Purdue launched Ox圜ontin with a marketing campaign that attempted to counter this attitude and change the prescribing habits of doctors. “Few drugs are as dangerous as the opioids,” David Kessler, the former commissioner of the Food and Drug Administration, told me. In the past, doctors had been reluctant to prescribe strong opioids-as synthetic drugs derived from opium are known-except for acute cancer pain and end-of-life palliative care, because of a long-standing, and well-founded, fear about the addictive properties of these drugs. Its sole active ingredient is oxycodone, a chemical cousin of heroin which is up to twice as powerful as morphine. The drug became a blockbuster, and has reportedly generated some thirty-five billion dollars in revenue for Purdue.īut Ox圜ontin is a controversial drug. Upon its release, in 1995, Ox圜ontin was hailed as a medical breakthrough, a long-lasting narcotic that could help patients suffering from moderate to severe pain. While the Sacklers are interviewed regularly on the subject of their generosity, they almost never speak publicly about the family business, Purdue Pharma-a privately held company, based in Stamford, Connecticut, that developed the prescription painkiller Ox圜ontin. The bulk of the Sacklers’ fortune has been accumulated only in recent decades, yet the source of their wealth is to most people as obscure as that of the robber barons. According to Forbes, the Sacklers are now one of America’s richest families, with a collective net worth of thirteen billion dollars-more than the Rockefellers or the Mellons. Over time, the origins of a clan’s largesse are largely forgotten, and we recall only the philanthropic legacy, prompted by the name on the building. When the Met was originally built, in 1880, one of its trustees, the lawyer Joseph Choate, gave a speech to Gilded Age industrialists who had gathered to celebrate its dedication, and, in a bid for their support, offered the sly observation that what philanthropy really buys is immortality: “Think of it, ye millionaires of many markets, what glory may yet be yours, if you only listen to our advice, to convert pork into porcelain, grain and produce into priceless pottery, the rude ores of commerce into sculptured marble.” Through such transubstantiation, many fortunes have passed into enduring civic institutions. She considers herself a “social entrepreneur.” Sackler recently told W that she finds the word “philanthropy” old-fashioned. Marissa Sackler, the thirty-six-year-old daughter of Mortimer and his third wife, Theresa Rowling, founded Beespace, a nonprofit “incubator” that supports organizations like the Malala Fund. “My father raised Jon and me to believe that philanthropy is an important part of how we should fill our lives,” Richard has said. Raymond’s sons, Richard and Jonathan, established a professorship at Yale Cancer Center. Arthur’s daughter Elizabeth is on the board of the Brooklyn Museum, where she endowed the Elizabeth A. The brothers bequeathed to their heirs a laudable tradition of benevolence, and an immense fortune with which to indulge it. Mortimer died in 2010, and Raymond died earlier this year. The art scholar Thomas Lawton once likened the eldest brother, Arthur, to “a modern Medici.” Before Arthur’s death, in 1987, he advised his children, “Leave the world a better place than when you entered it.” The Sacklers have endowed professorships and underwritten medical research. The Brooklyn-born brothers Arthur, Mortimer, and Raymond Sackler, all physicians, donated lavishly during their lifetimes to an astounding range of institutions, many of which today bear the family name: the Sackler Gallery, in Washington the Sackler Museum, at Harvard the Sackler Center for Arts Education, at the Guggenheim the Sackler Wing at the Louvre and Sackler institutes and facilities at Columbia, Oxford, and a dozen other universities. The space, which opened in 1978 and is known as the Sackler Wing, is also itself a monument, to one of America’s great philanthropic dynasties. The north wing of the Metropolitan Museum of Art is a vast, airy enclosure featuring a banked wall of glass and the Temple of Dendur, a sandstone monument that was constructed beside the Nile two millennia ago and transported to the Met, brick by brick, as a gift from the Egyptian government.
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