Reader ad from a DTRA regular.


I'm selling the Triumph T140 I raced in 2019, currently it's in road going trim but will come with the bits to make it a flat tracker again.

1977 Triumph T140 OIF, this is a matching numbers bike brought back from the States a couple of years ago, and bought by me specifically to enter the DTRA Vintage class. The bike evolved over the season and earned me three podiums and fourth in the standings at the end of the year.


It's currently in road trim (above) but the lights and clocks come off in no time and the side plates and smaller saddles can be included in the sale.


Strip it for racing, ride as it is on the road and greenlaning or finish putting it back into full standard trim and give it a re-paint.


The speedo shows 10,000 miles, this can't be guaranteed but it pulls very well and got to two semi finals in Malle Mile sprints recently.

Electronic ignition

Lithium battery

19" Front trials tyre brand new, 18" Rear trials tyres good for racing but old.

T140D two into one headers

V5 in my name

Tax and MOT exempt

Original tank badges, chainguard and front mudguard included.

Handmade rear brake fitted but standard master cylinder etc available.

Foam or K&N style filters


£5500 o.n.o.

Located in Southern England


For more info drop me a line at swateridge66@gmail.com


#ForSale #vintageflattrack #Triumph


Contrary to what Morrissey believes, we love it when our friends become successful. Ryan Quickfall has been contributing to Sideburn since 2012; has produced event posters for virtually every country where they race dirt track; worked with blue-chip companies including Volkswagen, Snap-On, Timex, Harley-Davidson, Hebtroco, and many more, and now created the visual identity of a blockbuster animated video for one of the biggest rock bands of all time, Iron Maiden.


We asked Ryan a few questions about the process of creating the characters for the official writing on the wall video.


SB: This might be the highest profile thing you've ever worked on. How did you land the work?

RQ: Yeah possibly it is. It's unusual in that it was a big team that worked on it, where normally I work on my own, so to me it feels a little different in that way. But it is certainly a high-profile client and it was a big surprise when it dropped for fans. The band had been drip-feeding small cryptic clues on the lead up to the video’s release. Which certainly helped with the amount of eyes it had on it when it dropped. As I write this its at 8.1m views through the official Iron Maiden YouTube channel.


The work came to me through BlinkInk, a really great animation studio in London. The director for this project, Nicos Livesey, approached me directly having seen my Instagram and other work previously. I guess he thought I fitted the bill when he had the project in mind.

SB: Your role is credited as 'character development', can you explain ?

RQ: So basically my job was to bring to life all of the characters and also the backgrounds. Nicos had a storyline from Bruce [Dickinson, Iron Maiden's lead singer] to work to. Nicos' job is to bring that from paper to life on screen. My job in turn is then to take Nicos’ rough concept and to develop the characters into their final form. They actually had some stills sketched out roughly and some animatics as reference of the story visuals, but no look for the characters. We knew that some characters, like Daniel [the robed character, above], had to be in a robe as per Nicos’ vision, there was no reference for others at all. Like the King, all I knew was he had to have three forms: old man, young man, goat character.


From there it was a case of just brainstorming and throwing around some very initial concepts. These go back to the team and we scrap some and keep others. There was a LOT of back and forth at that stage to get things right. Then we might change the uniforms, hair, overall appearance etc. After this I throw some colour concepts to the characters and once signed off I move into producing turnaround frames. These are more well-rendered references of each character from all angles that that animators can take and start to animate with, they refer to these a lot. However for a lot of scenes, the characters had some very specific elements, like the four horsemen characters, so I ended off drawing a ton of keyframes from the animatic, that the animators then draw the frames in between these key frames. I hope I’m making sense here!


The process is pretty much the same for the backgrounds I designed. So, any of the scenery, apart from the palace, I designed. With a lot of easter eggs thrown in from Bruce and Nicos. So see if you can spot some hidden stuff.


SB: Had you heard the song when you were making the art?

RQ: heard it son as soon as all NDAs [non-disclosure agreements] had been signed. It was key to the whole project. I mean Iron Maiden have a very heavy visual presence and that's been built up over years and years. So, I knew pretty well what the look was to be, but the pace and feel of the song is also a key element to work out where to start developing the characters. I've heard the song hundreds of times.

SB: Did you use any specific references for the horsemen's choppers?

RQ. I don’t think so as far as I remember. The four horsemen play a key role in the whole video, they’re some of the first characters we see at the start and they needed to be right. I think honestly this is why Nicos wanted to work with me, because he knew I had built a career illustrating motorcycles, which, I’m sure most of you know, is a very specific subject to get right. If you draw something wrong it stands out like a sore thumb. So this is probably where my skills played most of their role. The general feel for the bikes I was looking for was that they should be some kind of V-twin chopper vibe, but at the same time they can’t be too specific or too detailed or the animators would struggle and the timescale would be blown out the window.


SB: What timescale was your part of the project?

RQ: I can’t really remember now, but I feel like once I was scheduled to start we had something like six weeks or so for me to complete my part. Which was a huge ask. As we went along it was clear this project was becoming bigger and bigger, certainly from my view anyway. I was in from the start, to design all of the characters, produce turnaround frames, and hand over to the animators. From then on my part was meant to be done. As with everything it didn’t quite work like that and I was hands-on with the project on and off from a lot of months. It was great to be part of and a challenge so it wasn’t a big issue. It’s just how things go. So I ended up working on key frames and drawing them for the animators to then animate with. Then I was asked to design the backgrounds too. So, the job sort of developed as we went along for me.


SB: Did you get any feedback from Bruce Dickinson?

RQ: Bruce was reviewing everything I and the team did. Nicos and Alex the producer would take my work for review with Bruce and feedback for amendments. But for the most part I think we nailed what Bruce’ vision was pretty quickly.

SB: It's had over 8 million views in two weeks. Was it strange to be working on an Iron Maiden video and an illustration for Sideburn at the same time?

RQ: Well I’m going to sound modest here, but not really, because I treat all jobs relatively the same. They all take time and care and a level of experience. I've worked with Sideburn for so many years now I feel like I know what we need to do, and I normally have a few projects running at the same time, so it's all in a day's work, haha. But I am so pleased to see where things started for me, that Sideburn, Iron Maiden, numerous design studios, Harley-Davidson, Snap-On and a lot more I can call clients. It certainly didn’t start like that! So thanks everyone thats supported me over the years!


#art #animation #RyanQuickfall #music #choppers


Guest post from John Harrison.


When I built my Triumph as a street tracker twenty odd years ago, I imagined it as a half mile special from the early '70s, campaigned by the mechanic from some Triumph dealer in Anywhere, USA. A smalltown hero rider at his local County Fairgrounds oval, who benefitted from a bit of help from the shop owner in the way of whatever speed equipment they could get.


In the UK, by necessity, we ride short tracks with the exception of one venue, visited for a double-header weekend every year, the Amman Valley Trotting Track, South Wales. At just under a half-mile, it is wide, with long corners and a soft surface. The closest thing to a cushion half-mile most of us will ever get to see or ride.


So once a year I get to ride my suitable bike on a track it was intended for, and live out a bit more of my personal On Any Sunday fantasy.


Amman isn't universally popular because it ruts up badly during the course of a meeting, is a long, old trek to get to for a lot of folk, and the weather has a habit of turning bad and causing a rain out. But I love it. It suits my road bike geometry not to have to make tight turns, and I love to wind it out in third on the long straights. Amman's been good to me; I scored my first ever heat race win there followed by my ever first podium (third) in 2017, my first 2nd place podium in 2018, and when we last visited in 2019, my first Final win and a coveted 1st Trophy plate.


As Covid shut down everything last year, and the first few races were cancelled, we still had Amman to look forward to as restrictions were lifted during the summer. Then came the disappointment when the race was pulled a couple of days before going ahead, because of an upturn in infection numbers in the region.


This year I tried to keep a lid on my excitement for racing at Amman in case it was cancelled again. But as the race got closer there was no talk of covid cancellation and even the weather forecast was good. I was itching to race on the long track and hoped I could work on what I'd learnt in 2019.

This year, a 28-bike Vintage entry for the Sideburn-supported class was pretty respectable, and included a couple of new two-strokes. Vaughan Williams, #736 (father of Bultaco-racing Danny, featured in Sideburn 41) debuted his Champion-framed Bultaco sporting a great paint job that sets it apart from the Astros.

We also welcomed the 400cc CZ of Mark Russell #48 , a bike that he normally rides in twin shock scrambles, but had converted to try out flat track. Man, that machine flew... when it kept running.

Odgie #633 returned hoping to back up his Greenfield win and to tick Amman off his track list.

Welsh Wildcard Guto Llewelyn always comes to his home race and shows us all how to ride. He has raced at Amman since the pre-DTRA, Peter Boast days and is a naturally talented, fearless rider that makes it look so easy to go massively fast. The only thing that slows him down is the reliability of the JAP-engined bitsa he brings to race. His dad built and fettles the machine, but it is so highly tuned that it doesn't always finish (or indeed, start) a race.


Race day came in the middle of a heat wave. It was hot. Heavy black leathers, body armour, thermal long johns and a helmet with a letter box eye slot aren't ideal.


The Sideburn Vintage class fitted into pairs of heat races, followed by a 12-rider final.


Practise was lovely, the track still smooth and it felt great to be out there again.


Our first pair of heats were on a heavily watered track and everyone struggled with visibility.


In my second heat I had a shock and a thrill when Guto passed me at warp speed and disappeared, his methanol-fuelled JAP single roaring as it drowned out the sound of my own unsilenced twin, and setting a lap time 1.5 sec quicker than the best of the rest. Sadly Guto suffered mechanical DNFs in his other heats and didn't make the final.


In the same race I enjoyed a back and forth dice with young gun Sean Kelly #33 on his 400 Suzuki two-stroke, just beating him to the flag for second place. Looking at the lap chart, the race had multiple dices all through the field, with everyone swapping positions.


This is John in the deep stuff, on cheap twin shocks and stock forks.


Throughout the day I found I was comfortable riding round the outside of the turns in the deep stuff, carrying more corner speed onto the straights. The pesky two-strokes had to stick to the harder surface on inside line to keep their revs up.


The final was, for me at least, great fun. Typically, I'm eating the dust from the two-strokes of Sean and Simon Bird #555, and Odgie’s BSA, but this time I made a good start and was clear of them all by the time we were all out of turn 2 for the first time. Each corner I saw Sean on the inside of me while I took the long way round the outside and we'd drag race down the straights, back and forth. Sean usually has it his own way when he gets out in front, but not this time, Junior.


Sadly, the race had to be red flagged after the brake on Andy John's BSA #175 locked solid leaving him unable to push it off the track from the middle of turn 3. Brave chap stood his ground in his visible yellow jersey whilst we all bore down on him at 60-odd mph rather than leave his bike and watch us crash into it unseen.


There wasn't a restart, so the results stood with Sean Kelly and Simon Bird joined on the 2T podium by first timer Mark Russell and his CZ. I reckon he'll be back to ruffle more feathers.

Joining me in the 4T winners circle were Odgie and T120 Triumph mounted Carl Swateridge #257, who also picked up the Sideburn Rider of the Day award. Carl has become a regular on the four-stroke podium and it's only a matter of time before he'll be standing on the top step.


So, despite the exhausting heat, a great day of racing. And I scored another personal 'first'. Never before have I posted a fastest lap in a race or practise, but I'm chuffed to have done so this time at Amman, although it was nowhere near Guto's flying time. Next year perhaps?


Away from Vintage, in the other classes we were treated to some fine and thrilling races, particularly in Thunderbikes and Pros with notable performances from Toby Hales, Gary Birtwistle, Tom Clemans, Jon Bell and many others. The DTRA goes from strength to strength.


Photos: Matt Wellington


#Vintagedirttrack #DTRA #JohnHarrison #Triumph #BSA #CZ #Bultaco