexy baby, and I’m a monster on the hill.” – from Anti-Hero.
This lyric was interpreted by the Taylor Swift fandom as an expression of how she was expected to be a “sexy baby” – an oxymoronic and gross projection that too many teenage girls, pop star or not, have gone through.
Back to the example of needing to be invited to share her judgments, if Taylor Swift did not align with the image of a “sexy baby” and shared this concern, it wouldn’t matter if no one cared about her opinion. She can be recognized for how she looks and her talent for music and simultaneously not recognized as a human being.
Being unheard or trying to share while uninvited leads to a Projector’s not-self: bitterness. She might internalize these experiences until she blows up, which is also the not-self of the unhealthy undefined emotional center).
“Never take advice from someone who is falling apart.”
Despite being a prolific artist, Taylor Swift is not designed to speak unless recognized and invited to (undefined throat center – manifestation, voice). Yep, this woman is as Projector as it gets, needing the invitation to request a change, requiring an invitation to be heard, and needing the invitation to speak.
Her channel of judgment’s birthed from gate 58 in line 6, passed through Mercury.
When she is finally invited into the lives of other people, it’s intoxicating. It sweeps her off her feet, which might explain the vivid imagery she expresses in her lyrics. The splenic center gives yes or no answers at a rapid pace. When she gets that yes, connected with her heart and root centers, she’ll likely dive in with both feet without a second thought. Usually, these experiences demand her full attention and energy, though remember, once her heart and root centers tap out, her health depends on those rest periods.
But, if things aren’t how she needs them to be, or she realizes the experience isn’t suitable for her, she might grit her teeth and stomach it anyway.
Again, this can lead to bitterness and the explosiveness of the undefined emotional center.
“He wanted it comfortable; I wanted that pain.”
Taylor Swift also has the channel of struggle (28-38). She finds wisdom and fulfilling experiences through struggling. Still, she needs to have the right invitations to struggle. The channel of struggle is also a projected channel.
Since this channel, like the channel of judgment, connects the splenic center to the root center, Taylor Swift may experience a buzz of energy while she’s experiencing struggle. She could find herself pacing around her home as if she had taken too many espresso shots and was trying to discharge the caffeinated energy.
Struggling isn’t necessarily unpleasant, though pain can bleed into that territory. Accepting an invitation to go on tour as a musician can be a struggle. She’s leaving behind the life she knows and adjusting to an industry that preys on young women and has high energetic demands. She is also constantly under the scrutiny of other people’s expectations, especially being a 5/1 heretic investigator profile. More on that later.
When we look at the channel of judgment alongside the channel of struggle, we have someone constantly pulled into questionable situations and forced to say yes or no. She will struggle through the experience and struggle to be heard, yet face a battle with herself when she is expected to do it for PR rather than what she really wants to do or say.
Without that invitation, she succumbs to putting herself last to make everyone else happy.
This can lead to early life confusion over who she would be or how to blend in with those around her, especially because she has an undefined G center (love, direction, identity). She is conditioned by other people’s identities, which can leave her feeling like she doesn’t know who she is. She (famously) struggles through the choices of being in romantic relationships versus her career. It can feel like she’s choosing one piece of herself over another, unable to take both with her, leading back to that theme of struggle.
“What if I told you I’m a mastermind? And now you’re mine.”
The channel of struggle is cynical. It’s not even for Taylor Swift, but for the people who will be influenced by her work. This theme haunts her incarnation cross, which will be explored later in this reading.
She meticulously picks apart her lived experiences, and others relate to her struggles when it’s presented to the world. They see themselves in her work. Her creations evoke a painfully relatable narrative when invited into someone’s life.
This is how her splenic authority sparks her decision-making. She’ll struggle to pick herself back up, but when adrenaline and willpower push her, she’ll stand up again.”
On a lighter note, Taylor’s gate 38 is in lines 1 (Neptune) and 5 (Saturn). She knows who supports her and can intuit who is worth trusting. Though she needs moments of isolation, she keeps a tight-knit support system to lean on. She can self-reflect and assess whether or not she publicly acknowledges it.
With the undefined G center, it wouldn’t be surprising if she primarily keeps people around who reflect a piece of identity that Taylor sees herself in.
The channel of surrender (44-26) is the connection between the splenic center and the heart center. The heart center waits for the splenic center to say, “HEY TAYLOR, IT’S TIME!” and gets to work. The heart center needs rest and does not self-regenerate throughout the day. When it demands that everything is dropped, it’s serious. If Taylor mistakes her heart center for a Generator’s sacral center, she can run into burnout.
This channel is chaotic. It brims with trickster, mercurial energy like a child playing a joke on everyone around her. Taylor Swift is known for hiding easter eggs in her music, using color symbolism, referencing women in history, and emphasizing numerology. Some say she queer codes her music with her lyricism: “sapphire eyes” (sapphic eyes?), “the lips I used to call home, so scarlet, it was maroon” (lipstick?) while she’s accused of queerbaiting as a marketing tactic. More on that when we explore her incarnation cross.
“All you wanted from me was sweet nothing.”
Taylor Swift is notorious for writing autobiographical songs based on her past relationships. Fans have loved figuring out which song is about which man.
Yet, only Taylor would know the honest answer.
This ties to the methodical channel of judgment as she pieces every word together through a refinement process. Her Evermore album is criticized as being half-done. It’s no surprise that Taylor Swift gives the least attention to that album. (Shame, it’s my favorite album before the release of Midnights).
Her mastermind (manipulative?) energy captivates as much as it attracts criticism. This comes full circle in her cycle of struggling through her journey to experience what comes next.
Projectors are known for absorbing, penetrating, and piercing aura. This is further highlighted in Taylor Swift’s profile: the 5/1 (heretic investigator). The investigator constantly and unconsciously struggles to find the bricks to build the foundation. When something is understood, she needs to assess and refine her findings before she can accept an invitation to share it.
“Privacy sign on the door and on my page and on the whole world.”
The line 5 heretic is projected upon. The joke about the heretic is that people put them on this pedestal. People expect Taylor Swift to stand on a pedestal while being better than she is humanly capable of. And when she inevitably doesn’t meet the impossible expectations, she gets dropped. People can turn on her like that. One day she’s the best thing, and the next, she’s washed.
Sadly, line 5’s are rarely recognized for who they are.
Instead, they’re invited because they fit the vision of a projection. For example, someone could be anticipating Midnights to be a banger filled with retro vibes due to the promo pics. Then they hear that it’s a synth-pop album that retains the same sound throughout each song. How disappointing. Guess she’s not that great after all. She’s fallen off.
That’s how it can spiral for someone projecting on the heretic to be a certain way. In this case, people recognized Taylor as a fantastic musician, but they projected a certain expectation onto her. The unmet expectation can make fans turn on her and even bash her. They recognized and invited an idea of her rather than Taylor herself.
Line 5’s love privacy. Taylor might hunker down in her ivory tower and peek out the window while creating the foundation of what she knows about the world. Line 1 nods, taking notes, allowing line 5 to universalize the findings.
Here, she makes art.
The rest of us stare up at that ivory tower, waiting with our impossible expectations. This can cause Taylor Swift to feel scared or even paranoid because with one word out of place, people can turn away from her.
It’s rare for someone with this profile to be correctly invited when they aren’t in the right (or healthy) environment.
“I’ll be getting over you my whole life.”
Human beings crave being seen and heard by the right people. Through music, Taylor Swift touches something in her listeners.
As listeners, we pull these pieces out of ourselves, reflected in her undefined G center. We become addicted to her penetrating and absorbing aura, especially with line 5 being a natural seductress.
This creates an auric field that draws people in, while line 5 asks for hermitude. People are drawn to her.
Look at how she writes about people she loves and hates with meticulousness and attention. Most people would love to be with someone who sees them… but what happens when Taylor Swift insists, through her channel of judgment, that spoons are to be put in the dishwasher handle side up? Her partner wants to do it the opposite way.
Now she’s gone from being this loving dream girl to being controlling. This leads to bitterness for Taylor with yet another partner who didn’t see her for her and disappointment for the partner because she didn’t match their projection.
There may be feelings of betrayal that Taylor isn’t who she says she is.
“Did you hear my covert narcissism I disguise as altruism like some kind of congressman?”
Her left angle cross of confrontation (26/45 | 6/36) is in the fourth quarter. Taylor Swift experiences the push-pull of what is wrong in the world, and she feels strongly about correcting it.
Left-angle crosses don’t incarnate for themselves – they wear the life theme of helping others close their karmic doors. While she’s working through the bumps and bruises in her life, her true theme is helping others reconcile their expired cycles.
Taylor Swift struggles to understand what genuinely needs fixing and what is her personal annoyance. The world can never be what she wants or needs, feeding a sense of loneliness reflected in the heretic. There’s a natural manipulativeness to this incarnation cross.
To use an analogy, this cross is the child who is told that she isn’t allowed to have a toy pony. She knows that her mother responds to tears, so she starts to cry, manipulating her mother to buy the pony anyway.
Taylor has been repeatedly (understandingly) accused of exploiting her romantic relationships to make music. She takes shots at her exes, going as far as making a ten-minute short film about her relationship with Jake Gyllenhaal a decade after their breakup. She milked her feud with Kanye West and put another target on his back. She even gathered a group of female friends focused on tearing down Katy Perry.
And, of course, the whole queercoding versus queerbaiting happening in her music.
This confrontational, sometimes messy incarnation cross is about the ferryman. It’s not about where it all started, and it’s not about how we got here. The arc of Taylor Swift’s life is about endings. Not what comes after, but what is ending.
Kinda makes sense why she enjoys writing autobiographically.
There are no answers here. Only reconciliation and reflections through an open-ended question.
Confrontation is a leadership style. The connotations of the word itself say it all. Her followers will always project onto her and find reasons to drop her. For example, she marketed herself as this female empowerment icon but didn’t speak up about Roe vs. Wade. She never gave female artists verses in their features and defaults them to backup vocals while giving men, like Bon Iver, verses in her music.
She also doesn’t tell her fandom to stand down when they attack someone from Taylor’s past.
This type of leader will bring a voice recorder to a meeting and record the session without telling anyone. The voice recording is saved to be potentially used as leverage in the future.
Okay, this sounds negative, but only to highlight the capabilities of this incarnation cross. This life theme is usually targeted at the bad guys or whoever is deemed that bad guy by the person with this cross. We might not always agree with how they go about it, but they believe this is all for the greater good. Usually, their intentions come from a place of authenticity.
This is why the queerbaiting/queercoding debate is important. Is she actually a member of the community, or is this one big ploy to seduce a specific group as another fanbase? To add to the graydom of this question, both can exist.
We love to love her. We love to hate her. She lives in a vicious cycle, clashing between both.
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