Some context: 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 contrasted what he called "normal fetishes" from extreme interests: "They become pathological only when they have pushed the whole love object into the background and themselves appropriate the function of a love object, e.g., when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous (p. 3). Stekel also deals differently than Freud with the problem of perversion. A lot of perversions are defense mechanisms (Schutzbauten) of the moral "self"; they represent hidden forms of asceticism. To Freud, the primal sexual venting meant health, while neuroses were created because of repressing sexual drives. Stekel, on the other hand, points out the significance of the repressed religious "self" in neuroses and indicates that apart from the repressed sexuality type, there is also a repressed morality type. This type is created in the conditions of sexual licentiousness while being opposed to doing it at the same time. In the latter instance, 'Stekel holds that fetichism is the patient's unconscious religion'. "Normal" fetishes for Stekel contributed more broadly to choice of lifestyle: thus "choice of vocation was actually an attempt to solve mental conflicts through the displacement of them", so that doctors for Stekel were "voyeurs who have transferred their original sexual current into the art of diagnosis".  Complaining of Freud's tendency to indiscretion, Ernest Jones wrote that he had told him "the nature of Stekel's sexual perversion, which he should not have and which I have never repeated to anyone". Stekel's "elaboration of the idea that everyone, and in particular every neurotic, has a peculiar form of sexual gratification which is alone adequate" may thus have been grounded in personal experience.  On sado-masochism, "Stekel has described the essence of the sadomasochistic act to be humiliation".
What else did he say?
A: when a lover satisfies himself with the possession of a woman's shoe and considers the woman herself as secondary or even disturbing and superfluous

Some context: Miriam Johnson was born in 1943 in Phoenix, Arizona and raised in a strict Pentecostal home. Her mother was a Pentecostal preacher and her father was a race-car driver. At age 11, Colter became the pianist at her church. After graduating from Mesa High, Ariz. in 1961, she began singing in local clubs in Phoenix.
In 1981, Colter and her husband returned to release a duet album entitled Leather and Lace. The album's first single, "Storms Never Last," was written by Colter, and the second single, "The Wild Side of Life"/"It Wasn't God Who Made Honky Tonk Angels," was also a major hit in 1981, peaking at No. 10 on the Billboard Country Chart. The album was certified Gold in sales by the RIAA that year, Colter's second RIAA-certified album to date. Stevie Nicks wrote the title track of the album; however, after receiving word that Colter and Jennings might divorce, Nicks released her own version of the song as a duet with Don Henley. It peaked at No. 6 on Pop chart, also in 1981. Also in 1981 Colter released her final studio album on Capitol records, Ridin' Shotgun, which also spawned Colter's last charting single on the country charts, "Holdin' on."  As the decade progressed, Colter's success began to decline. She released an album in 1984 on the Triad label titled Rock and Roll Lullaby, produced by Chips Moman. However, in the later years of the decade, she decided to let her recording career decline in order to help take care of and nurse her husband through his drug abuse and various medical problems. She remained active during this time.  In the early 1990s, she focused her attention on performing and released an album of children's music titled Jessi Colter Sings Just for Kids: Songs from Around the World in early 1996. It featured a guest appearance by Jennings, who recited some of his poetry for the video. In 2000, Colter performed on Jennings's live album Never Say Die, released two years before his death in 2002, at age 64.
how did this album fare ?
A: