The tosser balances the caber upright, tapered end downwards, against his or her shoulder and neck, the caber being supported by stewards or fellow-competitors while being placed into position. The tosser then crouches, sliding his interlocked hands down the caber and under the rounded base, and lifts it in his cupped hands. While standing he must balance the caber upright; this is not easy with the heavier end at the top, and less-experienced tossers may be unable to stop the caber falling to one side after lifting it. The tosser then walks or runs a few paces forward to gain momentum, and flips the tapered end upwards so that the large end hits the ground first, and, if well tossed, the caber falls directly away from the tosser.
Earlier in the day of our interview, Lambert sits slouched on a cushioned footrest in a green room at the Country Music Hall of Fame and Museum in Nashville, where in a few minutes she’ll tape a short segment about Loretta Lynn for an upcoming retrospective of the country music legend. She straightens her posture as her stylist runs a curling iron through her long blond hair. Lambert, who’s wearing tight blue Levi’s with holes in the knees and brown boots, notices some darkly colored schmutz on her white V-neck T-shirt. Instead of demanding a wardrobe change, she casually asks if the crew can just “make sure it doesn't show on film.” She strides to a stool placed on the stage of the Hall of Fame’s theater, answers a few perfunctory queries about the influence of Lynn on her own career, and 20 minutes after she strolled in, she bolts for the elevator.