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In the early 2000s, ex-graffiti artist and indie label owner Austin Wilde ran a label that released cult classic compilation albums, including a hip-hop-inspired series called BADMEANiNGOOD<\/em>, for which he commissioned a then-little-known graffiti artist named Banksy to produce four album covers and posters, and an additional 12\u2033 sleeve for the 2002\u20132003 releases. Back then, Wilde shared an office with Banky\u2019s first manager.\u00a0<\/p>\n The concept for the albums was to shine a light on the compiler\u2019s musical influences. The tracks chosen by each compiler were the soundtrack to their experience, a Venn diagram of hip-hop, turntablism, and sample culture. The strapline for the series was \u201cPersonal. Musical. A Hip-Hop Chronicle,\u201d and this remains as true today as it was then.\u00a0\u00a0\u00a0<\/p>\n Working with Stephen Earl (Banksy\u2019s then manager), Banksy assigned Wilde the copyright for the designs. This in itself is a rarity, as Banksy only did this twice as far as we know:, the other being for Blur\u2019s \u201cThink Tank\u201d album, released in May 2003, which features a couple wearing aqualungs and kissing.\u00a0<\/p>\n For the first release by Skitz, Banksy produced an original image of heavy artillery wearing a pair of Adidas. A canvas of this image was sold with Pest Control authentication via Sotheby\u2019s in 2008. For the remaining album covers, Banksy repurposed existing images from his catalog that would work within the subversion of the bad\/good thematic principle.\u00a0<\/p>\n \n
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