Question:
Lehrer was born in 1928 to a Jewish family and grew up in Manhattan's Upper East Side. Although he was raised Jewish, Lehrer became an agnostic. He began studying classical piano at the age of seven, but was more interested in the popular music of the age. Eventually, his mother also sent him to a popular-music piano teacher.
In 1953, inspired by the success of his performances, Lehrer paid $15 for some studio time to record Songs by Tom Lehrer. The initial pressing was 400 copies. At the time, radio stations would not give Lehrer air time because of his controversial subjects. He sold his album on campus at Harvard for $3 (equivalent to $27.00 today), while "several stores near the Harvard campus sold it for $3.50, taking only a minimal markup as a kind of community service. Newsstands on campus sold it for the same price." After one summer, he started to receive mail orders from all parts of the country (as far away as San Francisco, after The Chronicle wrote an article on the record). Interest in his recordings was spread by word of mouth; friends and supporters brought their records home and played them for their friends, who then also wanted a copy. Lehrer later recalled, "Lacking exposure in the media, my songs spread slowly. Like herpes, rather than ebola." The album--which included the macabre "I Hold Your Hand in Mine", the mildly risque "Be Prepared", and "Lobachevsky" (regarding plagiarizing mathematicians)--became a cult success via word of mouth, despite being self-published and without promotion. Lehrer embarked on a series of concert tours and in 1959 recorded a second album, which was released in two versions: the songs were the same, but More of Tom Lehrer was studio-recorded while An Evening Wasted with Tom Lehrer was recorded live in concert. In 2013, Lehrer recalled the studio session for "Poisoning Pigeons in the Park," which referred to the practice of controlling pigeons in Boston with strychnine-treated corn: "The copyist arrived at the last minute with the parts and passed them out to the band... And there was no title on it, and there was no lyrics. And so they ran through it, 'what a pleasant little waltz'... And the engineer said, '"Poisoning Pigeons in the Park,' take one," and the piano player said, '"What?"' and literally fell off the stool."
Answer this question using a quote from the text above:

What was his style?

Answer:
At the time, radio stations would not give Lehrer air time because of his controversial subjects.

Question:
Wilhelm Stekel (German: ['Ste:k@l]; 18 March 1868 - 25 June 1940) was an Austrian physician and psychologist, who became one of Sigmund Freud's earliest followers, and was once described as "Freud's most distinguished pupil". According to Ernest Jones, "Stekel may be accorded the honour, together with Freud, of having founded the first psycho-analytic society"; while he also described him as "a naturally gifted psychologist with an unusual flair for detecting repressed material." He later had a falling-out with Freud, who announced in November 1912 that "Stekel is going his own way". His works are translated and published in many languages.
Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel": "the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams". Considering obsessional doubts, Stekel said, In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms. The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement. Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence" referred to approvingly by Freud: "Freud had written a preface to Stekel's book". Related to this may be Stekel's "elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate". Freud credited Stekel as a potential forerunner when pondering the possibility that (for obsessional neurotics) "in the order of development hate is the precursor of love. This is perhaps the meaning of an assertion by Stekel (1911 [Die Sprache des Traumes], 536), which at the time I found incomprehensible, to the effect that hate and not love is the primary emotional relation between men". The same work is credited by Otto Fenichel as establishing 'the symbolic significance of right and left...right meaning correct and left meaning wrong '. Less flatteringly, Fenichel also associated it with "a comparatively large school of pseudo analysis which held that the patient should be 'bombarded' with 'deep interpretations,'" a backhanded tribute to the extent of Stekel's early following in the wake of his break with Freud.
Answer this question using a quote from the text above:

what is the theory of neurosis?

Answer:
Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel":