input: Most accounts of recording Blonde on Blonde, including those by Dylan scholars Clinton Heylin and Michael Gray, agree that there were two blocks of recording sessions: February 14-17 and March 8-10, 1966. This chronology is based on the logs and files kept by Columbia Records. Dylan and the Hawks performed concerts in Ottawa, Montreal, and Philadelphia in February and March, and then Dylan resumed recording in Nashville on March 8. On that date, Dylan and the musicians recorded the take of "Absolutely Sweet Marie" that Dylan selected for the album. Historian Sean Wilentz observed that "with the sound of 'Sweet Marie', Blonde on Blonde entered fully and sublimely into what is now considered classic rock and roll". The same day saw the successful takes of "Just Like a Woman", and "Pledging My Time", the latter "driven by Robertson's screaming guitar". According to Wilentz the final recording session, on March 9-10, produced six songs in 13 hours of studio time. The first number to be recorded to Dylan's satisfaction was "Most Likely You Go Your Way and I'll Go Mine", when McCoy reinforced on trumpet a musical phrase Dylan played on his harmonica, changing the sound of the song radically. Dylan and his band then quickly recorded "Temporary Like Achilles". The session atmosphere began to "get giddy" around midnight when Dylan roughed out "Rainy Day Women #12 & 35" on the piano. Johnston recalled commenting; "That sounds like the damn Salvation Army band". Dylan replied; "Can you get one?" Johnston then telephoned trombonist Wayne Butler, the only additional musician required, and Dylan and the band, with McCoy again on trumpet, played a high-spirited version of the song. In quick succession Dylan and the musicians then recorded "Obviously 5 Believers" and a final take of "Leopard-Skin Pill-Box Hat" powered by Robertson's lead guitar. The session concluded with "I Want You" on which, as Wilentz notes, "Wayne Moss's rapid-fire sixteenth notes on the guitar" are an impressive element of the recording.

Answer this question "How many takes did it take to release their album?"
output:

Problem: Background: Me and Orson Welles is a 2008 British-American period drama film directed by Richard Linklater and starring Zac Efron, Christian McKay, and Claire Danes. Based on Robert Kaplow's novel of the same name, the story, set in 1937 New York, tells of a teenager hired to perform in Orson Welles's groundbreaking stage adaptation of William Shakespeare's Julius Caesar. He becomes attracted to a career-driven production assistant. The film was shot in London and New York and on the Isle of Man in February, March and April 2008, and was released in the United States on November 25, 2009, and the United Kingdom on December 4, 2009.
Context: Select footage of Me and Orson Welles was screened at the 2008 Cannes Film Festival where financing and sales agency Cinetic Media were looking to sell the film to a distributor. Before its Cannes premiere, The Hollywood Reporter predicted that the film would attract distributors with Linklater's resume and Efron's teen "heartthrob" status to appeal to a younger demographic, but Me and Orson Welles failed to secure any American acquisitions. Its first full screening was at the 2008 Toronto International Film Festival, running September 4-13, 2008. In spite of its failure to find a buyer at Cannes, Toronto's co-director Cameron Bailey predicted that it would be "one of the hottest films" in the lineup, Anne Thompson of Variety magazine also believed that the film would be one of "only a few lucky winners" to secure a seven-figure deal. Again, however, the film's distribution rights were not purchased and it went on to show at the South by Southwest festival in Austin, Texas. In May 2009, production company CinemaNX announced that it would distribute Me and Orson Welles itself, sharing marketing and advertising costs with Vue Entertainment. Freestyle Releasing was hired as the US distributor with Hart/Lunsford Pictures in exchange for participation in revenues paid the $4 million prints and advertising cost. It was screened at the Woodstock Film Festival in September 2009, where Linklater was honored as the winner of the 2009 Maverick Award. it opened the New Orleans Film Festival on October 9, 2009; and it was screened at the St. Louis International Film Festival in November 2009. The film was released in the US on November 25, 2009, and in the UK on December 4, 2009. IndieWIRE reported, "The do-it-yourself release of Richard Linklater's Me and Orson Welles got off to a very nice start, averaging $15,910 from its four theaters, the highest PTA of all debuting films. ... While Orson Welles is one the first examples of such a high-profile film going to the DIY route, if it proves successful, it's going to be done a lot more in the future."
Question: What were critics reviews of this film?
Answer: Me and Orson Welles failed to secure any American acquisitions. Its first full screening was at the 2008 Toronto International Film Festival, running September 4-13, 2008.

Question: Allan David Bloom (September 14, 1930 - October 7, 1992) was an American philosopher, classicist, and academician. He studied under David Grene, Leo Strauss, Richard McKeon, and Alexandre Kojeve. He subsequently taught at Cornell University, the University of Toronto, Yale University, Ecole Normale Superieure of Paris, and the University of Chicago. Bloom championed the idea of Great Books education and became famous for his criticism of contemporary American higher education, with his views being expressed in his bestselling 1987 book, The Closing of the American Mind.

Allan Bloom was born in Indianapolis, Indiana in 1930 to second-generation Jewish parents who were both social workers. The couple had a daughter, Lucille, two years earlier. As a thirteen-year-old, Bloom read a Readers Digest article about the University of Chicago and told his parents he wanted to attend; his parents thought it was unreasonable and did not encourage his hopes. Yet, when his family moved to Chicago in 1944, his parents met a psychiatrist and family friend whose son was enrolled in the University of Chicago's humanities program for gifted students. In 1946, Bloom was accepted to the same program, starting his degree at the age of fifteen, and spending the next decade of his life enrolled at the University in Chicago's Hyde Park neighborhood. This began his lifelong passion for the 'idea' of the university. In the preface to Giants and Dwarfs: Essays, 1960-1990, he stated that his education "began with Freud and ended with Plato". The theme of this education was self-knowledge, or self-discovery--an idea that Bloom would later write, seemed impossible to conceive of for a Midwestern American boy. He credits Leo Strauss as the teacher who made this endeavor possible for him. Bloom graduated from the University of Chicago with his Bachelor's Degree at the age of 18. One of his college classmates was the classicist Seth Benardete. For post-graduate studies, he enrolled in the University of Chicago's Committee on Social Thought, where he was assigned Classicist David Grene as tutor, and went on to write his thesis on Isocrates. Grene recalled Bloom as an energetic and humorous student completely dedicated to studying classics, but with no definite career ambitions. The Committee was a unique interdisciplinary program that attracted a small number of students due to its rigorous academic requirements and lack of clear employment opportunities after graduation. Bloom earned his Ph.D. from the Committee on Social Thought in 1955. He subsequently studied under the influential Hegelian philosopher Alexandre Kojeve in Paris, whose lectures Bloom would later introduce to the English-speaking world. While teaching philosophy at the Ecole Normale Superieure in Paris, he befriended Raymond Aron, amongst many other philosophers. Among the American expatriate community in Paris his friends included leftist writer Susan Sontag.

Using a quote from the above article, answer the following question: Did he go on to study anywhere else?
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Answer:
For post-graduate studies, he enrolled in the University of Chicago's Committee on Social Thought,