WHRW has operational facilities in Glenn G. Bartle Library Tower and in SUNY Binghamton Student Union.

The station was called WRAF, where "RAF" stood for Harpur College's Rafuse Residence Hall, the origin of the broadcast.

While the station was received on 590 kHz on AM radio, the broadcasts were carrier-current as they were transmitted through the power lines of only two residence halls.

In the spring of 1967, the mayor of Binghamton, Joseph Esworthy, was interviewed on the "Open Line" show by the station's general manager, David R. Cooper.

The next day, the local media picked up the story, and it is believed that the publicity is what ended Esworthy's political career.

There was also a "lobby," an open room that had couches and chairs, bulletin boards with station news and current events, and WHRW's broadcast piped in through speakers.

The shell of the "old station," as it was called, existed in exactly the condition in which it was left after the move for five years, until mid-2007, when renovation work finally began.

spray-painted on the plywood walls surrounding the School of Engineering building construction site at Binghamton University, which was then known as Harpur College.

In the early 1970s, some adventurous FM stations (such as KSAN-FM and WNEW-FM) began experimenting with programming based upon album tracks, not only from established artists but from more obscure bands as well.

Many of these stations played records by bands few AM radio listeners had heard of at the time such as Led Zeppelin, The Chambers Brothers, Iron Butterfly, and spoken-comedy acts like Firesign Theatre.

Experimental programming was also becoming popular, especially among college stations, and this time period is also where the term "progressive" or "underground" radio was born.

Shows were often semi-scripted, using tape production to introduce both commentary and comedy rather than simple turn-table segues to press disparate sound, culture and music into a holistic collage that sometimes became art, but often challenged mind and senses in ways nearly painful for the thrill.

In the mid-1970s free-form radio fell out of vogue, and many formerly progressive FM stations adopted an AM-like playlist and rotation schedule, though unlike today many of those stations would still offer specialty programming such as live concert simulcasts (most notably the King Biscuit Flower Hour) and comedy shows such as the National Lampoon Radio Hour and Dr. Demento.

WHRW decided to preserve this format throughout those years and beyond, perhaps not intentionally, but simply by sticking with a style that suited its DJs and listeners.