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“Schlurf” was but one term used to describe this underground youth culture. Nowadays, the term “swing kids” is usually used to describe the phenomenon based on a 1993 Hollywood feature film of the same name.

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Jazz as a musical form appeared in Germany in the 1920s and, as was true globally, became popular as the soundtrack of the Roaring 20s. As the social and political atmosphere grew darker in the 1930s, the new widely popular form of jazz, swing music, made its way across the Atlantic.

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The kids themselves called each other “swings,” “swing heinis” (swing dudes), or “swing boys and girls.” The swings were not organized in cohesive groups or clubs, but instead were loose circles of like-minded teenagers in larger cities across Germany, Austria, and other European countries varying greatly in their socioeconomic backgrounds and interests.

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The way the swings dressed reflected this stance on life. Most boys would wear long, often oversized and checked sports jackets, hats with American-style brims, shoes with thick crepe soles and, in some cities, an umbrella, no matter the weather. The look varied from location and sometimes reflected differences in social background. The “Schlurfs” in Vienna for example were mostly working-class and often had to adjust the look to what clothing was available. What they all had in common was long hair-long enough to touch the collar, and slicked back in what was perceived as Hollywood style. Visually they could not have been in starker contrast to typical Hitler Youth style.

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Swing girls had their own look too. They wore make-up, used nail polish, and favored long and open hair—as opposed to the ‘natural’ and braided-hair look propagated by the authorities for the ‘proper’ German girl. Nazis were particularly concerned with the ideal German female, and the way swing girls dressed and behaved showed the world that they did not care about these ideals. They were a threat to regulated order.

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The swing youth hardly started out as a political group. In their heart of hearts, they were teenagers who loved American popular jazz connected to ideas of freedom, self-determination, and self-expression. Though a teenage fad in many ways, within the political system of the time, their courage to just be different stands out.

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On the other hand, the Nazis attempted to recreate a more Germanic form of jazz music—for entertainment, to boost the morale of young German troops, and to undermine Allied morale by broadcasting pro-German propaganda jazz numbers by the Nazi-sponsored “Charlie & His Orchestra” across the Channel.

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While Nazis hated jazz and every form it came in, the existence of these swing kids and their lifestyle posed a much bigger threat to their world view. The first “swing cliques,” as they were described, showed up around 1935 in Hamburg, Berlin, and Frankfurt.

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https://www.openculture.com/2016/07/how-jazz-loving-teenagers-fought-the-hitler-youth-and-resisted-conformity-in-nazi-germany.html.

https://www.nationalww2museum.org/war/articles/swing-youth-jazz-nazi-germany.