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This chapter addresses how, unlike in the European Union, the US legislation thus far has not established a bespoke regime for the management of central counterparty (CCP) failures. This leaves considerable uncertainty as to whether, and how, the reformed regulatory environment created by the post-financial crisis Dodd-Frank Act would respond to failures in the sector. While Title VIII of the Dodd-Frank Act has empowered the Financial Stability Oversight Council (FSOC) to designate clearinghouses as systemically important, it has been questioned whether the so-called 'Orderly Resolution Authority', a process for the resolution of failing systemically important financial institutions established by Title II of the Dodd-Frank Act, would apply—and, even if it did, would provide adequate solutions. The procedures and tools included in Title II hardly would fit, leaving room for the application of ordinary bankruptcy procedures. However, neither liquidation under Chapter 7 nor reorganization under Chapter 11 of the US Bankruptcy Code can be expected to be very helpful in the case of a clearinghouse failure, which essentially leads to a high level of reliance on the clearinghouses' risk mitigation and loss management arrangements contractually agreed with their respective members.

Background Invasive pulmonary aspergillosis (IPA) is increasingly recognized as a complication of severe influenza and coronavirus disease 2019. The extent to which other respiratory viral infections (RVIs) predispose to IPA is unclear. Methods We performed a retrospective review of IPA occurring within 90 days of respiratory syncytial virus (RSV), parainfluenza, or adenovirus infections (noninfluenza respiratory viral infections [NI-RVIs]) in patients who underwent solid organ transplant between 1/15/2011 and 12/19/2017. Results At a median post-transplant follow-up of 43.4 months, 221 of 2986 patients (7.4%) developed 255 RSV, parainfluenza, or adenovirus infections. IPA complicating these NI-RVIs was exclusively observed in lung and small bowel transplant recipients, in whom incidence was 5% and 33%, respectively. Cumulative prednisone doses >140mg within 7 days and pneumonia at the time of NI-RVI were independent risk factors for IPA (odds ratio [OR], 22.6; 95% CI, 4.5–112; and OR, 7.2; 95% CI, 1.6–31.7; respectively). Mortality at 180 days following NI-RVI was 27% and 7% among patients with and without IPA, respectively (P = .04). Conclusions In conclusion, IPA can complicate RSV, parainfluenza, and adenovirus infection in lung and small bowel transplant recipients. Future research is needed on the epidemiology of IPA complicating various RVIs. In the interim, physicians should be aware of this complication.

Catherine directs dances for the 1945 Broadway musical The Firebrand of Florence and develops a close relationship with its composer, Kurt Weill. Jimmie Littlefield dies on his Zacata farm, devastating the Littlefield family. While choreographing the Broadway comedy Sweethearts, Catherine, newly divorced from Philip, meets journalist Sterling Noel. They marry and move into a penthouse apartment in Manhattan overlooking the East River. She choreographs Sonja Henie’s last American film, The Countess of Monte Cristo and becomes dance director for the Jimmy Durante television show on NBC. She dies from breast cancer in Chicago at age forty-six after finishing work on the Hollywood Ice Revue of 1952.

The Philadelphia Ballet’s performances of Barn Dance and Terminal in Paris, Brussels, and London are enormously popular with audiences and critics. In Paris, Rolf de Maré presents Catherine with the French Renaissance Medal for her ballet contributions and company members take lessons with Lubov Egorova. In Brussels, Belgium’s King Leopold III comes out of mourning to attend a performance and personally greet the Littlefield sisters. In London, company members visit the London Zoo and Cyril Beaumont’s ballet shop. The company receives twenty-five curtain calls on opening night at the Hippodrome and its run is extended by a week. British critic Arnold Haskell emerges as the company’s chief champion in the press.

Catherine Littlefield’s great-grandparents, Gottlieb and Catherine Doebele, are German immigrants who settle in Philadelphia in the 1850s and raise six children. Gottlieb dies from injuries sustained while serving with a German regiment in the Civil War, and Catherine Doebele becomes a surrogate parent to her granddaughter, Caroline Doebele, after the girl’s parents divorce. Catherine Doebele (Grandma Doebele) is very religious and disapproves of Caroline’s early interest in dancing but provides her with piano lessons instead. James H. Littlefield, born and raised in Maine, serves in the US Cavalry and later takes a job with the PRR-YMCA in Philadelphia. He loves music and theater and meets Caroline. They marry in 1904.

Catherine Littlefield is born on September 16, 1905, and takes her first dancing lessons from Caroline (Mommie) at the PRR-YMCA in 1908. Mommie also teaches Jeanette MacDonald and stages recitals along with her husband (Big Jim). The Littlefields live for a time in Ambler, Pennsylvania, and later in Philadelphia, and have three more children: Jimmie, Dorothie, and Carl. As a young girl, Catherine also takes lessons with Philadelphia dancing master C. Ellwood Carpenter and performs in his ballet corps. Mommie helps Carpenter teach. Big Jim works as a lifeguard in Ocean City, New Jersey, and operates the Littlefield Riding Academy in Philadelphia. The Littlefields move to Llanerch, Pennsylvania. Big Jim serves with the YMCA in World War I.

Catherine tries to make ballet more appealing to Americans by recruiting and training “manly” men with no prior dance experience. She hires Alexis Dolinoff as her partner, répétiteur, and men’s teacher. The Littlefield Ballet gives its first performance on October 25, 1935. The Littlefield School moves into unassuming quarters at 1815 Ludlow Street. By the end of 1935, Catherine has changed the company’s name to the Philadelphia Ballet and premiered The Snow Queen at the Academy of Music. Karen Conrad and Joan McCracken emerge as leading soloists. Catherine choreographs new ballets of her own in 1936 and presents modernist works by Russian-Jewish choreographer Lasar Galpern. Jimmie Littlefield elopes with a Philadelphia widow and moves with her and her young son to a farm she owns called Zacata on the Potomac River in northern Virginia. Catherine eventually buys a bungalow nearby in Montross and the Littlefields use the area as a family retreat.

Catherine briefly choreographs dances at the Roxy Theatre in New York. Dorothie Littlefield performs in Europe with various ensembles, and Catherine returns home to Philadelphia to stage ballets at the Robin Hood Dell. Jimmie Littlefield forms an orchestra, while Carl Littlefield begins taking dancing lessons at the Littlefield School at the behest of Mommie. Catherine marries wealthy socialite lawyer Philip Leidy, a great-nephew of renowned naturalist Joseph Leidy, on June 8, 1933. The couple moves to an apartment at the fashionable Barclay Hotel on Rittenhouse Square. Catherine has all the pieces in place—dancers, audience, and funding—to establish her long-dreamed-of professional ballet company.

Exactly two months before Catherine died, Lois gave birth to a daughter. Two days after Catherine died, Dorothie also gave birth to a daughter. Both babies were named Catherine after their aunt, although the first one was called Cathy and the second one Kate. They were the fourth generation of Catherines in the extended Doebele clan, following matriarch Christiana Catharina (Grandma Doebele), loyal Aunt Kate, and the family’s most radiant star, Catherine Minnie Littlefield....

Joan McCracken leaves the Littlefields to perform at Radio City Music Hall and eventually on Broadway. Catherine stages dances for the large-scale “American Jubilee” pageant at the World’s Fair in New York in 1940. Her innovative bicycle ballet in the pageant is a tremendous hit. Al Jolson hires her for his comeback show on Broadway, Hold On to Your Hats. She is then enlisted to choreograph ice-skating routines for New York’s Center Theatre, which has been converted into an ice theater by Chicago entrepreneur Arthur Wirtz and his business partner, Olympic skating champion Sonja Henie. Wirtz soon installs Catherine as choreographer for Henie’s touring Hollywood Ice Revues as well. She takes her Littlefield Ballet on an eight-week national tour. She and Philip officially separate, although they remain friends and business associates. She and her Littlefield Ballet return to Chicago for the 1941 opera season. The company disbands after Pearl Harbor is bombed and many of Catherine’s male dancers, including Carl, enlist in the military.

Catherine is hired by William Goldman to stage dances for the Stanley Theatre in Philadelphia. Goldman becomes her boyfriend. At the Mastbaum Theatre, she is appointed assistant to dance director Robert Alton. The Littlefield School moves to the Fuller Building. William Dollar, Douglas Coudy, and Thomas Cannon, students of Mikhail Mordkin and Ethel Phillips in Philadelphia, join Catherine’s ensemble. Mommie takes Catherine, Dorothie, and other dancers to Paris to train with Russians Lubov Egorova and Alexandre Volinine. In Paris, the sisters become friendly with choreographer George Balanchine. The Littlefields move to an elegant home in the Wynnefield neighborhood. Catherine hires Alexis Dolinoff to dance in H.P. (Horsepower), a ballet-symphony by Mexican composer Carlos Chávez in collaboration with Diego Rivera, Frances Flynn Paine, and Lincoln Kirstein. Conducted by Leopold Stokowski in March 1932, H.P. is the first piece of choreography attributed solely to Catherine.

Catherine dismisses agent Arnold Meckel because she anticipates many prestigious engagements in light of her company’s European triumphs. Although these engagements fail to materialize, she secures some bookings on her own and premieres new ballets such as Classical Suite, a neoclassical piece set to music by Bach. She hires agent Michael Myerberg, who secures a contract with the Chicago City Opera for the 1938 fall season. She wins over Chicagoans who were initially upset at her displacement of Chicago dancer/choreographer Ruth Page. In Chicago, Catherine changes the name of her company back to the Littlefield Ballet and premieres her ballet Americana pieces Café Society and Ladies’ Better Dresses. Karen Conrad leaves the Littlefields to join Mikhail Mordkin’s troupe, which becomes Ballet Theatre. Miriam Golden and others also join Ballet Theatre. Catherine is passed over for the Philadelphia Award.

The Philadelphia Ballet and Littlefield School provided a much-needed American ballet infrastructure through or from which aspirants could study and make their careers. While other dance figures produced works with American themes, Catherine Littlefield was the first to train the full force of an established school, large professional company, and personal ambition on making ballets that thoroughly reflected America. Although she died in the prime of her life with her full potential left unrealized, her accomplishments proved foundational to the flourishing of classical ballet in the United States.

Mommie opens a dance studio in Llanerch and teaches for the Philadelphia Music Club at the Bellevue-Stratford Hotel in the 1920s. Big Jim teaches horsemanship to wealthy men at private riding clubs. Catherine becomes a Ziegfeld dancer and performs in Sally and the Ziegfeld Follies. In New York, she studies with Italian pedagogue Luigi Albertieri. She leaves Ziegfeld’s employ and she and Mommie take their first trip to Paris. Big Jim forms News Reel Laboratory with partner Louis Kellman. Mommie opens a Littlefield School at 1415 Locust Street across from the Academy of Music. Catherine teaches there and raises its standards. She also serves as Mommie’s première danseuse. Mommie directs the “America” pageant at the 1926 Sesquicentennial Exposition.

Catherine attends a party at the Ellerslie mansion near Wilmington, Delaware, hosted by F. Scott and Zelda Fitzgerald in May 1927. Zelda and her daughter, Scottie, begin taking lessons at the Littlefield School. Mommie becomes ballet mistress and Catherine the première danseuse for the Philadelphia Civic Opera Company and then the Philadelphia Grand Opera Company. Catherine begins to choreograph opera divertissements and stand-alone ballets. Her first stand-alone ballet is a one-act Russian folklore ballet entitled L’Hiver. Zelda and Scottie appear in Philadelphia Grand Opera Company productions and Scott visits Catherine’s studio. William Hughes and Paul Mathis are the first men to join Catherine’s ensemble. Zelda writes a short story about Catherine.

Born in Philadelphia in 1905, Catherine Littlefield first learns dancing from her mother, Caroline (called Mommie), who was an expert pianist, and from a local dancing master, C. Ellwood Carpenter. As a teenager, Catherine becomes a Ziegfeld dancer and takes lessons from Luigi Albertieri in New York. She returns home in 1925 to help Mommie teach at the Littlefield School (among her students is Zelda Fitzgerald) and stage dances for women’s musical clubs and opera companies. William Goldman hires Catherine to produce routines in commercial theaters throughout Philadelphia and becomes her boyfriend. Catherine, Mommie, and Catherine’s sister, Dorothie, travel to Paris so the sisters can study ballet with Lubov Egorova. They become friendly with George Balanchine in Paris and help him establish his first American school and company when he comes to the United States in 1933. Catherine marries wealthy Philadelphia attorney Philip Leidy and founds her Philadelphia Ballet Company in 1935. She choreographs—and her company presents—the first full-length, full-scale production of Sleeping Beauty in the United States as well as popular ballet Americana works such as Barn Dance and Terminal. Her company’s European tour in 1937 is the first ever by an American classical ballet troupe. Catherine loses some of her protégées to the newly formed Ballet Theatre and disbands her company after the United States enters World War II; she then choreographs Broadway musicals, Sonja Henie’s Hollywood Ice Revues, and Jimmy Durante’s NBC television show before dying in 1951 at age forty-six.

Catherine earns Sonja Henie’s trust and helps make her skating more balletic. She also adapts ballets to ice for the Center Theatre shows. She moves to Manhattan and dates barrel jumper Jimmy Caesar for several years. She choreographs more Broadway shows, including Follow the Girls, a musical comedy starring Jackie Gleason and Russian ballerina Irina Baronova. Follow the Girls is a hit, but its revue-like formula will soon be eclipsed in popularity by the musical play genre as represented by Agnes de Mille’s Oklahoma! In 1944, Ballet Theatre revives Barn Dance. It is not successful, as the vogue for ballet Americana has begun to fade. The Littlefields open a studio in New York, where Dorothie teaches. Carl flies seventy combat missions as a pilot in World War II and receives medals for his heroism.

Catherine premieres the first full-length, full-scale Sleeping Beauty in the United States in February 1937. Agent Arnold Meckel invites the Philadelphia Ballet to tour Europe in the spring. In preparation, Catherine creates her first major ballets on American subjects, Barn Dance and Terminal (the latter including dancers in blackface). Both feature designs by Philadelphia painters Salvatore and Angelo Pinto. Marion Cuyjet, a light-skinned black dancer “passing” as white, enrolls at the Littlefield School. She is dismissed when it becomes widely known that she is African American. The company travels to Europe on the Ile de France and arrives in Paris.

Lincoln Kirstein brings George Balanchine to America to start a ballet school (SAB) and professional company (the American Ballet). Needing dancers, Balanchine visits the Littlefield School and successfully recruits seven Littlefield students and Dorothie Littlefield to take part in his ballet initiatives in New York. Holly Howard becomes his first American muse and Dorothie becomes the first American and first woman to teach at SAB. Dorothie leaves SAB because of unrequited love for Balanchine and unhappiness with his casting of her. Big Jim dies unexpectedly in 1934 and Mommie moves to a modest Cobbs Creek row house. In the summer of 1935, Catherine premieres the third scene of her first major original ballet, Daphnis and Chloe.