All About Taurus: Your Complete Guide To The Sun Sign

Illustrations by Alina Reynoso

Everything you need to know about Taurus

There’s not much mystery to Taurus’ grounded, down-to-earth personality—what you see is often what you get with these stable souls, born roughly between April 20 and May 20. But their simplistic, uncomplicated nature doesn’t mean those born under the second sign of the zodiac are without depth or layers of feeling. Nothing could be further from the truth—gentle Taurus is a true romantic with tendencies toward the sappy and sentimental. To be sure, the bull is a tough nut to crack; you won’t see these salt of the earth types shed a tear (or an emotional outburst of any kind, really) easily, no matter how hot the flames of passion may be.

Being the number two sign of the zodiac, Taurus isn’t one to charge into a situation blindly and assume the role of innovator or commander. Following fiery Aries—who’s all about the chase to the crown—Taurus is firmly focused on harvesting the earthly rewards of old-fashioned hard work, especially in the form of luxury splurges, decadent eating, drinking, indulgent spa treatments, and lazy lounging. The virtues of being the second sign of the zodiac also prime Taurus as a brilliant employee, right-hand partner, or assistant supervisor. Still, reliable Taurus makes for excellent, fair—even regal—leaders and bosses, but their stubborn, comfort-seeking nature often overshadows any adventuresome spirit that may command change. These folks tend to find themselves at the helm only after a few gentle, supportive pushes with silk gloves from the dearest members of their herd.

Taurus is ruled by Venus, personified by the Greco-Roman goddess of carnal pleasures, romantic love, beauty, luxury, and money, who commands these natives to take every opportunity to indulge their senses. True, Taurus doesn’t deny themselves much—these creatures need to be surrounded by pretty, delicious stimuli at all times—to maintain a peaceful, harmonious, and beautiful existence. This trait gives Taurus natives a well-balanced taste for design and aesthetics, both in their personal presentation and in their homes. You’d be hard-pressed to find someone with Taurus as their Sun or Ascendant sign who lived in a space that was anything less than prop-styled and curated, no matter how small, cramped, or oddly cluttered their place may seem. (Hint: That “clutter” is controlled chaos that’s been sorted six ways to Sunday in Taurus’ logical, systems-oriented mind—don’t touch it, it’s art.)

Thanks to Venus, Taureans are hopeless romantics who need to be loved with all five senses in order to be successful and productive people. Their need for demonstrative love is endless without being needy or restrictive, but these ultra-tactile, cuddly folks are usually attentive friends and lovers who will happily repay your time and affection by making whatever pleasurable, physically indulgent fantasies you might be harboring—bulls are equally as good in the bed as they are in the kitchen! Taurus people tend to keep thick broods of close friends and family around them, equally for companionship and merrymaking as for security and support.

Taurus is associated with the earth element, which roots these people firmly in the ground, lending them a practical, conservative air in navigating their day-to-day lives and the world at large. Steadfast and patient, bulls are glad to plod along solo on their own happy, Zen path to their goals until they’ve achieved them to their own satisfaction. Tauruses are creatures of habit, but not to the obsessive-compulsive degree of their elemental sister sign, Virgo. They won’t become unhinged if their toothbrush is scooched over an inch. Still, you could practically set a watch to their routine—after all, Taurus is known as the most reliable sign of the zodiac. That clockwork dependability can sometimes be Taurus’ weakest point, however: There’s a reason why this hard-working sign is symbolized by the bull—Taureans can be extremely stubborn and bullheaded. Their fierce focus can also shift Taurus’ parental nature into over-protectiveness and possessiveness, which can be draining for their inner circle.

As a Fixed sign, Taurus belongs to a group of four signs—a “quadruplicity”—who occur at smack-dab in the middle of their season, such as Taurus in mid-spring, Leo in mid-summer, Scorpio in mid-autumn, and Aquarius in mid-winter. Describing Taurus—and all Fixed signs—simply as “focused” would be a grave understatement. Fixed signs understand that success is birthed from unflinching resoluteness in their actions, and Taureans know that calmness and objectivity will sweeten the pot at the end of the rainbow. Determined and stable, Taurus isn’t into struggling or fighting unnecessarily; they just want to concentrate on reaching their goals. Personalities like these are staunchly self-sufficient yet generous in their own actions (sometimes to a manipulative fault), but will never forget kindness or favors lent to them in times of darkness and hopelessness.

Taurus and other Fixed signs run on independence that can be tinged with competitiveness and showiness at times, but for all their beloved independence and solitude, these tough cookies are typically family- and partnership-oriented. A true Venusian value is Taurus’ commitment to harmony at home and with their spouse, partner(s), or SO. They are devoted lovers and partners, and will put extensive thought and planning into making their special someone consistently and steadily happy. Taurus’ affinity for all things touchy and physical make this sign one of the sexiest, virile champions in bed.

Venus also makes bulls lavish and thoughtful gift-givers. You can easily determine how hard a Taurus is falling for you by how sappy the mementos, presents, and trinkets they bring you are. Usually, they’ll relate back to some small personal factoid you shared with them in the past, and you’ll be thoroughly charmed. The trap’s been set. And you better cherish that bauble openly—Taurus is deeply sensitive (though they may not admit it outright) and can feel slighted easily if they feel their generosity and powers of manipulating comforts are being taken for granted. On the other hand, if you don’t receive gifts from your Taurus lover, consider your involvement casual in the most superficial sense.

Physically, Taureans have sturdy, well-built frames and musculature that roots them to the earth. No matter how petite or slim and willowy a Taurus may seem, no gales will knock them over anytime soon. Their neck and shoulders are typically broad and strong, generally possessing a statuesque quality—you know you can lean on these people. Taurus’ gaze is steady and unwavering but non-threatening, and their eyes are usually wide, dark, and innocent, like a puppy’s. Taurus is uniquely earthy in the sense that their energy seems derived from older, more primal elements of the natural world. These folks love to be outside, and can sometimes have a ruddy or bronzy, sun-kissed tone to their complexion. Taurus’ hair is often thick but uncomplicated and easily managed, and many Taurus natives boast impressive beards or a ruggedly unshaven face. The bull is ruled by the neck and throat. Taurus is usually one of the quietest people in the crowd, possessing a pleasant, calm speaking voice—until they let out a hearty, belly laugh, warming everyone within earshot.

Style-wise, Taurus is a simple dresser with a penchant for uniform styles and classic silhouettes. Their overall vibe is adaptable, comfortable, functional, and earthy—yet relevant design and aesthetic are weighed equally against pragmatism and utility. Those born under the sign of the bull are sometimes easily swayed by a fancy brand name, especially when it’s a trophy they’ve earned their damn selves. Comfort ultimately wins the day in Taurus’ wardrobe, which is usually flecked in all shades of green—everything from acid lime to emerald will make these earthy beasts glow—as well as dependable neutral tones. Jewel-toned hues—especially mustard, mandarin orange, and shades of ochre—are Taurus’ sartorial wildcards, especially as punchy accent pieces, like a silky scarf tied around the neck, structured clutch, or tidy manicure.

Shadow Side

Lovable, gentle, and dependable, Tauruses are the all-star employees, caretakers, and Masters of Chill who aren’t easily angered or upset—but those are just the strengths of this complex sign. Peel back the tough-but-calm exterior layer and find Taurus’ darker side, populated by petty insecurity, escapism, unmovable stubbornness, laziness, and jealousy.

First things first: You mess with the bull, you get the horns. There’s no pushing Taurus into territory they’re not comfortable or ready to enter, and if you try, be prepared for double the firm pushback. That tenacious stubbornness is usually one of the first trademark Taurean characteristics to pop up in young bulls’ developing personalities, and can affect every move Taurus does—or doesn’t—make in life. Overly cautious natives of this sign may miss out on rare opportunities to embark on unique, fun adventures in life, and can even block these steady, driven workers from advancing their careers. Uncertainty scares the pants off of these earth signs, making some otherwise ambitious, game-minded Tauruses wet blankets.

Motivation is a big challenge for Taurus, especially in everyday tasks that might not be very pleasurable. Though bulls gain power through productivity, getting going—especially when ensconced in a chill lounge or snack fest—can be like pulling teeth. Taureans succumb to laziness and procrastination when they’re feeling especially insecure or ineffective, and at their lowest can even become enslaved by addiction as a form of escapism. Aside from the occasional excessive indulgence, Taurus isn’t all rose-colored and lazy—far from it. When these personalities become mired in sloth, the root of the issue is lacking self-esteem and confidence in their ability to get the job done right. Meeting the unrealistic expectations of others can create an insurmountable obstacle for eager-to-please Taurus, and those born under this sign would do well to establish their own expectations to measure themselves and their progress.

The concept of a comfortable future is Taurus’ main motivation at the end of the day, and thanks to materialistic Venus, this can often manifest negatively as an obsession with objects as a means of status. Taurus is the hoarder of the zodiac—every little thing in their possession is valuable and meaningful. This mentality can trap Taurus in materialism fueled by the lower ego, greed, emotional possessiveness, and jealousy.

For all their mushy-gushy shows of affection, Taurus still has a propensity for selfishness and narcissism. When a bull sets their sights on a target, they effectively don blinders that make it impossible to become distracted by the (legitimate) emotions and needs of others. It’s not that Taurus doesn’t care—it’s just that they oblivious. If all of their energy is focused on themselves (and, at its core, it is), they can become ignorant of basic graces and come off as rude or inconsiderate.

Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue

"I am honored to share this bonding experience with my own daughter"

In a heart-warming Instagram photo, Serena Williams shares the history of hair braiding and the importance of the tradition. The tennis player shared a photo of herself braiding her daughter Olympia Ohanian's hair and spoke about how "honored" she was to be able to "add another generation" to the tradition of the practice.

The photo shows Williams attentively braiding her daughter's hair while Olympia smiles, obviously loving the experience. Williams noted that hair braiding was created by the Himba people in Namibia, Africa, and that "we have been braiding our hair for centuries." "In many African tribes braided hairstyles were a unique way to identify each tribe," she continued.

Williams pointed out that braiding is a bonding experience. "People would often take the time to socialize," she wrote. "It began with the elders braiding their children, then the children would watch and learn from them. The tradition of bonding was carried on for generations, and quickly made its way across the world."

Williams closed her post with a sweet message about her daughter, saying that she's "honored to share this bonding experience" with her.

See the post, below.

Courtesy of Adidas

The Stan Smiths are a must-have

Adidas just shared its capsule of sneakers paying tribute to Keith Haring, and TBH I can already feel my wallet emptying (and they're not even on sale yet). The new collection features three shoe silhouettes, all including the late artist's iconic imagery as embroidered designs.

The standout style of the collection is the Rivalry hi-top; with bright blue and orange stripes and piping along the edges, Haring's stars and cartoon bodies, in black thread, pop right off. If you're looking for something less over-the-top, the quirky white Nizza Hi RF sneakers show a snake wrapping around the back of the shoe and chasing one of Haring's cartoon bodies toward the toe. There's also a minimal embroidered design on the toe of a classic Stan Smith pair. Look a little more closely at the tongue though, and you'll notice the traditional image has been swapped with a caricature of Haring himself.

Peep the three silhouettes, below, and set your calendar for the official drop at the end of the month.

Adidas, Rivalry Hi Keith Haring Shoes, $120, available at Adidas starting at 10am EST on June 30.

Adidas, Nizza Hi RF Haring Shoes, $120, available at Adidas starting at 10am EST on June 30.

Adidas, Stan Smith Keith Haring Shoes, $120, available at Adidas starting at 10am EST on June 30.

NYLON uses affiliate links and may earn a commission if you purchase something through those links, but every product chosen is selected independently.

Photos by Frazer Harrison/Getty Images, Pascal Le Segretain/Getty Images

Hopefully this one will be typo-free

In an Instagram Live on Thursday, Taylor Swift announced that she would be creating a collaboration with fashion designer Stella McCartney inspired by her upcoming Lover album. Although she kept it vague, we can only assume that the two are working on a collection of luxe merch.

Swift noted in the announcement that she has been friends with McCartney "for a really long time," and that the designer already heard the new album. "I respect what she creates, how she creates it," Swift continued. "There's so much whimsy and imagination and romance to the clothing that she designs." Swift has been wearing McCartney's designs "a lot recently," so maybe we should have seen the collab coming.

One eagle-eyed fan pointed out that Swift wore Stella McCartney rainbow-hued shoes during her Wango Tango set. If the collab is anything like these shoes, you can bet I'll be copping it as quick as I can.

Swift detailed in her Instagram Live that the album Lover would be all about romance, which makes McCartney and her feminine designs perfect for the collaboration. We just hope that this collection doesn't have any typos, like some of Swift's "ME!" merch did.

Asset 7
Photo by Kevin Winter/Getty Images

And spreads the message that "we all got crowns"

Late on Thursday, Taylor Swift dropped a new single, "You Need To Calm Down," and announced her forthcoming studio album, Lover, out this August. Following her lead single "ME!" Swift continues to spread her message of self-love and call out haters—particularly the homophobic ones—in this latest song.

Swift "ended homophobic locals," as one fan put it on Twitter, with one particular lyric: "'Cause shade never made anybody less gay."

Along with the song, Swift shared a lyric video via YouTube which made her sentiments even clearer. With her lyric, "Why are you made?/ When you could be glad?" she spelled "glad" as "GLAAD," referencing the queer media advocacy organization.

Swift sings of homophobic protestors in the second verse: "Sunshine on the street at the parade/ But you would rather be in the dark ages/ Makin' that sign must've taken all night." In the pre-chorus, she adds, "You just need to take several seats and then try to restore the peace/ And control your urges to scream about all the people you hate."

Swift additionally comments on women being pitted against each other—"We see you over there on the internet comparing all the girls who are killin' it"—asserting that "we all got crowns." There's nothing trolls can do to rain on her parade anymore.

One fan pointed out the possible symbolism of the crown lyric. In "Call It What You Want," track 14 on Reputation, she sings "They took the crown but it's alright." Now on "You Need To Calm Down," track 14 of Lover, she sings that there's not just one crown—we all have them.

Some fans are pointing to the double meaning of the track title. If I had a dollar for every time someone said those words to me in a totally condescending way, I'd probably be richer than her! What woman hasn't been told to calm down about an entirely not-calm situation or while expressing their distaste?

During Swift's live stream for the release of the song, she also announced a fashion collaboration with designer Stella McCartney, a peek of which we got during the singer's WangoTango performance.

Lover is set for August 23 release.

Credit: Frederick Elmes/ Focus Features

"I was like, 'Did I sleep with this critic's girlfriend, or what?'"

The day I meet Jim Jarmusch, the sun hangs so bright and hot and yellow and solid in the sky that it's hard to believe that it will actually set at night. It's one of those New York June days that suggests we might be in permanent daylight; it's got a completely different feeling than the crepuscular atmosphere of Jarmusch's latest film, The Dead Don't Die, which takes place in a small town in what feels like one long twilight, maybe the last one.

But for today, Jarmusch and I are sitting at a table in a sun-filled restaurant, though we're in the shade. We're in a part of the city that used to be very punk rock, and is now very NYU, yet being there with Jarmusch, who looks so at home, like he's holding court in the booth (it helps that Larry Fessenden, an old friend of Jarmusch's and a writer/director/producer/actor, who appears in The Dead Don't Die, happens by the table to say hi), makes the area feel a little punk rock again, even with all the sun.

The Dead Don't Die is a very punk rock zombie movie, by which I mean: It's not very scary, but it is very cool, and even when it's sneering, it's a little bit tender. Starring Bill Murray, Adam Driver, and Chloë Sevigny as a trio of small-town cops who fight back against a nascent zombie apocalypse caused by fracking, the film is cast with a who's who of Jarmusch regulars, like Steve Buscemi, Tilda Swinton, Iggy Pop, and Fessenden, to name a few; but it also features younger stars like Caleb Landry Jones, Selena Gomez, and Luka Sabbat—and there's a real earworm of a theme song, courtesy of Sturgill Simpson.

Below, I speak with Jarmusch about the movie, being a dilettante, and why he only reads his negative reviews—which is definitely one of the most punk rock things I've ever heard.

Photo by Gareth Cattermole/ Getty Images

This was filmed on a pretty condensed shooting schedule, right?
It was a very rough schedule. A very difficult one, actually.

We only had seven weeks to shoot, and we had to shoot Adam Driver out in three weeks because he had to be delivered to Star Wars, and the financing of the film was incredibly grueling and took a long time, so we were pushed so far that we had about one month of prep, and then three weeks with Adam. And then all these different actors coming in and out; I don't know how Carter and Josh, the two producers, organized it all. And then we'd shoot 15-hour days, and halfway through, I had walking pneumonia; I had two coats; it was 95 out; I was shaking. You know, just weird stuff like that. But it's all okay because we had such great people—our crew—everybody. And then, the visual effects were very taxing and complicated.

How did that all work together? Because there's more than one decapitated head.
Yeah, it's a mixture. First of all, we mixed prosthetics with makeup with masks for some of the zombie stuff, but all of those effects with the decapitations, we had to just imagine. So we had to choreograph everything and then only imagine kind of what it would be like, which was, for me, very abstract because I'm not very versed in visual effects. You know, you had to really kind of trust your instincts, because Adam Driver's chopping away with a machete with no blade.

It could've been a machete, it could've been a lightsaber, who knows? So, to what degree is this a sequel of Paterson with Adam Driver's character's last name being Peterson?
Well, I just do these things to amuse myself while writing, you know? Bill Murray in Broken Flowers was named Don Johnson, and in this, I gave him the name Cliff Robertson. Tilda Swinton's character is Zelda Winston. Rosie Perez is named Posie Juarez. You know, I'm just kind of amusing myself.

And Peterson, Paterson. While we were filming Paterson I was always teasing Adam that the next one, we would make was gonna be a sequel about a psychopathic murderous bus driver named Peterson. Tag line: "Get the fuck off my bus!" Or "Next Stop Hell!" You know, stuff like that. It's just to make them... I love trying to make Adam Driver laugh, because he has a very odd and wonderful sense of humor, but it's on the dry side, so I'm always joking around with him between work to try and see what makes him laugh.

But yeah, there's no sequel of any kind, and I don't think that way, and I don't plan, and I don't see my films from the past ever again. I just look toward the next thing.

Credit: Frederick Elmes/ Focus Features

What was the original concept for this? When did you start coalescing all of these different elements into knowing that you wanted it to be your next film?
Some years ago after Only Lovers Left Alive, Tilda kept teasing me, calling me, saying, "When do we do the zombies? When are we doing the zombies?" And in between I made Paterson and Gimme Danger, but then after those I started writing the zombie one, and my original conception was: I wanna make a film that's really funny and silly like Coffee and Cigarettes, where people talk about whatever nonsense I want them to, and I want to get actors I love, you know? So I thought, okay, if I make a zombie film, I can have a structure where different groups are cordoned off against the zombies, and the zombie attacks will be intermittent and not very long, so I'll have long lags where they're just stuck there, like in the house of The Night of the Living Dead, where they can talk about any kind of nonsense. So that was my first idea, and then when I started writing it, for some reason, I wanted to have a small town, Centerville, and I just followed my intuition, and it became this, I don't really know why beyond that.

What is it about small towns that make them the perfect setting for existential terror?
They're insular. They're kind of… everyone kind of knows each other. It's controllable by the characters. It's believable that everyone kind of know each other. I don't know. I'm not very good at analyzing that. And also, this is not a horror film because horror films use devices that are necessary to frighten people, like suspense, and then you get scared. We have no interest whatsoever in that. This is more of a metaphorical zombie film, but I would not call it a horror movie. It's a comedy with zombies with a kind of sad ending. Beyond that, I don't know what it is.

And horror nerds may not like it if they're expecting creepy, creepy, scary thing! They're not gonna get it. They're not gonna get that delivered to them.

What's interesting about it is seeing who fights back against this existential dread. Or, like, Chloë Sevigny's character, Mindy, doesn't fight, she is on her own separate trip, avoiding the end till she embraces it.
It's a character film. It's not even a plot film, really, although critics say that about all my films. But Chloë… it's a complicated thing, because when I first called Chloë, I told her... I wrote her a letter, and then she said, "Yeah, yeah I'd like to do this." And I said, obviously, this is not a feminist character. She's reactive. She's our sort of "Scream Queen." She screams like six times. But Chloë is the master of reaction, and I love watching her react.

She definitely feels like a stand-in for what a normal person would feel during these absurdist experiences, which is nice to have. It's not necessarily that you need a relatable character in a movie like this, but...
Yeah, but she's an empathetic human that's in a job with some authority, but in a small town where that means taking care of whatever, you know, as a police officer, pretty minimal [stuff]. There's not a lot of rampant crime or anything going on… or anything at all, really.

Credit : Frederick Elmes / Focus Features

A lot of people are going to be projecting tons of different meanings onto this film, like with all your films. To what level do you participate in that or pay attention to that? Or, once you're done making a film, is it just out there, and you just let people project onto it whatever they will?
I've always felt that anyone's interpretation of a film that I write and direct is probably more valid than my own. Because it's a funny thing, the beauty of films is going into a world—or a book or whatever—but going into a world that you don't know, and you are entering a world, and it takes you. And if you wrote it, and you were there filming it, and you're in the editing room every day for six months, the mix, and all that... I can never possibly see it. I like hearing what friends or people I know... I like Q and As after screenings because they have no agenda except their interest. I like that a lot, and I value that. I don't really like to read a lot of reviews unless they're really negative. I love the negative ones.

You do?
Yeah, because they must be very far from me in their perception of the world, and that is interesting to me. But I try not to read a lot...

I think you're probably the first person who I've ever spoken to who says they like to read the negative reviews.
I really like them. The worst one I ever got in my life, I laminated and used to carry in my wallet. It was a brief thing from a right-wing French [paper], maybe Le Figaro or something, of a film called Dead Man that we made, and they said—this is the English translation—"The French intelligence celebrates Jarmusch in the way death and blind parents would celebrate their retarded child. Jarmusch is 33 years old, the same age as Christ when he was crucified. We can only hope the same for his film career." I was like, Whoa! That is harsh! I'm keeping that one!

It gets personal.
But that was vicious. I was like, Did I sleep with this critic's girlfriend, or what? What happened? It was really... the knife was sharpened, you know.

That speaks to a very specific kind of agenda for sure.
A friend of mine Amos Poe, he's sort of a mentor of mine, a punk filmmaker, whatever, and when we were young when he made, in the late-'70s, one of his films—The Foreigner or Unmade Beds—the New York Times called it "the cinematic equivalent of kindergarten scribbling," and he put that on his posters and put "New York Times" and we were like punks, we were like, "Yes! Amos! That's great!"

I mean, it genuinely is a pretty great pull quote, and I think also a little bit oblivious to the charms of a kindergartener's scribbles and what the value is in that anyway.
Yeah, it was kind of accurate in a positive way, and they intended it as very negative.

In this film, there are so many actors who are veteran actors, but there are also a lot of younger actors. What do you like about the combination of that dynamic?
I just like the variety of sort of world perceptions—indicated in a very minor way when Bill Murray's character says, "I've known Hermit Bob since we were in junior high," and Adam's character says, "Oh, wow! That must've been like 50 years ago!" And Bill says, "Yeah. It was." But just the kind of difference of perception of age I find as I get older really interesting. And I'm very interested in young people, especially teenagers, because I think they form our sense of style, of music, of so many things, and yet they're kind of pushed around and treated badly and constantly told, "You don't know how the world really works! You're just a teenager!" But they gave us poetry. They gave us Mary Shelley and Rimbaud and chess masters, and all the great music comes a lot from teenagers. So I tried to keep a pulse, that's why the three teenagers, I would not let them turn into zombies. There are only four people [who don't get turned by zombies]: those three that are delinquents, and the Tom Waits character, who's already removed himself from the social order long before.

When the zombies become zombies, they all have one inciting thing that they're still pursuing in the real world. Do you have one thing that you think you would pursue if you were a zombie?
You know, it's hard because I'm a self-proclaimed dilettante. I'm interested in so many things, I don't know if I would be breaking into a bookstore, or if I would be in the alley outside of a movie theater, or if I would be trying to get into a guitar shop. I'm not sure. I have a lot of interests.

I mean there's a way in which it's a really tender portrayal of the human impulse to just seek out these things that they love.
It's not totally a critique; it's their vestigial memory of some things that they were drawn toward, whether it was power tools or oxycontin.

The Dead Don't Die is in theaters now.

Credit: Frederick Elmes/ Focus Features