Review of Robin DiAngelo’s White Fragility

Robin DiAngelo
White Fragility: Why It’s So Hard for White People to Talk About Racism
Beacon Press, 2018.

I first encountered Robin DiAngelo three years ago, during my investigation of the Jewish origins and intellectual currents of Whiteness Studies. DiAngelo was then just another relatively minor speaker and academic on the university/consulting network in Whiteness Studies, and I was undecided then, and remain undecided, as to whether DiAngelo is wholly, in part, or not at all Jewish. She didn’t feature in my essay at all, and, when I looked over my old notes a few days ago, she appeared only as a name scribbled in the margins. As it happens, her ancestry is relatively inconsequential in light of the fact that White Fragility, published in 2018 but reaching bestseller status in the aftermath of George Floyd’s death, is heavily and transparently influenced by Jewish thought and by Jewish pioneers in the field she now finds so conducive to fame and fortune. I don’t make a habit of buying the texts of the opposition, but when certain of them reach a significant level of academic or popular attention (look for it in your child’s school curriculum), it’s probably necessary for someone among us to carry out some form of intellectual reconnaissance, and to bring back for wider consideration the most essential of the gathered information. This was my approach to Jean-Paul Sartre’s widely-read and overly-praised Anti-Semite and Jew, and so, when I heard DiAngelo had managed to make herself a bestselling author, I headed to my local bookstore, where dozens of copies had been helpfully stacked on a table devoted to “in-demand” literature on race and racism.

My first action on picking up a copy of White Fragility was to turn to the bibliography. I knew what I’d see, and it was a gratifying and familiar feeling to see so many names from my research on Whiteness Studies. They were almost all there, protruding from the page like shunned relatives at a family reunion — Noel Ignatiev, George Lipsitz, Ruth Frankenberg (described in White Fragility as “a premier white scholar in the field of whiteness studies”), Michelle Fine, Lois Weis, along with helpful co-ethnics like Thomas Shapiro, David Wellman, Sander Gilman, Larry Adelman, and Jay Kaufman. These are DiAngelo’s mentors and intellectual forbears, and I could tell, scanning through this list of names and works, that White Fragility was sure to boast very many references to “fellow Whites,” and streams of inducements to abandon White ethnic interests. These expectations weren’t disappointed. White Fragility is the kind of book that can be written in two months, read in two days, and forgotten in two hours, but Robin DiAngelo’s text is also a deeply pernicious piece of work, utterly contemptuous of the “normie” Whites it aims to convert to a more radical form of racial self-abnegation than they currently demonstrate. In fact, the work is so hostile and ideologically loaded that it can’t help but present a kind of dialectic, wherein certain truths are revealed in spite of itself. As such, I have to confess that I learned something from White Fragility, even if it isn’t what DiAngelo had in mind.

What is White Fragility?

“White Fragility,” as a theory, is confirmation of my belief that inducing guilt in Whites was never the end goal in itself. It’s never simply been about making us feel bad about ourselves or our ancestors. White Fragility, White guilt, and indeed Whiteness Studies as a whole, is fundamentally about power. Those of you familiar with the New Testament will recall the verse from John’s third chapter, wherein John the Baptist declares that Christ “must increase, but I must diminish.” Power and influence never simply disappear, but rather transfer. John (and it is entirely inconsequential whether you regard him as historical or fictional) was aware that as a popular local mystic or holy man, his mere continued presence was an obstacle to the local growth in power of Christ, and so he made a conscious decision to diminish himself. Likewise, we are living in an age where Whites continue to have some social, political, and economic power, but where large and growing numbers of non-Whites are seeking to obtain what remains of this power. For them to “increase,” it has been declared that we must diminish. Whiteness Studies is fundamentally about making us willing and enthusiastic participants in our own decline. When Blacks or Jews demand a reduction of, or end to, White power or wealth, it means that they want that power or wealth. Despite all sloganeering, there can be no equality in power among races. Not now, not ever; only ruthless and unceasing competition.

White guilt, in itself, is certainly an act of psychological diminishment, but the message of DiAngelo’s text is fundamentally that this psychological diminishment has not led to a desired correlation in material or structural diminishment. Whites merely feeling sorry for themselves isn’t enough for their competitors, if it isn’t accompanied by a wholesale transfer of power, land, and other resources. In this context, “White Fragility” is an indictment and insult levelled at White progressives merely frozen by fear of racism accusations and White guilt. In short, White Fragility is a horrifying call for Whites not simply to be paralyzed by White guilt, but to become active participants in their decline, and willing accomplices in their political and demographic destruction.

DiAngelo’s introduction begins with accusation. America “began with the attempted genocide of Indigenous people and the theft of their land. American wealth was built on the labor of kidnapped and enslaved Africans and their descendants.” So far, so familiar. But the book very quickly moves to an outline of the theory of White Fragility. I actually found this, and some other chapters on the same theme, extremely interesting, because DiAngelo, and presumably other Whiteness Studies activists, are keenly aware that Whites are peculiarly concerned with morality and with appearing to be good people (all of which is very much in keeping with the arguments and research of Kevin MacDonald). For example, DiAngelo writes on the fear White progressives have of being perceived as racist: “We consider a challenge to our racial worldview as a challenge to our very identities as good, moral people. Thus, we perceive any attempt to connect us to the system of racism as an unsettling and unfair moral offence. … One of the greatest social fears for a white person is being told that we have said or done something racially problematic.” Of course, the groundwork for the connections among White ethnocentrism = Racism = Morally Bad were laid by Jewish academics over many decades. The problem for Jewish activists and incentivized Whiteness Studies traitors is that this moral terror has resulted in what they perceive to be paralysis and inaction.

Actual “racists” aren’t really discussed in White Fragility, and where they are, it’s clear that they aren’t the target of the title of the book. In fact, DiAngelo points out: “Of course, some whites explicitly avow racism. We might consider these whites actually more aware of, and honest about, their biases.” In other words, even if we’re moral monsters in DiAngelo’s eyes, we aren’t “fragile.” Again, because of the extremes of the some of the dialectics here, certain truths emerge. DiAngelo remarks early in the book that “race matters,” something that many of our readers would agree with, even if it’s from a slightly different angle than the author intends. She also argues that:

All humans have prejudice; we cannot avoid it. … People who claim not to be prejudiced are demonstrating a profound lack of self-awareness. Ironically, they are also demonstrating the power of socialization — we have all been taught in schools, through movies, and from family members, teachers, and clergy that it is important not to be prejudiced. … Everyone has prejudice, and everyone discriminates.

I couldn’t agree more: Whites have been uniquely affected by mass propaganda designed to brainwash them into viewing as morally evil something that is natural and instinctive to all humans.

The real targets of this book are White progressives who profess anti-racism, and because I also possess many frustrations in relation to this demographic, I couldn’t help but agree with some of DiAngelo’s characterizations. Take, for example, this gem:

I believe that white progressives cause the most daily damage to people of color. I define a white progressive as any white person who thinks he or she is not racist, or is less racist, or in the “choir,” or already “gets it.” White progressives can be the most difficult for people of color because, to the degree that we think we have arrived, we will put our energy into making sure that others see us having arrived. [emphasis added]

I think this is a beautiful indictment of the demonstrative and showy nature of White anti-racists who simply love to engage in social theatrics in search of kudos, approval, and incentives without really understanding the deeper destructive meaning of anything they’re doing. DiAngelo has contempt for people like this because they place all their energies into grandstanding instead of helping in the transfer of real power and wealth. I have contempt for them because they place all their energies into grandstanding for short-term personal benefits while stabbing their ancestors, contemporaries, and progeny in the back.

The book’s first chapter, “The Challenges of Talking to White People About Race,” is devoted to convincing White progressives that they are in fact racist, and that they need to become better allies in their own racial destruction. The message here is quasi-spiritual; Whites are told that their quest for racial redemption will be lifelong, lasting until the day they die. Their existence is an ontological problem, the only solution to which is an endless quest to compensate for simply existing:

Interrupting the forces of racism is ongoing, lifelong work because the forces conditioning us into racist frameworks are always at play; our learning will never be finished.

I really wish more White moral grandstanders would understand that, ultimately, they will never be given a “pass” by our enemies once they’ve accrued enough kudos, or groveled enough, or displayed enough platform sympathy with Blacks, or any other ethnicity that happens to be Victim of the Month. They will only ever be temporary tools, held in contempt as much for their weakness as their whiteness.

Another interesting feature of the chapter is its attack on White individualism, presented here as a myth that prevents Whites from taking collective responsibility for alleged historical wrongs. For DiAngelo,

Individualism is a story line that creates, communicates, reproduces, and reinforces the concept that each of us is a unique individual and that our group memberships, such as race, class, or gender, are irrelevant.

DiAngelo’s problem with White individualism is that it’s a barrier to White guilt, and also a barrier to Whites perceiving alleged advantages in employment and social advancement in a society in which they enjoy a demographic majority. Again, due to the dialectic at play, I happen to agree that individualism among Whites is a problem in certain contexts. It’s just that in my perspective it’s a barrier to the explicit assertion of White ethnic interests and collective action in pursuit of those interests. In fact, without widespread awareness of an ethnic threat, it seems almost impossible to convince Whites to see themselves as a group and to act as one. A further obstacle to White ethnocentrism is decades of social conditioning in which Jewish propaganda is dominant. Even DiAngelo concedes that “reflecting on our racial frames is particularly challenging for white people, because we are taught that to have a racial viewpoint is to be biased.” Unfortunately, DiAngelo doesn’t ask who did the “teaching” in this regard, and she certainly doesn’t consider the broader implications of what she’s saying.

In the second chapter, “Racism and White Supremacy,” DiAngelo trots out the “race is a social construct” trope, with footnotes for her claims leading invariably to a section of bibliography that reads like a Bar Mitzvah invitation list. Black academic Ibram Kendi is quoted as arguing that “if we truly believe that all humans are equal, then disparity in condition can only be the result of systemic discrimination.” I agree, but I think the problem isn’t systemic discrimination but the belief that all humans are equal. Eliminate that belief and disparity in condition is neither surprising nor subject matter for conspiratorial conjecture. But alternative theories and beliefs like mine don’t feature in DiAngelo’s book, which has the air of a religious text, and issues utterances with an authority that demands faith rather than reason. There is an interesting section in the chapter denying that there can be an anti-White racism, with DiAngelo remarking:

People of color may also hold prejudices and discriminate against white people, but they lack the social and institutional power that transforms their prejudice and discrimination into racism; the impact of their prejudice on whites is temporary and contextual.

Let’s set aside that horrific last statement, and focus for a moment on the unstated premise underlying the first. Isn’t it more or less the stated goal of “Whiteness studies,” White guilt, the theory of “White Fragility,” Black Lives Matter, and the massive power of multicultural propaganda to lead to the further diminishment of White social and institutional power? As stated at the outset of this review, this power is destined for the hands of ethnic interlopers. We know full well which of these ethnic groups will take the lion’s share of that power, because they have their hands on most of it already. The question is therefore: why should Whites hand what remains of their social and institutional power to hostile groups that will unquestionably ensure that their prejudice is enacted on Whites in a way that is far from “temporary and contextual”? What possible incentive could adequately convince Whites to sign up to such a Devil’s pact? Isn’t the entirety of White guilt built on a psychotic and media-induced fantasy — the idea that if Whites would just give up all remaining power in their hands the world would enter an age of racial peace and harmony? DiAngelo doesn’t even touch on areas like this, preferring instead to subject the reader to a steady stream of meaningless gibberish, such as a lengthy rumination on the theories of Ruth Frankenberg who, we are told, gave birth to such dazzling notions as “whiteness is multidimensional.” DiAngelo then caps the chapter by treating us to the heights of Jamaican philosophy, where one Charles W. Mills advances a conspiracy theory titled “the racial contract” which involves:

A tacit and sometimes explicit agreement among members of the peoples of Europe to assert, promote, and maintain the ideal of white supremacy in relation to all other people of the world. … It is the unnamed political system that has made the modern world what it is today.

And there you have it — this Jamaican genius has discovered the Protocols of the Elders of Europa.

Charles W. Mills: A Caribbean Socrates

The same themes are repeated in the third chapter, “Racism After the Civil Rights Movement.” DiAngelo again attacks “fragile” Whites who claim to be color-blind, pointing out that they merely believe that it’s racist to acknowledge race and therefore flee into a denial of reality. The only real novelty in the chapter, and one I found highly entertaining, was DiAngelo’s list of racist behaviors exhibited by fragile Whites. These include “acting nice” and “being careful not to use racial terms or labels.” But such phrasing is all the rage now, as in the New York Times podcast series “Nice White Parents” which explores hypocrisy among progressive Whites expressing all manner of liberal pieties—but moving heaven and earth to avoid sending their children to schools with large numbers of POC.

The next chapter, “How Does Race Shape the Lives of White People?,” is probably the strangest of the book because, if DiAngelo is indeed White (and not someone with some Jewish ancestry), then it represents a very disturbing and irrational detachment from reality and common sense. For s start, DiAngelo seems to view even the mundane aspects of White ethnic homogeneity as pathological.  She writes:

As I move through my daily life, my race is unremarkable. I belong when I turn on the TV, read best-selling novels, and watch blockbuster movies. I belong when I walk past the magazine racks at the grocery store or drive past billboards. I belong when I see the overwhelming number of white people on lists of the “Most Beautiful.” … I belong when I look at my teachers, counsellors, and classmates. I belong when I learn about the history of my country throughout the year and when I am shown its heroes and heroines — George Washington, Thomas Jefferson, Abraham Lincoln, Robert E. Lee, Amelia Earhart, Susan B. Anthony, John Glenn, Sally Ride, and Louisa May Alcott …

All of this is presented as negative and sinister, to which one can only ask: what is the alternative? To hand over one’s nation and territory to others, so that you can cease to belong? What then? DiAngelo comments:

It is rare for me to experience a sense of not belonging racially, and these are usually very temporary, easily avoidable situations. Indeed, throughout my life, I have been warned that I should avoid situations in which I might be a racial minority. These situations are often presented as scary, dangerous, or “sketchy.”

I can’t image why. What I do suggest is that in order to help clarify her theoretical framework, Robin DiAngelo should, with all reasonable haste, relocate to an area in which she is most certainly not going to belong racially. Since she views “un-belonging” with great enthusiasm, while confessing she has no real experience on which to base this view, she should find the Blackest of Black areas and spend some quality time there — time that isn’t “temporary, easily avoidable.” I think, in the course of such an experiment, she will truly, honestly, encounter some helpful folks that will be only too glad to show her how fragile she can be.

By far the most entertaining chapter of the book comes within the last 50 pages. Titled “White Women’s Tears,” it’s an indictment of that infamous sight — bawling, wailing, and normally overweight White women clutching themselves in feverish grief over the death of some poor Black gangbanger who just happened to get shot while rushing a police officer. DiAngelo is probably correct in asserting that this is a self-indulgent demonstrative act designed to heighten status (“I’m moral, good, and empathetic”) and get attention from men of all races (“I’m vulnerable right now, and need attention and resources”). Some of the anecdotes in this regard, from DiAngelo’s “Whiteness” seminars are priceless, normally involving some weak-minded woman breaking down at the revelation she’s “racist,” and they went some way to compensating me for the purchase price and hideous ideology of the book. Above all, they confirmed to me that what we see unfold before us is both tragedy and farce, and that our situation is no less dangerous for that:

A black man struggling to express a point referred to himself as stupid. My co-facilitator, a black woman, gently countered that he was not stupid but that society would have him believe that he was. As she was explaining the power of internalized racism, a white woman interrupted with, “I think what he was trying to say was … “ When my co-facilitator pointed out that the white woman had reinforced the racist idea that she could best speak for a black man, the woman erupted in tears. The training came to a complete halt as most of the room rushed to comfort her and angrily accused the black facilitator of unfairness. … Meanwhile, the black man she had spoken for was left alone to watch her receive comfort.

Conclusion

DiAngelo scathingly remarks on incidents like this that “when we are mired in guilt, we are narcissistic and ineffective.” Essentially, the new direction of Whiteness Studies and its intellectual corollaries will be to wean Whites away from demonstrative habits of virtue signaling and into active participation in racial decline. We can expect to see in the near future (and we already to some extent have with the Black Lives Matter riots) a greater emphasis on Whites becoming active “anti-racists.” It will become increasingly difficult for Whites to appear simply as “not racist.” Active, enthusiastic activity on behalf of the ethnic power-grab will be demanded, and anything less will be portrayed with disdain as “fragility.” DiAngelo concludes her book with the blunt assertion that “a positive white identity is an impossible goal. White identity is inherently racist; white people do not exist outside the system of white supremacy.” White identity is therefore to be destroyed wholesale, and White ethnic interests crushed alongside it. DiAngelo proclaims with all the vigor of the subversive or the brainwashed that she will “strive for a less white identity, for my own liberation and sense of justice.”

Liberation and justice. These words were uttered a long time ago in France. The beheadings started soon after.

Fade to Black

The darkening of our screens and stages and its part in the theft of our past and future

YOU FLY into London on a British Airways plane on which you are shown an animated film about safety. It stars a cartoon Black man with his cartoon White wife and their cartoon mixed-race child. You pass through immigration control and are poked and probed by Brown people wearing hijabs and turbans who jabber at you in an unintelligible version of the English language. Heading for the tube you pass a poster that shows a Black woman dressed in Elizabethan garb beckoning you to the Globe Theatre.

On the ride into town you see posters for the latest West End plays. There are productions of Shakespeare’s Richard II and Henry V starring Black women in the title roles. (The critics rave that these classic plays finally make sense.) There is also an Asian actor playing David Copperfield and Christmas pantos starring Blacks and Asians as Cinderella, Dick Whittington, and Snow White. Next to the entertainment ads are those for mortgages and mattresses all featuring Black men with White women. And, they are almost always blonde women.

You get home, put your feet up in front of the TV and notice that there are an unusually large number of Brown people on the streets of Victorian London as depicted in the BBC’s latest version of A Christmas Carol. And the villages of Midsomer are teeming with more people-of-color than your local benefits office. Even Doctor Who is suddenly a Black woman! You channel surf and are confronted by Black vikings, Black centurions, Black Tudors and an Asian King Arthur!

The news is read by a Brown person. The weather is given to you by a Brown person. Your favorite gardening program is presented by a Brown person. The Brown person presenting your favorite wildlife program explains without a trace of irony the danger of extinction faced by native fauna and flora due to the invasion of alien species.

A typical example of the “colour-blind” casting was the 1997 Disney adaptation of Cinderella — in which a negress Queen (played by Whoopi Goldberg) — and a White king somehow managed to have a Filipino son, who ends up married to a negress Cinderella.

In disgust, you turn off your TV and browse through the latest brochure from the National Trust. But something is odd — most of the people shown wandering around the stately homes of England are Brown. The mothers of the large, happy families in the photos wear Muslim or Hindu garb. The only White faces are those of blonde women holding hands with Black men and their mixed-race children.

Meanwhile, your teenage son is in his room playing a new computer game set in World War I. But, in this version of the Great War, the trenches look like a Saturday night in Brixton and the game’s logo is the face of a Black Tommy. You wonder if you have slipped into an alternate universe or are dreaming. But you aren’t dreaming. You are living through a waking nightmare. And I can tell you why.

I’ve been a professional actor for fifty years. I’m also a proud member of that most despised of all groups — old White men. I’m not a star or even a semi-name but you have probably seen and heard me many times. I know the world of advertising and show business. And I know how, why, and by whom our screens are being darkened, I am being denied work, and our past and future are being stolen from us.

The answer is BAME. It stands for “Black, Asian, or Mixed Ethnicity.” And that acronym is now an essential part of every media company’s ethos. When a “brand” is hiring actors for a commercial or a production company is hiring actors for a play, movie, or TV program, they proudly trumpet the fact that they prefer to see or will only see performers who are BAME. (Imagine what would happen if someone advertised with a preference for White actors and actresses.)

The Cultural Marxist octopus has many tentacles and has been at work in all the arts for many decades. As a child in 1950s America, I saw early attempts at “color-blind” casting. But, in the 1960s, the prominent New York theatrical producer Joseph Papp started pushing non-Whites big time in his Shakespearean productions in Central Park. (You will not be surprised to learn that Papp was a Jew.) I suffered through many productions of Romeo and Juliet with a Black Romeo and a White Juliet. Or a Black Macbeth and White Lady Macbeth. The audience “wasn’t supposed to notice” these racial absurdities and anyone who did was a “racist.” So, most people pretended not to notice — and they still do.

Oriental audiences are more forthright in their opinions. They want White heroes. Star Wars films that feature Black actors flop in China — a very important film market. So, the Star Wars producers avoid putting Black faces on the film posters. And, the latest Star Wars had to remove a “gay” kiss to make it acceptable to Orientals who want their heroes straight, too.

What’s wrong with this picture?

We Occidentals feel the same, even if most won’t admit it. We vote in private with our money. The producer of the mega-successful comic-book “cape hero” film franchise let slip at a convention that movies and action figures based on non-White characters don’t sell — worldwide. The sale of dolls, clothing and mugs, etc. is a major part of the profit stream for any film or animation. It is a racially revealing economic fact that Black Barbie and Ken dolls don’t sell — even to Black kids. “Gay” and trannie Barbies and Kens also gather dust on store shelves. White heterosexuality is the go-to choice for everyone.

But, shouting “commercial considerations be damned”, the Cultural Marxists have doubled down in Britain and are putting propaganda ahead of profit. The British Film Institute (BFI), which bestows crucial funding to film projects, fell into the tentacles of one Josh Berger, an American Jew with a long Hollywood history.

Under Berger’s malevolent influence the BFI has mandated higher levels of BAME. Any production that does not meet the set levels will be denied funding and thus any chance of distribution or awards. It will be dead. So, producers genuflect to globohomo and grind out the anti-White, anti-heterosexual, anti-Christian propaganda that pollutes our screens. Adding insult to injury, we are paying for this filth because the majority of the BFI’s money comes from the UK taxpayer!

The levels of “race and gender-blind” casting mandated include:

• At least one lead character must be non-White
• 50-50 male-female ratio in entire cast
• At least 20% of cast must be non-White
• At least 10% must be LGBTQ
• At least 7% disabled
• A large proportion of plot lines and filming locations must be set among underrepresented groups.

With those parameters in mind, try writing a film that should by natural law, reason, and historical fact be set in a White, male world. How can you fit that many women, homos, lesbians, trannies, Hindus, Muslims, Sikhs, Blacks, and crippled, cis-phobic, bi-curious Eskimos into a Lancaster bomber, a monastery, or the Alamo? And, I wonder if these same race and gender targets will apply if an all-Black film company sought funding for a movie set in a lesbian bathhouse in Somalia? Would the screenwriter have to find a way to squeeze White, Christian, hetero males into the steam room?

Uh… better make that – 12 Angry Black, Chinese, crippled, cis-phobic, trans-sexual, lesbian Eskimos.

We aren’t being betrayed by the BFI alone. The British Academy of Film and Television Arts which bestows the prestigious BAFTA awards is equally on-board the globohomo express though it is (small comfort) privately funded. Still, if you want to win a BAFTA you must bow down to the Cultural Marxists who run that outfit.

And British Equity (the actors’ union) promotes and protects every race but White. It cares nothing for the race that only created theatre, film, television, radio, the Internet, and trade unions! It promotes and protects every sexual persuasion but heterosexuality. My union dues are currently paying for a campaign to ensure that “trans” actors get to audition for roles of any gender including those of the gender they claim to have left. Meanwhile, I can’t get an audition to play an old White guy because it’s being played by a Black female-to-male trannie!

The BBC admitted that its “race-blind” casting of period dramas is not historically accurate but feels it is important to do it in the interests of cultural cohesion. Well… if this BAME business is not part of an anti-White agenda but just a well-intentioned attempt to make us all race- and “gender”-blind then when do I get to play Martin Luther King or Winnie Mandela?

Meanwhile, for all their disingenuous calls for race-blindness, Black performers insist on race-based preferential treatment and love “acting Black” — especially in period dramas. Notice how Black actors in plays by Shaw, Ibsen, or Wilde will use a ghetto pose and vocal inflection to get a cheap laugh. They are Black to their bones and they know it and are happy to play the minstrel if it’s to their advantage.

At this point a few questions come to mind. If non-Whites were important personages in what we thought had been a White world then what the hell are they complaining about? If Blacks really “wuz kangz” as the Black Israelites proclaim (including kangz of England) then where was the discrimination? And, if Blacks were capable of achieving so much back-in-the-day, then what the heck happened? Did they simply forget how to be physicians, scientists, architects, engineers and, yes, kangz?

Not Wakanda but Merrie Olde England.

Remember those National Trust (NT) brochures full of photos of happy smiling Brown people? They are a staged hoax. The National Trust advertised on casting sites all over Britain for BAME models and actors to pose as visitors and staff at stately homes. But, in reality, if you visit NT properties you will see that with rare exception they are delightfully White in both staff and visitors.

Still this hasn’t stopped the NT management from pushing globohomo. They “out” and promote queer members of the families that owned the properties. And they suggest that bent Uncle Bertie was the best of the bunch. The NT even tried to force its volunteers to wear rainbow flags but most refused. Meanwhile, when I speak privately with older NT volunteers, I find they have fond memories of Enoch Powell and Oswald Mosley.

I have starred in many TV commercials for top brands that were broadcast worldwide. I assure you that it isn’t merely fashion or whim that matches so many Black men with White women. In a thirty second commercial every second counts and nothing appears on screen by chance. I have seen directors, clients and cameramen almost come to blows in arguments over the color of my shirt. How much more debate has gone into the color of the actor’s skin?

No, these racial pairings are not accidental but are blatant attempts to break down the resistance to race-mixing from all races. Listen to Black talk radio programs and you will hear Black women weep that Black men are encouraged to get blondes. In fact, Black nationalists (our mirror image and possible allies) believe that race-mixing is the ultimate sin. And we know what happens to Asian girls who race-mix. But, as with films, the Cultural Marxists don’t give a damn and plow on, sacrificing profits for propaganda.

Case in point: Gillette recently ran an anti-male ad campaign that suggested all men (especially White men) are sex-pests. White men were outraged. This campaign culminated in an ad in which a Black father showed his daughter who had “transitioned to male” how to shave. This time Black men were outraged. This PC campaign cost Gillette a record amount of profit. But its CEO said it was worth it to promote “diversity.”

Careful now, daughter, er… I mean, son… uh… whatever da hell you is. Wouldn’t want ya to slit your throat now, would we?

Alongside the tribe that foments and feasts off our replacement lives an opportunistic parasite — the Black “race hustler.” The uber-obnoxious Whoopi Goldberg is a master of this scam. And, despite being as funny as a fire in an orphanage, Whoopi has made a fortune playing the fat, sassy soul-sista who is the repository of all wisdom. (Sort of an X-rated version of Mammy in Gone with the Wind or a potty-mouthed Aunt Jemima.)

You’ll notice that this smart, sassy maid stereotype is a staple of sitcoms. She is always the smartest person in the house she cleans. She’s certainly smarter than the doofus White dad who is the butt of all her jokes. (There is literally a genre of US sitcom called “Doofus Dad.”)

Believing her own bullshit, Goldberg has morphed into a political pundit. She holds forth daily on US TV on all manner of subjects while injecting the race card into all of them — no matter how misplaced. She gets away with this because Whites are afraid of challenging her lest they be called “racist.” Believe me, if you think Jews are good at squeezing the “Holocaust” into any discussion, you ain’t seen nuthin’ till you see Whoopi at work. (We have the Jewish director Mike Nichols to thank for Goldberg’s rise to fame.)

Another race-hustler is Bonnie Greer, a smug, American Negress based in the UK and a poor man’s Goldberg. Greer is a regular on BBC political chat programs where she is introduced as a “noted American playwright.” But I challenge anyone on either side of the pond to name a single Bonnie Greer play. In fact, in America she is entirely unknown. The woman is a fraud. And, like Whoopi, she benefits from Whites’ reticence to call her out.

The BBC loves wheeling her out because it allows them to tick certain boxes on their diversity chart. Foreigner. Female. Black. Greer’s many appearances allow her to shoe-horn the race card into every subject imaginable while demonstrating the stultifying banality of her opinions. But, I gotta give this sassy, soul-sista credit because with no talent (especially no playwriting talent) she has become the House Negro of the British middle class and (wait for it) — a board member of the British Museum!

“You racist, sexist bastards, I wanted to play LADY MacBeth!

Homosexuals are also useful idiots for their Cultural Marxist masters. They’ll do anything if it gives them the chance to snort poppers and wear frocks. Meanwhile, the lesbians happily play along because they get to wear the pants on stage in taxpayer-funded all-female Shakespearean productions. It is true that in Shakespeare’s day young men played the female roles. But, this was not transvestism by choice. It was necessary because women weren’t allowed on the Elizabethan stage. And there was no kissing or touching in the original productions.

Homosexual playwrights, directors, and designers rarely miss a chance to demean Whiteness and masculinity and to degrade females. In a recent London production of a play based on Patrick Hamilton’s brilliant WW2 novel The Slaves of Solitude, the queer director and adapter changed the American GI who was the play’s love interest into a Black soldier. This was impossible casting for all sorts of reasons. But it allowed the queers to indulge in their own fantasy of having a Black buck ravage the spinsterish English heroine.

There have been many other instances of plays and musicals being mangled by ludicrous race and “gender-bending” casting. Edward Albee, Arthur Miller, Tennessee Williams, Noel Coward, and Rodgers and Hammerstein all forbade such changes. Some of those men were homosexual but they still recognized cultural vandalism when they saw it. Sadly, their estates are managed by their PC grandchildren determined to make their Grandpa’s back catalogue hipster-friendly. That sound you hear is of those disrespected gents turning in their graves.

Politically Correct theatre was typified by the multiracial, “anti-fascist” production of Hamlet at the Irish Theatre, Covent Garden in 2019.

Meanwhile, the hypocrisy of the Cultural Marxists and their apparatchiks in the arts is stunning. They live in the Whitest communities they can find and send their children to the Whitest schools. (The Clintons live in the Whitest zip code in America, and Jewish Bernie Sanders moved from multi-ethnic Brooklyn to Vermont — the Whitest state!) The only contact these hypocrites have with any non-White is with their Black maids. And, if she gets too sassy, they’ll fire her Black ass.

As employers these showbiz Marxists are anything but progressive. All the major film, TV, and commercial producers including the big streaming services film their projects in poor countries. South Africa and Eastern Europe are especially popular. They do this to bust the performer’s unions in the US and UK.

This anti-worker behavior is nothing new. In the 1930s, the Jewish movie moguls who ran Hollywood hired goon squads to bust up organizing meetings for the Screen Actors Guild. Meanwhile, British Equity is too busy creating new genders to act as a genuine trade union and fight the media giants.

These media “liberals” also go abroad to abuse and exploit the local actors and crews. The same producers and stars who cry on the awards shows about Trump and climate change and animal rights allow film extras to be treated like cattle — forced to stand in the cold and wet for many hours (sometimes all night) and given little or no food and very meagre wages.

I’ve had extras beg me for food while the loud-mouth lefty stars dined like Meghan Markle. And the film crews are forced to work round the clock which leads to unsafe conditions. I have seen actors and extras almost decapitated by machinery. I have walked off unsafe sets but most actors are afraid to stand up for themselves.

If I sound angry it’s because I am. And I’m proud of it. I’m also proud of my history, heritage, and culture and I’ll be damned if I’ll let anyone degrade, destroy, or steal them. My anger is fueled by the blood of my ancestors that flows through my veins. And as long as that most precious blood flows through me, I shall do all I can to expose and resist the deliberate genocide of our people. A genocide that is being dramatized and broadcast. On prime time. And we are paying to watch the spectacle.

If you don’t believe me, just go to a movie or play. Turn on your radio or TV. Or, just open your eyes. It’s happening. It isn’t a sitcom or movie. It’s real. It’s deliberate. And we can stop it. But the entirely legal means of doing so are best discussed elsewhere. In the meantime — Hail Victory!

Editor’s Note: Jack Antonio is the author of Boy Outa Brooklyn — a murder memoir. It is available on Amazon as a paperback and eBook and from all major eBook distributors. Or, visit Jack’s blog at http://boyoutabrooklyn.com/2020/06/20/fade-to-black/

This article originally appeared in Heritage and Destiny a bi-monthly 24-page magazine, published in the UK, to reflect a cross section of 21st century racial-nationalist opinion. For a sample copy please send $10.00 to; H&D, 40 Birkett Drive, Preston, PR2 6HE, England, UK. For full subscription details check out heritageanddestiny.com

Boy Outa Brooklyn a murder-memoir by Jack Antonio
Available as an eBook here and as a paperback and eBook from amazon.com and amazon.co.uk

Hail the Catholic Church for Forcing Monogamy Upon the Nobility: Chapter 5 of Individualism and the Western Liberal Tradition

Prof. Ricardo Duchesne comments on Chapter 5 of Individualism and the Western Liberal Tradition

Since the beginning of his academic career in the early 1980s, Kevin MacDonald has been wondering why only in the West “wealthy, powerful men” have not sought “to control ever larger numbers of women”. Evolutionary biology teaches that male reproductive success benefits greatly from the acquisition of multiple mates. In all societies, except those in which harsh ecological conditions limit the amount of surplus the society can generate, “it is expected that males with wealth and power” will employ their surpluses to “secure as many mates as possible”. This is evolutionary biology 101.

It is also what the historical record shows.

The elite males of all of the traditional civilization around the world, including those of China, India, Muslim societies, the New World civilizations, ancient Egypt, and ancient Israel, often had hundreds and even thousands of concubines.

White elite men were the only ones in history who did not follow this biologically prescribed tendency. We saw in Parts 3 and 4 (of my extended analysis of Individualism and the Western Liberal Tradition) MacDonald’s argument that a genetic disposition for monogamy may have evolved among European men back in hunting and gathering times due to harsh environmental conditions in northwest Europe during the last glacial age. In chapter five, “The Church in European History,” which is the subject of this article, MacDonald explains that, while “the Catholic Church cannot be seen as originating monogamy,” this Church was very effective in regulating the sexual behavior of powerful aristocratic men, the ones most inclined to pursue sexual variety.

Many books have been written about how and why Catholicism birthed the modern world. The most popular one is Thomas E. Wood’s How the Catholic Church Built Western Civilization (2012). This book persuasively shows the indispensable role Catholicism played in the creation of universities, the promotion of science and rational law. It asks many interesting questions, such as: “How the Church humanized the West by insisting on the sacredness of all human life?” “How the idea of a rational, orderly universe — fundamental to the Catholic worldview, but absent in non-Christian cultures — made possible the flowering of science in West?”

MacDonald acknowledges the importance of Christian ideas in history. The crucial difference is that he wants to know whether these ideas were actually able “to exert a control function over behavior and evolved predispositions”. What stands out for MacDonald about the Catholic Church was its ability to regulate the sexual behavior of powerful White men in a monogamous direction away from the strong inclination of such men for polygamous relations. Essentially what the Church did was to instill strong religious norms (about mortal sin and punishment in Hell) in the mental processing of the higher brain centers of aristocratic men, damping down the instinctive appetite of the lower parts of the brain for multiple mates.

In this effort, MacDonald pays careful attention to Larry Siedentop’s book, Inventing the Individual: The Origins of Western Liberalism (2014). This book is about the Papal Revolution of the 11th and 12th centuries, which involved the establishment of the supremacy of the papacy over religious affairs, control over the selection of the clergy away from secular aristocrats, the revitalization of Roman law leading to development of Canon law, coupled with the moral restoration and expansion of monasteries manned by a clergy committed to celibacy and the weakening of kinship networks among traditional German aristocratic families. There was a concerted emphasis, this time in the history of the Western family, on marriage based on consent of spouses, prohibition of divorce even if the marriage was infertile, elaboration of rules against consanguineous marriages, and delegitimization of concubinage.

In other words, the Church promoted consensual and egalitarian marriage relations based on the free will of individual men and women. This is what Siedentop means by the Catholic “invention of individualism”. This individualism, according to Siedentop, was rooted both in the Christian notion that humans had individual souls with moral agency and equal value in the eyes of God and in the Greco-Roman idea that one could be a citizen of the polis regardless of tribal identities.

The collapse of Rome, however, and the conquering barbarian Germanic peoples, had resulted in the reinforcement of tribal identities. This is what the Catholic Church set out to undermine. It set out to break down “Germanic tribes organized as kinship groups based on biological relatedness among males,” while simultaneously harnessing their warrior ethos for the spread of Christianity. Codes of honor about one’s kindred and one’s war band, as well as marriage of blood relatives, were still quite strong among  Germanic barbarians, notwithstanding their individualist tendencies. MacDonald observes that the prohibition in the sixth century of consanguineous marriages among second cousins was extended by the eleventh century to sixth cousins.

Christian Collectivism Replaces Kin-Based Collectivism

But how can we say that the same medieval age everyone has characterized as “communal” and “collectivist” was the age in which the individualist tendencies of the West were consolidated? MacDonald is quick to point out that the Church itself took on the role of building in the West “a strong sense of group identification and commitment”. The “collectivism of European society in the High Middle Ages was real,” but it was a pan-European ideological-Christian form of collectivism set up against the in-group biological collectivism of smaller kinship groups. It was (if I may express MacDonald’s thesis in unmitigated terms) a collectivism of moral precepts operating at the conscious “higher brain centers located in the cortex” rather than at the instinctive biological levels of the reptilian and mammalian brain. It was a collectivism with its own ambitions for power set up “at the expense” of traditional sources of power — kings and the aristocracy with their persisting kinship networks — with the ability to provide power-seeking Christians incentives to join the expanding and revenue-generating institutional structures of the Church.

It was a collectivism that promoted Western individualism by promoting monogamy, individual choice in marriage outside one’s kinship network, and sexual restraint among powerful aristocratic men. MacDonald goes over other aspects of the Christianized monogamous families of the West, late marriage, relatively high number of unmarried women, celibacy, along with its attendant “low pressure” demographic profile, which lessened consumption of scarce resources and allowed for greater capital accumulation and economic well-being.

But the point I would like to emphasize is the implicit idea in MacDonald that a collective moral identity is consistent with the promotion (or existence) of individualism. Collectivism versus individualism is not the issue. There has never been, and there will never be, a society based on individualism alone. The question is both degree of individualism/collectivism, and the nature of the individualism and collectivism prevailing in a society. As I started arguing in Part 2, weak kinship/tribal ties are not a bad thing, but indeed allow for the rise of broader forms of collective identities, as occurred in ancient Greece when equal citizenship was granted to all native members of the city-state in order to avoid endless tribal conflicts.

Christianity ran against the particular kinship relations and interests of Germanic tribal groupings and aristocratic blood networks, and it did so by cultivating a moral community of believers. Many on the dissident right today blame Christianity for promoting universal values and the equality of human souls across the earth in the eyes of God. MacDonald does not blame Christianity. He does not argue that the Catholic Church created the conditions for the subsequent rise of multicultural collective norms. He is aware, as we will see in future parts, that the same leftists who advocate for the breakdown of biologically-based identities have created powerful moral communities which stand against individual dissent. Instead of calling the West a flat out “individualist” culture, we should rethink very carefully the changing relationships and substantive natures underlying the uniquely Western dialectic between individualism and collectivism.

We will see in our examination of chapters 6, 7, 8, and 9 of MacDonald’s Individualism and the Western Tradition that he looks at other intervening stages in the rise of Western individualism, including the way Jewish intellectuals transformed Western individualism into a call for the complete erosion of Western ethnocentric collectivism. One anticipatory question I will allow myself to make now is whether we can look at the rise of Western nationalism in the modern era as a rational strategy by European ethnic groups freed from restrictive tribal identities on the basis of broader territorial ties, historical memories, linguistic similarities, and ethnic lineages.

From their inception, Western national states were heavily ethnic-oriented territories with strict immigration controls up until the 1970s — the most efficient fighting machines and engines of growth created in human history. But increasingly since WWII Whites have been made to believe that the very idea of sovereignty goes against the principle of individual freedom because it “discriminates” against individuals from other nations who have a “human right” to become citizens of Western nations. Europeans need to understand that their individualism can only be fulfilled within a nation state that recognizes the reality of racial and sexual groupings.

There are no chapters in MacDonald’s book on nationalism, and I have never conducted an in depth study of the grand epoch of Western nationalism. But in light of MacDonald’s insights about the peculiar dissolution of Western kinship ties and the rise of individualism, we should start thinking about the dissolution of kinship ties as a process whereby Europeans were trying to generate wider forms of collective identity controllable by the higher brain centers, beyond the lower Darwinian drives that came to prevail in the non-Western world.

This article originally appeared at Eurocanadian.ca.

 

Race and Social Justice in South Park

South Park, begun in 1997 by writer-directors Trey Parker and Matt Stone, is one of the most successful and highly acclaimed sitcom series today. In 1999 the creators released a popular South Park feature film, and there have been a variety of video games based on the series. It is worth examining the social and political messages of such a major cultural phenomenon, particularly around what are becoming the most prominent issues today – those of race and “social justice.”

The most recent South Park games are two similar computer RPGs, developed under the creative control of Parker and Stone and released in 2014 and 2017. Both were very well-received, and the most recent title, South Park: The Fractured But Whole, is worth analyzing as the latest major installment in the South Park franchise.

The Fractured But Whole, like its predecessor The Stick of Truth, takes place in the town of South Park and features characters from the television series. Lampooning narcissism is one one of the main themes of the show, and one of the main characters is Eric Cartman, an obese and manipulative bully with a grandiose view of himself. In the latest game, Cartman positions himself as a daring crimefighter called The Coon, who along with his young superhero allies aims to rescue a missing cat named Scrambles. The hero, known simply as New Kid, completes a wide variety of quests while fighting alternately alongside Cartman’s team and a rival group of superheroes.

Race becomes an issue at the very beginning of the game when the player chooses their difficulty level. This is indicated by skin color; choosing a darker color means you will acquire less money and some characters will speak to you differently. However, the most important aspect of game difficulty is combat, and the player can change this independently at any point in the game. The player can also change his skin tone at will after a certain point in the story. Race is thus not as much of a handicap as it initially appears; it is possible that this was a hint by the developers about the exaggerated outrage over “racism” in society.

One of the few major Black characters in the television series or the game goes by the name of Token Black. The name is a reference to “tokenism,” the practice of including a few non-Whites to superficially demonstrate an “inclusive” spirit. The term is generally used to criticize Whites for not making sufficient efforts at racial integration in the eyes of minority activists. Token is surely a token in this sense; he is the only Black student at South Park Elementary and shows no apparent cultural differences with the White students. He speaks flawless white English, has no criminal tendencies, and his family is wealthier than any of the families of his White peers. To their credit, the producers do not imply that such assimilation into polite society is the norm for Blacks; there are few other Black characters in the game, and they include a prostitute/stripper and a pimp.

Unfortunately, the game reflects the stereotype that police are racially biased against non-Whites, arresting or attacking them for little or no reason. The player takes an assignment from the police to break into Token’s house and assault his father, as they falsely allege he is a drug kingpin. In one room in the police station, the player can see a bar graph on the wall depicting categories of arrests. Most of them are for petty offenses, another reads “racial profiling,” and the largest bar is for “no reason.”

These “racists” attempt to deny at least twice that they are prejudiced, only to be proven wrong by immediate circumstances. At one point the lead detective Sergeant Yates attempts to explain to the children that although they may be hearing things in the news about police being “racist and bigoted,” they have nothing to worry about. He is interrupted by another officer yelling “spook” and firing his weapon, barely missing Token.

In another scene the children come upon a cult devoted to Shub-Niggurath, a horrible deity from H. P. Lovecraft’s short stories. The cult members are policemen, led by Sergeant Yates. Yates denies being “racist,” even trying to deny that H. P. Lovecraft was racist before another cultist corrects him, but admits that they have been feeding the Blacks they arrest to the hungry creature. They explain that she only likes dark meat. The only way to defeat the monster is to feed the White officers to her; this “anti-racist” act makes her ill to the point of death.

To its credit, the game does mock social justice activists in the character of PC Principal. The new principal of South Park Elementary was introduced in the television series as a macho bodybuilder who verbally and physically abuses students while reciting social justice dogma. He is part of a social justice fraternity whose members drink heavily and engage in casual sex; it is suggested that this is the true aim behind their “woke” rhetoric.

The player in The Fractured But Whole receives training from PC Principal on microaggressions – seemingly innocuous statements which are creatively misinterpreted as “bigoted” insults. The principal gives the example of “Mr. Yamashiro is actually a good driver;” it implies that other Asian Americans are not good drivers, and “the use of Mr. is offensive to persons of third gender.” PC Principal trains the hero to respond to microaggressions in combat with an extra attack, which he refers to as “[doing] PC work.” This reinforces the idea that “social justice” is only a rationalization for antisocial impulses.

Social justice fanaticism is also lampooned when it comes to transgenderism. In one scene, the hero goes to the guidance counselor’s office and is given the option to choose his gender. When he indicates that he identifies with the gender he was born with, Mr. Mackey feels the need to call his parents. The counselor is obviously concerned and informs them that “you don’t always need to go with the first hand you’re dealt.”

Matt Stone’s mother is Jewish, which gives South Park more leeway to mock Jews than gentiles would have. Jews were portrayed in the earlier 2014 game as a separate class of hero, alongside fighter, mage and thief. The Jew in this context parodies a common mentality among real-world Jews – when they are seriously injured or suffering from various temporary negative conditions in combat, their attacks become more powerful. The implication is that they gain strength from a sense of victimization, and even that they depend on victimhood to prevail in conflict.

Kyle Broflovski, one of the main characters, is Jewish and has a stereotypically hysterical mother named Sheila. In the present game, he is unhappy to learn that his even more Jewish cousin Kyle Schwartz is visiting. Schwartz has terrible eyesight along with numerous imagined health problems and is constantly complaining in a very unpleasant tone of voice. After being defeated in two battles, he promises to help the hero and his associates, and he repeatedly appears in combat, but always finds a reason to flee almost immediately.

Mexicans are used in combat in a manner which emphasizes that they are hapless servants exploited by unfeeling Whites. Butters takes on the persona of the evil Professor Chaos and the hero is required to defeat both him and his accomplice General Disarray in battle. He begins one such encounter in an enormous “machine” constructed out of Mexicans wrapped in tinfoil. Other battles involve two Mexicans in a cardboard box serving as an unconvincing “robot,” or simply unenthusiastic “minions” who comment that they are only doing this for the money. In either case they speak largely in Spanish to emphasize their alienation from their employer and the wider society. The minions are obviously expendable; Professor Chaos can summon an unlimited number of them until he himself is defeated.

Of course, this characterization does not necessarily mean sympathy for further immigration from Mexico; if the immigrants are in such an uncomfortable condition here, it is no great kindness to let more of them in. But both the show and the game mock critics of immigration as ignorant “rednecks” who cannot even properly pronounce the phrase “they took our jobs.” A gang of such people attack the hero when they find that Butters, at that point his ally, has been employing immigrant minions.

The game makes an interesting point about the paranoia and denial of personal responsibility which is so rampant today, both among social justice activists and in the wider society. Cartman directs a conspiracy to add cat urine, which in the South Park universe has mind-altering qualities, to the local supplies of drugs and alcohol. His intention is to increase crime in the city so that he can blame this on the current mayor and be elected mayor himself. The hero’s parents, who use marijuana and alcohol heavily, are constantly in conflict with each other throughout the game, for which they partly blame one another’s substance abuse. But at the end of the story, Cartman’s plot is revealed and the townspeople resolve to get “clean drugs and alcohol from the next town over,” after which the feuding parents reconcile. The sarcastic implication is that it is not drug and alcohol abuse which cause problems in people’s lives, nor the unhealthy mindset behind these behaviors, but simply a malicious conspiracy beyond their control.

Although it deserves credit for criticizing the contemporary extremes of social justice fanaticism, the latest South Park game does not entirely reject the mindset behind it. It supports the “woke” stereotype that Whites – both police and clownish “redneck” hooligans – have a mindless hatred for non-Whites and immigrants. Parker and Stone have described their views as “middle of the road,” and if this is indeed the midpoint in the political spectrum, we have a long way to go before a sane view on race becomes the norm.

Jewish Themes in The Graduate (1967)

The 1967 film The Graduate was a landmark in Jewish cultural subversion (see also Edmund Connelly’s treatment). By the time of the film’s release, Jewish film-makers in Hollywood were becoming more explicit in their antipathy for White Americans and their culture, and this was increasingly reflected in their output. In 1963, the Jewish producer Larry Turman came across the 24-year-old Californian Charles Webb’s novel The Graduate which, he claimed, “had an emotional coloration for me like [the Jewish playwright] Harold Pinter. The book was funny, but it made you nervous at the same time.”[1]

In his novel, Webb looks back in anger at his gilded California lifestyle as the son of a Pasadena cardiologist. His semi-autobiographical protagonist, Benjamin Braddock, a 20-year-old recent graduate from an East Coast college, returns to his Californian home for a long, hot summer over the course of which he stumbles into a passionless affair with the much older Mrs. Robinson, the wife of his father’s business partner. Braddock becomes infatuated with Mrs. Robinson’s daughter Elaine who reciprocates his feelings but rebuffs him after learning of his relationship with her mother. Mrs. Robinson sends Elaine off to college at UC Berkeley, where she becomes engaged to her classmate Carl Smith. A desperate Benjamin crashes their wedding and elopes with Elaine to the great distress of her family.

Turman bought the rights to the book for $1,000 and sent it unsolicited to Jewish director Mike Nichols (born Mikhail Peschkowsky) who signed on to the project. Turman’s search for financing led him to Jewish film mogul Joseph E. Levine—“the schlockmeister of the world”—who put up $3 million. Turman’s impulse purchase of the rights led to one of the most consequential films ever. Released in December 1967, The Graduate grossed almost $105 million (equivalent to almost $1 billion today), the third-highest ever at the time, and was nominated for seven Academy Awards including best picture and acting nods for stars Anne Bancroft, Dustin Hoffman and Katharine Ross, plus an Oscar victory for director Nichols. The Graduate has since become one of the most referenced films in the popular culture lexicon of the Western world.

Nichols assigned Jewish screenwriter Buck Henry (born Henry Zuckerman), then writing for the TV spy spoof Get Smart, as screenwriter. Henry ended up sharing writing credits with the non-Jewish Calder Willingham who had written a rejected first script. Songs by the Jewish duo Simon and Garfunkel were used for the soundtrack. Given the many Jews involved in the film’s production, it’s hardly surprising that Jewish sensibilities and ideological fixations pervade the final product.

The Graduate was not meant to read Jewish in the novel: the non-Jewish Charles Webb wrote the 1963 novel when he was just out of Williams College, which at the time is alleged to have been “notoriously anti-Semitic, even at the administrative level.”[2] In the hands of director Mike Nichols, however, the story became a scathing critique of bourgeois WASP American culture and the oppressive burden it purportedly imposed on young Americans. Nichols employs two recurrent visual metaphors to symbolize this oppressive culture: black-and-white stripes and water. The former representing prison bars confining Benjamin, while the latter (the numerous scenes referencing pools, aquariums, Scuba diving and rain) are said to symbolize the oppressive weight of societal expectation. The “troubled water” theme recurs throughout the film, with Benjamin floundering in a toxic social order where “he is submerged, underwater, trapped,” his world appearing “claustrophobically enclosed like a fish in a small water tank.”[3]

Nichols’ prison bar metaphor

The film resonated with a generation of young people concerned, as recent college graduate Benjamin Braddock is, about their place in the adult world they were reluctantly entering. Beverly Gray, author of the 2017 book Seduced by Mrs. Robinson: How “The Graduate” Became the Touchstone of a Generation, claims the film “strikes me as having a Jewish soul.” Laurie Shapiro, writing for the Forward, agrees, observing that “Despite the All-American storyline of the novel, The Graduate, the film version has always signaled a very Jewish sensibility to me, starting with Dustin Hoffman oddly cast in the lead as super-Waspy Connecticut kid Benjamin Braddock.” Referring to its Jewish director Mike Nichols, Gray notes how:

The film seems to me Jewish in a social sense, in terms of the Jewish outsider, which is certainly the way Mike Nichols viewed himself. Nichols was feeling a bit askew among the comforts of bourgeois America. It’s important to remember Nichols as a very young refugee from Nazi Germany. He never really got over the experience of fleeing Berlin at age 7. I’d go on to add that Nichols has made the following comment: “Dustin has always said that Benjamin is a walking surfboard. And that’s what he was in the book, in the original conception. But I kept looking and looking for an actor until I found Dustin, who is the opposite, who’s a short, dark, Jewish, anomalous presence, which is how I experience myself.” It’s a provocative statement, because Nichols was neither short nor dark, though clearly he felt a strong inner discomfort about the way he presented himself to the world. He certainly identified with the angst felt by Benjamin Braddock.[4] 

The perennial theme of Jewish alienation from a WASP-dominated mainstream American society played an important role in how the character of Benjamin Braddock—and the entire film—were conceived by Nichols—though this only became fully apparent to him after the film had been made. “My unconscious was making this movie,” Nichols later recalled. “It took me years before I got what I had been doing all along—that I was turning Benjamin into a Jew. I didn’t get it until I saw this hilarious issue of MAD magazine after the movie came out, in which the character of Dustin says to the character of Elizabeth Wilson, ‘Mom, how come I’m Jewish and you and Dad aren’t?’ And I asked myself the same question, and the answer was fairly embarrassing and fairly obvious: Who was the Jew among the goyim? And who was forever a visitor in a strange land?”[5]

It was with his casting of Benjamin Braddock, described in the book as a tall, blonde, and athletic, that Nichols took his biggest risk. Unable to resist the urge to engage in Jewish ethnic networking, he passed over Robert Redford for an unheralded, diminutive 29-year-old Jew, Dustin Hoffman. Nichols cast Hoffman, “despite the fact that he was virtually unknown and looked nothing like the leading man described in the script, which called for a tall, blond track star, not a short, Jewish guy with a schnoz for the ages.”[6] Hoffman later recalled telling Nichols, “The character is five-eleven, a track star. … It feels like this is a dirty trick, sir.” The director replied, “You mean you’re Jewish, that’s why you don’t think you’re right. Maybe he’s Jewish inside.” Nichols claimed that casting Hoffman emphasized Benjamin’s alienation from the WASP middle class world around him and its oppressive expectations. For the Jewish director Steven Soderbergh, Nichol’s choice was “the seminal event in the defining of motion picture leading men in the last 50 years.”[7]

Director Mike Nichols on set with Dustin Hoffman and Anne Bancroft

A number of early reviews of The Graduate described Hoffman as “ugly.” An article in Life magazine referred to him as “a swarthy Pinocchio,” and made humorous reference to his prominent nose. According to Gray, however, “What was important was the way young audiences embraced Hoffman, big nose and all. Suddenly it was okay not to look like Robert Redford and still play a romantic leading role.”[8] Hoffman’s anti-heroic character gave the green light for Hollywood to promote “the ethnic Jewish matinee idol and youth icon in the forms of George Segal, Elliot Gould, Richard Benjamin, Charles Grodin, and Gene Wilder.”[9] These Jewish romantic leads were invariably paired onscreen with beautiful non-Jewish actresses like Marsha Mason, Candice Bergen, and (in the case of Dustin Hoffman) blondes like Mia Farrow, Faye Dunaway, Susan George, and Meryl Streep. The new era was boon for Jewish actors, who, as Gray points out, suddenly

no longer had to fret about not resembling the WASP ideal, nor did they need to hide (as such stars as John Garfield and Kirk Douglas had done) behind anglicized names. The casting of Dustin Hoffman as The Graduate’s leading man was a shock to Hollywood, which had spent decades trying to sidestep the Judaic roots of its founders. But in the wake of The Graduate, young Jewish males were suddenly everywhere, and often they were playing characters with backgrounds similar to their own. This was the era that launched Richard Benjamin (Goodbye, Columbus, 1969), and Richard Dreyfuss (The Goodbye Girl, 1977), along with Grodin. It was all part of what film critic J. Hoberman, paying tribute to Elliott Gould in the Village Voice, wittily called the Jew Wave.[10]

While celebrating the “Jew Wave” inaugurated by Hoffman’s casting as Benjamin Braddock, Shapiro laments that Hollywood’s enthusiasm for casting Jews as romantic leads didn’t extend to Jewish women, who, she contends, “still struggle to be cast in a lead if they don’t look like Natalie Portman, Mina Kunis or (yes, she’s Jewish) Scarlett Johansson. Men can keep their original noses and surnames (Ben Stiller, Jason Schwartzman, Adrien Brody, Adam Brody, Adam Levine) but Jewish women elect for plastic surgery to ‘correct’ what Hollywood execs like Harvey Weinstein deem ‘unfuckable’ looks, and then hide their names and heritage.” Shapiro also resents that some Jewish biopic female roles have been handed to non-Jews like Nicole Kidman (as Diane Arbus) and Felicity Jones (as Ruth Bader Ginsburg)—despite the existence of Jewish actresses that “meet or even surpass most people’s standard of beauty” like Natalie Portman, Rachel Weisz, and Mila Kunis. This is largely, she insists, because “Hollywood seems to have never gotten over its infatuation with blondes, especially when paired with dark-haired men.”[11]

Hollywood did make efforts in the 1960s to promote Jewesses as romantic lead characters. The Jewish film historian Neal Gabler notes, for example, in his book Barbara Streisand: Redefining Beauty, Femininity and Power, how, in the late sixties, Streisand was repeatedly cast by Hollywood studios who deliberately attempted to make her Jewish ethnicity part of her public appeal. Gray notes that “In the wake of her success, many young girls thought twice about requesting a nose job as a Sweet Sixteen gift. But I would argue that Streisand started no trend toward the acceptance of other leading ladies who defied the WASP standard of physical attractiveness.”[12]

Dustin Hoffman certainly defied the WASP standard of male physical attractiveness, and Nichols sympathized with the young actor’s view of himself as an alienated Jew in a gentile world, and Hoffman, in turn, was able to comprehend the role once “he caught Nichols and Henry’s vision of Benjamin as the ultimate outsider—not a part of the culture, but not a part of the counter-culture either.” Nichols and Henry envisioned the Braddock character as a “genetic throwback” among the “walking surfboards” of angular, blond vigor—the American WASP mainstream. Nichols wanted Hoffman to project an estrangement that began in the blood. Renata Adler, writing in The New York Times, was the first to openly state the reality of Benjamin’s Jewish identity—with the Jewish film critic J. Hoberman endorsing Adler’s observation, identifying Benjamin as an obvious “crypto-Jew” and “an example of an ascendant Jewishness” in Hollywood.[13]

Dustin Hoffman as Benjamin Braddock: “an example of ascendant Jewishness”

Hoffman won the role over Charles Grodin, another Jewish actor who was no model of conventional WASP good looks. On the morning of Hoffman’s screen test for the role, he was marched into the makeup chair, where experts worried over his thick eyebrows, muscular neck, and less-than-perfect features. Hoffman recalled Nichols fretting, “Can we do anything about his nose?” Two hours later, when he went before the camera alongside co-star Katharine Ross, matters got worse: “The idea that the director was connecting me with someone as beautiful as her, it became an even uglier joke. It was like a Jewish nightmare.” Trying to ease the tension between them, he pinched or patted Ross’s buttock (accounts differ), leaving her furious. Nor did his reading of the role of Benjamin run smoothly. Just before the film’s release, when Ross was asked about her first impression of Hoffman, she pulled no punches: “He looks about three feet tall, so dead serious, so humorless, so unkempt.” She remembered thinking “This is going to be a disaster.”[14]

While Benjamin Braddock might have been, according to Nichols, Jewish on the inside (and on the outside to the extent of his casting Hoffman), the Braddock and the Robinson families were supposed to be representative of WASP middle class America. Despite this, Jewish characterizations even crept into the portrayal of these characters, and Gray notes how

the film is basically Jewish in a Lenny Bruce sense: New York neurotics are all Jewish, whatever their ethnic and religious background. Interestingly, the two overtly New York characters in the movie, in terms of speech patterns, are Ben’s father and Mrs. Robinson. I can certainly see Mr. Braddock (played by William Daniel) as an upwardly mobile “Jewish” man, enjoying the fruits of his labors. And of course Mrs. Robinson is the very definition of neurotic. But her husband and daughter don’t seem in any way Jewish to me, despite their presence in a Beverly Hills mini-mansion of the type that Jews of that era favored and that I recognized all too well.[15]

As those who have seen the film know, Benjamin Braddock sleeps with Mrs. Robinson but loves her beautiful daughter, Elaine, who is disgusted when she learns what her mother and boyfriend have done. Elaine ends her relationship with Braddock and becomes engaged to Carl Smith, portrayed by the decidedly non-Jewish actor Brian Avery.

Carl Smith (Brian Avery) with Elaine (Katharine Ross)

Undaunted by Elaine’s rejection, Benjamin pursues Elaine and crashes her wedding. This scene, as conceived by Nichols, is laden with Jewish symbolism and socio-political fixations. Hoffman’s character invades the sanctity of the church (a metaphor for the Jewish infiltration of Western societies?) to take Elaine from Carl who is depicted as Braddock’s physical and ethnic opposite (a tall and blonde Nordic archetype). Benjamin uses Christianity’s most sacred symbol (a crucifix) as a weapon to fend off the wedding attendees’ attempts to stop this profane intrusion. He then thwarts their attempts to reclaim Elaine by jamming the crucifix into the door of the church, leaving them barricaded inside and allowing him to flee with Elaine (see lead photograph).

The wedding scene of The Graduate

Such overt anti-Christian imagery jarred with the film’s first audiences—but was only the start of Hollywood’s disparagement of Christianity, and seems tame by today’s standards. Such efforts culminated in depicting nuns in sexual roles. Notoriously, the opening scene of the pilot of Californication, a program starring and produced by the Jewish actor David Duchovny (whose father was a publicist for the American Jewish Committee), depicts a nun performing oral sex on Duchovny’s character Hank Moody in a church. This pornographic debasement of Christian symbols by Jews is a blatant way of defiling Christian culture.

The wedding scene in The Graduate is supposed to be a triumphant moment: two young people rebelling against and liberating themselves from the oppressive expectations of their parents and their pathogenic culture. The conclusion to The Graduate glorifies breaking away from familial, cultural (and implicitly ethnic) constraints in favor of individualism. The Graduate’s core theme can be broken down to a general societal and political defiance. In the first scene of the film, Benjamin rides to the left on an airport conveyor belt as everyone else accedes to the airport’s public announcement system’s request to “Please stay to the right.” The political symbolism is obvious.

The Graduate was made at a time when the New Left was ascendant in the United States, and when the ideas of Jewish intellectuals like Erich Fromm and Herbert Marcuse were displacing orthodox Marxism in leftist movements throughout the West. Indeed, Nichols’ film can be seen as a subversive exposition of ideas espoused by Marcuse in his seminal 1964 work One Dimensional Man. During the late 1960s and early 1970s, Marcuse’s work was probably the most influential social theory of its day and enjoyed a wide readership. In One Dimensional Man, he argued that advanced industrial societies like the United States repress their populations by creating false needs via mass advertising, industrial management, and modes of thought which resulted in a “one dimensional” universe of thought and behavior which stifled people’s capacity for critical thought and oppositional behavior. Marcuse advocated what he called the “great refusal” as the only effective opposition to these all-encompassing methods of social control. He championed sexual and ethnic minorities and outsiders “to nourish oppositional thought and behavior.”[16]

A generation of young radicals took up Marcuse’s texts as “essential criticism of existing forms of thought and behavior,” and Marcuse himself identified with the New Left and defended their politics and activism. For Marcuse, the traditional European family structure served “to legitimate authoritarian institutions and practices” and predisposed individuals to “accept social authority.” Alongside fellow Frankfurt School intellectuals Max Horkheimer and Theodor Adorno, he viewed the traditional Western family was an important institution “for the production of ‘authoritarian personalities’ who are inclined to submit to dominant authorities, however irrational.”[17]

Herbert Marcuse

There are also strong points of intersection between Marcuse’s ideas and those of Jewish post-Freudian intellectual Wilhelm Reich. In his 1933 book The Mass Psychology of Fascism, Reich argued that the authoritarian family is of critical importance for the authoritarian state because the family “becomes the factory in which the state’s structure and ideology are molded.”[18] Crucial for Reich was the repression of childhood sexuality, which, in his view, created children who are docile, fearful of authority, and in general anxious and submissive. Reich claimed the role of traditional “repressive” Western sexual morality was “to produce acquiescent subjects who, despite distress and humiliation, are adjusted to the authoritarian order.” Marcuse agreed with Reich that the “liberation of sexuality and the creation of non-hierarchical democratic structures in the family, workplace and society at large would create personalities resistant to fascism.”[19]

Marcuse, like Nichols, a refugee from National Socialist Germany, is said to have been “extremely sensitive to the dangers of fascistic tendencies” and his work was an important part of the great cultural shift from the affirmation to the repudiation of inherited values.[20] The familial, religious and ethnic ties of White people were presented by Jewish intellectuals like Marcuse (and Hollywood writers and producers) as an oppressive burden imposed by the past—a way in which parents encumber their offspring with an inheritance of dysfunctional norms.

Frankfurt School intellectuals, including Marcuse, held that the psychologically healthy White person was someone who had broken free from these dysfunctional norms (i.e., the traditional Western moral code), and realized their human potential without relying on membership in collectivist groups. The embrace of radical individualism among non-Jews, promoted by the likes of Marcuse, was, of course, conducive to the continuation of Judaism as a cohesive group. Yet while Marcuse promoted individualism and condemned White racial feeling as deeply immoral, he was a committed Zionist who strongly supported “the establishment of a Jewish state, capable of preventing the repetition of a holocaust.” Marcuse justified supporting ethnic nationalism for his own tribe on the basis that “The United States didn’t do a goddamn thing under Roosevelt about the persecution of Jews before and during World War II,” and because “There is a continued effective anti-Semitism that could explode at any time in a neo-fascist regime. … Anti-Semitism is rampant in all states, and still exists in all states.”[21]

This line of thinking motivated the activism of Jewish New Left leaders like Mark Rudd who actively promoted Marcuse’s ideas. Rudd claimed that for him and his New Left colleagues, “World War II and the Holocaust were our fixed reference points. We often talked about the moral imperative not to be good Germans. We saw American racism as akin to German racism towards the Jews.”[22]

Alongside intellectual activists like Marcuse and political activists like Rudd, Hollywood has played an incredibly important role in this Jewish campaign to attack and destroy the fabric of White American society. Hollywood’s guiding principle, as articulated by Jewish Hollywood director Jill Soloway, resides in the perceived necessity of “recreating culture to defend ourselves post-Holocaust.”[23] This ethnic “defense” has entailed the promotion of radical individualism for White people, racial diversity and mixing, the denigration of Christianity, the hypersexualization of popular culture, the glamorizing of sexual non-conformity and the breakdown of traditional gender roles—all alongside constant reminders of “the Holocaust” with its concomitant themes of Jewish victimhood and unsurpassed German (White, European) evil. This is Jewish ethnic warfare waged through the construction of culture. The Graduate was an early shot fired in this ongoing war.


[1] Alec Scott, “When ‘The Graduate’ Opened Fifty Years Ago, It Changed Hollywood (and America) Forever,” Smithsonian Magazine, December 2017. https://www.smithsonianmag.com/arts-culture/graduate-opened-50-years-ago-changed-hollywood-forever-180967222/

[2] Laurie Gwen Shapiro, “50 Years Later, Just How Jewish Was ‘The Graduate?’” Forward, November 15, 2017. https://forward.com/culture/387524/50-years-later-just-how-jewish-was-the-graduate/

[3] Gus Cileone, “What does the water imagery in ‘The Graduate’ express about the 1960s youth mindset and destiny,” The Take, October 7, 2015. https://screenprism.com/insights/article/what-does-the-water-imagery-in-the-graduate-express-about-the-1960s-youth-m

[4] Shapiro, “50 Years Later,” op cit.

[5] J.W. Whitehead, Appraising The Graduate: The Mike Nichols Classic and Its Impact in Hollywood (Jefferson, NC: McFarland, 2011) 58.

[6] Steve Almond, “Remembering Mike Nichols And The Cinematic Landmark That Was ‘The Graduate,’” wbur, November 21, 2014. https://www.wbur.org/cognoscenti/2014/11/21/mike-nichols-the-graduate-steve-almond

[7] Scott, “When The Graduate Opened Fifty Years Ago,” op cit.

[8] Shapiro, “50 Years Later,” op cit.

[9] Whitehead, Appraising The Graduate, 63.

[10] Shapiro, “50 Years Later,” op cit.

[11] Ibid.

[12] Ibid.

[13] Whitehead, Appraising The Graduate, 63.

[14] Beverley Gray, Seduced By Mrs. Robinson: How “The Graduate” Became the Touchstone of a Generation (Chapel Hill, NC: Algonquin Books, 2017), 42-3.

[15] Shapiro, 50 Years Later,” op cit.

[16] Douglas Kellner, “Introduction to the Second Edition,” Herbert Marcuse, One-dimensional Man: Studies in Ideology of Advanced Industrial Society (London: Routledge, 1991), xi.

[17] Douglas Kellner, Herbert Marcuse and the Crisis of Marxism (Berkeley: University of California Press, 1984) 110.

[18] Wilhelm Reich, The Mass Psychology of Fascism (London: Penguin, 1970) 64.

[19] Kellner, Herbert Marcuse and the Crisis of Marxism, 111.

[20] Ibid., 296.

[21] Herbert Marcuse & Douglas Kellner (Ed.), The New Left and the 1960s: Collected Papers of Herbert Marcuse (London: Routledge, 2004), 180.

[22] Philip Mendes, Jews and the Left: The Rise and Fall of a Political Alliance (Melbourne, Victoria; Palgrave MacMillan, 2014), 254.

[23] http://estherkustanowitz.typepad.com/myurbankvetch2005/2009/04/jenji-kohan-jill-soloway-and-the-hebrew-mamita-inside-the-jewish-noggin.html

The White Plague, Part 3: Concluding Thoughts

Go to Part 1.
Go to Part 2.

Of course, the Sacklers and their Purdue executives were not the only demons who facilitated the White Plague. We must not lose sight of the fact that the Jewish-dominated American healthcare system itself, by far the most expensive on earth, is not only failing to halt the precipitous fall of White life expectancy, but is actively fueling the conflagration. The Sacklers are indeed singularly responsible for the White Plague; without their deception, greed, and anti-White animus, it could not have occurred. However, while the Sacklers were certainly the heart (or rather, the gaping black hole where a heart should be) of the Hydra, the Beast had many heads. As Gerald Posner cautions, “By putting the responsibility for the crisis so squarely on Purdue and the Sacklers, there is a risk [that] others who played material roles in creating and feeding the epidemic may not pay a price. That is the hope among thousands of others, sales representatives and executives of rival pharma companies with their own opioid products, overprescribing doctors, FDA bureaucrats who did not want to restrict OxyContin, pharmacists who diverted prescriptions to the black market, and pain management experts who preached that opioids were not addictive when prescribed for pain.” In this respect, the Sacklers appear to be another sacrificial scapegoat for the Jewish ruling class; in other words, the Elders of Zion occasionally sacrifice one of their own for the good of the whole. For example, Bernie Madoff was sacrificed as the avatar for the entire Great Recession. “#MeToo” was created and Harvey Weinstein was sacrificed, in order to further conceal the pervasive pedophilia in Jewish Hollywood. Jeffrey Epstein was suicided, and, though it remains to be seen what will become of Ghislaine Maxwell, she certainly intended to be arrested and thus poses no threat to the System.

From its birth in 1996, OxyContin made 35 billion dollars in revenue. In 2014, the Sacklers entered the Forbes list of “richest families,” with an estimated net worth of fourteen billion dollars, edging out families like the Busches, Mellons, and Rockefellers. What was the cost of those billions? From 1999 to 2019, over 770,000 Americans, almost all of whom were White, were killed by drug overdose. This is greater than the number of Americans killed in all of our wars, combined. The CDC reports that nearly seventy percent of those fatal overdoses were due to opioids, while nearly half of the total number were from fentanyl or other synthetic opioids besides methadone. Twenty-two percent of the total came from heroin. The annual number of overdose deaths jumped from 16,849 in 1999 to a high mark of 70,237 in 2017, well over the number of Americans killed in Vietnam. That year, opioids prescribed by physicians accounted for a third of all opioid deaths, and a quarter of the total. In 2016 alone, there were nearly 64,000 overdose deaths, 42,000 of which were from opioids. According to the DEA, between 2006 and 2014, over one hundred billion doses of oxycodone and hydrocodone were shipped to pharmacies, and then homes, across the country. It is thus no wonder that OxyContin, and the family who created it, was almost singlehandedly responsible for the first decline in White life expectancy in more than twenty years.

Beginning in the late 1990s, almost exactly concurrent with the release of OxyContin, while the White mortality rate continued to steadily decline in Europe, it steadily increased in America, diverging more and more with each passing year. 1999 was the critical year; from 1999 to 2017, comparing the predictive mortality rate to the actual, there is a discrepancy of six hundred thousand deaths of middle-aged Americans who would be alive had progress gone on as expected. As a reference, approximately 675,000 Americans have perished from HIV/AIDS since the early 1980s. We might also consider the crack “epidemic,” which almost exclusively affected Blacks. “Our” government responded to crack by kicking each and every lever of the State into overdrive, yet has essentially done nothing to stem the White Plague. It does not take a conspiratorial mind to realize why. For Whites, life expectancy at birth fell by one-tenth of a year between 2013 and 2014. In the next four years, from 2014 to 2017, life expectancy fell for the nation as a whole. As Anne Case and Angus Deaton emphasize, “any decline in life expectancy is extremely uncommon. With a three-year decline, we are in unfamiliar territory; American life expectancy has never fallen for three years in a row since states’ vital registration coverage was completed in 1933.” Between 1999 and 2017, this rise in the mortality rate for Whites aged 45 to 54 occurred in all but six States, with the largest increases in death rates occurring in West Virginia, Kentucky, Arkansas, and Mississippi. The only states where White mortality perceptibly fell were California, New York, New Jersey, and Illinois.

“Deaths of despair,” as Case and Deaton term them, are wholly responsible for the decline in White life expectancy. These deaths are primarily driven by drug overdose, suicide, and alcoholic liver disease and cirrhosis. While there are more deaths from overdoses than from either alcohol-related diseases or suicides, up forty percent in seventeen years, suicides and alcohol combined to kill more Whites than drugs alone. Case and Deaton underscore the despair underlying the slow genocide of the White race. Whites, they note, “are drinking themselves to death, or poisoning themselves with drugs, or shooting or hanging themselves. … All the deaths show great unhappiness with life, either momentary or prolonged.” Case and Deaton take care to introduce the nuanced issue of supply and demand, acknowledging that the White Plague “would not have happened without the carelessness of doctors, without a flawed approval process at the FDA, or without the pursuit of profits by the industry at whatever human cost.” At the same time, though, they contend that “the misbehavior poured fuel on the fire, making the epidemic worse, rather than creating the conditions under which such an epidemic could take place in the first place. The people who used the opioids, the many millions who became opioid abusers or became addicted, who became zombies walking the streets of once-prosperous towns, were those whose lives had already come apart, whose economic and social lives were no longer supporting them.”

If we do pursue this line of inquiry and dig deeper into the sources of this despair, we still find the same Enemy: the ruthlessly extractive Judeocracy that has stolen and annihilated the last vestiges of White identity from our atomized society, that has made Whites the hated Other in our own nation, that has liquidated the deplorable American kulak, cannibalized our once-overflowing capital resources, and destabilized our culture through the importation of an army of unwashed, hostile heathen. Case and Deaton write that, “by its end, much of the optimism of the twentieth century had faded. Towns and cities in the heartland of America that used to produce steel, glass, furniture, or shoes, and that are fondly remembered by people in their seventies as having been great places to grow up, had been gutted, their factories closed and shops boarded up. In the wreckage, the temptations of alcohol and drugs lured many to their deaths.”

For Whites between the ages of 45 and 54, deaths of despair tripled from 1999 to 2017. While this age group had the highest mortality rate, Whites in younger age groups also saw their mortality rates accelerate even more quickly; furthermore, the midlife pattern began to extend into old age after 2005. The key takeaway here is that, as Case and Deaton note, “each age-group does progressively worse than the same age-group did in earlier years.” In 2017, thus far the worst year, more than 158,000 Americans died from deaths of despair, the equivalent of three full 737 MAXs falling out of the sky every day, with no survivors. 47,000 were suicides, as compared to 40,100 traffic fatalities and 19,510 homicides. The aforementioned rise in White suicide is unique to the United States. The damage does not end with death; for every one opioid death, there are over thirty emergency room visits, a third of which lead to hospital admission. Each death corresponds to more than one hundred addicts, a number that continues to increase in parallel with the number of deaths. Over a third of all adults, or 98 million Americans, were prescribed opioids in 2015. In 2016, nearly 29 million Americans aged twelve and over self-reported using illegal drugs in the past month, including prescription drugs, and almost one million of those reported using heroin in the last twelve months; given that these are self-reports, these numbers are definitely underestimated.

If we add together the accumulated costs of the White Plague, including healthcare, crime and imprisonment, social services, rehabilitation, lost productivity, and the evisceration of entire regions of the nation, we arrive at an incalculable, incomprehensible figure in the trillions of dollars. Case and Deaton also point out that, aside from totally overturning the natural order of life, “the death of a child, even an adult child, can tear families apart, and the loss of people in their prime, people who should not be dying, upends communities and workplaces too … there are millions of American mothers and fathers today who are living in dread that the phone call to their adult son or daughter will go unanswered, or that a phone call will come from the police or the emergency room.” It is imperative that we do not allow ourselves to become mired in the preceding numbers—these are not statistics, but, like my fallen friend, real people, real men, women, and children with hopes and dreams. The lion’s share of these lives goes untold; not forgotten, but untold. As Case and Deaton observe, “Stigma often removes the cause of death from obituaries when suicide, overdose, or alcoholism is involved. Addiction is seen as a moral weakness, … its effects best covered up.” Just as our Enemy and its Black footsoldiers have canonized the names of irrelevant thugs whose deaths at the hands of police were wholly justified, we must practice White identity politics and White grievance politics, incessantly memorializing and repeating the names of the victims of the White Plague. White Lives Matter.

Remember Jesse Bolstridge, the high school football player from Strasburg, Virginia, who died of a heroin overdose on the piss-stained floor of someone’s bathroom. His headstone reads, “Miss you more,” the last thing he and his mother would say before hanging up the phone. Remember Tess Henry, the straight-A student and basketball star from Roanoke, Virginia, who turned to prostitution to fund her heroin addiction, preyed on by a vast network of Black dealers and Black pimps. She was the daughter of a surgeon and a nurse, and, before her hundreds-of-dollars-a-day heroin habit, she loved reading, writing poetry, painting, and singing to her dog, Koda. A routine visit to an urgent-care clinic for bronchitis ended with two prescriptions for codeine and hydrocodone. Eventually, an emaciated Tess, in jail for theft, learned that she was pregnant. She had to be given codeine so that her baby would not be born with neonatal abstinence syndrome and go into fatal opioid withdrawal. While her mother raised her child, Tess continued to struggle in the throes of addiction, oscillating between jails, battered women’s shelters, psychiatric wards, and the street. Tess disappeared, and her mother found her on a prostitution website with the headline, “Sweet sultry sexy 26.” Half an hour for sixty dollars.

Her mother did all that she could for her, despite having her valuables stolen and pawned. She bought matching bracelets for her and Tess that were inscribed, “Your heart is my heart.” Shortly thereafter, Tess vanished again, leaving a note: “I love you so much Mom. You are my everything. I want to get better and I won’t stop trying.” After another stint in treatment, Tess texted her mother that she was going to find a way home, signing her street name, “Sweet T.” She disappeared again, sporadically making contact with her family until, finally, she dropped off the face of the earth, Las Vegas her last known location. The morning after Christmas 2017, a homeless man discovered Tess’ corpse in the dumpster of an apartment complex. She was naked, wrapped in plastic, with burns on her body. Blunt force trauma to the head. Strung out, she had called her mother weeks before and mentioned “gang stalkers”; indeed, Las Vegas gangs often rape and murder prostitutes who refuse to be “turned out” by the gang. She had written in her journal months earlier: “I was stealing, robbing, selling my body, and anything else I could do to make money for drugs. I was beaten, raped, robbed, and malnourished. … I am going to die if I keep living the way I am.”

Remember these hundreds of thousands of Whites, joining the other tens of thousands ritually slaughtered upon the altar of the Synagogue of Diversity. Remember that the Sacklers still walk free, with all of their wealth intact, along with the legion of anonymous bureaucrats, attorneys, business executives, pharmacists, physicians, and politicians who helped ensure that the OxyContin blizzard was indeed deep, dense, and White.

The White Plague is not over. While Mexican cartels continue to pump Chinese fentanyl into the misery-choked veins of atomized America, the System continues to decriminalize drugs and throw open the prisons. Aside from enacting a massive transfer of wealth from the American kulak to the Jewish ruling class, and aside from paving the way for the totalitarian Left by socializing us into subservience via face masks and whatever satanic broth Bill Gates is cooking up for his vaccines, the unprecedented “coronavirus” lockdowns will certainly make 2020 one of the worst years yet for opioid overdoses.

I conclude with Richard Sackler’s compassionate words for our innocent brethren, the addicts whom he and his family intentionally created: “Abusers aren’t victims; they are the victimizers.”

They hate us. What is our response?

The White Plague, Part II: Genocide by Prescription: Deep, Dense, and White

Richard Sackler

Go to Part 1

In 1991, Richard Sackler got his wish, a new company to “take on the risk of new products.” Purdue Pharma, Inc., was born. As with the other Sackler outfits, it was a family affair, led primarily by Mortimer, Raymond, and their respective families. The drug that would become OxyContin had undergone its first clinical trial in 1989, its patent not filed until 1992. The drug was developed under the aegis of Purdue Frederick, but when it went on sale that corporation was to become a holding company, with OxyContin’s marketing and sales divided between Purdue Pharma, Inc., and Purdue Pharma LP, another company the Sacklers established in 1991. PF Laboratories, another Sackler company, was the manufacturer; for the purposes of patent protection and tax mitigation, the Sacklers assigned their intellectual property to their Swiss-based Mundipharma AG.

If the reader is confused at this point, he should be, for this was by design; Richard himself found the indecipherable corporate structure “confusing.” In a 2015 deposition, he appeared to be genuinely unable to recall whether the directors of the various tentacles of the Sackler Leviathan were the same or different. He also did not appear to know, as a factual matter, whether Purdue sales representatives were employed by Purdue Frederick or Purdue Pharma. When asked how many Purdue entities existed, Sackler pled ignorance, and refused even to venture a guess. In fact, Mortimer and Raymond created at least seventy different “Purdue Pharma” entities, often, just as their dearly departed brother had done, using overlapping addresses, phone numbers, and directors.

Purdue spent a cumulative forty million dollars developing and testing its MS Contin successor, by now christened as OxyContin; Raymond had insisted on retaining “Contin” for brand recognition, while “Oxy” signified the active ingredient. In its November 1992 patent application, Purdue presented OxyContin as a breakthrough, primarily based upon its claim that a single dose lasted twelve hours “to control pain in approximately ninety percent of patients.” This twelve-hour claim was, aside from being central to the marketing strategy, the essential differentiating factor that set it apart from rival painkillers. Unbeknownst to the public was the fact that Purdue’s own clinical trials had revealed that OxyContin possessed no therapeutic advantage over other opioids and provided no better relief than generic immediate-release oxycodone. Furthermore, in half a dozen other trials, a third of the subjects had required additional doses after the first. This presented no problem, though, because the FDA required only half of the subjects to get twelve hours of relief. Since 55 percent did, all in all, Purdue was permitted to make the claim.

In 1995, Purdue geared up for what the DEA would almost a quarter of a century later describe as “the most aggressive campaign for an opioid in U.S. history.” The company created a speakers’ bureau, dispatching such “pain management” leaders like Russell Portenoy and J. David Haddox across the country to sing the hymns of the real opium of the masses—opioids. Purdue funneled millions of dollars in grants to patient- and pain-advocacy groups, sponsored over twenty thousand “educational programs,” and underwrote dozens of conferences at which thousands of physicians and pharmacists got all-expense-paid vacations for the privilege of listening to shills heap praise upon the new “revolutionary” “breakthrough” “miracle,” OxyContin. The company established “pain management” curricula at leading universities and medical schools, funding a master’s program at Tufts University and an annual “Sackler Lecture” at the Tufts School of Medicine, to whose board Richard was appointed. When Tufts bestowed Raymond with an honorary degree, its President reverently declared that “it would be impossible to calculate how many lives you have saved.” Queen Elizabeth evidently felt the same way, for she knighted both Raymond and Mortimer. At Massachusetts General Hospital, the largest teaching hospital for Harvard Medical School, the company launched the Purdue Pharma Pain Program, also rolled out at Northeastern University, Boston University, and the Massachusetts College of Pharmacy. Purdue also bankrolled the American Pain Foundation, American Pain Society, and American Academy of Pain Medicine, as well as the Pain and Policy Studies Group at the University of Wisconsin, all of which vehemently advocated for relaxing controls and liberalizing opioid prescription.

In advance of the OxyContin launch, Purdue doubled its sales team, knowing that individual pitches from sales representatives directly to doctors were indispensable to creating a best-selling drug. More importantly, because there was no record of what was said in the doctor’s office, it was impossible for competitors or government regulators to determine if the salesmen adhered to FDA efficacy limits or provided adequate warning about side effects. Sales representatives were extremely careful not to leave any written notes, having been directed from on high to “commit nothing to a permanent record.” Violators were subject to “immediate dismissal.” Purdue also instructed its sales representatives to raise “concerns about addiction” before the physician did, saying that while patients did develop “a normal physiologic response,” “tolerance and physical dependence are not the same as addiction.” Addiction, they claimed, only occurred when a “susceptible individual,” of whom there were only a “small minority” of patients, obtained the drug and ignored dosage instructions. If physicians were still skeptical, they were shown the FDA-approved OxyContin label, which stated that, if used as prescribed, opioid addiction was “very rare.” Very rare, indeed.

To further emphasize the purportedly low addiction potential, representatives employed charts to illustrate the twelve-hour controlled-release that the OxyContin coating supposedly ensured. Purdue held that its patented coating “made it impossible for addicts to get the rush they chased,” and its sales teams maintained that the chance of addiction was “much less than one percent” if said patients are treated by doctors. In that vein, the Purdue-funded American Academy of Pain Medicine and American Pain Society issued a consensus paper reiterating that it was “established” that there was “less than one percent” probability of addiction. One of Purdue’s marketing slogans proclaimed that OxyContin provided “relief—not a ‘high’…[when] taken as directed.”

Of course, there was more to those charts than met the eye—the data minimizing addiction potential had been manipulated quite significantly. Worse still, Purdue’s own clinical trials had demonstrated that, for some patients, up to forty percent of the oxycodone was released into the bloodstream in the first hour or two. This was fast enough to cause a high, and, for many, resulted in a crash that required another dose. To concretize its Big Lie that OxyContin carried with it a “low risk of addiction” and was “non-habit forming,” Purdue financed several studies that reported addiction rates from long-term opioid usage between only 0.2 and 3.27 percent; as late as 2019, David Sackler, Richard’s son, maintained that the OxyContin addiction rate was “somewhere between two and three percent.”

In at least one instance, a Purdue employee did broach the great taboo, suggesting that those studies were marred by flawed methodologies. A superior rejected the concern, stating that “defeatist” questions would not be tolerated. The employee was right; later studies which were not funded by the Sacklers did indeed reveal addiction rates that ranged from 32 to 80 percent. Of course, there were also major problems in the FDA’s randomized controlled OxyContin trials. Those in the control group had previously taken the drug in the earlier open-label phase of the trial, done to exclude from the trial those who cannot tolerate the drug. In this type of trial, there is a ‘washout’ period between the two phases, in which the drug is supposed to wash out of the patients’ systems. As Anne Case and Angus Deaton explain, “the danger in the case of OxyContin, or any addictive drug, is that if the washout period is not long enough, some of those in the control group, no longer receiving the drug, may suffer withdrawal symptoms, which would make them look bad relative to those who go into the treatment group and receive it again. Moreover, the exclusion of those who, in the earlier, open-label phase, could not tolerate the drug means that the trial understates the rate of problems in the wider population for which the drug will be prescribed.” Case and Deaton also raise the more general point that “a testing and approval process that looks only at what these drugs do for individuals ignores the broader effects of releasing a powerful and highly addictive drug into society,” and that “a system that does not consider the public health consequences of approving the drug is surely inexcusable.”

Taking a page from Arthur Sackler’s Hoffmann-La Roche playbook, Purdue developed its own simplified pain rating scale, a sheet of facial expressions that ranged from happy to sad, and distributed tens of thousands of them to physicians. Simultaneously, Purdue used Arthur and his pal Ludwig Fröhlich’s creation, International Marketing Service, or IMS, to obtain a massive quantity of national prescription data; incidentally, the American Medical Association had licensed its “Physician Masterfile” to IMS. With this service, Purdue purchased lists of “core dispensers” sorted by zip code, those doctors who were known to be heavy prescribers of existing painkillers like Vicodin and Percocet; in other words, the people who, Purdue believed, “could be influenced to increase opioid prescriptions the most.” Later, Purdue ramped up its sales campaign even further by purchasing IMS’ Cornerstone 3.0 software, which allowed Purdue to track prescriptions in real-time. On one of the drug firm’s websites, it placed a “find a local pain specialist” widget, utilizing IMS data to connect visitors directly to physicians known to be heavy opioid prescribers. Aside from identifying and then targeting the physicians most likely to dole out OxyContin like candy, who else did Purdue place under its gaze?

First, Purdue targeted the elderly, focusing initially on nursing homes and long-term care facilities, touting “quality of life” and fictitious off-label osteoarthritis applications. The corporation made no mention of the numerous studies demonstrating that opioid painkillers actually increased the risks of falls and bone fractures. Next, Purdue aimed its sights on military veterans, having accumulated evidence that chronic pain was one of the most common complaints at VA hospitals, with the Department of Veterans Affairs confirming that over sixty percent of returning veterans of the Jewish “War on Terror” in the Middle East were afflicted. The company distributed pamphlets and other publications specifically for veterans, and contracted with a decorated Iraq veteran, Derek McGinnis, for a book urging veterans to ask their physicians for opioids and lobby reluctant prescribers. McGinnis assured his readers, already victimized by their service to Zion in the Jewish mercenary force known as the American military, that opioids were not addictive unless one was “predisposed” to addiction, whatever that means. Within Purdue, there were discussions over the possibility that high rates of substance abuse among combat veterans might make them more vulnerable, but the Sacklers pressed onwards anyway. Such thinking smacked of defeatism. Ultimately, veterans did prove to have a higher addiction rate than other classes of OxyContin users. Veterans were also twice as likely as the national average to have their lives stolen by fatal overdose.

However, as aforementioned, Purdue’s greatest target was Everyman, the population that it referred to as the “opioid naïve,” or OVS, “opioid virgins,” those who had never used opioids. The company, which, we cannot overstate, was indivisible and inseparable from the Sackler family, prepared hundreds of thousands of brochures suggesting the efficacy of OxyContin in treating a litany of unapproved, off-label conditions, such as backaches, migraines, sore knees, and tooth extractions. Purdue created the OxyContin Physicians Television Network, an online video service on which paid consultants promoted the drug, and put hundreds of friendly physicians on the payroll to travel the country and spread the Gospel of Opioids through such means as half-day courses aimed at general practitioners, or “family doctors.” The Sacklers set up a website, “In the Face of Pain,” aimed at healthcare professionals. The site featured eleven advocates who disguised OxyContin advertising as unbiased expert testimonials, concealing the fact that Purdue had paid them a quarter of a million dollars for their “objective” opinions. Another website, “Partners in Pain,” performed much the same deception, passing off bald-faced product promotion as public service announcements. This site promulgated Purdue’s Pain Assessment Scale, along with the claim that pure opioid agonists such as oxycodone, morphine, heroin, and fentanyl had “no ceiling dose,” or, in other words, that a patient will always get additional pain relief from additional dosages. For its part, Purdue simply concealed the unfortunate truth that increased dosage meant increased risk of death by overdose, and internal files reveal that the company well understood that this would be misinterpreted to mean that opioids were safe at high doses.

Purdue Pharma also employed Arthur’s saturation tactics, churning out brochures, newsletters, magazine inserts, direct mailings to physicians, and medical journal advertisements on an industrial scale. The company also sponsored a plethora of medical school programs, and distributed millions of dollars of Purdue and OxyContin-branded “swag” to doctors, hospitals, nursing homes, and pain clinics, such as luggage tags, baseball caps, sweatshirts, notepads, pens, heat-activated coffee mugs, and stuffed animals for children. Gerald Posner found some of these items, including a pedometer stamped, “OxyContin—A Step in the Right Direction,” and a CD, “Swing in the Right Direction with OxyContin,” featuring a joyous couple dancing over the OxyContin logo.

These items may seem irrelevant, but, given what we have thus far established regarding the Sacklers, would they take a single breath without knowing, with certainty, that it would reap them some form of material gain? Of course not. One study in New York found that, for every dollar in gifts given to a doctor, at least ten dollars of additional opioids were prescribed. It should, then, come as no surprise to learn that the top one percent of OxyContin prescribers received around eighty percent of the promotional incentivization money spent by Purdue. One week before the official launch of OxyContin and the White Plague, the Purdue shills Russell Portenoy and Ronald Kanner published Pain Management: Theory and Practice, a book in which the authors and a dozen other physicians methodically dismissed concerns about opioid addiction as uneducated “stigma.” Following suit, the American Pain Society, another Sackler mouthpiece, released a pamphlet that declared that suicide rates would crater if opioids were dispensed much more freely. The more you know.

On the last day of May 1996, Purdue issued a press release announcing OxyContin to the world. Titled “New Hope for Millions of Americans Suffering from Persistent Pain,” the statement heralded OxyContin as a catchall “magic bullet,” applicable to a vast array of pains, with a virtually nonexistent probability of addiction. At the OxyContin launch party, Richard Sackler asked the audience to imagine a series of natural disasters: an earthquake, a volcanic eruption, a hurricane, and a blizzard. Lingering on the blizzard, Sackler declared that “the launch of OxyContin tablets will be followed by a blizzard of prescriptions that will bury the competition. The prescription blizzard will be so deep, dense, and white.” As we now know, this was no metaphor.

Satan got to work immediately. While most drug firms paid sales representatives based on the number of prescriptions written by the physicians they had visited, Purdue paid its salesmen based on the dollar amount of the prescriptions dispensed by those doctors, trackable in real-time with the IMS Cornerstone 3.0 software. In high-volume States, Purdue representatives visited each “core dispenser” at least two hundred times per year, sometimes calling on doctors every day. The cost of each individualized sales visit to Purdue was roughly two hundred dollars, translating into forty thousand dollars for each top-tier doctor, an amount that added up to millions. These sales visits functioned as direct bribes to entice doctors into putting greater and greater numbers of patients on opioids, at ever-increasing dosages, for longer and longer periods of time. As an added incentive to drive OxyContin sales, Purdue offered exorbitant bonuses that were capable of doubling a sales representative’s salary. In one internal memo of many, the company assured top performers that “a pot of gold awaits you ‘Over the Rainbow.’” Another memo was titled, “$$$$$$$$$$$$$ It’s Bonus Time in the Neighborhood!”

It wasn’t long before Purdue’s drug pushers realized that they could maximize their earnings potential by selling the highest doses of OxyContin; originally, the pill was available in 10, 20, and 40 milligrams, followed by 80 the next month, and, later on, 30, 60, and the since-discontinued 160. Though the price of each increasing dose was exponentially inflated, Purdue’s manufacturing costs remained unchanged at every dosage. To help its salesmen along, Purdue initiated the “Individualize the Dose” campaign, instructing its representatives to tell physicians that its studies had shown that instead of starting patients on low strengths, they should start at medium to high doses, so that “the drug would relieve pain faster and allow the patient to stop using it quicker.” In the event that a doctor reported that he was dispensing OxyContin three or four times per day because his patients were not getting the promised twelve hours of pain relief, Purdue’s dealers assured that higher doses would make the drug last longer. They guaranteed physicians that those higher doses could even be prescribed to people who had never used opioids, all without adverse effects, reiterating that the higher dosages carried no elevated risk of addiction. Company documents would later reveal that Purdue knew full well that stronger doses did increase addiction potential, as well as the likelihood of lethal respiratory suppression. And, while its press releases asserted that “dose was not a risk factor for opioid overdose,” internal Purdue communications are full of references to the dangers of “dose-related overdose.”

In tandem with its campaign to hook patients on ever-increasing dosages of OxyContin, Purdue persuaded doctors to keep their patients on the opioid for ever-longer periods, which in turn secured ever-higher profits. Internal correspondence would eventually reveal that the Sacklers knew that patients were 30 times more likely to die of overdose if on OxyContin for three months, 46 times more likely to die after six to eleven months, and 51 times more likely to die if they remained on OxyContin for more than a year. Purdue, having discovered that “more patients remain on OxyContin after ninety days,” introduced a “savings card” that encouraged patients to try the drug, offering a substantial discount on their first prescription. For each million dollars spent on these giveaways, the unwitting patients who tried the drug and stayed on it brought in well over four million dollars in additional sales. The FDA was nowhere to be found. The most charitable explanation that we can entertain is that the office charged with promotional oversight was understaffed and overwhelmed, though this seems extraordinarily generous under the circumstances.

In the year of OxyContin’s birth, Purdue hired J. David Haddox, the opiate zealot, as the drug’s public face. Haddox represented the painkiller, a misnomer if ever there was one, at medical conferences and training courses, assuring doctors that the “exquisitely rare” risk of addiction was only “one-half of one percent.” Most of the charlatan’s audiences were comprised of general practitioners who, unfamiliar with the opioid reevaluation movement, saw his presentations as novel and persuasive. Some Purdue sales representatives indicated their uncertainty as to how they should handle instances in which physicians raised the possibility that their patients were addicted, to which Haddox simply peddled his old “pseudoaddiction” snake oil. How could a doctor “treat” this odious malady? According to Haddox, what those doctors mistook for addiction was merely evidence of severe pain and failed treatments, an evil that could only be remedied by eliminating the underlying pain. In other words, when physicians noticed a patient displaying signs of opioid dependence, they had to not only keep their patient on OxyContin, but also increase their dose. If a physician was still hesitant to double the dose, he was told to maintain the original dosage, but increase its frequency.

One of the most verboten topics at Purdue was what might happen if someone scraped off the patented OxyContin coating or crushed the pill. The company knew the answer, its own tests having demonstrated that when the extended-release shell was bypassed, about seventy percent of the oxycodone, as opposed to the time-released ten percent, went straight to the brain and produced a euphoria that rivaled heroin. The FDA thought that the issue was successfully handled with the all-caps warning label that it had required Purdue to place on the OxyContin prescription insert: “TABLETS ARE TO BE SWALLOWED WHOLE, AND ARE NOT TO BE BROKEN, CHEWED, OR CRUSHED. TAKING BROKEN, CHEWED, OR CRUSHED TABLETS COULD LEAD TO THE RAPID RELEASE AND ABSORPTION OF A POTENTIALLY TOXIC DOSE OF OXYCODONE.” It took another twenty years for the Centers for Disease Control to determine that this was a fatal design flaw. With no supporting studies or empirical evidence to speak of, the FDA allowed Purdue to claim that its delayed-absorption coating “was believed to reduce the abuse liability,” taking on faith Purdue’s assertion that drug addicts would only seek immediate-release painkillers. In private communications, the Sacklers acknowledged that this particular claim was their “principal selling tool.”

OxyContin detonated even more successfully than the Sacklers could have hoped. In its first year alone, the painkiller was prescribed half a million times for non-cancer-related pain, out of a total of 920,000. By 2002, prescriptions had metastasized to 7.2 million, with only one million prescribed for cancer-related pain; half of the prescribing physicians were general practitioners, or “family doctors.” In its second full year, OxyContin was responsible for over eighty percent of Purdue’s profits—more than double what the top year for MS Contin had been. From 1996 to 2000, sales climbed from 48 million to 1.1 billion dollars, Purdue’s first entry into the elite billion-dollar club. By 2000, Purdue sales representatives were reaping over forty million dollars in bonuses. In 1997, the FDA gave the Sacklers another gift by lifting the ban on direct-to-consumer advertising; for perspective, we should note that only America and New Zealand permit that practice. This is the same year in which Curtis Wright, the FDA official who had overseen the approval of OxyContin, left his government post to join Purdue Pharma.

As Gerald Posner notes, Purdue very specifically “targeted poverty-scarred working-class Whites in rural America as a prime market.” The Appalachian and Southern regions most afflicted by the White Plague did and do indeed suffer from rampant poverty, up to twenty percent unemployment, and chronic pain from strenuous lives of hard labor. While the Sacklers and their Purdue executives knew about the earliest reports of OxyContin abuse in 1997, the first media reports of OxyContin-fueled drug arrests, pharmacy robberies, and overdose deaths did not appear until 1999. Even then, it was only the shoestring newspapers in a handful of rural towns who sounded the alarm; thus, the problem appeared to all disinterested observers to be confined to a dozen or so counties in a few states. In 1998, the Department of Health and Human Services “Drug Abuse Warning Network” reported a 93 percent rise in “oxycodone mentions,” but this was dismissed as a cyclical spike that occurred any time a new drug was introduced to the market. Nobody saw that spike for the awful portent, the harbinger of doom, that it was. Damningly, 75 percent of the four hundred million dollars spent promoting OxyContin came after Purdue executives first learned of its heavy abuse.

Perhaps the first federal official to publicly raise concerns over OxyContin was Jay McCloskey, then the U.S. Attorney for Maine. McCloskey harbored suspicions that Purdue and its distributors were illegally diverting their opioid drug to the black market, especially given the fact that there had been illegal diversion issues with MS Contin. Purdue, of course, denied the allegations at a conference of state and federal law enforcement officials that McCloskey organized. Despite these concerns, the FDA approved a new 160-milligram dose of OxyContin in 2000, produced ostensibly for a small percentage of patients who had developed tolerance to lower doses in long-term treatment. Purdue intensified its marketing campaign, saturating medical journals, trade shows, and online videos to promote OxyContin for a wide range of musculoskeletal and postsurgical pain, including knee replacements, tendon repairs, and lower back surgeries. Later studies would reveal that patients who used opioids after surgery were twice as likely as the general population to develop opioid addiction.

In 2001, a New York Times story raised concerns about OxyContin, as did Joseph Famularo, then the U.S. Attorney for the Eastern District of Kentucky. J. David Haddox, Purdue’s resident propagandist, was quoted in the Times article warning that “inflammatory statements” might cause doctors to withhold the drug from suffering patients. Richard Sackler breathed a sigh of relief after the article ran, noting that it “could have been far worse.” Sackler, of course, still could not abide the negative press. In an internal memo circulated just after the first Times story, the Jewish scion wrote that “we have to hammer on the abusers in every way possible. They are the culprits and the problem. They are reckless criminals.” Purdue sales representatives were instructed to aggressively emphasize that “patients were to blame for abuse and addiction, not the drug.” Later the same year, the Department of Justice National Drug Intelligence Center issued its first systemwide Information Bulletin stating that OxyContin diversion and abuse was a major issue, acknowledging that addicts were substituting it with heroin. Shortly thereafter, another New York Times article quoted a Drug Enforcement Agency official who said that “no other prescription drug in the last twenty years had been illegally abused by so many people so soon after it appeared.” Not helping matters was the fact that Medicare and Medicaid covered OxyContin, as did private insurance plans for the huge number of miners and construction workers in the States hit earliest. At a street price of a dollar per milligram, a price that still holds to this day, a Medicaid patient who paid three dollars for one prescription of a hundred 80 milligram pills could earn eight thousand dollars, a third of what the average person earned annually in West Virginia and Kentucky.

The DEA Office of Diversion Control opened an investigation into illegal diversion at Purdue’s plant, PF Laboratories in Totowa, New Jersey. Some of the plant’s employees were arrested, a number of whom went on to sue Purdue, charging that plant supervisors had ordered them both to bypass security protocols that required all batches to remain in sight on the production line, and to report fake numbers to cover up missing inventory. The first private lawsuits against Purdue were filed in Ohio, Kentucky, Virginia, and West Virginia, correctly alleging that addictions and overdoses were the result of OxyContin overprescription, and that overprescription was the direct result of Purdue’s deceptive marketing. The DEA investigation did not proceed any further than the one plant, and the lawsuits were dead in the water. If either or both of these early actions against the Sacklers had turned out differently, perhaps it would not have been true that by 2009, 81 percent of the world’s oxycodone and 99 percent of the world’s hydrocodone were consumed in the United States.

In the summer of 2001, the FDA ordered the addition of a black box warning to the OxyContin label that merely reiterated what physicians already knew, that OxyContin was “a Schedule II controlled substance with an abuse liability similar to morphine.” The FDA also expunged the extraordinary sentence, “Delayed absorption as provided by OxyContin tablets is believed to reduce the abuse liability of a drug.” While the original label declared that “iatrogenic addiction is rare,” the FDA altered it to read that addiction in “managed patients with pain has been reported to be rare,” a minor and essentially worthless change that ignored recent studies which concluded that addiction potential was “moderate to high.” Finally, the original label had proclaimed that OxyContin was for “constant, moderate-to-severe pain that is expected to last a long time,” which the FDA revised to state that it was “for the management of moderate to severe pain when a continuous, around the clock analgesic is needed for an extended period of time.” This last “revision” fit the Purdue strategy of profit maximization by persuading physicians to dispense OxyContin for longer periods at ever-higher doses, “around the clock” creating a self-fulfilling spiral of tolerance and addiction. The Sacklers were ecstatic, writing in one Purdue memo that the FDA action “has created enormous opportunities.” Sales tripled over the next three years.

The Sacklers sent Purdue executives Michael Friedman, Howard Udell, and Paul Goldenheim to testify before the House Subcommittee on Oversight and Investigations, utilizing their time as an infomercial and reminding the panel that, “while all of the voices in this debate are important, we must be especially careful to listen to the voices of patients who, without drugs like OxyContin, would be left suffering from their untreated or inadequately treated pain.” By winter 2001, negative press continued to mount. Asa Hutchinson, the DEA Administrator at the time, publicly blamed Purdue’s aggressive marketing blitzkrieg for making OxyContin a drug of “disproportionate abuse.” The same trio of Jews was dispatched to make Hutchinson’s remarks go away. Purdue, as always, was successful. By year’s end, OxyContin had become the top-selling brand-name controlled substance drug ever, a title it still holds today.

Purdue sales representatives well understood that their first priority was to push as many pills as possible. They focused their efforts on “high value target” prescribers, internally listed as “SP,” for “super prescribers.” In OxyContin’s top thirteen markets, a few hundred super prescribers wrote more prescriptions than there were people. Nationally, 55 percent of all opioids were prescribed by three percent of all physicians. Purdue maintained records on the sales territories where it suspected that illegal dispensing contributed to wildly disproportionate sales volumes, referring to the areas as “Region Zero.” The company never once tipped off law enforcement. For example, one West Virginia doctor wrote 335,000 prescriptions over eight years, a rate of 130 a day, seven days a week, while Purdue’s star prescriber in Massachusetts wrote 347,000 in just five years. Purdue awarded both of these doctors lucrative speaking contracts at sponsored pain symposiums, along with many other “super prescribers,” some of whom went on to lose their licenses or go to prison. Purdue employees who raised concerns were shut down immediately and told to get back to selling drugs. And sell drugs, they did. Indeed, they did so with some OxyContin sales teams pressing dubious doctors to continue writing prescriptions for addicts who had been turned away elsewhere.

Many of Purdue’s “super prescribers” were pill mills, cash-only only “clinics” where “doctors” prescribed opioids to anyone for any reason. One of the earliest pill mills operated in Myrtle Beach, South Carolina. In a scenario repeated hundreds of times for the next twenty years, pharmacists had alerted Purdue to this pill mill in 1998, but Purdue took no action, despite knowing that its volume of sales was inexplicable given the local population size and that sales at this “clinic” surged over a million dollars in the first quarter of 2001 alone; at the time it was the largest OxyContin revenue increase anywhere. In December 2001, the “clinic” was raided and shuttered. Throughout its lifetime, the three Purdue salesmen responsible for the pill mill continued to collect bonuses based on the OxyContin they funneled into it; later, Purdue would assert that it was under no legal obligation to alert law enforcement to anything. In 2002, amidst growing attention from Congress and the DEA, the latter agency’s Office of Diversion Control organized a summit between itself, the FDA, and Purdue. At the summit, the DEA’s senior scientific officer presented damning evidence regarding mounting overdose deaths, many of which had been officially classified as suicides. Interestingly, 98 percent of the dead had taken the drug orally, as approved and intended. The DEA thus rightly concluded that its overdose statistics were nowhere near an accurate approximation of the scale of the issue; chronic abusers, it surmised, would have developed tolerances making death by oral ingestion far less likely, meaning that addicts were driving the illicit trade. The VA reported that at least a quarter of its patients treated with OxyContin became addicted, and primary care physicians across the nation reported that at least a third of their OxyContin-prescribed patients ended up dependent.

The result of this summit? The FDA sided with Purdue and against the DEA on every point. The DEA took its findings to the press and was essentially ignored, with the by now familiar New England Journal of Medicine rejecting the DEA report as “too alarmist,” continuing that it “was too early in post-marketing surveillance to make claims of risks and hazards.” One man did take notice, however: John Brownlee, then the U.S. Attorney for the Western District of Virginia. In 2002, Raymond Sackler retained the just-retired Mayor of New York, Rudy Giuliani, to neutralize Brownlee’s investigation. Giuliani Partners, the former Mayor’s new firm, was put on the Sackler payroll to the tune of millions of dollars per month. Giuliani and his former Police Commissioner, Bernard Kerik, who would soon serve as the Interior Minister of Iraq under the Jewish Paul Bremer regime, got to work immediately. Giuliani set up a meeting with DEA Administrator Asa Hutchinson, and, a week before the first anniversary of 9/11, Giuliani joined Hutchinson and United States Attorney General John Ashcroft to give the opening address for a DEA exhibit on terrorism and drug trafficking, raising twenty thousand dollars for the Drug Enforcement Museum Foundation. Purdue did not stop at Giuliani; the Sacklers also retained Louis Sullivan, George H.W. Bush’s Secretary of Health and Human Services, along with Jay McCloskey, the former U.S. Attorney who had been one of the first federal law enforcement officials to publicly oppose Purdue.

In response to another investigation, this time by Florida’s Attorney General, the Sacklers hired Burt Rosen, an extremely well-connected pharmaceutical lobbyist, as Vice President of Federal Governmental Affairs. Giuliani managed to settle this investigation with an agreement for Purdue to pay two million dollars to develop a “prescription monitoring program” that never came to fruition. Moreover, the State of Florida eventually repaid that money to Purdue. Over the next decade, its proliferation of pill mills gave Florida’s Broward County the moniker of “the Oxy Express.” There, over one thousand “clinics” sold more OxyContin than any other county in America; at its peak, Broward County pharmacies dispensed 89 percent of all of the OxyContin in the country. In 2011, the New York Times concluded that this was made possible “because of the absence of a widely used prescription drug monitoring system”—the very monitoring system that Purdue had promised to establish.

In 2002 Senate hearings, Connecticut Senator Christopher Dodd stepped in to shield Purdue when the questioning became too heated, much like fictional Nevada Senator Pat Geary flacked for Michael Corleone during his Senate hearings in The Godfather Part II. That year, Purdue contributed more money to Senator Dodd than any other politician. Despite the DEA Office of Diversion Control having proven that there was pervasive malfeasance at Purdue’s OxyContin plant, Rudy Giuliani managed to ensure that the company only faced a minor civil penalty of two million dollars, less than a day’s revenue at a time when OxyContin was well on its way to two billion dollars in annual sales, up twentyfold from its first year. The Sacklers were on Cloud Nine, for, in addition to Giuliani’s skullduggery, the vast majority of the more than one hundred private lawsuits against Purdue had by now been dismissed. Soon, though, the Sacklers would mess with the wrong mother.

In April 2002, 29-year-old single mother Jill Skolek overdosed on OxyContin and died. Her six-year-old son had come home from school, only to find that, for the first time, his mother was not waiting for him at the bus stop. When he got home, he discovered his mother in bed, in what he presumed to be a dead sleep. He made himself a snack, watched cartoons, and then crawled in bed beside her and fell asleep. The next morning, when he found that she was still sleeping, he shook her to no avail, crying, “Mommy.” Finally, he called the police. She had been dead for a full day. Jill’s mother, Marianne Skolek, was a nurse. Marianne was shocked, because she knew that her daughter’s only physical problem was a herniated disk from lifting furniture the prior year. One morning, a week after the funeral, Jill’s orphaned son told his grandmother that “Mommy changed … after taking that pill.” He clarified that the “oxy” had made her back feel better, and, sure enough, the toxicology report concluded that Jill had died of accidental OxyContin overdose. Marianne vowed to get to the bottom of what had happened, and started a grassroots campaign against Purdue and the Sackler family, penning reams of letters to the FDA. The next January, the FDA issued a “warning letter” to Purdue, having compiled enough evidence of misconduct to hold a false advertising hearing, which, if successful, would have allowed the FDA to punish Purdue with labeling and refill restrictions. Giuliani worked his magic again and made it go away, Purdue’s only penalty: a promise not to do it again.

At a conference at Columbia University’s National Center for Addiction and Substance Abuse, at which J. David Haddox and the Connecticut Jew and now-U.S. Senator Richard “Da Nang Dick” Blumenthal were panelists, Marianne body-blocked Haddox and sent him crashing into a row of folding chairs, saying, “Now you know how the victims of OxyContin feel when they hit the depths of addiction and are on their knees fighting the horrific effects of withdrawal.” Robin Hogen, Purdue’s Vice President of Public Affairs and de facto spokesperson, suggested that Marianne’s dead daughter had been an addict, saying that “we think she abused drugs.” Hogen thus planted the seed of doubt, just as Purdue had in dozens of lawsuits that it got dismissed by aggressively putting the victims on trial as addicts who had “latched on to the painkiller to satisfy their drug habits.” Talk about blaming the victim. When Marianne learned that Purdue had asked for FDA approval of OxyContin for breastfeeding mothers experiencing postpartum pain, she flooded Attorneys General and media outlets with emails and faxes, stating that “we have enough devastation in the country without addicting infants to OxyContin.” Purdue withdrew the request.

In 2004, OxyContin was officially designated the most abused drug in the United States. This is the same year in which Purdue co-sponsored, along with the WHO, the “Global Day Against Pain” to make “pain management” a “human right.” In 2006, John Brownlee finally forwarded his Purdue investigation to his superiors at the Department of Justice. Brownlee focused on felony misbranding and fraudulent marketing, but felt confident that he could obtain charges for money laundering, defrauding the government, and wire and mail fraud. DOJ bureaucrats, including then-Criminal Division chief Alice Fisher, decided not to file expanded charges, and instead to simply pursue the far less serious misbranding charge. Giuliani and the rest of Purdue’s defense team signed a plea agreement with Brownlee in which Purdue Frederick, not Purdue LP or Purdue Pharma, pled guilty to felony deceptive and fraudulent marketing, paid a proportionally insignificant fine, and essentially agreed to reforms that again amounted to a mea culpa of “I promise, I’ll change my wicked ways.” Federal prosecutors hailed the 2007 judgment as the end of Purdue’s criminal misconduct, and industry analysts forecast that OxyContin had been stopped just in time to prevent a more serious and deadly epidemic. Of course, that isn’t what happened.

In the first three months of 2007, over five thousand “adverse events” were reported to Purdue. The company investigated only 21 of these reports, concluding from that paltry sample size that there were no widespread issues; needless to say, executives did not deign to report any of these incidents to law enforcement. Marianne was livid at the manner in which Purdue had essentially been let off scot-free, and testified before the Senate Judiciary Committee. The grieving mother, now the sole caretaker for her orphaned grandson, excoriated Jay McCloskey, Rudy Giuliani, and the three Purdue Jews who had been individually fined, Friedman, Udell, and Goldenheim. She denounced the fact that none of the Sacklers had been held liable, nor even named. She concluded with a plea for action: “Her name was Jill Carol Skolek. She did not deserve to be prescribed OxyContin and die because of the criminal activities of individuals of Purdue Pharma. Please give my family justice and investigate the criminal activity of Purdue Pharma.” Marianne Skolek was right. The greatest devastation would be wrought after Purdue’s 2007 guilty plea and Consent Agreement.

Purdue broke most, if not all, of its promises. The company did not report pill mills or super prescribers, nor did it direct its sales representatives to stop selling to them. Instead, Purdue expanded its deceptive promotional blitzkrieg to sell ever-greater amounts of OxyContin at ever-higher dosages for ever-longer periods. It worked. Net sales in 2007 topped one billion dollars and produced a profit of over six hundred million dollars, ninety percent of which came from OxyContin. Internal communications named “sales effort” as the main driver for this growth, with a majority of the revenue derived from the 80-milligram dose, the highest produced at the time. Purdue doubled its sales team over the next ten years. Nearly simultaneously with the 2007 plea deal, the University of Kentucky Colleges of Pharmacy and Medicine and Remedica Medical Education and Publishing, a London-based outfit founded the year of OxyContin’s birth, jointly launched Advances in Pain Management. Purdue had flooded Kentucky medical and pharmacy schools with grants for pain-based curricula, and the Kentucky Pharmacists Association regularly lobbied on Purdue’s behalf; it seems no coincidence that Kentucky was a Ground Zero State for the White Plague.

Just who were the editors of Advances in Pain Management? Russell Portenoy, one of the earliest missionaries of the Church of Opium, now on the Purdue payroll, and Ricardo Cruciani, chair of neurology at Drexel University. One of the journal’s writers was Lynn Webster, an anesthesiologist and “pseudoaddiction” advocate who created the “Opioid Risk Tool,” a five-question assessment ostensibly intended to identify patients at risk of opioid abuse. That one-minute “screening” helped to breed in physicians a false belief that liberalized dispensing of opiates was safe, and was featured on Purdue’s website. Portenoy and Cruciani cumulatively received over two million dollars from Purdue, and Webster’s Lifetree Pain Clinic received millions of dollars in research, ranking in the top fifty for single largest payments received, ahead of the Mayo Clinic, Cleveland Clinic, and Duke and Harvard Universities. Cruciani is currently in prison for the rape of several patients, while Webster’s clinic was shuttered after a 2010 DEA raid which discovered over twenty patient deaths from OxyContin. Federal prosecutors chose not to pursue charges against Webster, and Purdue continued to pay him hundreds of thousands of dollars per year for his incessant spread of the Gospel of Opioid. Webster went on to become the President of the American Academy of Pain Medicine, as well as a senior editor of Pain Medicine.

In order to neutralize any possible generic competitors, Purdue made minor modifications to OxyContin to obtain patent extensions; ultimately, the Sacklers would secure thirteen new patents for OxyContin, the exclusive sales rights for which do not expire until after 2030. In 2010, Purdue released a “new and improved” “tamper-resistant” OxyContin, marketed as being more difficult to crush, snort, or inject. After receiving FDA approval for the new variation, Purdue initiated a new campaign, “Opioids with Abuse Deterrent Properties,” touting the “new” OxyContin as “the first-ever narcotic pain reliever that reduced the chances for abuse and slashed the addiction rate.” However, this was all smoke and mirrors, because the company was well aware that over ninety percent of OxyContin abusers did so by swallowing the pills as intended. Nevertheless, the pseudoscience worked, with legions of credulous physicians picking up the pace of prescription. In 2011, as Purdue continued to ramp up its sales representatives’ quotas, OxyContin gained the title of America’s deadliest drug, surpassing the combined fatalities from heroin and cocaine overdoses. All the while, Purdue’s compliance department received record numbers of complaints related to addiction, diversion, and deaths, none of which were ever forwarded to law enforcement.

For just one example of thousands, in 2009, a Purdue sales manager had reported to her superiors her suspicions about a suspected pill mill in Los Angeles. Lake Medical, the “pain clinic,” had a weekly prescription average of fifteen hundred, exceeding that territory’s monthly average. The sales manager noted that she was “certain this is an organized drug ring,” to which Purdue, as ever, did nothing. By the time the DEA closed Lake Medical in 2010, over one million OxyContin pills had been sold directly to the Crips and Armenian traffickers. Purdue Pharma was not alone; the largest pharmaceutical distributors, Cardinal Health, McKesson, and AmerisourceBergen, who control up to ninety percent of the drugs going to market, ignored red flags that were impossible to miss unless they did so intentionally. One pharmacy in Kermit, West Virginia, a town of about four hundred people, ordered over nine million OxyContin pills in two years. Between 2007 and 2012, drug distributors shipped more than 780 million hydrocodone and oxycodone pills to West Virginia. This was orders of magnitude worse than Merck’s Vioxx scandal.

When the DEA attempted to take action against this egregious abuse, the pill distributors, all three of them Fortune 500 companies, exercised their lobbying power to force the agency to cease freezing their drug shipments. In 2016, Congress passed the 2016 Ensuring Patient Access and Effective Drug Enforcement Act, whose language effectively prevented the DEA from stopping the flood. President Donald Trump then nominated one of the moving forces for the bill, Representative Tom Marino of Pennsylvania, to be his drug czar. Amidst public outrage over his years of pharmaceutical lobbying, Marino withdrew. Marino’s district had been shattered by opioids, as had that of another co-sponsor, then-Representative and now-Senator Marsha Blackburn of Tennessee. Yet, as Anne Case and Angus Deaton note, “they fought against effective regulation, not for it; money and pro-business ideology subordinated the voices of those who had been addicted or were dying.” Senator Orrin Hatch, a lifelong Big Pharma shill, applied influence on the DEA, cruelly apathetic to the plight of his home state of Utah, whose drug-induced mortality rate increased sevenfold between 1999 and the enactment of the bill in 2016. D. Linden Barber, a former senior DEA attorney, switched sides to advise Big Pharma and helped to write the bill. The poison kept flowing, but it was never enough for the House of Sackler. Purdue hired McKinsey to help them blow what little was left of the levees, along with organizations like the American Enterprise Institute, who seeded OxyContin propaganda in the press.

In 2012, Senators Max Baucus and Chuck Grassley led the Senate Finance Committee to open an investigation into the American Pain Foundation’s funding, realizing that the organization was an industry shill masquerading as a patient advocacy organization. The very day that the probe was announced, the American Pain Foundation closed its doors and vanished. In March of the next year, Purdue circulated an internal report that drug overdose deaths had tripled over the course of one decade, and that those tens of thousands of deaths—that we now know to be hundreds of thousands—were merely the tip of the iceberg; for each death, there were hundreds more enslaved in crippling addiction. By 2015, opioid prescription rates had tripled from 1999, with enough OxyContin dispensed that year to medicate every American for a month. A CDC report confirmed that prescription opioid users were forty times likelier than the general population to become heroin addicts, making OxyContin the gateway drug to heroin. Johns Hopkins University released a national survey that concluded that Purdue’s variety of messages had sown confusion among primary care physicians, with nearly half of the doctors surveyed believing that the “tamper-resistant” pill was less likely to cause addiction. The Sacklers took this report as a glorious affirmation of what they had done, and Purdue executives held a party to celebrate the success of their marketing strategy.

As the graves continued to multiply, the screws began to tighten around the Sacklers. The family developed a plan to use its Swiss-based Mundipharma network to aggressively market OxyContin overseas, targeting China, Brazil, and India, and, in the past three years, OxyContin sales have indeed risen over seven hundred percent in half a dozen European and South Asian countries. In autumn 2017, President Trump declared the opioid epidemic a “public health emergency,” with, at this time, 115 opioid deaths per day, and he launched his Initiative to Stop Opioid Abuse the next year. This toothless action followed over sixty prior measures that Congress had taken; although throwing money at an issue has never worked and will never work, Gerald Posner notes that the new action “evidently allowed politicians to demonstrate that if they were not ending the crisis, they were at least studying and talking about it a lot.” In 2019, Purdue Pharma was sued by nearly every State Attorney General, the Department of Justice, and dozens of class action attorneys on behalf of legions of families. The Massachusetts Attorney General went a step further than the others, and targeted the Sacklers directly for having “created the epidemic and profited from it through a web of illegal deceit.” In the complaint: “Eight people in a single family made the choices that caused much of the opioid epidemic. The Sackler family … had the power to decide how addictive narcotics were sold. They hired hundreds of workers to carry out their wishes, and they fired those who didn’t sell enough drugs. They got more patients on opioids, at higher doses, for longer, than ever before. They paid themselves billions of dollars. They are responsible for addiction, overdose, and death that damaged millions of lives.”

As one anonymous plaintiff’s attorney told the Guardian, the Sacklers were nothing but “a crime family … drug dealers in nice suits and dresses.” Purdue paid 270 million dollars to settle with the Oklahoma Attorney General, and reached a tentative multi-billion-dollar settlement in September with 23 States and 4 territories, the others rejecting it. Leaked details reveal that, in exchange for ending all pending lawsuits, the Sacklers would pay three billion dollars and put Purdue into structured bankruptcy to eventually be run as a public-benefit corporation that would distribute overdose and addiction mitigation drugs free of charge. The previous year, Purdue had obtained a patent for a variant of medication-assisted addiction treatment. To this, Case and Deaton state that “it is as if the poisoner of the water supply, having killed and sickened tens of thousands, were to demand a huge ransom for the antidote to save the survivors.” The Sacklers insisted that their settlement be paid in installments over seven years, the largest portion of which would come after the fifth year. The Attorneys General of Massachusetts and New York insisted that the Sacklers also sell their Swiss holding company, Mundipharma, and pay a higher cash amount. They agreed to do so within the same seven years, assenting to pay any surplus amount over three billion from the Mundipharma sale.

Considering that Purdue had paid the Sacklers twelve to thirteen billion dollars in OxyContin profits, the Jews would walk away with the vast majority of their wealth. Furthermore, the Sacklers were masters at the shell game, so they almost certainly have hidden wealth spirited away in parts unknown. Also included in their settlementa: Purdue will continue to sell OxyContin. The Sacklers categorically refused to admit any personal liability. On September 15, 2019, Purdue filed for bankruptcy protection, placing on hold all current and pending litigation against Purdue and the Sacklers; thus, thanks to U.S. Bankruptcy Judge Robert Drain, it is incredibly likely that Purdue Pharma will never face trial, and that the Sackler family will never be held to account—at least, not on this earth. Even if they do deign to pay their settlement in full, that money will simply be used as general revenue for the government, not for any of their millions of victims. For now, the only punishment facing the Sacklers is that they seem to have been excommunicated from the ranks of polite society, no longer invited to New York’s finest cocktail dinners, with a small handful of the recipients of Sackler largesse even disavowing any connection to them.

End of Part 2 of 3.