WREK got its license on the auspice that they would play stuff that nobody else in Atlanta played. That wasn't as big a deal when they first got started, but as Atlanta grew, and the commercial market demographic coverage grew, and the number of noncom stations that covered the fringe grew, WREK was in many ways painted into a corner of "weirdness" with its programming. They can't do rock, because other stations are already doing that better. They can't do jazz, because WCLK is already doing that better. They can't do college alternative, because WRAS is already doing that better. They can't do community programing, because WRFG is already doing that better.
What's left is a mishmosh of all of it, one step weirder than anybody else dares to go. That's the essence of being the WREK program director. You can't put anything popular in rotation, because who's going to listen to it? Brittney Spears already has plenty of exposure elsewhere. WREK exists to give exposure to stuff that isn't being exposed.
In short, "Music you don't hear on the radio."
