Carey Loftin

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Arguably Hollywood's greatest ever stunt rider/driver, Carey Loftin's amazing stunt skills were utilized in hundreds of Hollywood productions over a period of 50 years. Loftin began his stunt career as a member of a traveling motorcycle stunt show in the early 1930s when he was 19.


William Carey Loftin was born on January 31, 1914 in Blountstown, Florida. The son of a preacher, Carey grew up Alabama and Mississippi. He went to high school in Hattiesburg, Mississippi. He began riding when he was 10 when he borrowed an old strap-drive Excelsior from a local blacksmith and proceeded to plow up a farm field with his face. In spite of such discouragement, the young Loftin continued to ride whenever he could get his hands on a machine.

The first motorcycle he owned was an antique 37-cubic-inch Indian single-cylinder that cost him the grand sum of $10.


“It was just about worth $10,” Loftin said in a 1953 interview with Cycle magazine. “There was a gutless wonder if you ever saw one. It was humiliating. Every cycle in town ran away from it, but it made a mechanic out of me.”

The piston in Loftin’s old Indian was so loose that it rattled around in the barrel and finally cracked. It was the luckiest thing that could have happened. Carey didn’t have the money to buy a new piston so he went to a junkyard to find an old car piston that looked like it would fit. When he installed it he found the car piston too tall. With youthful ingenuity he promptly filed the top off and ended up with a domed piston.


When he reassembled the bike he found the motor was unbelievably strong. His little hand-ground piston turned his clinker Indian into a bike that was so fast no one in town could catch it.

An athletic kid, Carey wasn’t content to merely ride his motorcycle. He learned to do acrobatic stunts while riding. He impressed his friends with his antics and continually pushed himself to do more difficult stunts.

In 1933, a motorcycle stunt showman named Skip Fordyce brought his barnstorming show to Hattiesburg. After Fordyce performed, one of the onlookers blurted out, “I can do anything you can do.” Fordyce looked over his shoulder and saw a long, lean, hungry looking boy who, at first glance, didn’t look like anything special. It was Loftin.


“Show me,” Skip said. With that Loftin disappeared. Skip continued talking with the crowd of onlookers, thinking he had called the kid’s bluff. Suddenly the kid roared back onto the field on his ancient cycle. Skip found himself watching a very solid performance as the kid reeled off a series of side stands and seat stands. Then the kid began bouncing on the seat, his feet landing in a different position with every jump. Then he bounced around and rode backwards. Then he turned the bike around and headed back toward the crowd. Skip could sense that this was to be the grand finale so he watched carefully. Suddenly the kid began jumping up and down on the seat and then unexpectedly he launched himself in the air, his body doing a complete flip and landing with his feet on the ground behind the speeding bike and holding on to the rear seat with his hands. He was steering the bike with his feet by digging in one shoe or the other. As the cycle neared Skip and the crowd on onlookers, the kid snapped forward, popped up over the rear wheel and onto the seat before coming to a perfect stop.


Fordyce hired the kid on the spot.

Loftin rode for various stunt shows in the 1930s, supporting himself during the Depression. During off times, he supplemented his income by working as a motorcycle mechanic.

“In one stunt act I was a flop man,” Loftin recalled. “The show advertised that showgoers would get to see a rider jump off a motorcycle going 60 miles per hour. If it wasn’t going at least 60 mph they were guaranteed to get their money back.”


After a stint in the Marine Corps, Loftin moved to Los Angeles in the late 1930s and took a job as a mechanic. He quickly broke into movie stunt work. Loftin's expertise with motor vehicles, including cars, trucks and motorcycles, gave him the chance to contribute his skills to numerous films from the late 1930s until he retired in the early 1990s... Read more at the AMA Motorcycle Hall of Fame




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The Wall of Death

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The Wall of Death (AKA Motordrome) is a carnival sideshow featuring a drum- or barrel-shaped wooden cylinder, ranging from 20 to 36-feet in diameter, in which stunt motorcyclists ride and carry out tricks. Derived directly from US motorcycle boardtrack (motordrome) racing in the early 1900s, the very first carnival motordrome appeared at Coney Island amusement park (New York) in 1911.



The following year portable tracks began to appear on traveling carnivals and in 1915, the first "silodromes" with perpendicular walls were seen. These motordromes with perfectly straight walls were soon dubbed the "Wall of Death." This carnival attraction became a staple in the US outdoor entertainment industry with the phenomenon reaching its zenith in the 1930s with more than 100 motordromes on traveling shows and in amusement parks.



In 2004, six or seven of these motorcycle shows were still touring the US. The first known Wall of Death in the UK appeared in 1929 at Southend.



The audience views from the top of the drum, looking down. The riders start at the bottom of the drum, in the center, and ascend an initial ramped section until they gain enough velocity to drive horizontally to the floor, usually in a counter-clockwise direction (the physical explanation behind this act is found at Banked turn and The turning car.) This act is famous in the United Kingdom, and often is seen at fairs.



In the 2000s, there remain only a few tours of the wall of death; the most notable of which is "The Wall of Death World Tour", created and run by the Fox family. This touring group uses the original American Indian Motorcycles, which have been used since around the 1920s. For the most of the year, this group is based at Wilburton but ride every year in the Great Dorset Steam Fair. In India, cars are also used.



A similar act called the "Globe of Death" has the riders looping inside a wire mesh sphere rather than a drum. This form of motorcycle entertainment had a separate and distinct evolution from carnival motordromes and derived from bicycle acts or "cycle whirls" in the early 1900s.

A good website : http://www.wall-of-death.co.uk/