Stephanie “Tanqueray” Johnson’s story was one of transformation, courage, and defiant self-expression. Born Aquila Stephanie Springle in 1944 in Albany, New York, she grew up in a strict and often unforgiving household. Cast out as a pregnant teenager, she made her way to Manhattan, determined to start over. There, amid the energy and unpredictability of the city, she reinvented herself — leaving behind her past and embracing a bold new identity as Tanqueray.
During the 1960s and ’70s, Tanqueray became one of New York’s most captivating burlesque performers, celebrated for her dazzling handmade costumes, sharp wit, and undeniable presence. Her shows lit up the city’s nightlife, blending glamour with resilience in a world that demanded both. “Back in the seventies, I was the only Black girl making white girl money,” she once said — a line that perfectly captured her confidence and her determination to succeed on her own terms. Her performances reflected the vibrancy of an era where art, identity, and survival intertwined beneath the neon lights.
Decades later, Tanqueray’s story found new life when Brandon Stanton, creator of Humans of New York, met her on a street in Chelsea in 2019. Her 33-part online series became a viral sensation, touching millions with her humor, candor, and unfiltered storytelling. A fundraising campaign launched in her honor raised more than $2.5 million to support her care, and her memoir Tanqueray — published in 2022 — became a bestseller, ensuring her voice reached audiences far beyond the city that had shaped her.
Though her public persona radiated strength and style, those close to her knew a gentler side. Stanton once revealed that she kept a teddy bear beside her bed until her final days — a quiet symbol of tenderness behind the fierce performer. Stephanie “Tanqueray” Johnson passed away on October 11 at the age of 81, leaving behind a legacy built on truth, artistry, and resilience. She turned adversity into empowerment and proved that a life lived unapologetically can echo far beyond the stage.
