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SIGHTSEEING by boat in the Hundred Islands in Pangasinan is not enough. If you want to feel nature in this place, it's best to try trekking and kayaking. You can do both in this national park found in Alaminos, Pangasinan.

Our trip to this beautiful place started early in the morning. Didi Camara of Sun and Sea Sports Systems, Inc. gathered people for an eco-tour of the Hundred Islands.

From the sands of Bolo Beach, we passed by a laidback community: I saw a mother bathing her toddler daughter while other kids played with the water pump. We then walked on a narrow bridge made of soil in between fishponds. Good thing the weather was good at that time. It was nice to see the reflection of the blue skies on the water.

We started trekking on a rocky slope. I must admit wearing slippers was not a good idea especially if what you have is not meant for trekking. Fortunately, it survived. But then again, I have to endure minor scratches caused by the sharp rocky floor.

As our team arrived at Camantiles Island, which is two kilometers away from Bolo Beach and located at the Southern side of Alaminos, Camara told us that the area, which could accommodate 50 people, served as a camping site for kayaking enthusiasts and for team building activities.

Val Camara of the Philippine Kayaking Association gave us instructions. Then we put on life vests, hopped into the colorful kayaks and began our nature trip.

Paddling under the summer sun was tiring but the sight of the greenish water, white sands and the blue skies was worth the sweat. As we paddled along, Mae from the Hundred Islands Eco-Tour Association (HIETA) named each island we passed by. The Hundred Islands National Park has actually 123 islands and she memorized all names after eight months of training. She admitted though that there are more unnamed islands.

They usually charged P250 per hour for tourists who wanted to rent a kayak and got members of HIETA to assist them, according to Mae. The most visited islands were the Quezon Island, Governor's Island and Children's Island. Quezon Island, she said, was the most beautiful island.

While we were on our way to the mangrove area, we saw flocks of wild brown ducks. We then paddled through to a century-old cave called Quirino Cave. It has a 27-meter underground stream. As we entered the cave, we saw bats flying around. Under the stream is a rock formation similar to a table top. But no one dared to jump into the water after we were told that sea snakes also live in the water.

As our team got out of the cave, rain began to pour. The rain brought worries to some. Some thought that it might cause strong waves. But our fears were literally doused when we found that it was such as joy kayaking through the rain. Eventually, the rain stopped when we arrived at Shell Island, where our team took a dip into the shallow yet rocky lagoon.

Kayaking a 7-kilometer stretch for almost three hours is an achievement for beginners like me. It might have caused sunburn and aching arms but it was worth communing with nature, especially if you're surrounded by it, literally.

CLARK FIELD, Pampanga--Aside from the grand spectacle of seeing gigantic floating balloons dotting the sky, this year's Hot Air Balloon Fiesta also aims to promote aviation as a career. Twenty-five hot air balloons of different shapes and sizes took off this morning here for the opening of this four-day event. These balloons were flown into the country by cargo firm UPS from participant countries including Hungary, Germany, Switzerland, France, United States of America, United Kingdom, Japan, New Zealand, Thailand, Netherlands and Malaysia. Touted as the country's biggest aviation event, the event also includes skydiving, paragliding and kite-flying exhibitions by military and privately-run flying clubs. Held yearly here at the former American air base, this year's event is expected to better last year in terms of the number of visitors. According to event organizers, last year's event drew in some 55,000 visitors. "From the looks of it we'll probably double that this year or add at least 20,000 more visitors," said Joy Roa, event director of the 4th Philippine International Hot Air Balloon Fiesta. The opening day also saw a lot of students who came in at sunrise to witness balloons take off amidst the clear weather condition here. In an interview with INQUIRER.net, Roa said this year's event include numerous activities lined up for young people to learn more about aviation. "All the (flying) schools are here giving lectures on how to start a career in aviation whether being a mechanic or air traffic controller, a pilot or even a flight attendant," he said. Tourists can ride a hot air balloon for $150 or about P 7,000. Free rides are also accommodated but on a first-come, first-served basis, according to Roa. The event, which runs until the weekend, charges an entrance fee of P100 per person.

By Anna Valmero INQUIRER.net Why is duman an expensive rice delicacy? One pati equivalent to 1.8 kilogram of the very young grain of duman sells for P2,500 or $40. To know about the process of duman making and the state of this industry, we trooped to Sta. Rita, Pampanga. Pampanga provincial tourism officer Ian Mejia said the existence of the duman-making tradition dates back to pre-Hispanic Kapampangan society. He said Friar Diego Bernardo has mentioned duman in “Vocabulario de Lengua Pampanga” published in 1700. Pampanga towns such as Sitio Dalan Betiswere were believed to have been making duman, according to Pampanga provincial documents. But it is only the town of Sta. Rita that has preserved the tradition until today. I met Victor Galang. He comes from a family that is known to be among the first duman makers in Sta. Rita, according to Mejia. “Matagal na naming ikinabubuhay ang paggawa ng duman. Minana ko pa ang paraan ng paggawa nito mula sa lolo ko sa tuhod [Duman has been our family business and primary livelihood since the time of my great grandparents,” he said. According to Galang, they use the traditional process of duman-making despite the availability of modern rice harvesting equipment. Workers harvest the young grains of the "lacatan malutu" rice variety. The green color of duman comes from being harvested before maturity. The grains for making duman are harvested during the cold months of the year because the grain needs to retain the right amount of moisture for it to be made into duman. The harvested grains are processed in a shaded area called "pandulmahan." Workers then separate the young grain from the mature ones through "paspas"—they strike a bundle of rice stalks to the ground to let mature grains fall while the grains left are made into duman. The mature lacatan grains are gathered and divided between the workers at the end of the day. The young grains are eventually threshed in a hand-cranked "quisquisan" to separate the grains from the stem, which are then collected for carabao fodder. It is said that paspas and quisquisan are innovations in the process of duman making. Traditionally, workers pick the grains one by one by sight and feel, according to records of the province. The grains are then gathered and cleaned, winnowed and sifted to separate the empty husks (or sepu) from the kernels. The grains are washed and rinsed until the water is clear. It is then soaked for an hour or two in water, said Galang. Meanwhile, the wood stove called “lungo” is pre-heated together with the thick clay pot where the lacatan grains are roasted for half an hour per batch. The grains are then cooled gradually and then spread on ground mats to cool further, Galang said as he showed us the different stages of the duman production. After the grains have cooled, they are pounded in mortar, sifted and winnowed for a total of five hours. After the final pounding, the grained are polished and the whole grains are sorted from the broken. Only the whole grains are sold as duman. Mejia said the revival of the duman industry was largely due to the Duman Festival started three years ago. The duman produced in Sta. Rita reaches the tables of Southeast Asia. Bulk orders are made by balikbayans hailing from Pampanga because they miss the delicacy they grew up with. “Isang buong araw ng trabaho ang kailangan para makagawa ng duman. Ang kinikita namin halos sakto lang sa puhunan dahil sa haba ng proseso at dami ng tauhan pero ipagpapatuloy namin ang paggawa nito dito sa Sta. Rita [It takes one whole day to make duman. We just break even due to the long process and number of workers required to make duman. But we will continue to make duman here in Sta. Rita], Mejia said.

WHO says everyone wants to be fair-skinned? Every second week of January, Kalibonhons and tourists paint their skins black to become part of the Ati-Atihan Festival. In our recent visit, my colleague Alex Villafania and I had the chance of getting our skin blackened and dress up like an “Ati.” Dressing up like an Ati was not easy. As early as 4 o'clock in the morning, we braved the cold weather in Kalibo and went to Lucas, also known as “Tatay Oca” Cristobal's house. Tatay Oca, the leader of the Morongga tribe, welcomed us in their home, where members of the tribe, mostly teenagers, were already eating breakfast. The members lined up as Tatay Oca spread the black oxide using a green sponge on their faces. When it was my turn, I felt my skin absorbing the cold liquid. It was as if a make-up artist is preparing the foundation for further make-up. The only difference here is that my fair skin is being turned into black. After my face was all covered in black oxide, another tribe member painted white stripes on my cheeks, nose and chin. After that, they lent us costumes made of scrap materials, including mirrors, painted tahong (shellfish) and chopped bamboo shoots. They then took our photo as remembrance. When I later saw the picture, I must confess that I could not recognize myself except for the bangs. At around 7:30 am, we –together with the tribe--marched towards the parade’s starting point. The streets were wet due to some early morning drizzle but it did not stop the festivities. Around 30 tribes, dressed in colorful and outlandish costumes representing their tribe danced the “sadsad.” According to Filipino historian Marcela Tinagan, the first Ati-Atihan festival happened in 1212. This was when 10 Bornean datus sealed a peace pact with the Aetas who let them settle in Panay after their escape from Sultan Makatunaw's regime. As a sign of their appreciation, the Malays smudged soot onto their skin to look like the Aetas. The Ati-Atihan festival served as a celebration of the time when these two races came together. But the festival is apparently not only a historical event but a religious celebration of the feast of the Sto. Niño. Filipino historian Beato dela Cruz wrote that in 1750, Fray Andres de Aguirre baptized 1,000 inhabitants of the town. These inhabitants were reported to have experienced miracles. Since then devotees of the Sto. Nino dance to nonstop beat of the drums in harmony with the high-pitched bell lyres. Since we were part of the tribe, we joined the dance. You really don't need to be a good dancer to actually do this. You could easily groove to the sounds of the drums and bell lyres. The Ati-Atihan celebration culminates with the procession of the Sto.Nino on the 3rd Sunday of January. In all the processions that I've witnessed, the Kalibo de Sto. Nino procession stood out. Devotees drank beer and danced with their Sto. Nino images. This makes the Ati-Atihan festival one of the most attended festivals in the country. Hence it has earned the title of being the “Mother of all Philippine festivals.” Sooting one's skin during the Ati-Atihan Festival is more than the whitening trend for its significance lies beyond history and culture.

By Anna Valmero INQUIRER.net THE streets of Ayala Avenue and Paseo de Roxas at the Makati Central Business District (CBD) burst into a sea of colors during the 2009 Caracol festival on January 17. Hundreds of students from Makati City schools and university clad in nature-inspired costumes joined the Caracol parade, which started at about 4 p.m. and the competition at around 5:30 p.m. Like in 2005, the students convened at the Gabriela Silang carpark on Ayala and Makati avenues at 3 p.m. The event is instrumental in making Makati a tourist spot and promoting the city’s advocacy for environment conservation, according to Mayor Jejomar Binay. “Every year we get prouder because the presentations are great and this is a significant part of the city. It promotes environmental awareness and conservation of land, sea and air,” adds Binay. Caracol is Makati’s own adaptation of the Mardi Gras. But it focuses on the preservation of the cultural heritage and conservation of the environment, according to the city’s Museum and Cultural Office. While the idea for event came about in1986, the first annual parade was held in 1989. For this year, a total of P455,000 was given to winning schools at the Caracol festival. Winners of the student performance competition received P50,000 for first prize, P45,000 for second prize and P40,000 for third prize, in the elementary, secondary and tertiary categories. An additional of P50,000 was given to the overall champion. All winners received a trophy. Gen. Pio del Pilar National High School topped the student competition and bagged P100,000 at this year’s Caracol festival. The school won both first place in the high school category and best in costume special award, making them the overall champion among 19 participating public schools. The Makati 4 group of Maximo Estrella, J. Magsaysay, N. Garcia, and F. Benitez elementary schools won first place in the elementary category. The group also won a special award, best in choreography. It was followed by Guadalupe Viejo Elementary School and Gen. Pio del Pilar Elementary School at second and third place. For the high school category, Benigno Aquino High School ranked second and Ft. Bonifacio High School placed third. In the tertiary level, the Angel Fish group won first place, followed by the Flying Gurnard group at second and the dolphin group at third. All groups were from the University of Makati. Brian O’neal, a tourist from New Zealand, says he has never seen a lively, colorful event such as the Caracol. “This has really been a fantastic thing to see. Many groups of people in different colors and lots of music. I have lived in Vietnam and I have never seen anything that can match this,” says O’neal during the event.

By Anna Valmero INQUIRER.net IS it possible to find in the Philippines a church like Vatican's Sistine Chapel? Yes. In the town of Guagua in Pampanga, one can find Betis Church. Inside the Baroque-inspired church, one can be transported back in time by the ceiling paintings and wall murals that are comparable to the frescos of Sistine Chapel's ceiling done by Renaissance masters. Standing at the nave of the church, one can see the ceilings, walls and the retablo styled with paintings and murals of the Holy Family, selected scenes from the bible, Catholic saints and cherubs. According to oral tradition, Betis used to be a town before it was merged with other sitios now foming  Guagua. Betis was named after a huge tree Bassia betis merr. In the article "The Town of Betis: Woodcarving Its Place in Art and History" published in the University of the East (UE) school publication "UE Today" by Ruston Banal Jr., it cited a townsfolk myth about the huge tree. According to early townsfolk, there was a betis tree that stood in the middle of the town long ago -- the tree was huge that it could cover seven barrios today. The Baroque-inspired church of Betis was built in 1660, with construction headed by Father Jose de la Cruz. According to materials at the Betis Church museum (Museo Ning Betis), the preliminary structure was composed of wooden materials. But fire broke inside the church several times and it was rebuilt using concrete materials in 1770. Beautification of the interior of the Betis Church was extensively done in 1939 under the last Spanish friar Father Santiago Blanco. Native painter Macario Ligon was later commissioned to paint the ceiling of the church. Later in 1970s, Ligon's assistant and nephew Victor Ramos restored 80 percent of the ceiling and mural paintings. According to Betis museum records and “The Legacy of Betis” website, Ramos was apprentice of Ligon when he painted the interior of the church. A closer look at the wall paintings of Ramos at the Betis Church gives the idea that the paintings were done with depth similar to that of a sculpture. This was evident because Ramos worked with postwar sculptor Maximo Vicente as apprentice and later he worked at Mabini and Hidalgo Streets in Quiapo as encarnador or painter of skin of rebultos. There is an interesting side story to this: the paintings of Ramos were often mistaken for Simon Flores originals by contemporary writers. Two paintings of the Holy Family displayed near the window of the Betis Church refectory were said to have been done by Simon Flores but this has not been proven. Historians say it was done by a Flores apprentice very familiar to his art style. Another native of Betis, Flores was credited for nurturing local talents and imparting his skills in sculpture. In his younger days, he trained under masters Maximo Vicente, Isabelo Tampingco and Eulogio Garcia, according to literature at the Betis Museum. Flores was also credited for nurturing artists in the town of Betis. Looking at the intricate designs of the interior of the church can make one feel great appreciation for Betisenos Flores, Ligon and Ramos. Words are not enough to detail the magnificence of their work and their style comparable to frescos in the Sistine Chapel. Cliché as it sounds, you have to be there to experience their art. As I took a final look at the paintings, I cannot help but feel thankful to the artists and Betisenos for their efforts to restore the church's interior paintings. Thanks to them, we have our own version of Sistine Chapel in Betis, Pampanga.

IN the darkness of the sky, the fireworks twinkle like stars and fall like meteor showers. It gives celebrations a bang. But did you know how fireworks are made or where it was first created in the Philippines? In a quest for the pioneer in large-scale production of fireworks, I’ve walked in the middle of the fields, crossed barbed wires and found the “Super Lolo” of Sta. Maria, Bulacan. I found Arcadio “Ka-Adiong” Sta. Ana in a fireworks factory called Viva Pyrotechnics. Sta. Ana, now 69 years old, recalls how his grandfather Valentin Sta. Ana learned fireworks manufacturing from a Spanish priest in Sta. Maria. According to him, the priest used skyrockets, also known as “kwitis,” as substitute to Church bells. It was the priest’s way of waking up the people for the Simbang Gabi. However, Sta. Ana says his grandfather did not pursue the fireworks business due to restrictions during the American period. But the knowledge in fireworks manufacturing was passed on to his father, Fernando Sta. Ana who then passed the skills and knowledge to him. “Magpahanggang ngayon, ‘yun pa rin ‘yung ginagawa naming. ‘Yung panimula nila, ‘yun pa rin sa kasalukuyan. ‘Yung mga problema noon, problema pa rin hanggang ngayon. [Until now, we’re still doing the same pyrotechnics they’ve been doing before. What they’ve started before remains the same until the present. Problems before are still today’s problems],” said Sta. Ana. According to Sta. Ana, problems emerge due to negligence and carelessness which leads to accidents. “Isang pagkakamali, malaking disgrasya sa ating mga kababayan. Ano bang problema ng aksidente nila? Kapabayaan. May mga customers na nakasigarilyo tapos may nagtetesting. Bawal ‘yun. [One mistake may lead to a tragedy. What leads to accidents? Negligence. There were customers who were smoking when someone was testing the fireworks. That’s prohibited.],” Sta. Ana says. Sta. Ana also said accidents happen due to the manufacturers’ lack of knowledge on imported materials for the fireworks. “Our local manufacturing doesn’t have enough knowledge on the behavior of the imported materials. Our country is different from the place where these materials come from. It’s hot in here and the ingredients used are sometimes not favorable in our country. That’s why accidents happen,” Sta. Ana adds. Though fireworks production has been a tradition in his family, Sta. Ana prefers not to pass it on to his children. “Ayaw ko sanang ipamana kaso natuto na sila. Ang pangarap ko sa mga anak ko ay makapag-aral para wag nilang manahin ‘tong hanapbuhay na ito na napakadelikado. [I really don’t want them to inherit this but they learned it already. My dream for my children is for them to finish their studies so that they won’t inherit this dangerous business.],” said Sta. Ana. Sta. Ana, a fireworks maker for 54 years now, said their source of living claimed the life of his son. “May anak na rin akong nasawi diyan. Di niya alam, nilapitan niya. Nung mga oras na ‘yun, biglang nag-explode ‘yung powder. Nagkaroon siya ng 3rd degree burn. ‘Yun ‘yung malungkot [I have a son who died from a fireworks explosion. He did not know that the powder will explode. He went close to it and had a third degree burn. It was sad.],” Sta. Ana says. Even Sta. Ana himself burned his ankle in 1998. “Pag-iingat na lang ang pinagbibilin ko sa kanila. Huwag magsisindi sa harap ng maraming tao. Huwag magsisindi ng malapit sa bahay. Huwag magsisindi ng lasing. [People should be careful. Don’t light fireworks when you’re in a crowd. Don’t light fireworks when you’re near a house. Don’t light fireworks when you’re drunk.],” he said.

We need not go far in our search for the famous higantes of Angono. They were right there along the highway, all lined up and raring to fiesta. The Higantes Festival dates back to the 1800s when the people of Angono created these giant effigies meant as caricatures in protest of tyrannical Spanish landlords (Angono was a Spanish hacienda during those times). The art of higante-making has become an age-old tradition in Angono. In fact, the artists have formed a collective called HIMAS (or Higante Makers Sculptors Society), or literally meaning “to caress”, in reference to how they use their hands when creating these huge paper maches. My colleague Izah Morales and I went to the “Art Camp” where we found Charlie Anorico, a pony-tailed 57-year old sculptor, who gave us a glimpse of how these higantes are made. In the old days, artists use bamboo and rattan (a local fiber material) in creating the framework for the body and the head. Today, artists use chicken wire and sometimes stainless steel because it’s a lot more durable and easier to handle when parading these higantes during the town fiesta. Layers upon layer of newspaper strips are then slapped around creating a paper mache, which then become a canvas for the artists’ creativity. Some artists use resin (or plaster of Paris) instead of paper because it holds better and more resistant to water – in case, it rains during the parade. So how tall are Angono’s higantes? Only about a few feet taller than me, actually. Most of them are about 6 to 8 feet in height. Each higante is carried by one person during the parade but Charlie said they could not go beyond 10 feet because in the past, people would halt the parade because a higante would get entangled with public structures such as electric posts. Usually, during the festival, each barangay in Angono will parade their own higante. Over the years, the festival has attracted corporate sponsors, partly funding the making of these higantes. The more elaborate ones and with mechanical moving parts – meaning, more entertaining – can cost up to P25,000, according to Charlie. Angono is renowned for producing some of the country’s national artists, most famous of them muralist Carlos “Botong” Francisco and musician Lucio San Pedro. Until now, it is home to the country’s finest artists. Everywhere you walk in Angono, you are bound to see artists like Charlie (most of them long-haired as well) and various artworks on public display. The higantes symbolize the artistry of Angono’s sons and daughters. But these provide only a window and one needs to enter the heart of this quiet city to truly see and appreciate its art.

By Anna Valmero INQUIRER.net TAGUIG CITY, Philippines -- Soldiers don’t die, they just fade away. At the Libingan ng mga Bayani in Fort Bonifacio, this rings true. In the Philippines, deceased personnel who has brought honor and has served the country were interred at the Libingan ng mga Bayani in recognition of their faithful and dedicated service. Under Proclamation 208 under late president Ferdinand Marcos, a total of 142 hectares were reserved from the Fort Bonifacio Military Reservation for National Shrine purposes. By virtue of AFP Regulation 161-375, government dignitaries, statesmen, national artists and scientists, former presidents, chief of staff and widow of the last two categories can be interred at the cemetery. At present, it is under the administration and maintenance of the Grave Services Unit (GSU), a unit of the Army Support Command, Philippine Army (ASCOM PA). A total of 45,680 remains were interred in the cemetery at Fort Bonifacio, said Laine Barbosa, database programmer of GSU, ASCOM PA. However, the total number of crosses is at 19,971. This is because five to ten bones of those killed at Capas, Tarlac in World War II were placed under one tombstone. There is also an extension of the service at the Manila North Cemetery where 335 remains of World War II soldiers and veterans were interred. Last All Soul’s Day, I saw tens of thousands of crosses with each flags beside them -- a simple tribute for Filipinos who died of service for the Philippines. For the tombs of the well-known personalities, flowers and candles adorned the tombs. However, some tombs remain unvisited even on November 2, possibly because their remaining relatives live far from Manila and cannot sustain yearly visits on the graves. During my visit, I talked to Monica Eslava, widow of then World War II private Felix Eslava. The late private died in 1945, leaving 18-year old Monica and their child. Now at 85 years old, she said she has not visited the tomb for the past two years due to an ailment and was lucky to have been able to visit his late husband’s tomb this year. Apart from the tombs, there are different structures in the complex dedicated to each area of the cemetery. In the area are the Korean Memorial Pylon, the Vietnam Veterans Memorial Pylon and the Philippine World War II Guerillas Pylon. These are tributes for Filipino servants and soldiers who died during the Korean War, Vietnam War and World War II. At the center of the complex is the Tomb of the Unknown Soldier. This is where visiting dignitaries and government officials lay wreath when visiting the national cemetery. The tomb has an inscription which reads: “Here lies an unknown soldier whose name is known only to God.” At the back of the tomb are three pillars, each with a star; these symbolically stands for Luzon, Visayas and Mindanao. Around this structure are the tombs of late presidents Carlos Garcia and Diosdado Macapagal, as well as their widows. There are also the tombs of late journalist Max Soliven, UN General Assembly president Carlos Romulo and senate president Blas Ople. I later found the tombs of national artists Nicomedes “Nick” Joaquin, Levi Celerio, Ang Kiukok and NVM Gonzales. There are also national scientists Carmen and Gregorio Velasquez. That afternoon walk at the Libingan ng mga Bayani made me appreciate more the faces in our rich history. Named or unnamed, it cannot be denied they selflessly offered their lives for the country. It is to each of them we owe gratitude for the freedom we enjoy today. I know the basic information tombs offer include the real name and dates of birth and death of each remain. But I believe visiting the place would spark interest and inspire Filipino kids of any age to learn more about our history and the faces who played roles in it. It is but fitting we know the faces in our history. On the way home, I looked back again at the two Black Stone Walls near the main entrance of the cemetery. I smiled as I read the words of Gen. Douglas McArthur and thought of each person who devoted life to service for the country. “I do not know the dignity of his birth, but I do know the glory of his death.”

My Saturday afternoon in San Francisco turned out to be interesting. Arriving around lunch time September 20 (Pacific time), I decided to take the train instead of the more expensive taxi from the airport to the Grand Hyatt hotel. Several minutes later, I emerged in the Powell St. Station, which is three to four blocks from the Union Square. Placards saying," No to Scientology" greeted me, as I exited toward Powell St. I searched for a tourist information center and found one near the station, and grabbed myself a map. But I also asked for directions. I was told to go straight toward Union Square, then look for Stockton St. corner Sutter St., which is the location of Grand Hyatt hotel. On my way to the hotel, I found this amusing guys who was holding up a placard saying, " Need cash for Alcohol Research." I'm certain he's no researcher. Anyway, this story is not the highlight of my Saturday afternoon. My Filipino friends --Jamz and Yna -- and I decided to find Lombard Street, the world's most crooked road. Instead of taking the car, we decided to walk to the place. My techie friend Jamz took out his mobile phone and used Google Maps to find Lombard. The map said we have to walk northward from Union Square (or near that area, which was my landmark). We passed by China Town, and got lost for a while. (Google Map is not that reliable at this point, but we pressed on). We checked our electronic map and decided to walk toward the bay. As we walked, I noticed the Victorian-inspired buildings, the famous California Cable Car line (you pay $5 for one way), and streets lined with parked cars (some unused for a while) and wondered if this was the effect of the oil price increases. San Francisco homes are mostly low-rise apartments rising only up to two to three floors, which is a limit imposed by the city. San Francisco is a financial district -- similar to Makati City. But as we searched for Lombard St., I saw certain areas typical of a suburban neighborhood. A patch of green trees, people walking their dog, people jogging, kids eating ice cream, and a family strolling with one little cute kid saying, "Hi people." It was a heart-warming scene until you hit Lombard St. You know you're there when you'll notice a growing number of tourists --armed with digital cameras and video cameras -- causing a traffic snarl. After almost an hour, we finally found Lombard Street. For those unfamiliar with it, Lombard Street is the world's most crooked road. This photo shows the big "5" sign, which tells motorists that they can only go as fast at 5 miles per hour through this one-way street. Lombard is found on the Russian Hill between Hyde and Leavenworth Streets. It has a total of eight sharp turns, earning the reputation of being the world's most crooked street. According to its history, the road was designed this way to reduce accidents because this street is also very steep to climb for both vehicles and pedestrians. The street is about 400 meters long and is paved with red bricks. So they never thought that this would become a tourist spot. So next time you're in SanFo, don't miss this turn, or should I say eight turns.