Though it exists within the proverbial “college bubble,” college radio is no stranger to hard times.

Caroline Marchildon

Across the country, stations are being shut down and sold. The lack of available airwaves puts these stations’ frequencies in high demand, especially among public radio groups. Vanderbilt University station WRVU, for example, has been fighting a battle against public radio for the past year.

In September 2010, Vanderbilt Student Communications announced its plan to begin “exploring the migration of radio station WRVU to exclusively online programming and the sale of its broadcast license.” Later, employees were ushered out of their offices. The station’s format was changed without consent. Students have lost all control.

And in today’s times of economic duress, as budget cuts loom and frequency pickings are slim, all college radio stations are susceptible to scenarios like WRVU’s. As a result, it is particularly imperative to preserve the state of WUOG, our own University station. Not only does it offer those interested in a career in broadcasting hands-on opportunities and training, but WUOG also works to promote local music, organizations and events. It plays an integral role in Athens culture.

And today, as compared to the past, the networking and promotional capabilities of WUOG are no less vital. In the summer of 1980, R.E.M. made its radio debut on WUOG with a cover of Chan Romero’s “Hippy, Hippy Shake”.

Today’s bands, such as local favorite Reptar, are getting more exposure with the help of WUOG — Reptar’s keyboardist, William Kennedy, is even a former WUOG employee. The station remains as dedicated to sharing local music that wouldn’t receive airplay elsewhere as it was when it propelled Michael Stipe to fame.

What’s more, WUOG’s exposure-based role has been amplified — rather than diminished — in the digital age. Musicians can now create entire albums on their laptops.

But without an established place to share their work, those D.I.Y. musicians can get buried beneath the multitude of Internet bedroom albums with which they compete.

At WUOG, the students determine every aspect of the process. They control production. They find the music. And they man the airwaves. I’m proud to say I’m one of those students, which makes it even harder for me to imagine a fate like WRVU’s hitting home. But I shouldn’t be the only wary one.

As a student-run organization and soundboard for local music, WUOG is as D.I.Y. as the music it plays. It should remain in the hands of dedicated students, and it should retain its value as a cultural staple for the University. In a place like Athens, especially, it simply can’t afford to go.

— Caroline Marchildon is a junior from Woodstock majoring in public relations