the space to burn the other, but also exhibit dance moves. Opposing dancers can also face off in a line formation called the "Apache Line". In contrast to the circle formation in breakdancing, the Apache line allows multiple opposing dancers or crews to face each other and execute their burns. Back in the 1970s it was a fascinating display to watch. Each Rocker must keep in his/her line formation while battling. One form of Apache line competition utilized rotation positioning. In other words, dancers would battle until either he is tapped to step out by another Rocker, or the opponent has been worn down. These days, in the initiation of a new Rocker who intends on joining a particular crew, an Apache line is created. Borrowing again from gang culture social protocol, the new Rocker must battle each member on the Apache line. The new Rocker must dance down the center of the Apache Line and battle each Rocker while maintaining a discipline in the use of jerks, burns and freestyle for which he is then evaluated. This style of dancing was done mostly in Brooklyn, other Boroughs had different ways of doing things, and the Bronx faded out this style of dancing Rock at an early point. Brooklyn continues to dance along the same mind set and rules which existed when they first started battling each other. Etymology Many also called this dance "Freestyle" mostly because it was improvised steps to the music. No one is sure where the term "Rocking" came from or why this form of dance was named using this word. It may have been that because of the dance's inherent nature of conflict, the colloquialism of "Rocking" as in "Rocking" the opponent was used. An example would be in describing a triumphant boxer or fighter by saying, "He rocked that dude." Another school of thought is that it was called "Rock" because early on rockers danced mainly to a specific range of rock and roll songs that fell into a category that would be more accurately categorized as a hybrid of rock/funk. Examples of songs that fell into this genre would be "It's Just Begun" by Jimmy Castor, and the live version of "Sex Machine" by James Brown. These and many other songs were not quite soul nor rock and roll, yet, they provided the kind of hard driving beat that fueled the Uprock style