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It’s been 20 years since the same nation held both the Olympic and world volleyball titles at the same time, but libero Justine Wong-Orantes is looking to help lead Team USA accomplish that very feat at the 2022 FIVB Volleyball Women’s World Championships in the Netherlands and Poland. Competition began on Friday and the U.S. is currently 2-0 after group play wins against Kazakhstan and Canada.

“We’re trying to win, for sure,” Wong-Orantes told On Her Turf. “I think, especially with the new turn of the program and the new year of the quad, we just have a really nice blend of veterans and also newcomers on the team.”

The 14-woman roster for Team USA, which is ranked No. 1 in the world and won its first Olympic title last summer, features six players from that gold-medal-winning team. And while Wong-Orantes is among the 2021 U.S. Olympic team veterans, she’s still a relative newcomer to international play.

The Southern California native enjoyed a notable junior career – she was 12 when she became the youngest female to ever earn an AAA rating in beach volleyball – and was a standout collegian at Nebraska, where she was a member of the 2015 NCAA championship team. But Wong-Orantes followed a different path upon graduation, initially choosing not to go overseas to play professionally.

While she was first selected for the U.S. national team in 2016 and played a handful of international tournaments in the following years, it wasn’t until she started playing professionally in Germany in 2019 that she saw the potential to elevate her position on the roster. In particular, the pandemic-delayed Tokyo Olympics gave her an additional year of overseas experience, which she calls “a blessing in disguise.”

“I just felt like I was still in that developmental stage,” she said. “And a whole year postponement allowed me to go overseas and really get all the touches, all the repetitions, and just kind of expose myself to international volleyball another year. So I was, in hindsight, pretty thankful for that COVID season because I got an extra year under my belt, and I think that just gave me a ton of confidence.”

Ahead of the Olympics, Wong-Orantes earned “best libero” honors at the 2021 FIVB Volleyball National League in Rimini, Italy, which helped secure her spot on the Olympic roster. In Tokyo, she followed up with another standout performance and was named best libero of the Olympic tournament.

As to how the Wong-Orantes transformed into one of the world’s top liberos, she points to her background as a beach volleyball player. She began competing at age 8, and her first partner was Sara Hughes, a star on the AVP Pro Tour who also won two NCAA titles with USC.

“I think having that background and just the court awareness that beach volleyball forces you to have allowed me to really have a good read on the game,” said Wong-Orantes. “I think that’s what makes a great libero is just reading and always being reactive towards the ball.”

Wong-Orantes also credits the assistance of mental coach Sue Enquist, a former UCLA softball coach and U.S. national team coach, who now helps teams work on their culture and relationships. Enquist began working with the U.S. volleyball team during the pandemic and has continued in her role ever since.

“We just worked on a lot of stuff within ourselves, within our program, how to communicate with each other off the court, and I think that honestly propelled us into such a high, high level with how we worked with each other, and then that transferred onto the court,” explained Wong-Orantes, who noted the team has Enquist on speed dial while at the World Championship. “I really commend Sue. I just really give a lot of praise to her because I think our culture was never bad, but I think [she] just transformed into a different level.”

Wong-Orantes said she and her U.S. teammates are on their toes for the world championships, which features twice as many teams (24) as the Olympics and a “more grueling” format.

“It’s going to be a long tournament, and I think we’re really going to need all 14 of us that are here. I’m pretty certain that, at any given moment, someone’s going to be called on and someone’s going to need to step up in big moments.”

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James Hawthorne doesn’t have to go far to find a bit of peace and quiet.

He just steps out the back door.

“If you want to get away from civilization, this is about as far away as you can get,” Hawthorne said. “You’re about a mile from anything and there’s a mile of swamp right on the edge” he said, pointing to the tree line at the back of his property.

Hawthorne grew up on a crawfish farm bordering Pocotaligo Swamp, near Sumter, that his parents Bert and Winnie Hawthorne started in the early 1980s.

Today, he oversees Hawthorne Crawfish Farm, one of three statewide that raises crawfish.

Video: How to eat crawfish

His interest in crawfish and fishing started naturally, at a young age.

“When I was a little guy growing up, these were fishing ponds where you pay a dollar and go fishing all day,” Hawthorne said.

His father raised minnows and rainbow trout for fishing, then experimented with raising fresh water shrimp for a time. But when he went to Louisiana to attend a conference, he got hooked on the idea of raising crawfish.

But Hawthorne said his father was told “you can’t grow crawfish that far north.”

“So Daddy said, ‘Well, send me 500 pounds and I’ll see how it works.’ We’ve been dabbling in crawfish ever since then.”

Although the younger Hawthorne’s main business is earth moving – as in the construction of ponds, bridges and dams – he has kept up the crawfish business since his parents passed, raising Louisiana Red Swamp and White River varieties of the lively crustacean.

He sells to everyone, from folks who use the crawfish as feed or bait for largemouth bass to people who want to stock private crawfish ponds, to area restaurants that might run a menu special and more. At one time, Hawthorne’s crawfish were sold in the Fulton Fish Market in Bronx, New York.

“Business is up and down. Some holiday weekends, we can’t produce enough,” so Hawthorne makes trips to Louisiana during April, May and June to restock his ponds and purchase extra to resell.

When the Hawthornes began the crawfish farm in the 1980s, there were about 50 members of a South Carolina Crawfish Association. Today, there are only three crawfish farms selling to the public in South Carolina – Hawthorne’s, Elliot’s Landing in Rimini and Gowan’s in Lancaster.

The Hawthorne farm consists of 300 acres – 200 dry acres on a hill and 100 acres of swamp. Of the 100 acres, 40 acres are crawfish ponds, and the rest is planted for wildlife with corn, soybeans and sunflowers.

Crawfish are in season from April to mid-July and have been known to migrate during the summer. With the season’s heavy rains and flooding, Hawthorne jokes that his crawfish have wandered “10 miles in every direction. We don’t fence them in, they just walk up the banks and out into the swamp.”

To harvest the crawfish ponds, Hawthorne goes out once a day, every day, and pulls the traps. He’ll sort the crawfish, bag them in mesh bags and place them in a cooler (a bag holds about twenty pounds of crawfish). Then he baits the traps again with fish heads and resets them in the ponds to restart the process.

“Water temperatures get too high and most of the stock has been caught by midsummer so the ponds are drained in July. When the ponds are drained, the crawfish will pair off, bore a hole in the mud and go to ground,” Hawthorne said. “Then we’ll plant millet, rice and sorghum in the ponds.

“In September and October, we’ll flood the ponds and the crawfish will emerge with their young and forage over the winter on what was planted,” he added.

Hawthorne’s farm didn’t escape the flooding of last October.

“Six of our ponds became one big lake, about this deep,” he said, raising his hand about shoulder high. He points out sections of a dock that broke loose and came to rest in a few spots along the edge of the swamp.

“Our biggest pond became contaminated with fish that ate the crawfish from October to April,” he said. “It was only the second time in my lifetime that I’ve seen something like that.”

Riding along the top of the berm separating his ponds and farmland from the Pocotaligo Swamp, Hawthorne gestures toward the corner of the property where he and his grandsons come to fish. It’s sunny and the birds are singing.

“That’s my favorite spot right there, that’s our fishing hole. It’s about as peaceful as it gets.”

Related: Photos from last weekend's Rosewood Crawfish Festival

Related: Video from last weekend's Rosewood Crawfish Festival

Related: By the numbers on the Rosewood Crawfish Festival

Place peppercorns, coriander, clove and allspice in a spice grinder and grind for 10 to 15 seconds.

Fill a 40-quart pot with 5 gallons of water and add freshly ground spices, salt, cayenne pepper, garlic powder, paprika, onion powder, thyme, oregano, dry mustard, dill weed and bay leaves. Cover and bring to a boil over high heat, about 40 minutes.

Rinse crawfish in the bag in which they arrived to remove any excess dirt and mud. Pick out any debris or dead crawfish.

Once the water comes to a boil, add potatoes, corn, garlic and sausage. Cover and cook for 10 minutes.

Add crawfish, cover and cook for 3 minutes. Turn off heat and allow pot to sit, covered, for 10 minutes. Drain well and serve immediately.

This story was originally published May 10, 2016, 1:27 PM.

a new museum site that combines the redevelopment of two historic buildings with a permanent location for an eclectic collection of artworks has opened in the heart of rimini, italy. PART — palazzi dell’arte rimini is located within the monumental medieval complex comprising the 13th-century palazzo dell’arengo and 14th-century palazzo del podestà — two imposing buildings of great historical and architectural importance. within this context, the prestigious collection of the san patrignano foundation finds a new home.

the restoration of the site has been carried out by AR.CH.IT, led by luca cipelletti, who also designed the exhibition staging of the san patrignano collection. the project traces the eclectic nature of the collection and proposes an extremely free use of the content by avoiding the rigidity of preordained curatorial constraints.

the main planning challenge for this new architectural and museographic project was building a relationship between the precious historical site and the contemporary art collection. cipelletti and his team at AR.CH.IT saw this as an opportunity to express a synthesis between linguistic-functional contemporaneity, and historical-cultural valorization. the two existing palaces, home to public administration for many centuries, were in a state of decay due to a process of ‘normalization’ and use, which had obscured the interior architectural elements. therefore, the initial aim in terms of architectural reappraisal was to reacquire the monumental perception of the medieval buildings and avoid faux-historicisms, painstakingly bringing the original decorative elements back to light.

the works earmarked to be presented at PART — palazzi dell’arte rimini belong to the collezione fondazione san patrignano. the donations, which come from collectors, gallerists and artists, follow no preordained curatorial overview but that of being ‘contemporary’. what might appear as an apparent limit was instead interpreted as a further opportunity. greater space was given to reversibility, to the perception of the architecture, and to a freeform positioning of the works in such a way that they might engage more with the space than between one another. the exhibition layout therefore alters on the basis of the specific architectural setting, where dimension, position and materials are variable and adaptable, and draw from the proportions and character of the site.

on the ground floor, the inclusion of two interfacing areas –- a ticket office and a cafeteria — responds to the desire to make the building accessible, permeable, and an integrated part of the surrounding urban fabric. so as not to alter the equilibrium of the ancient building, any new elements were made clear in the spaces where it was necessary to form separate environments. free-standing dividers and walls plastered with lime in the shades of the pre-existing surfaces allow functions to be carried out between the gaps in them, exploiting empty space.

the museum itinerary continues in the two rooms of the podestà, which are entirely dedicated to the display of artworks. the bases, like the floors, were produced using san marino stone, a local material already found in numerous original details. although the stone is no longer extracted, a number of quarry blocks were found. the stone was laid in such a way as to underline the architectonic relationships and perspectival axes.

on the upper floor, in the sala dell’arengo, the display revolves around the dividing wall which hosts the major fresco of ‘the last judgement’ by giovanni da rimini. placed diagonally at the center of the space, the positioning of the dividing wall allows for a circulation that highlights the perception of the room and the works. upon entering, visitors have an initial impact of the space in its entirety — a large void, in which a dividing wall is perceived end-on as a blade that leads towards the natural light of the mullioned windows. step after step, the full size of the detached fresco is revealed. this configuration splits the room into two sections: one on the side of the mullioned windows, bright and functional in displaying sculptures; the other, more closed and suited to photographic works and canvases, which generally call for softer lighting.

the floor was replaced entirely with oak parquet — the same material used for the support of the dividing wall hosting the large central display. reminiscent of the decking on the first floor of historical palaces, the material engages with the sequence of wooden palladian trusses, and ties together the whole architectural volume. meanwhile, the replacement of the window frames, which proved particularly complex, was resolved by using a high-performance minimal profile with a bronze effect, redesigning the geometries of the mullioned windows.

developed in collaboration with architect and museum lighting expert alberto pasetti bombardella, the lighting responds couples the display function with the interpretation of the architectural space through the use of overhead cables. the lighting module, known as ‘arengo’ and developed and produced by specialized artisans, offers diverse lighting options that be customized in different shades of white and various colors. the composition of the module, in its linear form, may reach 32 meters (104 feet) in length — as in the case of the salone dell’arengo — making it the largest ‘lamp’ ever created in the museum sector.

PART — palazzi dell’arte rimini opens on september 24, 2020 — starting from 5PM on opening day and for the entire weekend from 9AM to midnight, PART is open free of charge to the public for guided tours by appointment.

When “Wilmington” and “snow” share a headline, it’s likely someone’s going to mention 1989. And there’s a good reason -- not only was it one of the few Lower Cape Fear white Christmases anyone recalls, the 15 inches that fell makes it the biggest snowstorm here since the National Weather Service started keeping records in 1870.

Since 1951, Wilmington’s weather measurements have been made at the airport. The NWS website says the official snowfall is recorded “in a grassy field … using a white-painted piece of plywood called a ‘snowboard’ and a precise measuring stick marked in one-tenth inch increments.”

When measuring snowfall, it’s all about location. Although the 15 inches at the airport in December 1989 is the record, during that same storm nearly 20 inches was recorded in the Brunswick County community of Longwood, about 7 miles west of Shallotte.

Prior to 1951, the NWS says, “snowfall measurements were taken by meteorologists from a variety of locations in downtown Wilmington including Water Street, Front Street, and Chestnut Street.”

Looking back to 1870, the biggest snowfalls came in 1896 (12.1 inches), 1912 (9.8) and 1915 (7.5). After that, snow falls off for several decades, with most years showing less than an inch.

On Feb. 25, 1942, 8 inches of snow covered a Wilmington that had just been thrust into World War II. It’s probably fair to think that the snow complicated civil defense efforts, as well as work at the shipyard, which had launched its first vessel on Dec. 6, 1941, the eve of Pearl Harbor.

If you grew up in Wilmington in the 1950s and 1960s, you saw scant snowfall. In fact, after the 12.1 inches fell in 1896, a foot of snow was not recorded again until Feb. 9, 1973, when 12.5 inches blanketed the city and kept schools closed for days and days. Known as The Great Southeastern Snowstorm, it set records across the South. The town of Rimini, S.C., northwest of Charleston, received 2 feet.

Then there was December 1989, when a forecast of a few inches morphed into the Great Christmas Blizzard. Not only did the snowfall set records, so did temperatures, with the actual low in Wilmington plunging to 0 degrees one night.

To the dismay of local schoolchildren, snow has been scarce in Wilmington since 1989. Five inches did fall just after the turn of the century -- Jan. 25, 2000. The most snow since then, however, was 3.8 inches in 2018, a decent amount by Wilmington standards, but likely lost in another memory -- the 25 inches of rain Hurricane Florence dumped on the area later that year.

Snow events since 1970

(Beginning date and amount)

Jan. 20, 1970 -- 0.1 inches

Jan. 23, 1970 -- 1.8

Feb. 26, 1970 -- 0.2

Dec. 29, 1970 -- 4.0

Jan. 7, 1973 -- 1.9

Feb. 9, 1973 -- 12.5

Dec. 17, 1973 -- 0.4

Jan. 31, 1977 -- 0.6

Feb. 16, 1977 -- 0.3

Feb. 18, 1979 -- 0.2

Feb. 6, 1980 -- 0.3

March 1, 1980 -- 6.6

Jan. 30, 1981 -- 1.0

Feb. 26, 1982 -- 0.1

Jan. 7, 1988 -- 0.4

Jan. 15, 1988 -- 5.0

Dec. 12, 1988 -- 0.1

Dec. 16, 1988 -- 1.6

Feb. 23, 1989 -- 0.8

Dec. 22, 1989 -- 15.3

Jan. 19, 1992 -- 1.4

Dec. 23, 1993 -- 0.7

Feb. 3, 1996 -- 0.1

Feb. 16, 1996 -- 0.5

Feb. 10, 1997 -- 1.2

Jan. 18, 2000 -- 1.1

Jan. 25, 2000 -- 5.0

Dec. 3, 2000 -- 0.2

Jan. 2, 2002 -- 1.8

Jan. 23, 2003 -- 3.0

Jan. 19, 2009 -- 0.9

Feb. 4, 2009 -- 0.1

Feb. 12, 2010 -- 3.8

Dec. 26, 2010 -- 0.1

Jan. 10, 2011 -- 3.8

Jan. 22, 2011 -- 0.1

Jan. 28, 2014 -- 1.0

Feb. 24, 2015 -- 0.3

Dec. 12, 2017 -- 1.1

Jan. 3, 2018 -- 3.8

Wilmington snowfall stats since 1870

Total: 239.4 inches

Annual average: 1.6

Total snowfall by decade

1870s: 4.9

1880s: 8.6

1890s: 23.3

1900s: 14.6

1910s: 33.7

1920s: 10.4

1930s: 11.7

1940s: 17.0

1950s: 10.7

1960s: 18.2

1970s: 22.0

1980s: 35.4

1990s: 3.9

2000s: 12.1

2010s: 12.9

SOURCE: National Weather Service, Wilmington N.C.

Wilmington snowfall over the years

AUGUSTA, Ga. (WRDW/WAGT) - We’ve had some cold days so far this year in the CSRA and we’ve even seen brief snow in parts of Edgefield and Aiken counties back in the beginning of January (January 8th). February has consisted of some below and near average days but as of this week we saw a streak of above average high temperatures across the CSRA.

Unfortunately, around this time back in 1973 the CSRA was experiencing one of the strongest and most significant snowstorms ever seen across the region. Today actually marks the last day of The Great Snowstorm of ‘73.

Between February 9-11 in 1973, a giant snowstorm moved through the Southeast dumping over a foot of snow for most places in the CSRA.

Checkout these CSRA Snow Totals:

Augusta: 14″

Aiken: 15″

Waynesboro: 16″

Johnston: 14″

Saluda: 10″

From the National Weather Service in Columbia:

“The snow storm that crossed the Southeastern US from February 9th to February 11th, 1973, brought a record breaking snowfall to South Carolina. Snow fell for approximately 24 hours. The heaviest snowfall was 24 inches measured in Rimini. About 30,000 tourists were stranded on the state’s highways. 8 fatalities resulted. The snow was accompanied by strong winds and followed by severe cold. Drifts up to 8 feet were found in some locations. At least 200 buildings collapsed, as did thousands of awnings and carports. The property damage and road damage plus cost of snow removal and rescue operations were estimated at close to $30 million.”

From the National Weather Service in Wilmington, NC:

“One of the greatest snowstorms in Southeastern United States history occurred February 9-11, 1973. This storm dropped one to two feet of snow across a region that typically sees only an inch or two of snow per year. New all-time snowfall records were established in a number of locations including Rimini, SC with 24 inches; 18 inches in Darlington, SC; and 16.5 inches in Macon, GA. Snowfall in Wilmington, NC reached 12.5 inches with 7.1 inches recorded in Charleston, SC, both setting all-time records which were broken just 16 years later during the Christmas snowstorm of 1989. Measurable snow fell along the Gulf Coast from Texas to Florida and flurries were reported as far south as Lisbon and Clermont, Florida just outside of Orlando.”

A strong upper level trough combined with a strong area of low pressure off the Southeast coast to produce the record setting snow storm. Here’s a look back at the surface analysis map on February 10th, 1973:

Thankfully we are not forecasting a system of this magnitude across the region anytime soon. Be sure to keep it here with your News 12 NBC 26 Weather team for the latest updates on the local forecast.

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