George Best

Six of his ten planets sit in air signs, with two in fire and a single one each in earth and water. The Sun sits on the first degree of Gemini. This is a loose chart: nothing in it comes inside nine tenths of a degree. The record calls Best possibly the most naturally gifted British footballer there has been, out of the top flight by twenty seven, and quotes him saying he spent most of his money on drink, birds and fast cars and squandered the rest.

Six planets in air, in a footballer, is the balance to start from and it is not the fit a reader expects. Air is the element of what gets said, compared and circulated, not of what gets done with a ball, and a chart with one planet in earth, belonging to somebody whose gift the record calls physical, is an inverse rather than an explanation. The Moon's sign is certain at eleven degrees of Aquarius, which handles a feeling by stepping back to examine it.

The closest contact is Mercury at an awkward angle to Neptune at nine tenths of a degree, thinking that gets misty: confusion, being misunderstood, and a tendency to believe the version of events that feels best. A reader holding the third sentence of that record will take the last clause as a diagnosis, and it must not be used as one. The record quotes a joke he made about his own money. It contains no account of his drinking, and a chart reading is not entitled to supply one on the strength of an orb of nine tenths of a degree.

The Moon sits in direct opposition to Pluto at just over nine tenths, need turning into compulsion, which has the same problem and gets the same answer. Mercury sits sixty degrees from Saturn at a degree and a fifth, structured thinking without strain, and that is the one contact here pulling the other way. Jupiter and Neptune were the two retrograde planets. He died in London on 25 November 2005, at fifty nine. Mars stood square his natal Pluto at seven hundredths of a degree that day and Venus square his natal Jupiter at eight hundredths. The Moon was at its last quarter and thirty five per cent lit, a phase that rethinks the whole premise rather than the details.