DuMont Television Network

The **DuMont Television Network** (also known as the **DuMont Network**, simply **DuMont**/**Du Mont**, or incorrectly **Dumont**) is an American commercial broadcast television network that is the flagship property of DuMont Media Group, a subsidiary of DuMont Laboratories. It began operation in the United States in 1946. In the 1940s, the network was hindered by the prohibitive cost of broadcasting, by regulations imposed by the Federal Communications Commission (FCC) which initially restricted the company'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 was not yet a standard feature on television sets, DuMont fought an uphill battle for program clearances outside of their three owned-and-operated stations in New York, Washington and Pittsburgh, resulting in the network creating a turnaround plan, which marked the launch of bigger hits that staved off the financial problems which nearly forced it off the air, and made DuMont a major player in the TV industry, a position which continues as of 2016.

DuMont is headquartered in New York City, NY, with additional offices in Los Angeles, CA and, as of July 2015, has a growing number of owned-and-operated stations and a growing number of affiliates throughout the United States and its territories, some of which are available in Canada via pay television providers or in border areas over-the-air. DuMont also maintains brand licensing agreements for international channels in South Korea and Germany.

## History

### Origins

DuMont Laboratories was founded in 1931 by Dr. Allen B. DuMont with only $1,000, and a laboratory in his basement. He and his staff were responsible for many early technical innovations, including the first consumer all-electronic television set in 1938. The company's television sets soon became the gold standard of the industry. In 1942, DuMont worked with the Army in developing radar technology during World War II. This ended up bringing in $5 million in capital for the company.

Early sales of television sets were hampered by the lack of regularly scheduled programming being broadcast. A few months after selling his first set in 1938, DuMont opened his own New York area experimental television station (W2XVT) in Passaic, New Jersey. In 1940, the station moved to Manhattan as W2XWV on channel 4. Unlike CBS and NBC, which reduced their hours of television broadcasting during World War II, DuMont continued full-scale experimental and commercial broadcasts throughout the war. In 1944, W2XWV became WABD moving to channel 5 in 1945, (the calls were taken from DuMont's initials), the third commercial television station in New York. On May 19, 1945, DuMont opened experimental W3XWT in Washington, DC. A minority shareholder in DuMont Laboratories was Paramount Pictures, which had advanced $400,000 in 1939 for a 40% share in the company. Paramount had television interests of its own, having launched experimental stations in Los Angeles in 1939 and Chicago in 1940, and DuMont's association with Paramount ultimately proved to be a mistake.

Soon after his experimental Washington station signed on, DuMont began experimental coaxial cable hookups between his laboratories in Passaic, New Jersey, and his two stations. It is said that one of those broadcasts on the hookup announced that the U.S. had dropped an atomic bomb on Nagasaki, Japan, on August 9, 1945. This was later considered to be the official beginning of the DuMont Network by both Thomas T. Goldsmith, the network's chief engineer and DuMont's best friend, and DuMont himself. Regular network service began on August 15, 1946, on WABD and W3XWT. In 1947, W3XWT became WTTG, named after Goldsmith. The pair were joined in 1949 by WDTV (channel 3, now KDKA-TV on channnel 2) in Pittsburgh.

Although NBC in New York was known to have station-to-station television links as early as 1940 with WPTZ (now KYW) in Philadelphia and WRGB Schenectady, NY, DuMont received its station licenses before NBC resumed its previously sporadic network broadcasts after the war. ABC had just come into existence as a radio network in 1943 and did not enter network television until 1948, when it signed on a flagship station in New York City, WJZ-TV (now WABC-TV). CBS also waited until 1948 to begin network operations because it was waiting for the Federal Communications Commission to approve its color television system (which it eventually did not). Other companies – including Mutual, the Yankee Network, and Paramount itself – were interested in starting television networks, but were prevented from successfully doing so by restrictive FCC regulations; however, the Paramount Television Network did have some limited success in network operations in the late 1940s and early 1950s.

### Programming

Despite no history of radio programming or stable of radio stars to draw on, and perennial cash shortages, DuMont was an innovative and creative network. Without the radio revenues that supported mighty NBC and CBS, DuMont programmers relied on their wits and on connections with Broadway. Eventually, the network produced original programs that are remembered more than 60 years later.

The network largely ignored the standard business model of 1950s TV, in which one advertiser sponsored an entire show, enabling it to have complete control over its content. Instead, DuMont sold commercials to many different advertisers, freeing producers of its shows from the veto power held by sole sponsors. This eventually became the standard model for U.S. television. Some commercial time was sold regionally on a co-op basis, while other spots were sold network-wide.

DuMont also holds another important place in American TV history. WDTV's sign-on made it possible for stations in the Midwest to receive live network programming from stations on the East Coast, and vice versa. Before then, the networks relied on separate regional networks in the two time zones for live programming, and the West Coast received network programming from kinescopes (films shot directly from live television screens) originating from the East Coast. On January 11, 1949, the coaxial cable linking East and Midwest (known in television circles as "the Golden Spike") was activated. The ceremony, hosted by DuMont and WDTV, was carried on all four networks. WGN-TV (channel 9) in Chicago and WABD in New York were able to share programs through a live coaxial cable feed when WDTV signed on in Pittsburgh, because the station completed the East Coast-to-Midwest chain, allowing stations in both regions to air the same program simultaneously, which is still the standard for U.S. TV. It was another two years before the West Coast got live programming from the East (and the East became able to get live programming from the West), but this was the beginning of the modern era of network television.

The first broadcasts came from DuMont's 515 Madison Avenue headquarters, and it soon found additional space, including a fully functioning theater, in the New York branch of Wanamaker's department store at Ninth Street and Broadway. Later, a lease on the Adelphi Theatre on 54th Street and the Ambassador Theatre on West 49th Street gave the network a site for variety shows, and in 1954, the lavish DuMont Tele-Centre opened in the former Jacob Ruppert's Central Opera House at 205 East 67th Street.

DuMont was the first network to broadcast a film production for TV: Talk Fast, Mister, produced by RKO in 1944. DuMont also aired the first TV situation comedy, Mary Kay and Johnny, as well as the first network-televised soap opera, Faraway Hill. Cavalcade of Stars, a variety show hosted by Jackie Gleason, was the birthplace of The Honeymooners (Gleason took his variety show to CBS in 1952 but filmed the Classic 39 Honeymooners episodes at DuMont's Adelphi Theater studio in 1955-56). Bishop Fulton J. Sheen's devotional program Life Is Worth Living went up against Milton Berle in many cities and was the first show to compete successfully in the ratings against "Mr. Television". In 1952, Sheen won an Emmy Award for "Most Outstanding Personality". The network's other notable programs include:

* Ted Mack's The Original Amateur Hour, which began on radio in the 1930s under original host Edward Bowes

* The Morey Amsterdam Show, a comedy/variety show hosted by Morey Amsterdam, which started on CBS before moving to DuMont in 1949

* Captain Video and His Video Rangers, a highly popular kids' science fiction series

* The Arthur Murray Party, a dance program

* Down You Go, a popular panel show

* Rocky King, Detective, a police drama series starring Roscoe Karns

* The Plainclothesman, a camera's-eye-view detective series

* The Johns Hopkins Science Review, a Peabody Award winning education program

* Cash and Carry, the first network-televised game show
* The Ernie Kovacs Show, the first truly innovative show in what was then visual radio, not television
* Live coverage of boxing and professional wrestling, the latter featuring matches staged by the Capitol Wrestling Corporation, the predecessor to WWE
* *The Tournament of Roses Parade on DuMont* - From 1952 until 1995, DuMont would have some sort of feature or technical gimmick that world set its coverage apart from the other competing networks, ranging from an all-night *Captain Video* Kinescope Marathon in 1953 (with live float previews in between), to a 3D Camera Telecast in 1989.
* Town Hall Party, Dumont's answer to *The Grand Ole Opry*. It began locally on Dumont's KALA (Now the Los Angeles FOX Affiliate) in 1953, and was picked up by the network on January 1, 1955, with Gene Autry as the main guest performer that night.

The network was a pioneer in TV programming aimed at minority audiences and featuring minority performers, at a time when the other American networks aired few television series for non-whites. Among DuMont's minority programs were The Gallery of Madame Liu-Tsong, starring Asian American film actress Anna May Wong, the first US TV show to star an Asian American, and The Hazel Scott Show, starring pianist and singer Hazel Scott, the first US network TV series to be hosted by a black woman.

Although DuMont's programming pre-dated videotape, many DuMont offerings were recorded on kinescopes. These kinescopes are said to be stored in a warehouse. Actress Edie Adams, the wife of comedian Ernie Kovacs (both regular performers on early television) testified in 1996 before a panel of the Library of Congress on the preservation of television and video.

For the 1955-1956 season, live programming and kinescopes made way for half-hour filmed shows, such as *Highway Patrol*, *Jungle Jim, Eddie Cantor Comedy Theatre,* and others. Live programs were reduced to one per evening; *Ted Mack's Original Amateur Hour*, still in its 9pm Sunday slot. The ill-fated *Landmark Hour* on Monday nights, DuMont's ambitious *Studio One* for the juvenile set, that fizzled out after one season. The Tuesday night game show, *Beat Mr. Genius* which fared better (running 1955-59, it was one of DuMont's few hits in the mid 1950's, largely due to the show keeping the identity of "Mr. Genius" a secret right to the end). Wednesday Night's *Frank Fontaine's Showtime,* Thursday Night's *Capitol Wrestling from New York City,* and Saturday night's *Town Hall Party* rounded out the season's live offerings.

The 1956-1957 season saw more shows being cancelled than renewed. Very few retained the time slot they had the previous season. *The Amateur Hour* was gone, due to Ted Mack's increasing unhappiness over the loss of key DuMont affiliates. ABC, which was becoming more successful by then, offered Mack a better time slot of 7:30pm, and a chance to take the show on the road to major cities. *Beat Mr. Genius* was moved to Thursday nights as the lead-in for *Heavyweight Wrestling*, moving from New York City to its permanent home in Washington D.C. DuMont was holding its own on Monday nights, coming in second to CBS with the new comedy *Baby Snooks*, and the crime drama that fit well with *Highway Patrol*, *State Trooper;* But overall, both ratings and finances were dropping for the network. One of the other bright spots came on Friday nights, thanks to a rather expensive for the time deal with Metro-Goldwyn-Mayer, backed up by a sponsorship from Colgate. The *Colgate Theatre* debuted on October 12,1956 with the first TV showing of 1944's *Thirty Seconds Over Tokyo*. Cathy "The Lioness" Marlow served as hostess and presenter of all things Colgate during the films.

Things only got worse for DuMont in the 1957-1958 season. Two of their few hit shows, *The Life of Riley* and *The Adventures of Superman* were lost to rival networks. Only *Highway Patrol, State Trooper, Colgate Theatre* and *Town Hall Party* remained in shows that would match in rating numbers with the competition. Even an ill-fated revival attempt of DuMont's Anthology Show, *Studio 57*, couldn't compete with both *Playhouse 90* and *Hallmark Hall Of Fame*, and did not last the season. On May 13, 1958, the network's namesake and founder Dr. Allen B. DuMont resigned. John Kluge, a former investor in DuMont's early days, was named Network President and Chairman of the Board.

Despite the rather abrupt cancellation of *Colgate Theatre* on October 3, 1958 (Colgate pulled all of its TV Sponsorships after being embroiled in the Quiz Show Scandals); there was light at the end of the low ratings tunnel for Dumont in the 1958-1959 season. Ratings were good for the network on Monday, Thursday and Saturday Nights. Many of those nights throughout the season saw Dumont ranking #2. *Sea Hunt* was an instant success on Mondays leading into *Highway Patrol*. The panel quiz show, *Front Page Challenge* was gaining ground as well, after a rather rocky first season start. The TV Premieres of popular movie series from Columbia Pictures drew decent Sunday Night numbers on DuMont on occasion as well.

The 1959-1960 season saw the number of one season ratings flops dwindle even further. 16 shows saw renewal into the fall of 1960. After what they felt was a premature cancellation by CBS, DuMont offered to pick up *The Huckleberry Hound Show* and their newest production, *Quick Draw McGraw* from Screen Gems and Hanna-Barbara. The network also tried an ambitious Friday All-Westerns line up with mixed results. At the end of the season, DuMont President John Kluge told his affiliates, "We're taking all that we've learned from the last five years...failures and successes alike and presenting a brand new DuMont we think America is just going to love!" How right he was!

#### Awards

DuMont programs are by necessity low-budget affairs, and the network received relatively few awards from the TV industry. Most awards during the 1950s went to NBC and CBS, who were able to out-spend other companies and draw on their extensive history of radio broadcasting in the relatively new television medium. DuMont, however, did win a number of awards during its years of operation.

During the 1952–53 TV season, Bishop Fulton J. Sheen, host of Life Is Worth Living, won an Emmy Award for Most Outstanding Personality. Sheen beat out CBS's Arthur Godfrey, Edward R. Murrow and Lucille Ball, who were also nominated for the same award. Sheen was also nominated for – but did not win – consecutive Public Service Emmys in 1952, 1953, and 1954.

DuMont received an Emmy nomination for Down You Go, a popular game show during the 1952–53 television season (in the category Best Audience Participation, Quiz, or Panel Program). The network was nominated twice for its coverage of professional football during the 1953–54 and 1954–55 television seasons.

The Johns Hopkins Science Review, a DuMont public affairs program, was awarded a Peabody Award in 1952 in the Education category. Sheen's Emmy and the Science Review Peabody were the only national awards the DuMont Network received, though DuMont series and performers continued to win local TV awards.

#### Ratings

The earliest measurements of TV audiences were performed by the C. E. Hooper company of New York. DuMont performed well in the Hooper ratings; in fact, DuMont's talent program, The Original Amateur Hour, was the most popular series of the 1947–48 season. Variety ranked DuMont's popular variety series Cavalcade of Stars as the tenth most popular series two seasons later.

In February 1950, Hooper's competitor A. C. Nielsen bought out the Hooperatings system. DuMont did not fare well with the change: none of its shows appeared on Nielsen's annual top 20 lists of the most popular series. One of the DuMont Network's biggest hits of the 1950s, Life is Worth Living, received Nielsen ratings of up to 11.1, attracting more than 10 million viewers. Sheen's one-man program – in which he discussed philosophy, psychology and other fields of thought from a Christian perspective – was the most widely viewed religious series in the history of television. 169 local television stations aired Sheen, and for three years the program competed successfully against NBC's popular The Milton Berle Show. The ABC and CBS programs which aired in the same timeslot were cancelled.

Life is Worth Living was not the only DuMont program to achieve double-digit ratings. In 1952, Time magazine reported that popular DuMont game show Down You Go had attracted an audience estimated at 16 million viewers. Similarly, DuMont's summer 1954 replacement series, The Goldbergs, achieved audiences estimated at 10 million. Still, these series were only moderately popular compared to NBC's and CBS's highest-rated programs.

Nielsen was not the only company to report TV ratings, however. Companies such as Trendex, Videodex and Arbitron had also measured TV viewership. The adjacent chart comes from Videodex's August 1950 ratings breakdown, as reported in Billboard magazine.

### Trouble before the reawakening

Several years after the DuMont Television Network launched its turnaround plan, former investors of the network were ready to try to help DuMont get out of its four-year ratings slump, but there was one problem: By now, with ABN and the RKO Network on the scene, and CBS, ABC, and NBC producing hit programs left and right, DuMont was struggling just to get affiliates. The trouble really started when in 1955, DuMont found themselves suddenly found themselves outbid by CBS for a new long-term Sunday NFL contract! One year later, Dumont Affiliates in major markets were electing to go independent. The network took a risk that year, starting their own stations on the mid 40's UHF Band. Thanks to the booming Community Cable technology, the new stations would appear on Channels 11 and 12 in most homes. They did manage to regain some affiliates that they had before those affiliates left due to DuMont's loos of NFL Football and falling ratings. Also, they managed to make an agreement with some stations that had signed on just prior to 1960, and once again, DuMont was ready to initiate its plan.

### 1960s and 1970s

With NBC and CBS battling for no. 1, DuMont skyrocketed back to the top on Sept. 4, 1960, after four years of low ratings, with the return of Captain Video and His Video Rangers and *Tom Corbett, Space Cadet*. Also debuting that evening was DuMont's first long-running Western, *The Brothers Devlin*. Because of the success of these series, DuMont was on its way. Also added to the schedule was the return of the first televised network game show in history, *Cash and Carry,* and what has now become America's longest running Daytime Soap Opera, the Boston based *Colonial Road*. Another hit series out of the gate that season on Thursday nights was the medical drama, *Bellevue Hospital*. Described by critics as "Dragnet for Doctors", it was set at the real-life hospital in New York City (with sets faithfully re-created inside Hollywood's Republic Studios), dramatizing cases both real, and inspired by Newspaper headlines. The lead character, Dr. Edward Wagner (Tod Andrews) narrated each episode and delivered his lines in deadpan Jack Webb like fashion. Often times, this Chief of Staff at the fictional version, would rarely be seen in an episode, only heard doing the narration. This let the guest star doctor or nurse take the full spotlight with that week's story.

When Eddie Cochran announced he was ending *Town Hall Party* at the beginning of 1961, DuMont was prepared by moving *Heavyweight Wrestling* into its Saturday timeslot and expanding it to three hours. They then greenlit two more hour-long dramas as midseason replacements; *Dr. Kate*, starring Jane Wyman as a country doctor at a completely fictional rural hospital; also, *Beach Front*, an adventure series set in Miami. Both programs helped keep DuMont on top into the fall of 1961.

The 1961-62 TV Season saw even more puzzle pieces fall into place on the network schedule that would ensure DuMont's newfound sucess was not a one season fluke. Encouraged by the sucess of the *Captain Video* and *Tom Corbett* revivals, Screen Gems and DuMont began what would be a long-standing tradition for the fourth network - A second chance for a short-lived cancelled series! *The Expendables* was a reworked version of a former CBS series call *Tightrope!* Like the revivals, creative changes were made so it was almost a completely new series. Here, the changes worked, and this series along with the filmed-on-location *Las Vegas Beat*, kept DuMont either #1 or #2 on Monday Nights and sent NBC to the bottom of the pile!

By the end of the decade, DuMont started to turn a profit, and at the beginning of 1970, DuMont decided to start reaching out for the young audience.

CBS started the "Rural Purge" as part of their plan to reach younger viewers. DuMont had a brand new show on Sunday nights, that was giving "The Ed Sullivan Show" fits: Big Town. By the end of Big Town's first season in 1971, Sullivan's show was gone and Fred Silverman was hired by DuMont. Under Fred's leadership, DuMont began dominating with Big Town, Rocky King: Detective, and a new daytime game show, Down You Go, paired with Cash and Carry.  DuMont became the no. 1 network by 1975. However, Fred Silverman left DuMont to work for ABC that same year, knowing he wanted to "go out on top." Under Fred's control, ABC became the no. 1 network in 1976, 1977, and 1979 (CBS held no. 1 in 1978), and DuMont's ratings began to weaken. By 1979, most of the shows that were hits for DuMont were off the schedule, and DuMont suddenly found themselves battling with NBC just to stay out of the ratings basement.

### Moving towards a new era

By 1980, DuMont was at the bottom. Affiliates were leaving and going to networks with higher ratings. Something had to happen, and soon. After avoiding a Ted Turner takeover in 1982, DuMont made a gutsy decision and hired a young unknown to help lead DuMont on a turnaround. That man was Clarence Campbell. Campbell decided that DuMont needed a new image ("Come Here to DuMont") and he decided to launch a brand new show to help lead the turnaround. My Living Doll (a remake of the 1960s CBS sitcom) was an unexpected hit and ratings for DuMont quickly began to improve. Dr. Slump (based on a Japanese manga series) and My Living Doll quickly sent DuMont to No. 3 in the ratings by 1984 (behind NBC and CBS). Campbell also rolled the dice with a new Pro Football League, the USFL, with a Prime-Time Game of The Week on Mondays. The excitement of this new league would have the games place in the Ratings Top 10, more often than not, week-to-week. In 1985, DuMont added another science fiction show to its roster, Small Wonder. By 1987, DuMont was once again back on top of the ratings, but Campbell didn't want to stop there.

By 1990, Small Wonder, My Living Doll, and Dr. Slump were off the air, and DuMont was ready for more changes. Campbell took a series that everyone thought would flop, and turned it into a huge hit: The Brian Barnes Show.  In 1992, DuMont took a character from the show and spun him off into his own series, The C. Carter Show. With The Brian Barnes Show and The C. Carter Show airing back-to-back, DuMont started increasing its lead as the no. 1 network in America. One more show was added by 1995, The Red Green Show (which was imported from Canada). DuMont saw Nielsen numbers no one had ever imagined for a single night. With those three shows airing back-to-back-to-back, DuMont had three shows in the Top 10, with The C. Carter Show being the no. 1 rated show in America. Wishing to leave on top, Clarence Campbell stepped down as President of DuMont Entertainment.

By the year 2000, DuMont's ratings began to weaken due to NBC's and ABN's smash lineups. New president Hap Day decided that DuMont needed a new approach. Two reality shows entered DuMont's schedule: Big to Love, and Airport Makeover. In the year 2002, The Brian Barnes Show ended it's run. Both The C. Carter Show and The Red Green Show would end their runs in 2004. Another reality TV show entered DuMont's schedule, Dancing Search. Because of the three reality series doing well in the ratings, DuMont quickly rebounded to being the no. 1 network in 2008 (beating CBS, which was no. 1 in 2006, and FOX, which was no. 1 in 2007).

## Sports on DuMont

DuMont began its history with a rather healthy dose of live sporting events; Boxing, Wrestling, Horse Racing, even 2 early seasons of The National Football League 1953 and '54. DuMont was poised to make Sunday NFL games a more permanent fixture on their yearly fall schedules, when they were suddenly outbid by CBS, and locked out of carrying any more NFL for at least 10 years! As ratings and ad revenue began to decline, and affiliates were leaving the network, live sports seemed to be no longer in the budget. When the 'reawaking' took place in 1960, it was decided to concentrate on entertainment, and later, a full-fledged news department. Unable to have any sort of a shot with the major pro leagues, DuMont was content to let rivals like American Broadcast Network have the smaller profiled sporting events. Weekend daytime programming (other than Saturday Mornings) was left to the affiliates. In 1981, the new *Motor Racing TV Network*, a syndicated version of *Motor Racing Radio*, put together a package of six live NASCAR races that were carried by most of the DuMont owned stations. That was followed a year later, with an expanded package of eight Races (ABN managed to grab a share of the NASCAR Pie that year with a five-race season of its own). When Clarence Campbell was hired as DuMont President in 1982, one of his first moves was to convince Motor Racing TV's CFO Bill Grimes to come run the new full time DuMont Sports Division. Grimes was able to bring his entire MRN TV Crew along with him. In 1983, along with 8 NASCAR events, Grimes brought Football back to DuMont - from the new United States Football League. *USFL Monday Night Football* became a Spring/Early Summer Replacement for the dramas *Chopper One* and *Firehouse* (Columbia Pictures Television agreed to reduced 13-week seasons between 1982 and 1984 for both series) In June of 1984, when the U.S. Supreme Court ruled against The NCAA over its ability to control College Football on Television, Grimes announced a 13 Week live game schedule for Saturday afternoons and a few Prime-Time Specials. DuMont quickly had made deals with Independent Schools, such as Miami and Rutgers for that first full season.

In early 1986, DuMont signed a new rights contract with the USFL, who planned to move the new 1986 season to the fall months, to supplement the NFL Games, and compete with College Football to some extent. The new contract called for 18 regular season games, the majority of them on Sunday Nights, Prime-Time Thanksgiving and Christmas Nights games, 4 Playoff Games, and for the first time on DuMont, the USFL Championship Game. The NFL's answer was to offer ABC, CBS, Dumont and NBC a divided-up NFL regular season schedule of games (DuMont was going to get an NFL Sunday Prime Time game all its own). The USFL sued the NFL over this, feeling they would be reduced to coverage on what they felt were the "lower networks" such as ABN and New Line. Ultimately, the USFL gave in, and cancelled their 1986 season, and disbanded soon after. The NFL was going back to the status quo of TV coverage, but Dumont still had what they felt was a valid contract and was holding it over the NFL's heads! Both Bill Grimes and Clarence Campbell made it very clear to the league they weren't just 'going way' and would not accept a buyout. At the same time, the NFL was negotiating with ESPN for that same Sunday Night Package. A compromise for a simulcast was reached in the end. ESPN would run the telecast and DuMont would have its own set of commentators and DuMont doing the one-hour pre-show. And so, after an absence of 32 years, NFL Football returned to DuMont on Sunday, November 8, 1987.

***DuMont Sunday Night NFL*** aired in the second half of the NFL regular season, eight weeks Nov-Dec in 1987, 1988 and 1989. ABN, the American Broadcast Network surprised everyone by getting a Sunday Night NFL simulcast of their own with TNT, when the league expanded the TV Rights in 1990, ABN getting the first eight weeks, DuMont staying with the season's second half. This lasted through the 1997 season. Beginning in 1998, DuMont broadcast the entire slate of Sunday night games (now officially rebranded as *DuMont Sunday Night Footbal*l) and had exclusive rights to any night game other than the season opener and regular Monday night games, which aired on ABC. This gave DuMont a few weekends each season with games on both Saturday (sometimes Thursday instead) and Sunday nights, until 2006 when DuMont was outbid by NBC for the new Sunday Nights contract. The final NFL Sunday Countdown and DuMont Sunday Night Football aired on January 1, 2006.

### DuMont today

Today, DuMont continues to be one of the leading networks in television. With Dancing Search, Big to Love, and Airport Makeover going strong, DuMont added three more series to keep their ratings high: Starfighters (debuted in 2012) The Gene Dabbs Show (debuted in 2013) and The Curtis Frazier Show (debuted in 2013). With six shows in the top 25 by the end of the 2014-15 season, DuMont finished at no. 3 behind CBS and FOX.

Hap Day proved that he knew what he was doing when he was named Clarence Campbell's replacement. And DuMont continues to be one of the most dominant networks in America.

## Slogans

* 1946-1960: This is the DuMont Television Network!

* 1960-64: The All-New DuMont!

* 1964-66: DuMont: In Living Color

* 1966-70: The Year to be on DuMont

* 1970-73: It all adds up on DuMont

* 1973-75: Let Us Be the One

* 1975-77: All the Best

* 1977-80: The one and only DuMont!

* 1980-96: Come Here to DuMont

* 1996-2000: The Network from America

* 2000-01: Television of the Decade

* 2001-02: Television for Families

* 2002-03: Purely Digital

* 2003-04: Entertaining Everyday

* 2004-05: Feel the Touch of DuMont

* 2005-14: Coloring Your Life

* 2006-07: DuMont: Celebrating 60 years of Broadcasting

* 2006-14: DuMont: Full of Entertainment

* 2007-09: Color Television

* 2014-15: You'll find your friends on DuMont

* 2015-Present: DuMont: Super great, Even at Night