For World Motorcycle Day: Moments in Midway Daredeviltry

This one goes out to my nephew and good friend James, and I must say I have been looking forward to writing this post for days with child-like glee. It is World Motorcycle Day, and so today (having already written about boyhood hero Evel Knievel), I thought I would provide some perspective on motorcycle stunting in circuses, fairs, and carnivals.

The key to these thrilling acts lies in the origin of the circus itself. The circus ring exists as it does, and at its specific circumference, for reasons having to do with centripetal force. It is the ideal size for equestrians to be able to work with gravity as they stand and perform tricks on the backs of horses while they trot around in a circle. In 1837 English entrepreneur John Whyte revived the old Greek word “hippodrome” for his Kensington racetrack, though we believe the popularity of naming entertainment venues as such begins with P.T. Barnum’s in New York in 1874. Later would follow all those other theatres named Hippodrome, most of which seem to ignore the fact that hippodrome literally means “horse race track”.

At any rate, once bicycles were invented in the 19th century, there came into being velodromes, velocipede being one of the first names for bikes. (The French still call bicycles “velos”). The first velodromes came into being in the 1870s, for races and exhibitions, based on a similar premise to a circus ring. The track is tilted inward significantly at such an angle that the only way not to fall off completely is to move at sufficient speed.

And this led quite naturally to motodromes, once motorcycles came into the picture. The first motodrome was presented in Coney Island circa 1911. There was also one at the Panama Pacific International Exposition in 1915, and they rapidly became popular staples in carnivals all around the country.

The most extreme of these featured a VERTICAL track, i.e. a drum shape, as motorcycles can actually attain a speed that permit such a gravity-defying feat. These were billed as WALLS OF DEATH. Their peak of popularity occurred in the 1930s. But audiences quickly became too sophisticated, demanding even bigger thrills.

And that of course is how we get to the GLOBE OF DEATH, still popular at circuses and carnivals to this day. This is a spherical cage of wire mesh in which one or more daredevils can actually get up the speed to travel upside down. These began to be presented as early as 1901. Sometimes, dangerous obstacles (such as flames) are placed inside; just as often the obstacles are the riders themselves as they zoom around one another in disciplined but nonetheless thrilling formations. Many have died performing the Globe of Death act.

A woman named CeDora brought a Globe of Death act to vaudeville. There is a terrific article about her and the history of this kind of act here.

Today the Globe of Death act thrives as it has for over a century, to the extent that, as with many acrobatic and sideshow disciplines, amateurs and hobbyists have now taken it up as an extreme sport. Kids, go ahead and try this at home! (Kiddin’! Don’t do that!)

For more on show biz history,consult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, And please stay tuned for my upcomingElectric Vaudeville: A Century of Radio and TV Variety.