page_title: DuMont Television Network
section_title: Early troubles
hierarchical_section_title: DuMont Television Network / History / Early troubles
caption_attribution_description: English: Dumont Television building
context_page_description: The DuMont Television Network was one of the world's pioneer commercial television networks, rivalling NBC and CBS for the distinction of being first overall in the United States. It was owned by Allen B. DuMont Laboratories, a television equipment and set manufacturer, and began operation on June 28, 1942.
  The network was hindered by the prohibitive cost of broadcasting, by a freeze on new television stations in 1948 by the Federal Communications Commission which restricted the network's growth, and even by the company's partner, Paramount Pictures. Despite several innovations in broadcasting and the creation of one of television's biggest stars of the 1950s, Jackie Gleason, the network never found itself on solid financial ground. Forced to expand on UHF channels during an era when UHF tuning was not yet a standard feature of television sets, DuMont fought an uphill battle for program clearances outside its three owned-and-operated stations in New York City, Washington, D.C., and Pittsburgh. It ended network operations on August 6, 1956.
context_section_description: DuMont began with one basic disadvantage: unlike NBC, CBS and ABC, it did not have a radio network from which to draw big-name talent, affiliate loyalty or radio profits to underwrite television operations until the television medium itself became profitable. Most early television licenses were granted to established radio broadcasters, and many longtime relationships with radio networks carried over to the new medium. As CBS and NBC (and to a lesser extent, ABC) gained their footing, they began to offer programming that drew on their radio backgrounds, bringing over the most popular radio stars. Early television station owners, when deciding which network would receive their main affiliation, were more likely to choose CBS's roster of Lucille Ball, Jack Benny, and Ed Sullivan, or NBC's lineup of Milton Berle and Sid Caesar, over DuMont, which offered a then-unknown Jackie Gleason and Bishop Fulton J. Sheen. In smaller markets, with a limited number of stations, DuMont and ABC were often relegated to secondary status, so their programs got clearance only if the primary network was off the air or delayed via kinescope recording ("teletranscriptions" in DuMont parlance).
  Adding to DuMont's troubles was the FCC's 1948 "freeze" on television license applications. This was done to sort out the thousands of applications that had come streaming in, but also to rethink the allocation and technical standards laid down prior to World War II. It became clear soon after the war that 12 channels ("channel 1" had been removed from television broadcasting use because storms and other types of interference could severely affect the quality of its signals) were not nearly enough for national television service. What was to be a six-month freeze lasted until 1952, when the FCC opened the UHF spectrum. The FCC, however, did not require television manufacturers to include UHF capability. In order to see UHF stations, most people had to buy expensive converters. Even then, the picture quality was marginal at best . Tied to this was a decision to restrict VHF allocations in medium- and smaller-sized markets. Meanwhile, television sets would not be required to have all-channel tuning until 1964, with the passage of the All-Channel Receiver Act.
  Forced to rely on UHF to expand, DuMont saw one station after another go dark due to dismal ratings. It bought small, distressed UHF station KCTY (channel 25) in Kansas City, Missouri, in 1954, but ran it for just three months before shutting it down at a considerable loss after attempting to compete with three established VHF stations.
  The FCC's Dr. Hyman Goldin said in 1960, "If there had been four VHF outlets in the top markets, there's no question DuMont would have lived and would have eventually turned the corner in terms of profitability."
caption: The DuMont Building at 515 Madison Avenue in New York, with the original WABD broadcast tower still standing, 2008.
exif: {"Image Make": "Canon", "Image Model": "Canon PowerShot A720 IS", "Image Orientation": "Horizontal (normal)", "Image XResolution": "180", "Image YResolution": "180", "Image ResolutionUnit": "Pixels/Inch", "Image DateTime": "2008:04:03 12:20:28", "Image YCbCrPositioning": "Centered", "Image ExifOffset": "196", "Thumbnail Compression": "JPEG (old-style)", "Thumbnail XResolution": "180", "Thumbnail YResolution": "180", "Thumbnail ResolutionUnit": "Pixels/Inch", "Thumbnail JPEGInterchangeFormat": "5108", "Thumbnail JPEGInterchangeFormatLength": "3739", "EXIF ExposureTime": "1/1000", "EXIF FNumber": "4", "EXIF ISOSpeedRatings": "80", "EXIF ExifVersion": "0220", "EXIF DateTimeOriginal": "2008:04:03 12:20:28", "EXIF DateTimeDigitized": "2008:04:03 12:20:28", "EXIF ComponentsConfiguration": "YCbCr", "EXIF CompressedBitsPerPixel": "3", "EXIF ShutterSpeedValue": "319/32", "EXIF ApertureValue": "4", "EXIF ExposureBiasValue": "0", "EXIF MaxApertureValue": "95/32", "EXIF MeteringMode": "Pattern", "EXIF Flash": "Flash did not fire, auto mode", "EXIF FocalLength": "29/5", "EXIF FlashPixVersion": "0100", "EXIF ColorSpace": "sRGB", "EXIF ExifImageWidth": "629", "EXIF ExifImageLength": "971", "Interoperability InteroperabilityIndex": "R98", "Interoperability InteroperabilityVersion": "[48, 49, 48, 48]", "Interoperability RelatedImageWidth": "3264", "Interoperability RelatedImageLength": "2448", "EXIF InteroperabilityOffset": "3362", "EXIF FocalPlaneXResolution": "43520/3", "EXIF FocalPlaneYResolution": "2448000/169", "EXIF FocalPlaneResolutionUnit": "2", "EXIF SensingMethod": "One-chip color area", "EXIF FileSource": "Digital Camera", "EXIF CustomRendered": "Normal", "EXIF ExposureMode": "Auto Exposure", "EXIF WhiteBalance": "Auto", "EXIF DigitalZoomRatio": "1", "EXIF SceneCaptureType": "Standard"}