In the Catholic tradition, the “Litany of the Saints” is a sung prayer of appeal to God and the saints. I am most familiar with it as a chant, with the cantor intoning the saint and the assembled responding “hear our prayer,” as you can see in this video of such a litany when the Roman Catholic Pope Benedict XVI held a youth rally as part of his visit to New York City a few years ago:

In my experience, those litanies are a beautiful way to call forward a host of persons from the tradition into the present, somehow making more real and meaningful the act of addressing them not only from across the centuries but as one chanting ensemble. Such a hive of yearning rarely fails to reach me deeply and to authenticate some mystical truth about the desire to ask the dead to intercede for “us” on behalf of reality, to care about our lives as we do theirs. This despite the fact that the exploits or even existence of some, or even many, of the saints whose names are recited are more fiction than fact. Actually, that knowledge heightens the experience for me, because it pitches the whole exercise into a sublime realm of literary beauty and literary mysticism, wherein wanting to indulge in the depiction of an artfully rendered life is enough, spiritually, to already claim some small purchase on such a life for oneself.

It is with this in mind that I recently thought about the band Rage Against the Machine.

Their video for the song “Renegades of Funk” features a compelling display of adored figures from politics and music, focusing especially on “renegades” of color with a bent toward Black Power. The lyrics name-check a few heroes (Sitting Bull, Dr. Martin Luther King, Tom Paine, Malcolm X) and thereby kick off the litany, but the real litany is in the visuals. Every few seconds, a visual with the name and image of a person or group from U.S. political or musical history is featured, and those visuals are intercut with

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