I use to own one of those Jacobs Semi Speed Shapes 9' 10". They were fantastic on point break waves like C-Street and Rincon, but not so hot on the beach breaks. Since I rode those spots a lot back then so it was not much of an issue. However, my buddy borrowed it one weekend and got busted in a marijuana raid somewhere. They confiscated his Volkwagen van and the surfboard was inside. He never saw either again. Feeling guilty, he paid me $80.00 for the board which I used to buy a Bing Nuuhiwa lightweight from a friend. The Bing was a way better all around board which I kept for many years after. I was pretty much done with the Jacobs anyway.1966 Jacobs surfboards ad. The Hot Dog Model was the standard shape across the major manufacturers during that era. The more parallel railed 'Speed Shape' became prominent soon after, with model names like Lance Carson Model, Barry Kaniapuuni Model, Trestle Special, etc.
Nose riders were different beasts altogether, wider overall with platform noses and, often, concaves up front.
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Yes, quite different, because in addition to the things you list, ‘Pig’ shapes from mid-century had nose measurements not much over 15” or so. That’s narrow. The result is a wide point well behind center and extra curve behind that wide point, aka ‘hips’. The standard board of the early 60’s, aka ‘Hot Dog’ shape, also had well defined hips, which began to diminish with the advent of the parallel rail ‘speed shape’. Parallel rails stayed vogue through the noserider era as nose widths often went past 18”. The original Sam broke away from that trend and the rest is history.And the modern boards are not glassed super heavy either
It was a very interesting time. I suspect that all those relatively empty first class point breaks down under did a lot to advance the sport in Australia at a time when California's classic points were mobbed. That's what drew Greenough down there and kept him there. His design input went well beyond fins. There was a lot of rhetoric coming out of Australia after '66, much of it attributable to elevated exuberance and mind altering substances. But something Wayne Lynch said after the '70 World Championships is telling: that Rolf Aurness's boards were refined versions of things that Wayne and others had experimented with earlier, but in the rush to get radical and 'totally involved', had moved beyond without fully developing the potential. Was Rolf on Bings at the time?I think the best way to think of it is a design arc that starts with the 50’s pigs a la velzy, that’s updated to the more functional “hot dog” shape.
Those boards get neglected as nose riding goes off.
Nat and co rediscover the older shape whilst looking for more performance and update it with the design innovations of the day - less foam, width Greenough fin.
Shortboard revolution dumps all of it.
Traditional longboarding resurgence led by Tudor and co with a focus on noseriding. Nuuhiwa in 66 is elevated to god like status again.
Modern technique, ability and design improvements make noseriding “easy” and a bit dull for some so they go looking for a board that still allows noseriding, still allows a traditional style but that is more lively and allows more radical turning. Modern design refinement is applied to the old Sam template and you get the boards we are talking about in the title.
They aren’t pigs, they are “piggish”. Involvement style is an easy nomenclature because it’s how the Aussies described it in 66/67.
To be clear, there’s no reinvention just refinement and rediscovery.
Worth noting that Devon Howard’s Old takayama model was along these lines back in 1999. I also think Alex knost deserves some credit for influencing this latest trend. His Robert August model was pretty similar in template again in 99/00 and is boards and longboard surfing since have developed into a style that’s as much rail engaged turning as tip riding
Also, as an aside, the other change happening in 66/67 ( if you believe Nat ) is a change in foot placement. He claims ( in his book ) that just prior to the 66 worlds, he started to cut back with both feet across (at right angles to) the stringer rather than the front foot angle and back foot parallel of a drop knee position. He claims that’s partly what made his turns more radical and opened the door to the contemporary style of today.
In reality I’m sure others were doing the same concurrently