Lillian La France: The Girl Who Flirted with Death

Lillian La France (1894–1979) was billed as the world’s foremost woman motorcycle stunt rider, one of the few female daredevils to take on The Wall of Death in the 1920s and 1930s.

Born Agnes Micek in Kansas, USA, La France grew up in a world of farms, winds, and wheat fields, but she longed for something more. At 30 years old, she found her escape—joining a traveling carnival and becoming a Wall of Death stunt rider, a spectacle that would make her a legend.

She was fearless, riding motorcycles and even four-wheeled vehicles at extreme speeds inside the silo-motordromes—huge, round wooden arenas where riders defied gravity, racing sideways along the walls. La France was the first person to ride a scaled-down midget racing car on the Wall of Death, pushing the stunt world into new territory.

She rode under the moniker “The Girl Who Flirts with Death”, embracing the danger, mystery, and spectacle of her performances. Her signature skull-and-crossbones logo added to her reputation as one of the most daring and celebrated Wall of Death riders of her time.

1920s Motor Drome where Lillian La France and other Wall of Death riders performed.

Lillian La France (Early Motordrome Days, Circa 1924) sits behind the wheel of a scaled-down race car, still in the early days of her Wall of Death career. Likely taken around 1924, the photo captures a moment before she fully embraced her daredevil persona—the bold confidence and signature smile she would later become known for aren’t quite there yet.

Flanked by two fellow riders in motordrome uniforms, this image is a rare glimpse into the beginning of her journey, when she was still finding her place in the male-dominated world of stunt riding. Soon, she would become one of the most famous Wall of Death riders of the 1920s and ’30s, but here, she’s still on the cusp of greatness, speed, and legend.

“It was the thrill of risking my life that made me to take to drome riding. I was the girl who flirts with death. From childhood I was inspired by wanderlust. I was always alone, dreaming of adventures– how to ride a pony out West, to follow my calling to fame. This was my secret. I shared it with no one.” – Lillian La France

Born Agnes Micek in 1894, the second of nine daughters in a hardworking Catholic family, she grew up in the dusty plains of Kansas, bound by tradition but hungry for something more.

By 1916, she had shed her given name, christening herself Lillian La France, and left her hometown behind without looking back. She wasn’t just running—she was racing toward the life she had always dreamed of, carving it out with grit, speed, and sheer will.

In 1924, she stepped into the Motordrome, mastering the Wall of Death and leaving behind a blurry yet brilliant legacy. Her daring spirit still lingers in grainy, timeworn photographs, her squinting eyes staring defiantly through the decades. She was more than a stunt rider—she was the Girl Who Flirted with Death.

Terrific shots of La France. Sweet aviator goggles, jodhpurs, and riding boots!

Lillian La France and fellow Motor Drome stunt-rider.

Lillian La France and fellow stunt-rider on the Wall of Death.

Lillian La France and fellow stunt-rider on an Indian motorcycle in front of the Wall of Death.

By 1924, at 30 years old, Lillian La France took on the Motordrome, mastering both motorcycles and four-wheeled machines with fearless precision. Equally skilled on either, she quickly became a top attraction, drawing crowds eager to see her defy gravity and expectation. In this photo, she sits behind the wheel, her name boldly displayed on the banner behind her—“Miss Lillian La France – Motoring Marvel”—a fitting title for one of the most daring stunt riders of her era. Whether on two wheels or four, La France wasn’t just riding—she was making history.

Dressed in a skull and crossbones jersey, Lillian La France stands with an unmistakable air of defiance—her signature style reflecting the bold, rebellious spirit of stunt riders of the era. The emblem, popular among daredevils, symbolized not just danger and defiance, but perhaps a romanticized flirtation with fate itself. Whether real or simply part of the showmanship, it added to her legend as “The Girl Who Flirts with Death.”

Charming, candid shots of Lillian La France.

Even a broken arm couldn’t keep Lillian La France away from the Wall of Death. In the left image, she stands beside one of her stunt vehicles, her arm in a sling—evidence of the risks that came with life as the world’s foremost lady stunt rider. On the right, she’s back at the show, ever the entertainer, tipping her hat to the crowd in front of a Wall of Death banner.

Injuries were part of the job, but they never slowed her down. Whether behind the wheel or on a motorcycle, Lillian La France lived for the thrill—and nothing, not even broken bones, could stop her.

Captured in Honolulu, Hawaii, around 1930, Lillian La France poses with the sideshow performers she traveled with, a group as unique and daring as she was. Among them stands Johan Aasen, a towering seven-footer who had his own share of fame.

Dressed in her signature aviator goggles and stunt rider attire, Lillian stands apart, exuding the same fearless confidence she carried on the Wall of Death. The setting—a rugged, scenic backdrop—contrasts with the larger-than-life personalities of the performers, a reminder that they lived on the road, traveling from town to town, bringing spectacle and excitement wherever they went.

For Lillian, it wasn’t just about the stunts—it was about freedom, adventure, and carving out a life on her own terms.

With no hands and a daring grin, Lillian La France confidently balances on her motorcycle as it roars at full rev on the treadmill, a crowd of onlookers behind her. A natural showwoman, she was more than just a Wall of Death rider—she was a thrill-seeker, an entertainer, and a trailblazer in a world dominated by men.

One of the first and most popular female stunt riders of the 1920s and ’30s, La France built her name on bold stunts, fearless precision, and undeniable charisma.

Reclining effortlessly against a vintage automobile, surrounded by bottles of bootleg liquor, Lillian La France looks every bit the rebellious spirit she was. With a confident gaze and one hand casually holding a bottle, she radiates the defiant independence that defined her life.

“I was never meant to have children, or to be a plain housewife. I saw how my mother lived, so you know married life never appealed to me—to endure what she went through…”

For Lillian, the traditional path was never an option. She wanted freedom, adventure, and control over her own destiny—and she found it on the Wall of Death, behind the handlebars of a roaring motorcycle. In a time when women were expected to follow convention, she carved out a different kind of life—one of speed, danger, and absolute independence.

In Her Own Words

“They called me the ‘Girl Who Flirts with Death.’ I never saw it that way. All I wanted was somethin’ different. Grown’ up in Kansas as I did, different were hard to come by. Farms, winds, wheat, and prairies were my life. By the time I left my teenage years I were as restless as a bull sniffin’ around a cow in heat. I weren’t about to get married and have a litter of lil’ ones like every other farmgirl in the county. That was a quick road to hell, if you pardon my language. I saw what that done to Mama, bless her heart. By the time she turned 40 she was wore out from scrapin’ by on the farm and tendin’ to 9 kids. Ain’t no shame in that, but it weren’t for me. When I were 22 I left home and joined the first travelin’ carnival that would hire me.

“They didn’t know what to do with me, so they gave me low jobs like muckin’ out the pens. It really weren’t no different from what I done back home, except now I got some money. Weren’t much, but it were mine. Best of all I got to see the country. It was so excitin’ when I’d ask where we were stoppin’ next and they’d tell me Omaha or Davenport or my favorite, Joliet. Joliet sounded so exotic and romantic. I reckon that’s because it reminded me of Romeo and Juliet. It didn’t matter where we were because I was livin’ my life like I wanted. Ain’t nothin’ more romantic than that.

“One thing I took to were motorcycles. First time I ever sat on an Indian Scout with that purrin’ engine I knew what a cowboy must feel when mountin’ his steed. It felt so natural. Whenever I had free time I would ride around the campgrounds at full speed swervin’ at the last minute around the carnies who thought I would crash into ‘em. I declare I sure did scare them with my antics. They never had nothin’ to worry about because I was always in control. They’d cuss and shake an angry fist at me. Soon enough they got used to my foolin’ and when they’d curse I’d hear the smile in their voice. It was grand fun.

“Sometime in the early 20’s the carnival got a velodrome. For you folks who don’t know about that I will tell you. It were a huge round tub made of wooden planks. Think of a giant teacup only made of wood and as wide as 6 men layin’ head to toe. Customers would gather ‘round the top and look down into it. What did they see? Believe it or not, they would see a man sittin’ on a motorcycle at the bottom. He would start the engine and begin drivin’ round and round and higher and higher until he got enough speed goin’ that he were able to drive around it at a sideways angle. It was like magic and surely somethin’ to see, let me tell you. The people would gasp and cheer as the rider went faster and faster. What a thrillin’ site when he let go of the handlebars! They called the velodrome the ‘Wall of Death’ and it became a big hit. Maybe the name drew ‘em in, but the excitement kept ‘em comin’ back.

“The ‘Wall of Death’ looked dangerous, but I knew it weren’t so dangerous if the rider knew what he were doin’. By this time I had become an ace on the Indian Scout and was hankerin’ to become part of the show. At first the promoter laughed at me sayin’ it were too dangerous and, worse yet, it weren’t woman’s work. I kept askin’ and askin’, never gettin’ nowhere. I got tired of askin’ and decided that showin’ was better. I snuck into ‘The Wall of Death’ before we opened the midway. I started ridin’ and got up enough speed to get goin’ in a circle just like the men did. Some of the carnies came over to see what all the ruckus were about since no one were supposed to be in there so close to opening. When they saw it were me they set to hootin’ and hollerin’. Pretty soon most of the company came over to watch, includin’ the promoter. When I finished he gave me an earful and threatened to fire me. When he were done I asked if he liked what he saw. He didn’t say nothin’.

“I said, ‘Imagine how much you could charge people to see a lady daredevil.’ He weren’t a good promoter for no reason and he knew a money-makin’ scheme when he saw one. We tussled a bit until he eventually agreed to give me a try for a couple of shows. ‘But don’t come cryin’ to me if you get kilt!’ he said.

“The rest is history. I became his biggest draw. Every day the people would pay their 15 cents to watch the ‘Girl Who Flirts with Death.’ I were never in danger, but I never let ‘em think that. To me I was just a Kansas farmgirl who wanted somethin’ different out of life and found it on a motorcycle ridin’ ‘round in circles while people cheered.”

A Legacy of Speed and Defiance

Lillian La France became one of the most famous and pioneering female stunt riders of her time, inspiring generations of daredevils. She later ran a long-range shooting gallery, but her legacy remained tied to the motordromes, the roar of engines, and the defiance of expectations.

She never flirted with death—she owned her fate.

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