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Purdue Pharma in Tennessee: Always Be Closing

“Always Be Closing” is the motto that salesmen live by in the movie/play Glengarry Glen Ross.

If you haven’t seen the movie, do so. It’s great: Al Pacino, Jack Lemmon, Alex Baldwin, Kevin Spacey. It’s about an office of desperate sales guys hawking shady real estate investments. ABC — “Always Be Closing” — is the way each is supposed to approach every sales call.

It’s also a motto that showed up in Purdue Pharma sales notes and notebooks in Tennessee, according to a lawsuit against the company.

The suit was filed in May by the office of Tennessee Attorney General Herbert Slatery. It alleges a lot of things, but in general that Purdue used deceptive marketing practices to push its signature drug, OxyContin. This took place, the suit alleges, between 2009 and 2012, well after the company and three of its executives pleaded guilty (in 2007) to a federal misdemeanor of false branding and paid a $634 million fine, while also committing to a series of measures to ensure they were not marketing to doctors who were prescribing unscrupulously.

The company moved to seal the lawsuit, but a judge in Knoxville recently decided against that idea, allowing the office to send me, and others, a copy.

In general terms, what I find interesting the lawsuit is how it displays the changes in pharmaceutical sales in this country, much of that coming during the life of OxyContin, though not due to it.

Up to the mid-1990s, drug salesmen in the United States were usually older men, often with backgrounds in pharmacy or medicine. They were often from the communities they sold to, knew the doctors they sold to, and became credible sources of information for those same doctors as medicine began to change rapidly.

Then the industry went another route. Those older folks were shown the door. In what can be called a sales force arms race,  drug companies hired more and more reps. These reps were usually much younger, very good looking. They didn’t know much about they were selling but they have backgrounds in sales. They inundated doctors with visits and giveaways, of pens, calendars, lunch, sometimes trips for continuing medical education seminars. The companies were aware that by massaging a doctor’s staff, the doctor would soon be an easier mark.

Many companies did this. The numbers of sales rep rose through the 1990s from 35,000 nationwide to over 100,000 by the end of the decade. But other companies were selling blockbuster drugs to deal with cholesterol, hypertension and others. Purdue was among the few that used these techniques, and this enhanced salesforce (numbering eventually 1,000), to sell a narcotic painkiller.

“Always Be Closing” was, apparently, part of that push at Purdue. So, allegedly, was mention of the movie. All of this coming after the 2007 criminal lawsuit.

In Tennessee, (pop. 6.6 million people), the company made 300,000 sales calls to health care providers in the 2007-17 decade, during which time doctors prescribed more than 104,000,000 OxyContin tablets; more than half of those tablets were at the strongest doses the company made: 40mg and above.

Those of you who’ve read my book Dreamland know that, to me, supply is the crucial factor in this, and really in any drug scourge. What the lawsuit describes is a company hard at work at creating a vast new supply of opioids.

Company instructional materials pushed sales folks to “expand the physician’s definition of the appropriate patient” to which opioids might be prescribed; to “never give someone more info than they need to act”; and to develop a “specific plan for systematically moving physicians to move to the next level of prescribing.”

“We sell hope in a bottle,” said one guide for incoming salespeople, who were also instructed to encourage doctors to increase patients’ daily doses.

The lawsuit goes on to claim that Purdue sales reps in Tennessee were urged to make frequent sales calls, as evidence showed that that increased the number of prescriptions. According to the lawsuit, the company urged its salespeople to “focus on doctors who had more patients, less likely to have pain management expertise, and have less time to appropriately monitor patients on opioids.”

During these years, Purdue sales reps, according to the lawsuit, focused their efforts on primary care doctors, nurse practitioners and physicians assistants, whom the company “knew or should have known … had limited resources or time to scrutinize the company’s claims.” Together, people in those three profession prescribed 65 percent of all OxyContin tablets in Tennessee during these years. By 2015, Tennessee had the third highest prescription rate of opioids in the country.

A major part of the lawsuit goes on to discuss specific examples of Tennessee doctors who were leading the state in opioid prescribing, often with signs that their practice was out of control or they were incompetent or unscrupulous, yet who were nonetheless aggressively marketed to by Purdue salespeople.

More on that tomorrow.

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Filed under Dreamland, Drugs, The Heroin Heartland

Kevin Costner Cutting Cabbage

It’s been a long time since Kevin Costner showed up in a worthwhile movie. Not nearly as long, though, as it’s been since a real Central Valley farming town appeared in one.

They both star in a movie that I saw recently at Walt Disney Studios called McFarland USA, which portrays a kind of unvarnished rural America that amounts to risk-taking I don’t associate with either Costner or Disney.McFARLAND

McFarland USA (in theaters later this month) is based on the true story of Jim White, a football coach who moves to the tiny Central Valley farming town in the 1980s and, instead, creates the McFarland High School cross country team with kids who work the field before coming to school, the children of longtime farmworkers.

The team becomes state champions – a feat the school has achieved nine times. McFarland USA is great tear-jerking sports filmmaking.

For Costner, this comes after a series of movies that seemed to me (though I’m no Hollywood insider) the last gasp of a major career (Draft Day), and may help resuscitate it.

He’s played this part many times. This time, though, he allows himself to be here in all his wrinkles, befuddled a good part of the movie in this foreign land with a U.S. zip code; he’s no longer quite the stud in control that he was during his heyday that began in rural America with Bull Durham in 1988.

Costner deals in fantasy, like every movie star. His has always been a certain kind of American (usually male) fantasy, and often about the nobility of white rural and/or small town America, in particular. Bull Durham, which launched him, had it in spades.

Problem is that part of America has been taking a pounding since at least Bull Durham (farm crisis, depopulation, Walmart). (The latest scourge, about which I’ve been writing, is a locust cloud of prescription pills and heroin.)

It’s the unblinking (within the genre’s limits) look at this rural America into which Costner is thrown that makes this flick worth the time. One place is a cabbage field, in which Costner stoops under the brutal Central Valley sun along with Mexican farmworkers. This is an unfamiliar country for the guy whose last appearance in modern rural America was in the far less complicated Field of Dreams Iowa in 1989.

The movie’s backdrop is its richest attribute: the orchards and streets of the Central Valley, home to some of our poorest towns – McFarland among them. “Are we in Mexico?” his daughter asks as the White family first drives through town.

Embracing this milieu allows the movie, and the star, a few other surreal scenes.

There’s Costner as a proud but stumbling father giving his daughter an impromptu quinceanera, a word he cannot pronounce. Another shows the kids training by running around the local prison – doesn’t every Valley town have one?

McFarland USA is Disney through and through. You’ll whiff Stand and Deliver, as well as Rudy and Hoosiers. It’s still effective filmmaking – I counted five tearing-ups – with a poor, stunningly photogenic, Central Valley town at its center.

We learn that all White’s runners go on to better lives, many, it seems, working for one level of government or another.

That’s not surprising any more.

The Central Valley has inspired thunderous works of art and activism on the plight of the oppressed – Grapes of Wrath, of course, the main example. But none ever stuck with the story long enough, I always thought. For, by and large, people don’t take it lying down for long. They struggle. They move on, they move up; in time, they’re allowed the luxury of forgetting where they came from.

Had Steinbeck followed the Joads, he’d have watched their kids become the next generation of cops and city councilmen along the 99 – and forget their manners when it came to the Mexican-Americans who moved up the highway to take their places in the fields.

I lived in Stockton from 1989 to 1992 – about the time McFarland USA is set. By then, the kids of those Mexican-Americans that Cesar Chavez organized in the 1960s had become cops, restaurant owners, and farmers themselves – and didn’t seem to care too much for the illegal northern Mexicans who worked the fields.

Those northern Mexicans who came to pick in the 1970s and 1980s were amnestied into America. Their kids are today the labor contractors and farmers (and cops). They’re trying to figure out the newest pickers – Mixtec and Triqui Indians from southern Mexico – who seem as foreign to them as his students seemed to Jim White when he showed up in McFarland fresh from a failed Idaho coaching job.

But all that is backstory to a movie that combines some classic sports melodrama with a look at a rural, small-town USA, and, with it, an icon of square white American manhood cutting cabbage in the sun.

Photo: McFarland USA

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Filed under California, Culture, Global Economy, Mexico, Migrants

LOS ANGELES: Warren Oates and migrants to L.A.

Lately, I’ve been struck by how the folks who come here looking for movie or music stardom from all over the US are part of what keeps Los Angeles vibrant.

These are wannabe actors, singers, musicians, dancers, writers — folks who’ve been told by their high school drama or choir teacher in Nebraska or Louisiana that they have talent and ought to test themselves out in Hollywood.

These folks add as much dynamism and energy to the LA economy, I’d bet, as do immigrants from Mexico or Korea or somewhere, here willing to do what it takes to piece together a new life.  They just don’t stand out the way immigrants do.

I wonder what would happen to LA’s restaurant industry if they stopped coming. Probably the same as would happen if all the Oaxacans left. (Just at a Westwood restaurant where our busboy was a man from Abasolo, Oaxaca.)

I was reminded of this just now after seeing a movie with one such fellow — Warren Oates, who for my money is nearly the greatest character actor of American movies. Anyway, I can’t think of any better at the moment.

He made a bunch of great westerns, and Sam Peckinpah’s The Wild Bunch and Bring Me the Head of Alfredo Garcia. I just saw The Brink’s Job, which has a couple of fantastic scenes with Oates. Starred as John Dillinger and was in In the Heat of the Night.

You know it’s gonna be good if Warren Oates is in the thing.

Came from a burg to LA, like so many. A town in western Kentucky that apparently doesn’t even exist any more. He’d entered a drama troupe in college in Kentucky then made his way out west.

Seems to me his career was made possible by a late 1960s/early 1970s’ ethos of casting rugged, authentic-looking guys in westerns and as outlaws and the like. A revisiting of the Western movie, and a revision of the history of the American West in film that took place in those years.

Otherwise, he might well have faced a bunch of Gomer Pyle roles.

As his star rose, he became part of a Hollywood counterculture rat pack that included Peter Fonda and Jack Nicholson and did a lot of things that aged him quickly.

Died too young — at 53, I was surprised to learn. I have to say he looked a lot older than that when he passed in 1982.

Warren Oates — an American original, no doubt.

Here’s a conversation with his biographer, Susan Compo.

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Filed under California, Culture, Los Angeles, Migrants, Southern California