IN: Gutfeld was born in San Mateo, California, the son of Jacqueline Bernice "Jackie" (nee Cauhape) and Alfred Jack Gutfeld. His father was of German Jewish-Catholic and Irish descent, while his mother was of Irish, French, and Mexican ancestry. He attended Junipero Serra High School and the University of California, Berkeley, graduating in 1987 with a B.A. in English.

In a five-minute segment broadcast on Tuesday, March 17, 2009, Gutfeld and his panel discussed Canadian Lieutenant General Andrew Leslie's statement that the Canadian Armed Forces may require a one-year "synchronized break" once Canada's mission in Afghanistan ends in 2011. "Meaning, the Canadian military wants to take a breather to do some yoga, paint landscapes, run on the beach in gorgeous white Capri pants," Gutfeld said. "I didn't even know they were in the war", comedian panelist Doug Benson added, then continued, "I thought that's where you go if you don't want to fight. Go chill in Canada." Gutfeld also said: "Isn't this the perfect time to invade this ridiculous country? They have no army!" The segment drew wide attention and outrage in Canada after being posted on YouTube following the reported deaths of four Canadian soldiers in Afghanistan three days earlier. Canada, at the time, had been in command of the NATO mission in the Kandahar Province, the birthplace and former capital of the Taliban, for the preceding three years. Along with the Helmand Province, the two provinces were "home to some of the fiercest opposition to coalition forces" and reported to "have the highest casualty rates per province." Canadian Defence Minister Peter MacKay called on Fox to apologize for the satirical comments, describing the remarks as "despicable, hurtful and ignorant." Gutfeld in response maintained the show is satirical and irreverent but offered the following apology: "The March 17 episode of Red Eye included a segment discussing Canada's plan for a 'synchronized break,' which was in no way an attempt to make light of troop efforts. However, I realize that my words may have been misunderstood. It was not my intent to disrespect the brave men, women and families of the Canadian military, and for that I apologize."

Did Gutfeld have other opinions on Afghanistan?

OUT:

Answer the question at the end by quoting:

George Jacob Gershwin (; September 26, 1898 - July 11, 1937) was an American composer and pianist. Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are widely known. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), as well as the contemporary opera Porgy and Bess (1935).
In 1913, Gershwin left school at the age of 15 and found his first job as a "song plugger". His employer was Jerome H. Remick and Company, a Detroit-based publishing firm with a branch office on New York City's Tin Pan Alley, and he earned $15 a week. His first published song was "When You Want 'Em, You Can't Get 'Em, When You've Got 'Em, You Don't Want 'Em" in 1916 when Gershwin was only 17 years old. It earned him 50 cents. In 1916, Gershwin started working for Aeolian Company and Standard Music Rolls in New York, recording and arranging. He produced dozens, if not hundreds, of rolls under his own and assumed names (pseudonyms attributed to Gershwin include Fred Murtha and Bert Wynn). He also recorded rolls of his own compositions for the Duo-Art and Welte-Mignon reproducing pianos. As well as recording piano rolls, Gershwin made a brief foray into vaudeville, accompanying both Nora Bayes and Louise Dresser on the piano. His 1917 novelty ragtime, "Rialto Ripples", was a commercial success. In 1919 he scored his first big national hit with his song, "Swanee", with words by Irving Caesar. Al Jolson, a famous Broadway singer of the day, heard Gershwin perform "Swanee" at a party and decided to sing it in one of his shows. In the late 1910s, Gershwin met songwriter and music director William Daly. The two collaborated on the Broadway musicals Piccadilly to Broadway (1920) and For Goodness' Sake (1922), and jointly composed the score for Our Nell (1923). This was the beginning of a long friendship. Daly was a frequent arranger, orchestrator and conductor of Gershwin's music, and Gershwin periodically turned to him for musical advice.

Did he have help with his music?

Daly was a frequent arranger, orchestrator and conductor of Gershwin's music,

input: 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 "How did this differ from Freud's theory of neurosis?"
output:
the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams".