(slow gentle music) - The Smithsonian, when I first began calling around and discovering what these were, were very anxious to acquire them.

I have not been back in contact with the Smithsonian at this time.

(slow gentle music) - [Narrator] A remarkable and forgotten story lives here among the collection of tools, broken pianos, old boxes, and motorized wheelchairs.

In this small basement, outside Birmingham, Alabama, there is an historic find waiting for a home.

For now, this basement houses the uncelebrated greatness of Wallace Augustus Rayfield, one of America's most important pioneering architects.

- They don't do anyone any good locked up in a basement.

And in fact, the damage that could happen through fire or neglect just increases the likelihood of this subject that is much admired, again, falling into obscurity and being forgotten.

- [Allen] I feel that I know more about the meany mandate aspects, what Rayfield did, when, where, why, how, it's just that I don't want someone to try to rob this away from me or my family for some unethical purpose.

- [Kari] When I think about Wallace Rayfield's legacy.

I think about the phrase, "hiding in plain sight" comes to mind.

His structures have always been here, we just didn't know it.

- [Allen] Rayfield submitted himself to the regiment of education, and went on to become one of the greatest African-American architects of history.

"The T Square Architect", "The Colored Mechanics", these are publications that could be in somebody's trunk, could be in somebody's attic, somebody's basement.

Somewhere, some of these publications and books exist and we'd like to invite the public to do a massive search in hopes of being able to come up with some of these publications.

They've gotta be out there somewhere.

(gentle music) - [Narrator] Rayfield was an ingenious architect who graced the Southern landscape.

He designed hundreds of churches, schools, and businesses across 20 states, and over 200 in Alabama alone.

Many of the places of worship Rayfield designed were gathering and staging locations during the civil rights movement.

- What's really powerful is that when you're looking at these churches that were made out of brick, what is he creating?

But you're creating fortresses of assembly, what is the civil rights movement if you don't have Rayfield?

- [Kari] They're not tall soaring structures, they're wide sort of heavy looking structures.

And when I look at those structures, I look at them and what I think about is, these structures are here to stay.

- [Glenn] I think Wallace Rayfield's legacy are these grand structures he designed, was able to show the world at the height of the civil rights movement, the aspirations, abilities accomplishments of the African-American population and demanding equal access to the American system.

- [Narrator] Rayfield specialized in Byzantine and Romanesque church architecture.

- [Roman] Some of the foundational things in Romanesque architecture you're gonna see the arch, the form of arch or half circle, semi circle.

And that's gonna be repeated in several forms.

You'll see it in windows, doorways, you'll see the manipulation of the arch.

You'll see it in series, we call them arcades, you're gonna see big columns, piers, and then you're also gonna see towers as well.

And the towers tend to have arches in them, and the rooftops tend to be semicircular appointed as well.

Byzantine will have more complex materials.

You'll see glass mosaics, you'll see brick introduced instead of stone.

You'll see more ornate columns and column capitals column basis.

Basically Byzantine is a more ornate and complicated Romanesque architecture.

Castles would be indicative of Romanesque architecture.

They were made to be a display solidarity and strength.

(soft gentle music) - [Narrator] Wallace Augustus Rayfield was born on May 10th, 1873 in Macon, Georgia, just eight years after the end of the civil war.

His father was a railroad worker and his mother a seamstress died when he was 12 years old.

Rayfield, a gifted artist, was sent to live with relatives in Washington, DC.

Later, he worked as an apprentice with the prestigious A.B.

Mullett architectural firm while he was attending Howard University.

After graduating from Howard University in 1896, Rayfield earned an architecture certificate from New York's renowned Pratt Institute, and later a degree in architecture from Columbia University, one of the countries leading schools of architecture at that time making him America's second Black university trained architect.

Rayfield also studied at London's Royal Polytechnic Institute.

Robert Taylor, an 1892 graduate of MIT was this country's first academically trained African-American architect.

(gentle music) (bright gentle music) - [Victor] Mr. Rayfield had a very distinct approach to design and you could see it primarily in his churches.

He would have a vestibule out front and most of them in order to get the required height to get the slope down.

So most of them, you had to walk up steps to get to the entrance.

He did a lot on with dual vestibule, one on the right and one on the left.

Most of his church design included a sloping floor going in to enhance the acoustics of the sanctuary.

The sanctuary itself is close to being acoustically perfect.

There were no PA systems at the time those churches were designed, you'd have to incorporate that into the design of the sanctuary and pulpit and choir loft, and he could do it.

Very few architects incorporate that dimension of design now because it can be taken care of electronically.

(gentle music) (indistinct chatters) - [Allen] In my early years at 16, I felt called to the gospel ministry, devoted my life in that direction, took all of my education, including going to a seminary in preparation for the pastry.

I pastored over about a 10 or 12 year period, and then became sorta dissatisfied with the pastry.

I had been exposed to and learn the trade of piano tuning and technology.

In my lifetime, I've been a minister, I have been a piano technician and retail music store owner.

I have been a licensed insurance agent and now am disabled.

- [Narrator] In 1892, Booker T. Washington hired Robert Taylor to teach architecture classes at Alabama's Tuskegee Normal and Industrial Institute.

Taylor expanded the construction trades classes and designed buildings for Washington's growing campus.

- The core value at Tuskegee was to be the pride of the African-American community.

This is the pride of, this is the best that we have to offer.

And so Booker T. Washington went after the best, Robert R. Taylor at the time was the best.

He was the first African-American graduate from Massachusetts Institute of Technology, which also was the first school of architecture in the entire country.

- [Narrator] In late 1899, Washington recruited Rayfield to teach architectural and mechanical drawing at Tuskegee.

Washington had met Rayfield during one of his earlier visits to Columbia University.

- [Kwesi] Dr. Washington wanted every student to know how to draw.

It didn't matter if you were somebody in the (indistinct) writing department, you had to know how to draw.

So mechanical drawing is actually at the heart of the development of Tuskegee's campus.

(soft gentle music) (bright upbeat music) (birds chirping) - [Narrator] This is McCalla, Alabama, a small suburb Southwest of Birmingham.

In 1986, Allen Dorough purchased three acres of land here to build a home, a simple decision to tear down an old barn on the property which changed the course of his life.

- Finally, by 1993, the old barn was becoming so dilapidated that I was afraid it was gonna fall down and made the decision to have a bulldozer come in and push it down.

So as we got down to the last room, we could see back in a corner some metal boxes filled with what looked like rubber stamps.

I started back there torched that and fell through the floor and skimp my leg up, and I was totally determined then to leave the boxes.

(somber music) And when I got back there, I was totally astonished.

Here were metal boxes about so large filled with metal printing plates on wooden blocks, and there were pictures of beautiful buildings, beautiful churches, beautiful schools, portraits of African-American individuals.

And the inscriptions on the printing plates, said Wallace A. Rayfield and Company Architects, Birmingham, Alabama.

And on the top of some of the boxes, it would say Wallace A. Rayfield Church Architect, others would say Wallace A. Rayfield School Architect.

I had no idea what these were, who the company was, or that they had any importance at all.

In fact, I considered them so insignificant that I took some of them like Frisbee's and just flung them out into the field.

I was absolutely determined, I mean, determined to take this to the county dump.

I was not going to keep it, it was trash (indistinct) and something inside me would not let me do that.

- [Host] "I took an entire day called all day long everybody in Birmingham, nobody seemed to know anything.

Finally I was about to give up and the Birmingham News suggested that I call the Birmingham Historical Society.

When I got them on the phone, I asked them, had they ever heard of the firm Wallace A. Rayfield and company?

And I told them what I had found, and they literally screamed on the phone.

They said they had been searching for over 20 years, trying to find anything pertaining to his life and works, and could not."

(gentle music) - [Narrator] Rayfield employed his academic training and professional experience to improve and expand Tuskegee's architectural and mechanical drawing department.

In 1904, he published his "Industrial Drawing Series".

The advanced teaching manual contained detailed illustrations and drawing exercises for his students.

- [Kwesi] Drawing was integral to Tuskegee and the education so much so that in 1900, (indistinct) Washington included a plate of over 30 different drawings in an exhibit for the Paris exhibition discussing education at Tuskegee.

and it was architectural education.

- [Narrator] During Rayfield's tenure at Tuskegee, he and Booker T. Washington had a strained relationship.

Rayfield complained frequently about his $540 annual salary and the compensation for his "Industrial Drawing Series" and Washington lectured Rayfield for smoking near campus.

After eight years, a dissatisfied Rayfield left Tuskegee Institute to test his entrepreneurial spirit and architectural skills.

First in the town of Tuskegee, then in Montgomery, and finally in 1908 he moved to Birmingham, a rapidly growing industrial city with booming steel mills, coal mines, and a thriving Black middle-class.

In Birmingham, Rayfield found his true calling.

- [Glenn] The conditions in the rural south were so deplorable, cotton paid next to nothing.

And you were eking out a living under the most penurious circumstances, trying to grow the same crop on worn out soil year after year.

In Birmingham, you had the possibility of sending children to school.

You had the possibility of the children finding some other kind of line of work to get into.

And indeed what we ultimately see in Birmingham by 1890, 1910, 1920 is the growth of a thriving Black Middle-Class that is made up of teachers in those schools who are educating African-American children.

The ministers of the various churches that spring up all over the Birmingham district.

This is the era in which the races were being legally separated, black from white, but at the same time that segregation will strengthen the growth of a black economy, a black business class, a black community as expressed in the very churches and in an architect like Wallace Rayfield will be able to design because the congregation, thanks to segregation, is able to strengthen its own expression of a community.

- [Narrator] African-Americans in Birmingham needed more than jobs to achieve a better quality of life.

To strengthen the Black community, Reverend William Reuben Pettiford, pastor of the 16th Street Baptist Church established the Alabama Penny Savings Bank in 1890.

- [Wilson] The Alabama Penny Savings Bank was probably the most important and the most powerful economic institution in Birmingham's African-American community.

- [Narrator] By 1911, the banks assets exceeded $1.5 million, which is almost $39 million by today's standards.

It was one of the largest and most successful African-American owned banks in the country.

- [Wilson] That bank provided loans for churches, provided loans for people to build houses.

Many of the houses that Rayfield built, these were people who were a part of that Alabama Penny Bank.

- [Narrator] In 1913, the Windham Brothers, a noted black construction company known for its building expertise constructed this building for The Penny Savings Bank in Birmingham's Downtown Black Business District.

Rayfield designed the stunning six story structure known as the Pythian Temple building.

(gentle music) - Our goal is to have the book to the publisher by the end of the year, and then within the, hopefully the first... By February or March at the very latest be available to the public.

- [Narrator] Determined to share his discovery and the story of Rayfield's life and work, Allen Durough formed a research team in 1995.

- [Allen] The goal of the research team was one, to acquire as much information as we could about Rayfield, his life and history and produce a book.

It was suggested to me that this was such a historical thing that one day it probably would become a important documentary.

So they recommended that we video tape each of the teams meetings.

They wanted us to have an architectural historian as a coauthor that was not feasible.

And then the project was just put on the back burner for several years and forgotten.

The research team disbanded and I was left with the project.

(gentle music) - [Narrator] Hunter Chapel A.M.E. Zion Church dates back more than 150 years.

The congregation's original building was destroyed by fire in 1909.

Wallace Rayfield supplied the construction plans for this Romanesque style house of worship in 1910.

- And the chapel in terms of its history in my mind is extremely significant because number one, it is indeed the first African-American church that was founded here in Tuscaloosa.

It was very significant as an institution because it provided for the first schools to educate the freed slaves and the children of freed slaves.

It was one of the churches that was certainly a leader in terms of issues of civil rights.

- [Narrator] The passage of time and the elements of nature have damaged the historic structure.

So in 2015, the congregation began raising funds to restore the buildings interior and exterior.

- [Thaddeus] We found it important not just to preserve the history of the church as a denominational church, but to preserve Rayfield's work, and to talk about it and to help tell the story of the significant work that has gone on by someone of his statue; that has not been told in a very extensive or prolific way to date.

(birds chirping) (bright gentle music) - [Narrator] By 1911 Rayfield's business was thriving.

He was the managing architect for the A.M.E. Zion Church.

Rayfield also designed churches for the National Baptist Convention.

Later, he was appointed the general supervising architect for the Freed Men's Aid Society.

- [Wilson] The Freed Man's bureau provided hundreds of schools for black people in the south.

- It was responsible for recruiting teachers to come south to teach the freed men, and then later on it continued to promote education by building schools and supporting educational efforts for African-Americans.

(birds chirping) (gentle music) - Well, no, they will not... Well, they may be on display in Auburn University at some point in time, but our intentions and plans right now are to make exhibition of them throughout the entire nation.

(slow gentle music) I feel like God must have chosen me for this, for whatever purpose and that it has given me a greater appreciation of that which African Americans went through during the slavery period and the period of growth immediately after slavery, what they coped with as freed men.

(indistinct chatters) - [Kari] I think when he discovered those plates on his property, to him this was a sign from God that not only did he owe it to history to recover Wallace Rayfield's legacy, but I think he saw it as a sort of penance.

- [Glenn] He saw himself as an architect of not able to do work for anyone, a black or white.

And he was very insistent on advertising, his attractive church structures, and other designs to black and white communities alike, and consequently race and color was not important to him; It was the caliber of the work.

- [Victor] He had a peculiar practice.

He was an excellent marketer of his services.

- [Kwesi] So when I look at Rayfield, you say, "I will send you plans all over the country.

Tell me what you want, and I'll give you plans" you're marketing all over the country.

That by itself is an amazing (indistinct).

- [Allen] Rayfield had many publications.

In Tuskegee, he produced the "Industrial Drawing Book".

Then in Birmingham, he had books of plans for every major religious denomination, Catholic churches, Baptist, Methodist, A.M.E., C.M.E.. Then also he published on a quarterly basis, "The T Square Architect", and also a publication known as "The Colored Mechanic".

- [Roman] Most architects are very local and here's a local architect who has this global reach.

(indistinct) as a church or a house or other institutions, he had these very set plans that he's like mass producing and really making sure that his stamp on the country is there.

His stamp on architecture is there.

And all you see is Wallace A. Rayfield Architect.

You have no, actually you assume that he must be white because the only architecture you're aware of are white architects.

(gentle music) - [Allen] Well, two years after my finding the collection, I was involved in a very, very bad automobile accident and my entire right side was maced and my neck was injured, and my back and my right leg, and just a lot of things internally.

And that started sort of a downhill spiral for me, health wise, and it was determined that I was going to have to have a knee replacement in one or the other of my knees and they wanted to do both of them.

Well, I chose my left knee first that went bad and resulted in my losing my left leg.

So, I'm in a wheelchair, say 95% of the time.

I have pain that I live with in every joint and muscle of my body constantly.

Each year, I have numerous episodes of things that makes my health condition worse and worse.

And the doctors do not give me much of a positive prognosis.

Their prognosis is quite a drab one.

So, the main thing that the doctors are doing is trying to keep me out of pain as much as possible.

Then it's basically just a matter of existing until God decides to call me home.

(slow gentle music) As I realized that these printing plates could actually be printed off, I (indistinct) to locate and to acquire a printing plate called (indistinct).

(indistinct) is like a glorified credit card and printer.

It has an overhead roller in which you set the wooden and metal printing plate, which has been rolled with ink on top of which has been set the paper.

And then this rubber roller is drawn across that paper, which presses the image from the printing plate onto the bottom side of that paper.

() This is the Wallace A. Rayfield architectural legacy presentation.

It took quite a few years to compile the research and then to compile the PowerPoint presentation.

The Rayfield collection consists of 411 printing plates, offset printing plates, which comprise the majority of the actual elevation drawings, floor plan drawings, as well as family portraits.

Also, it includes about 15 years plus of research.

And we put down several thousand miles traveling, interviewing, videoing, and talking.

If buildings still stood, we tried to get a current picture.

If it had been torn down, we tried to find out when.

The collection captivated my interest in such a way that it literally cost me thousands and thousands and thousands of dollars.

I am disappointed that universities, museums, and so forth has not taken a greater interest in the collection and the project.

It seems like everybody wants the collection but everybody wants me to strictly donate the collection.

And I feel that not only I, but my family, is justly entitled to some type of compensation.

- [Victor] The existence of those plates sets Mr. Rayfield in a league above any other architects that practice around here, black or white.

His the work and the quality of his work, the breadth of his practice is documented by those plates, and they're not readily available.

- Too many individuals who acquire these rare collections of very important people or events, movements, and there's precious items and they realize it and they want to do the right thing and they try to do the right thing and they hold them like a treasure close, but sooner or later, things are going to evolve and there's no guarantee what might happen.

And the only way to be sure, at least as far as we can in our frail human nature to be sure is to put them in a safe repository where there are management plans to guarantee items like this are protected in perpetuity.

(gentle music) (slow gentle music) (bright gentle music) - [Clifton] The plan was do phase one, scrape it, clean it and that what takes the most time, is you're scraping it and cleaning it and get the brick work where it will hold a paint.

It really supposed to took us right at two months, but with the rain and wherever and all that, we still on course.

- [Thaddeus] We felt comfortable that the talent and the skill sets that were needed to renovate this building was in the African-American community.

We didn't know where we were gonna find them, but Clifton Williams appeared on our doorstep and he looked at the building and he said, "I can do it.

I can restore it."

And of course, our primary objective to him was, you have to restore it as much as you can in its original form.

It must maintain the glory that it has had in the grandeur that it has had over a hundred years.

- [Allen] I got what I would consider flack from a lot of my white friends and associates questioning why I was putting so much time and you might see costing myself so much money because of neglecting the other things that I needed to be focusing on.

Why I was doing this for quote, "a black person".

And I also was faced with a lot of jealousy from some in the black community.

I feel that there are numerous individuals who would, if you wanna say, would hijack the collection for monetary purposes.

- [Kari] I think an ideal home for these plates would be in an H.B.C.U.

They should not be locked away, but they should be made accessible, he's an important figure in the construction of the new south and his work needs to be shared with the widest possible audience, but he belongs to the black community, and I strongly feel that those plates should be in an African-American institution.

- Tuskegee should receive the plates because of the role that Tuskegee has historically played.

Black architects, black architecture started here at Tuskegee and Wallace Rayfield was at the core of that.

- Nobody really lectures or informs us on the existence of W.A.

Rayfield except Allen Durough.

- I am now in the den of my home, in here I have a cart containing a big part of the Rayfield collection.

- [Narrator] In 1924, Rayfield designed Birmingham's 32nd Street Baptist Church.

The sanctuary large seating capacity allowed it to host many of the civil rights meetings during the 1960s.

The congregation vacated the building and moved to a new location in 1995.

Two separate investment groups attempted to convert the church into condominiums, both ventures failed.

In 2013, the building was the subject of a Florida State University master's thesis, promoting the need to preserve the church.

This is the historic house of worship today.

(gentle music) - There's going to be a world of history and information to be uncovered in the revelation of these prints and the plates themselves.

Buildings and people and historical events that the public has lost knowledge off.

(gentle music) No one has contacted me about purchasing the plates.

Many have contacted me about desiring that I would donate the collection.

It has been many years, probably 10 years or more since I have worked on anything pertaining to Mr. Rayfield and the plates.

My health and my mental ability has been such for so many years that it just not, has not allowed me to work on the project.

In fact, at times I am in pain to such an extent that I feel like it's not worthy even trying to stay alive.

(birds chirping) (gentle music) - [Narrator] The Birmingham campaign of 1963 is considered one of the major turning points in the civil rights movement.

In his famous letter from the Birmingham jail, Martin Luther King Jr. wrote, "In any nonviolent campaign, there are four basic steps: Collection of the facts to determine whether injustices exist, negotiation, self purification, and direct action" In 1909, Rayfield designed Birmingham 16th Street Baptist Church.

One of the campaign's main locations for mass meetings and strategy sessions.

The Windham Brothers completed the Byzantine style structure in 1911.

This is Rayfield's most well-known structure, unfortunately because of one tragic event on September 15th, 1963 members of the Ku Klux Klan bombed the church killing four young girls.

In 2017, the 16th Street Baptist Church developed plans to honor Wallace Rayfield in the adjoining church office building and form a parsonage designed by Rayfield.

- [Ted] We're currently working with an agency to try to identify funding, trying to identify sources that we can work with to secure the plates and the possessions of Reverend Dorough at this point.

I think 16th Street Baptist Church designed by Rayfield is a perfect location to tell that story and to share that story with the world.

If we don't secure the plates, we still will go on with the Wallace Rayfield Museum and just not have the plates as a part of the exhibit.

- [Narrator] The great depression destroyed the nation's economy.

Birmingham's African-American community already suffering from the weight of oppression was devastated.

Rayfield's business was not spared.

- [Kari] The depression actually hits Alabama in the south a lot earlier than it does the rest of the country.

The farming sector, the agricultural sector begins to hit a decline.

In the mid 1920s, cotton begins its slide about 1924 and 1925.

The steel industry begins to decline, lay off workers before the stock market crash.

- [Glenn] By 1935, a hundred thousand people in Birmingham are on relief, and Franklin D. Roosevelt would say, Birmingham was the hardest hit town in the country.

And it's in that desperation that there's just no money, there's nothing.

And old timers in Birmingham could remember when the last skyscraper was built in the city and nothing changed on the skyline until the 1960s.

- [Allen] I do believe that God gave me an opportunity to make a contribution to, if you want to say, not in the way of civil rights but injustice to the African-American artisan that had been given very little recognition.

So I think God knew my heart and he knew that I would take an interest in what Mr. Rayfield had done.

- For him to have spent so much time and effort to make this subject better known is commendable.

And I think really speaks to the objective of good-hearted white people trying to make up for what they know full well was the awful racist past perpetuated by the white community on the block.

- And so when I think about Wallace Rayfield, I think about a man who built community institutions that were meant to say to both the black community and white community, these people aren't going anywhere, they're here for the duration.

- I admire his courage, even in today's times relatively speaking, there aren't a lot of African-American architects.

- What you're finding is that there are a lot of people who are coming into spaces and transforming these spaces, and they're not black people that are coming and transforming these spaces that at the core is it a value of the black architecture.

That at the core is what Rayfield really embodies.

You have this one architect who was able to establish an identity for a black community.

- [Narrator] On February 28th, 1941, Wallace Augustus Rayfield suffered a stroke and died.

He was 67 years old.

(birds chirping) (keyboard typing) (gentle music) - [Allen] The fact that we do not know where Rayfield's grave is, even though we know the cemetery in which he was buried, saddens me.

- The grave site of many of those, many Blacks during this period were in cemeteries they were not under perpetual care.

- One sad thing about Greenwood is that there's no longer a map or nobody can locate a map.

There's no longer a list of interments knowing exactly who was buried here and when which leaves us with the history that is above ground.

- [Allen] My brother and I went to the Greenwood Cemetery, but the cemetery was grown up head high in bushes and weeds.

We took weed eaters, chainsaws, machetes, and went out there and searched for the location, but we never could find anybody that could help us locate where Rayfield's actual plot was.

- I came out here to Greenwood yesterday, just to walk the grounds and see if I could find the marker.

I feel certain that there is a marker out here somewhere, and I walked from one corner of the cemetery, started over there, and I walked the entire cemetery and my pedometer said I walked seven miles just in the cemetery alone yesterday.

So I did quite a bit of walking, but I did not find the stone, but it's just a matter of will and taking a little time and deciding this is a task we're going to do, and I feel pretty certain we'll be able to find it.

- The fact that you can go to a building and you find on the corner, a stone with W.A.

Rayfield etched into it that was probably one of the most significant experiences that I've had in my life recently.

- [Allen] The more I learned about Rayfield, the more I realized what a great artist he was.

I just wanted to know more and more about him, and it was a compelling driving inward force that led me in that way.

(gentle music) You take something as rare as the Rayfield collection, I'm sure there are individuals out there who would consider it like a piece of goat.

Upon realizing how valuable this collection was, I knew that it needed to be protected.

So, I sat out to find something to keep the collection again, and I purchased a safe.

The safe is about six feet high and about four feet wide, it has in it file drawers that were just ideal for cataloging and keeping the collection and its related research material.

The collection of the Rayfield research has been like working a magnificent puzzle and it finally came together.

I get the satisfaction of knowing that I have been able to resurrect a part of history that otherwise would have been lost forever.

(gentle music) ♪ I'm working on the building ♪ ♪ It's a true foundation ♪ ♪ I'm holding up the blood-stained ♪ ♪ Banner for my lord ♪ ♪ (Indistinct) ♪ ♪ Working on the building ♪ ♪ I'm going up to heaven and get my reward ♪ ♪ When you see me crying ♪ ♪ I'm working on the building ♪ ♪ Holding up the blood-stained ♪ ♪ Banner for the Lord ♪ ♪ (Indistinct) ♪ ♪ Working on the building ♪ ♪ I'm going to heaven ♪ ♪ Get my reward ♪ ♪ When you see me shouting ♪ ♪ I'm working on the building ♪ ♪ I'm holding up the blood stained ♪ ♪ Banner for the Lord ♪ ♪ (Indistinct) ♪ ♪ Working on the building ♪ ♪ I'm going to heaven ♪ ♪ Get my reward ♪