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The note concluded by coming full circle to the Ottawa shootings: “I have always tried to be a good soldier and do a good job for my country.” Within hours, the post had more than 102,000 “likes” and sparked ardent cries of support for the fallen radio host.
Within days, though, many of his staunchest defenders—among them Elizabeth May, Amanda Palmer and Judy Rebick—were asking themselves how they could have swallowed his version, hook, line and sinker.
But the soul-searching within the insular Canadian arts and cultural establishment had another component.
Everyone bridled—at least privately—at his mood swings and his penchant for playing staff against one another.
The predominantly female staff found themselves reduced to tears by his tirades.
No one saw that disconnect more clearly than the dozen or so people who worked on .
Although Ghomeshi was not the boss at the show, he was the “talent”—and the place operated as his fiefdom of sorts, a workplace with exacting standards and often cruel punishment for those who didn’t live up to them.