Khausion Di Ikon


Reggae and Dancehall Artiste “Khausion”  originally known as  Khausion Di Ikon, was given the  birth name Nicholas Cowan. He was born in Kingston  11, Jamaica in the tough inner-city community of Payne  Avenue. 

The young prodigy faced many obstacles in his  earlier years, raised by a single mother with four  siblings. It was often a struggle to find a daily meal and  to attend school regularly. Despite his adversities  Khausion decided that he would not become a statistic  by following the life of gangs, crime and the partaking in  turf wars as did the typical youth from his community.  

Khausion made a choice to make a difference.  Hence he fled to Linstead, St Catherine at the  age of 13. 

There in Linstead, at the age of 15 Khausion  began singing and discovered his talent and passion for  music.  In the years to follow he met Dwayne ‘Illis’  Walker who utilized his home studio to initiate  Khausion’s recording projects. 

Illis became very  instrumental in guiding his music career.   Khausion has gained inspiration from some of  the biggest musical legends such as Bob Marley, Peter  Tosh, Dennis Brown, Gregory Isaacs, Sly and Robbie and  Ray Charles. 

He mentions that those artists were greatly  influential in his style of music and the messages he  conveys.

 Khausion Better Jamaica EP

 Khausion Better Jamaica EP

Cooljune Entertainment Jamaica  1-876-3573138
Cooljune Entertainment New York 


Mr. Brown of Bold n Boasy Entertainment

1876-534-1849 Whatsapp

Discography  Song  Producer 
Better Jamaica – Aerodynamic Production 
No Medz – Jahhstone Productionz 
It’s A Shame – Turbulence International  Production 
Wrong Turn – One Tree Records 
Anyweh n  Anytime – ft. Sativa  D Black 1  Ghetto Life Records

 Khausion and Junie
 Khausion EP
Khausion Di Ikon

Support Khausion Di Ikon Merch and his great reggae EP Title Better Jamaica. Get Khausion Di Ikon Merch..

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4 Steps To Licensing Your Next Single

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Bit2Music Blog

Bit2Music Blog

Symphonic Support

Symphonic Support

MUSIC LICENSING March 26, 2019

For so many artists, licensing is seen as the holy grail of placements. Oftentimes paid and accompanied by a huge increase in exposure, your song landing in the right TV show, movie, or commercial can mean major transformation for your band. Even the smallest placements usually come with a paycheck and a boost in fans—both of your music and fans from the industry side, which, you guessed it, can lead to even more placements.

How then, can an indie band end up gaining a licensing placement for their song?

Make sure you’re registered

First and foremost you need to make sure you’re registered with a Performing Rights Organization like ASCAPBMI, or SESAC. This is crucial because these are the people that make sure you’re getting paid every time your song is played.

But don’t stop there. You’ll also want to look into mechanical royalties, (the money you make when something is downloaded or sold on say, iTunes, which ASCAP, SESAC, and BMI don’t cover.)

Spotify, Amazon, Google, etc pay the mechanical royalties directly to publishers, not PROs, which means in order to get the mechanical royalties you’re owed, you’d probably do best to have a publisher. It’s not that you aren’t owed it without one, it’s just that in general, the people responsible for paying you don’t actually know how to find you and odds are they’re not pulling out all the stops to make sure they find you.

Simply put, having a publisher makes this all a bit cleaner and gets you closer to the money you’re owed.

Consider a publisher

This brings us nicely to our second point—finding a publisher. While you certainly don’t need a publisher, and working with one means giving up 50% of your profits, it also means you’re more likely to actually get those songs placed somewhere, and get all the royalties you’re owed.

Think of this as hiring a publicist rather than doing your own PR. Sure, you could do all the outreach yourself, but beyond being a huge time sink, you probably don’t have the same connections that your publicist does. Publishers are the same way. They have relationships with music supervisors that would be difficult for most independent artists to attain. (Side note: Symphonic Distribution offers in-house sync licensing for all our clients.)

If you do have those relationships, then sure, try it out! Just make sure you’re pitching to them personally (no copy and paste, no misspelled names, and no generic emails) and don’t harass them. Be professional but polite, and don’t be afraid to throw a little charm and personality in there.

Decide if you want to write for licensing

One of the questions you’re going to face early on is “am I writing songs with the intention of getting them licensed?” Some artists will prefer to just write the songs they want and if they get licensed, great and if not, no big deal. Others will want to make the intentional decision to write songs accessible enough to get picked up. It’s a decision that’s entirely yours, but something to be aware and conscious of as you’re creating music.

Get Creative

Not every placement is going to be a spot on the season’s hottest TV show or the catchy tune in the background of your favorite brand’s commercial. Some placements will be for obscure movies or TV shows, and that’s ok. If you’re willing to think even further outside the box, there’s even opportunities outside the traditional film/TV avenue including in virtual reality, Snapchat, and of course, streaming services like Netflix and Hulu. (more on all that here.)

Landing a licensing placement for your song can be such an incredible opportunity, and I believe it’s within the reach of all serious artists. While a more commercially accessible song might generate more initial interest or a faster placement, I really believe that there’s a scene, a moment, an opportunity for every song—it’s just a matter of finding it.

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Monthly Reporting and Payment Schedule

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Below is the proposed schedule for monthly reporting and payments so that you are aware when reports are posted and can be claimed. Reports may often arrive late from partners and as such are added on to the next reporting period.

You can expect a report to be live on the last day of a calendar month to cover a month that passed 2 months prior. The reasoning for this is that it may take up to 60 days for Symphonic to receive payment and/or even statements and thus we need a month in between to ensure payment has been collected prior to paying out to you.

We’ve also included ESTIMATED POSTING DATES for your convenience.

January: Reporting / Payment: End of March (Est. Time: Mar 31st – Apr 2nd)
February: Reporting / Payment: End of April (Est. Time: Apr 30th – May 2nd)
March: Reporting / Payment: End of May (Est. Time: May 31st – Jun 2nd)
April: Reporting / Payment: End of June (Est. Time: Jun 30th – Jul 2nd)
May: Reporting / Payment: End of July (Est. Time: Jul 30th – Aug 2nd)
June: Reporting / Payment: End of August (Est. Time: Aug 30th – Sept 2nd)
July: Reporting / Payment: End of September (Est. Time: Sept 30th – Oct 2nd)
August: Reporting / Payment: End of October (Est. Time: Oct 31st – Nov 2nd)
September: Reporting / Payment: End of November (Est. Time: Nov 30th – Dec 2nd)
October: Reporting / Payment: End of December (Est. Time: Dec 30th – Jan 2nd)
November: Reporting / Payment: End of January (Est. Time: Jan 31st – Feb 2nd)
December: Reporting / Payment: End of February (Est. Time: Feb 28th – March 2nd)


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