longing, Western life, democracy – everything was connected – and connected through jazz". The Swing Kids danced in private quarters, clubs, and rented halls. These adolescents dressed differently from the others who were opposed to swing. For example, boys added a little British flair to their clothes by wearing homburg hats, growing their hair long, and attaching a Union Jack pin to their jacket. Additionally, as a reflection of their Anglophilia, the "Swing boys" liked to carry around umbrellas whatever the weather and to smoke pipes. Girls wore short skirts, applied lipstick and fingernail polish, and wore their hair long and down instead of applying braids or German-style rolls. The fondness of the "Swing girls" to wear their hair curled and to apply much make-up was a rejection of the Nazi regime's fashion tastes as in the Third Reich, the "natural look" with no make-up and braided hair was the preferred style for women as it was felt to be more "Germanic". A police report from 1940 described the Swing Youth as follows: The predominant form of dress consisted of long, often checked English sports jackets, shoes with thick light crepe soles, showy scarves, Anthony Eden hats, an umbrella on the arm whatever the weather, and, as an insignia, a dress-shirt button worn in the buttonhole, with a jewelled stone.The girls favoured a long overflowing hair style. Their eyebrows were penciled, they wore lipstick and their nails were lacquered.The bearing and behaviour of the members of the clique resembled their dress. One of their German idols was Johannes Heesters, an actor specialised in operettas. The Swingboys admired his pale face and combed long black hair and tried to copy his attire. This group consisted mostly of teens and young adults from the upper-class homes of Hamburg. Their objectives were originally more self-indulgent in nature, being privileged with wealth and German heritage, they spent their money on expensive clothing and liquor. The British musicologist Ralph Willett wrote that the Swing Youth wanted to emulate "the cool, languid demeanour" of British and American film stars. When the restrictions on jazz became law, their pastime would become a political statement, setting them in clear opposition to the Nazi Party. German musicologist Guido Fackler described the Swingjugend embrace of American music and the "English style" in clothing as reflecting the fact that: The Swingjugend rejected the Nazi state, above all because of its ideology