Editing Remain in Light (section)

==Packaging and title==
[[File:Grummannavy.PNG|thumb|upright|alt=Black-and-white aerial shot of four planes (with white stars on each wing and the body) flying in formation adjacent to each other over clouds.|[[Grumman TBF Avenger|Grumman Avengers]], used by the US Navy, in which Weymouth's father had served, inspired the initial cover art, later used on the back of the LP sleeve after the album name change.]]
Weymouth and Frantz conceived the cover art with the help of Massachusetts Institute of Technology researcher [[Walter Bender]] and his ArcMac team (the precursor to the [[MIT Media Lab]]).{{sfn|Bowman|2001|p=176}}<ref name=kalman415 /> Using ''Melody Attack'' as inspiration, the couple created a collage of red warplanes flying in [[Formation (military)#Commands, formations, and units|formation]] over the [[Himalayas]].{{sfn|Bowman|2001|p=176}} The planes are an artistic depiction of [[Grumman Avenger]] planes in honor of Weymouth's father, [[Ralph Weymouth]], who was a [[United States Navy|US Navy]] [[Admiral]].{{sfn|Bowman|2001|p=183}} The idea for the back cover included simple portraits of the band members. Weymouth attended MIT regularly during the summer of 1980 and worked with Bender's colleague, [[Scott Fisher (technologist)|Scott Fisher]], on the computer renditions of the ideas. The process was tortuous because computer power was limited in the early 1980s and the [[mainframe computer|mainframe]] alone took up several rooms.{{sfn|Bowman|2001|p=176}} Weymouth and Fisher shared a passion for masks and used the concept to experiment with the portraits. The faces were blotted out with blocks of red. As Eno wanted to be featured on the cover art as well, Weymouth considered superimposing Eno's face on top of all four portraits to insinuate his egotism, but decided against it.{{sfn|Bowman|2001|p=177}}

The rest of the artwork and the [[liner notes]] were crafted by [[graphic design]]er [[Tibor Kalman]] and his company M&Co.<ref name=kalman415/>{{sfn|Bowman|2001|p=177}} Kalman was a fervent critic of [[formalism (art)|formalism]] and professional design in art and advertisements.{{sfn|Bowman|2001|p=174}} He offered his services for free to create publicity, and discussed using unconventional materials such as [[sandpaper]] and [[velour]] for the LP sleeve. Weymouth, who was skeptical of hiring a designing firm, vetoed Kalman's ideas and held firm on the MIT images. The designing process made the band members realize that the title ''Melody Attack'' was "too flippant" for the music, and they adopted ''Remain in Light'' instead.{{sfn|Bowman|2001|p=177}} Byrne has said, "Besides not being all that melodic, the music had something to say that at the time seemed new, transcendent, and maybe even revolutionary, at least for funk rock songs." The image of the warplanes was relegated to the back of the sleeve and the doctored portraits became the front cover. Kalman later suggested that the planes were not removed altogether because they seemed appropriate during the then-ongoing [[Iran hostage crisis]].{{sfn|Bowman|2001|p=178}}

[[File:Talking Heads Remain in Light band logo.svg|thumb|left|alt=The words "talking heads" written in all-caps in a bold, sans-serif font. Every instance of the letter "A" is upside-down.|Tina Weymouth and Tibor Kalman designed the logotype used on the album cover.]]
Weymouth advised Kalman that she wanted simple [[typography]] in a bold [[sans-serif]] font.{{sfn|Bowman|2001|p=178}} M&Co. complied, with Kalman coming up with the idea of inverting the "A"s in "TALKING HEADS".<ref>{{cite AV media |title=Tibor Kalman |date=2018 |publisher=Criterion Collection}}</ref> Weymouth and Frantz decided to use the joint credit acronym C/T for the artwork, while Bender and Fisher used initials and code names because the project was not an official MIT venture.{{sfn|Bowman|2001|p=178}} The design credits read "HCL, JPT, DDD, WALTER GP, PAUL, C/T".{{sfn|Bowman|2001|p=183}} The final mass-produced version of ''Remain in Light'' had one of the first computer-designed record jackets.<ref name="NPR">{{cite web |url=https://www.npr.org/templates/story/story.php?storyId=1072131|title=Once In A Lifetime|last=Karr, Rick|publisher=[[National Public Radio]]|date=March 27, 2000|access-date=August 25, 2009}}</ref> Psychoanalyst Michael A. Brog has called its front cover a "disarming image, which suggests both splitting and obliteration of identity", and which introduces the listener to the album's recurring theme of "identity disturbance"; he has said, "The image is in bleak contrast to the title with the obscured images of the band members unable to 'remain in light'."<ref name=brog167>Brog, p. 167</ref>

Talking Heads and Eno originally agreed to credit all songs in alphabetical order to "David Byrne, Brian Eno, Chris Frantz, Jerry Harrison and Tina Weymouth" after failing to devise an accurate formula for the split,{{sfn|Bowman|2001|p=177}} but the album was released with the label credit: "all songs written by David Byrne & Brian Eno (except "Houses In Motion" and 'The Overload", written by David Byrne, Brian Eno & Jerry Harrison)".<ref name=inlay /> Frantz, Harrison, and Weymouth disputed the credits, especially for a process they had partly funded.<ref name="quiet">{{cite web |url=http://thequietus.com/articles/01782-tom-tom-club-chris-frantz-talking-heads-interview|title=Tom Tom Club's Chris Frantz On David Byrne, Brian Eno And Lee 'Scratch' Perry |last=Marszalek, Julian |publisher=[[The Quietus]] |date=June 3, 2009 |access-date=April 19, 2017}}</ref> According to Weymouth, Byrne told Kalman to doctor the credits on Eno's advice.{{sfn|Bowman|2001|p=183}} Later editions credit all band members.<ref name="inlay2006">{{cite AV media notes |title=Remain in Light |year=2006 |type=CD booklet and case back cover |publisher=[[Warner Music Group|Warner]] |location=London}}</ref> Frantz recalled in 2009 that he and Weymouth "felt very burned by the credits dispute".<ref name="quiet" />