Now it is the economic power relations which are exposed. In this musical, former Nazi executioners turn up as bird lovers. With their German marks they now want, twenty years later, to create a vacation paradise out of the Italian village Torre Rosse. The play's Nazis, Greifenklau and Schulze, still have the song fresh in their memory. We've mastered just the way to deal with hateful human races.
Gas is cheap, the soap looks real, and fire destroys the traces.
It is ironically enough the big German monopolies to which the patriotic consciousness is tied. In just a few stanzas we have a sketch of a primer on how capitalist Germany used national socialism to further its own interest. The power relations in the new Germany are not fundamentally different from conditions before the war. His tendency to regard Germany and the Germans as history's villains out of an almost timeless law of nature, has been regarded by some as racial prejudice. Such a generalization of guilt for the war's horrors, such a derailing of guilt by pointing to indwelling human nature, we find too in several of the song texts in The Bird Lovers .