The Hospitality Suite

The “Phonograph Record Labor Agreement” (PRLA) has been the foundation of AFM recording policy since 1944, and is the AFM’s agreement with Warner Brothers, Atlantic Recording, Elektra Entertainment, Sony Music, Universal Music Group, Polygram, BMG and EMI Music. These major labels have negotiated with the AFM to establish all working conditions from session rates to mandated residual payments. This is great for the musicians who do this work, but it’s even better for the major labels because in recent years these negotiated terms of employment now apply to “the industry.”

Electronic Media, Labor, Local Discussion, Pete Vriesenga, Symphonic/Classical, The Denver Musician

There are two manifestations of trade unionism that have taken root in the labor movement over the last century, and as I suspected, these two opposing viewpoints are readily found in the AFM: Unions that protect, and unions that organize.

Labor, The Denver Musician

It is wrong to suggest that struggling musicians are at fault because they cannot demand rates or agreements that are proven effective for only a very small percentage of the membership. To equitably resolve this dilemma, musicians employed in symphonic work or recording are encouraged to join Players Conferences (Associations), which are organized to establish and maintain standards for their members.

Labor, The Denver Musician