原文：https://www.gq.com/story/sum-41-deryck-whibley-profile
依旧是机翻

Sum 41’s Deryck Whibley Has Been on One Hell of a Ride
Sum 41的德里克·惠布利经历了一次地狱般的旅程
In an intimate, wide-ranging conversation, the veteran rocker opens up to GQ about nearly dying from COVID in September, what it was like dating Paris Hilton and Avril Lavigne, and why Sum 41 is breaking up after three raucous decades.
在一次亲密而广泛的谈话中，这位资深摇滚歌手向GQ敞开心扉，讲述了9月份差点死于COVID的经历，和帕丽斯·希尔顿和艾薇儿·拉薇儿约会的感受，以及Sum 41在经历了30年的狂欢后为什么要分手。

“I’m a little beat,” Deryck Whibley tells me. “I barely slept last night.” It’s 11 a.m. on a bright and bracing November day, and we’re riding the elevator up to the rooftop lounge at the Ace Hotel in Toronto. Given the Sum 41 frontman’s look today—a glistening leather jacket layered over a polka-dot shirt unbuttoned to his navel, all the better to show off the grip of silver chains dangling from his neck—you’d be forgiven for assuming he’s just arrived straight from a bender of rock-star-sized proportions. But Whibley hasn’t touched the sauce in nearly a decade, not since his second near-death experience in 2014, when his drinking habit caused his liver and kidneys to collapse and he was forced to spend the next year and a half learning to walk, sing, and strum a guitar again.
“我有点累了，”德里克·惠布利告诉我。“我昨晚几乎没睡。”这是11月一个阳光明媚的日子，上午11点，我们乘坐电梯前往多伦多艾斯酒店(Ace Hotel)的屋顶休息室。考虑到这位Sum 41乐队主唱今天的装扮——一件亮闪闪的皮夹克，上面套着一件圆点衬衫，扣子一直开到肚脐，更能展示他脖子上挂着的银链子——你会认为他刚从摇滚明星般的狂欢中回来，这是可以理解的。但惠布利已经近10年没有碰过这种生活了，自从2014年他第二次濒死体验以来就没有碰过。当时，他的饮酒习惯导致他的肝脏和肾脏衰竭，他被迫花了一年半的时间重新学习走路、唱歌和弹吉他。
Instead, the reason for Whibley’s current exhaustion is a lot more wholesome: His kids kept waking him up. His three-year-old son had a nightmare; his daughter, just eight months old, needed a nighttime feed. That’s also why Whibley is back in his hometown of Toronto, visiting for a week from his current base in Las Vegas—because of the pandemic and Sum 41’s marathon touring schedule, this trip marked his children’s first chance to meet their great-grandparents, both well into their 90s, who helped raise Whibley in the nearby suburbs of Scarborough and Ajax.
相反，惠布利目前疲惫不堪的原因要健康得多:他的孩子们一直把他吵醒。他三岁的儿子做了一个噩梦;他的女儿只有8个月大，需要夜间喂食。这也是为什么惠布利回到他的家乡多伦多，从他目前在拉斯维加斯的居所回来一周——因为疫情和Sum 41的马拉松巡演日程，这次旅行标志着他的孩子们第一次有机会见到他们的曾祖父母，他们都已经90多岁了，他们帮助惠布利在斯卡伯勒和阿贾克斯附近的郊区长大。

It takes a lot to make Whibley nervous, health-wise. He’s simply been through too much, knows his body and himself too well at this point. So in September, when a post-tour cold (Sum had just wrapped a 28-date jaunt with longtime pals The Offspring) spiraled into COVID and then pneumonia, he didn’t really sweat it. He’d had pneumonia once before, while touring Australia in 2011—that was near-death experience number one, the first time a doctor looked him in the eye and told him he had a 50-50 shot of making it—and he could tell that this current bout was much less severe than that one. And at first, anyway, his gut was dead on.
从健康角度来说，让惠布利紧张的因素很多。他只是经历了太多，太了解他的身体和他自己了。因此，9月份，当巡演结束后的感冒(Sum刚刚和老朋友The Offspring结束了为期28天的巡回演出)演变成COVID和肺炎时，他并没有真的担心。2011年在澳大利亚旅行时，他曾患过一次肺炎——那是第一次濒死体验，医生第一次看着他的眼睛，告诉他，他有50%的机会活下来——他可以看出，这次的病情远没有那次严重。不管怎样，第一次，他的直觉很准。
“When I got to the emergency room that night,” he recalls, “they told me, ‘You’ll probably be here a few hours, you should be able to go home.’” Instead, at three in the morning, Whibley’s physician announced he was being transferred to another hospital—his heart was working overtime and needed to be monitored for potential failure. That’s when the fear suddenly kicked in. “Up to that point, I was like, I’ve been through this shit before, I’ll be fine. But when the doctor was that concerned, that’s what made it scariest for me. I could feel my heart having a hard time. I was struggling to breathe. My chest felt really tight.”
“那天晚上我到急诊室的时候，”他回忆说，“他们告诉我，‘你可能要在这里待几个小时，你应该可以回家了。’”然而，在凌晨三点，惠布利的医生宣布他将被转移到另一家医院——他的心脏超负荷工作，需要进行监测，以防出现潜在的衰竭。就在这时，恐惧突然袭来。“在那之前，我想，我以前经历过这种事，我会没事的。但当医生如此担心的时候，这对我来说是最可怕的。我能感觉到我的心在挣扎。我呼吸困难。我的胸口感觉很紧。”
Even then, Whibley says, it was less a fear of death and more an annoyance at everything he’d miss out on. “I remember saying to my wife in the hospital, ‘I'm going to be really bummed if I die.’ I wasn't scared of it. I was just like, ‘This will suck. I’ve got so much cool shit going on right now.’”
惠布利说，即使在那个时候，他也不是害怕死亡，而是对自己错过的一切感到烦恼。“我记得我在医院里对我妻子说，‘如果我死了，我会很难过的。“我并不害怕它。我当时想，‘这太糟糕了。我现在有很多很酷的事情要做。’”

Whibley and his friends formed Sum 41 when he was 16—on the 41st day of his summer vacation. He was inspired, in part, by seeing NOFX at Warped Tour ’96. Almost immediately, the band became his entire world. “I barely passed high school, because I intentionally didn’t pay attention,” he remembers. “I didn’t want a plan B. I was so convinced I was going to be in music one way or another, whether I was super successful or just in a punk rock band that played small clubs.”
16岁那年，惠布利和他的朋友们在暑假的第41天成立了Sum 41。他的灵感部分来自于96年在Warped Tour上看到的NOFX。几乎立刻，乐队就成了他的整个世界。“我勉强通过了高中，因为我故意不专心，”他回忆道。“我不想要后备计划。我非常确信，不管我是超级成功，还是只是在一个小俱乐部演出的朋克摇滚乐队里，我都会以某种方式进入音乐界。”
By the time Sum 41’s classic lineup came together in Whibley’s senior year—lead guitarist Dave “Brownsound” Baksh, bassist Jason “Cone” McCaslin, drummer Steve “Stevo32” Jocz, and Whibley, who went by “Bizzy D,” on lead vocals and rhythm guitars—the band had already devised a live show that matched its outsized ambitions. “We were trying to put on an arena show in tiny clubs,” Whibley says of Sum’s legendarily raucous early performances, which involved trampolines, fireworks, and choreographed guitar moves. “It was all very Kiss.”
当Sum 41的经典阵容在惠布利高年级的时候——首席吉他手Dave“Brownsound”Baksh，贝斯手Jason“Cone”McCaslin，鼓手Steve“Stevo32”Jocz和惠布利(他以“Bizzy D”担任主唱和节奏吉他)——乐队已经设计了一场符合其巨大野心的现场演出。“我们试图在小俱乐部里举办一场舞台表演，”惠布利谈到Sum早期传奇般的喧闹表演，其中包括蹦床、烟花和精心设计的吉他动作。“一切都很棒。”
Around that period, the quartet began mailing their goofy VHS demos to virtually anyone in the music industry whose address they could find. Billie Joe Armstrong got one, as he fondly recalled in a recent interview, as did NOFX’s Fat Mike, who briefly considered signing them to his Fat Wreck Chords label before deciding a band with that much commercial potential needed to be on a major. He was right: Not long after, in 1999, Sum 41 signed to the newly conglomerated Island Def Jam Group, and the fame Whibley had dreamed about in high school suddenly arrived hard and fast.
大约在那个时期，四个人开始把他们愚蠢的VHS样带邮寄给音乐行业里任何他们能找到地址的人。比莉·乔·阿姆斯特朗(Billie Joe Armstrong)在最近的一次采访中深情地回忆道，他得到了一张唱片，NOFX的胖迈克(Fat Mike)也得到了一张唱片，他曾短暂地考虑将他们签入自己的Fat Wreck Chords厂牌，后来才决定让这支具有巨大商业潜力的乐队成为主流乐队。他是对的:不久之后，1999年，Sum 41与新组建的Island Def Jam Group签约，惠布利在高中时梦想的名声突然迅速到来。
Sum dropped a well-received EP, Half Hour of Power, in 2000—DMX showed up in the band’s first-ever music video—quickly followed by All Killer No Filler, its debut full length, a year later. The album went platinum in three months and remained on the Billboard 200 for 49 weeks. “Fat Lip,” the first single, beat out the likes of NSYNC’s “Pop” and J.Lo’s “I’m Real” for the number-one spot on TRL over and over and over again.
2000年，Sum发行了一张广受好评的EP《Half Hour of Power》，dmx出现在乐队的第一张音乐录影带中——一年后，他们的首张完整专辑《All Killer No Filler》紧随其后。这张专辑在3个月内成为白金唱片，并在Billboard 200排行榜上停留了49周。首张单曲《Fat Lip》击败了超级男孩的《Pop》和珍妮弗·洛佩兹的《I 'm Real》，一遍又一遍地夺得TRL的冠军。

As any newly über-famous and spectacularly rich twentysomethings would do, the band started to party hard—which is how Whibley first encountered a young heiress named Paris Hilton. Looking back on them now, the paparazzi photos of the pair are hilarious cultural relics of the 2000s. But at the time, Whibley maintains, their fling didn’t seem like that big of a deal.
就像所有刚刚声名鹊起、非常富有的20多岁的年轻人都会做的那样，乐队开始疯狂地参加派对——这就是惠布利第一次遇到一位名叫帕丽斯·希尔顿的年轻女继承人的原因。现在回想起来，狗仔队给他们拍的照片是21世纪的搞笑文物。但当时，惠布利坚持认为，他们的风流韵事似乎没什么大不了的。
“The funniest thing about it is that the band was bigger than Paris at the time,” he says. “It was pre–sex tape, pre–TV show. She was big in the LA and New York party scenes, the paparazzi, going to clubs, stuff like that. We were running in the same circles at certain events, and one night we bumped into each other and just started talking. I was maybe 22, she was 21, and we hit it off. She’s a very fun party girl, we were a party band. It was just fun. We never really talked about it—once there were some pictures out there saying we were a couple, we were like, ‘I guess we’re a couple now?’ It just kind of turned into that. All of a sudden, we’re holding hands.”
“最有趣的是，乐队当时比帕丽斯还出名，”他说。“那是性爱录像带、电视节目之前。她在洛杉矶和纽约的派对上很出名，狗仔队，去俱乐部，诸如此类。在某些场合，我们都在同一个圈子里，一天晚上，我们偶然相遇，就开始聊天了。我大概22岁，她21岁，我们一拍即合。她是一个很有趣的派对女孩，我们是一个派对乐队。只是好玩而已。我们从来没有真正谈论过这件事——一旦有一些照片在网上说我们是一对，我们就像，“我想我们现在是一对了?”’事情就这样变成了这样。突然之间，我们就牵着手了。”

But the more lasting and defining relationship of Whibley’s young adulthood, of course, was with Avril Lavigne. The pair originally met in 2001 through their shared manager—Whibley helped introduce Lavigne to the musicians who became the backing band on her first record—but only became an item a couple of years later.
当然，在惠布利年轻时，与艾薇儿·拉维尼(Avril Lavigne)的关系更持久、更有意义。两人最初是在2001年通过共同的经纪人认识的——惠布利帮助把艾薇儿介绍给了她第一张唱片的伴奏乐队——但直到几年后才成为了一对。
“We were both living in Toronto,” he remembers. “I was making [Sum 41’s third LP] Chuck, she was making her second album, and we just started seeing each other more and more often. It didn’t take long for something to start happening.”
“我们都住在多伦多，”他回忆道。“我正在制作(Sum 41的第三张LP)《Chuck》，她正在制作她的第二张专辑，我们开始越来越频繁地见面。没过多久，事情就开始发生了。”
Whibley and Lavigne married in 2006, when they were 26 and 21, respectively. I was a teen in the Toronto suburbs at the time, and the news was covered by the national media with all the breathless glee of a royal wedding. “It felt like the Canadian press just wanted a famous couple, and we happened to come along,” Whibley says with a laugh. By that stage, the newlyweds had moved to LA and were enjoying a lower profile living among far bigger stars in Hollywood. “No magazines were picking up photos of us in the US, but they were everywhere here [in Canada]. Our moms would call us and be like, ‘Oh, I saw you were out at such-and-such place,’ and we didn’t even know there had been paparazzi there. Living in LA, nobody gave a shit.”
惠布利和艾薇儿于2006年结婚，当时她们分别是26岁和21岁。当时我还是多伦多郊区的一名青少年，全国媒体都在报道这一消息，就像一场王室婚礼一样令人窒息。惠布利笑着说:“感觉加拿大媒体只是想要一对著名的夫妇，而我们碰巧也来了。”到那时，这对新婚夫妇已经搬到了洛杉矶，在好莱坞更大牌的明星中享受着低调的生活。“在美国没有杂志刊登我们的照片，但在这里(加拿大)到处都有。我们的妈妈会打电话给我们，说，‘哦，我看到你们在某个地方，’我们甚至不知道那里有狗仔队。住在洛杉矶，没人在乎。”
When Sum 41 was out on the road, however, it was a different story. “At our own shows, people would bring ‘Avril Sucks’ signs,” he remembers. “They would tell me to my face how shit Avril’s music was and how lame it was that I was with a pop star. Music genres were so sacred back then. Nowadays, you can like Metallica and Taylor Swift. But back then, we couldn’t tour together or even play the same festivals, which meant we’d sometimes only get two days at home together between dates.”
然而，当Sum 41在路上时，情况就不同了。“在我们自己的演出上，人们会带着‘艾薇儿烂透了’的牌子，”他回忆道。“他们会当着我的面告诉我艾薇儿的音乐有多烂，我和一个流行歌星在一起有多差劲。当时的音乐流派是如此的神圣。现在，你可以喜欢金属乐队和泰勒·斯威夫特。但那时候，我们不能一起巡演，甚至不能在同一个音乐节上演出，这意味着我们有时只能在两次演出之间呆在家里两天。”

That’s right around when things began to go sideways for Sum 41. After delivering a hat trick of hit albums in All Killer, 2002’s Does This Look Infected?, and 2004’s Chuck, the band experienced their first wobble with 2007’s Underclass Hero. The lead singles—“Walking Disaster” and the title track—suffered from a bungled radio rollout and struggled to find an audience. “I didn't know how to handle something like that,” Whibley says. “We'd only had success.” And behind the scenes, everything was changing rapidly. The band had parted ways with its longtime manager, Greig Nori, who had also produced its last two records, leaving Whibley to man the boards. Baksh had departed following a creative dispute, unsatisfied with the back-to-basics pop-punk sound Whibley was chasing on Underclass. The entire Island Def Jam team that had handled Sum for years had moved on to new jobs elsewhere, and the label no longer seemed to see them as a priority. Nor, frankly, did the rest of the industry and culture at large. “[Rock] music had gone really out of fashion,” Whibley says. “From around 2009 on, it became very hipster, indie, people whistling in songs. Nobody really cared about [our music] anymore.”
就在那时，Sum 41的情况开始出现了偏差。2002年的专辑《Does This Look Infected?》和2004年的《Chuck》，乐队在2007年的《Underclass Hero》中经历了他们的第一次摇摆。主打单曲——《Walking Disaster》和主打歌——在电台播放时表现不佳，很难找到听众。“我不知道如何处理这样的事情，”惠布利说。“我们只是取得了成功。”在幕后，一切都在迅速变化。乐队与长期的经纪人格雷格·诺里(Greig Nori)分道扬镳，他也是乐队最后两张唱片的制作人，留下惠布利担任主唱。巴什在一场创造性的争论之后离开了，他不满意惠布利在《Underclass》中追求的回归基本的流行朋克音乐。整个负责Sum多年的Island Def Jam团队已经转移到其他地方，并且厂牌似乎不再将他们视为优先事项。坦率地说，整个行业和文化的其他人也没有。“(摇滚)音乐真的已经过时了，”惠布利说。“从2009年左右开始，它变得非常时髦、独立，人们在歌曲中吹口哨。再也没有人真正关心[我们的]音乐了。”

By the time Sum 41 returned with another album in 2011, the circumstances for the band—and Whibley, in particular—had altered even more dramatically. In August 2010, while on tour in Tokyo, Whibley was thrown to the ground and beaten to a pulp at a bar one night by three strangers, landing him in the hospital and aggravating a longstanding back injury. He still doesn’t know why he was attacked. Three months later, in November, his divorce from Lavigne—after steadily growing apart over their four years of marriage—was finalized. The resulting record, Screaming Bloody Murder, is understandably dark and aggressive—easily the rawest, most confessional work of Whibley’s career, roughly akin to Sum 41’s Pinkerton. It landed with a thud commercially.
当Sum 41在2011年带着另一张专辑回归时，乐队的处境——尤其是惠布利——发生了更大的变化。2010年8月，在东京巡演期间，有一天晚上，惠布利在一家酒吧被三个陌生人摔倒在地，被打得血肉模糊，他住进了医院，长期以来的背部损伤也加剧了。他还是不知道自己为什么被袭击。三个月后，也就是11月，他和艾薇儿离婚了——在他们四年的婚姻中，两人的关系越来越疏远。由此产生的唱片《Screaming Bloody Murder》黑暗而富有攻击性，这是可以理解的，它很容易成为惠布利职业生涯中最原始、最坦白的作品，大致类似于Sum 41的《平克顿》。它在商业上轰隆一声着陆。

All of a sudden, Sum 41 was back to playing tiny venues—the kind they’d barely stepped foot in since Half Hour of Power—and was struggling to sell them out. “It was depressing,” Whibley admits. “We were in Paris, and my manager looks out at the crowd and goes, ‘There’s 300 people here.’” Tensions rose internally—especially between Whibley and Jocz, who had been best friends and close confidantes since they were kids. When the drummer quit in April 2013, it left Whibley as Sum 41’s last remaining founding member. “We were at a low point,” he says. “The band had imploded personally.” And then Whibley nearly imploded, too.
突然之间，Sum 41又回到了小场地演出——自《Half Hour of Power》以来，他们几乎没有涉足过这种场地——并努力把它们卖出去。“这很令人沮丧，”惠布利承认。“我们当时在巴黎，我的经纪人看着人群说，‘这里有300人。’”内部的紧张气氛日益加剧，尤其是惠布利和乔斯之间，他们从小就是最好的朋友和知己。当这位鼓手于2013年4月退出时，惠布利成为了Sum 41乐队最后一位创始成员。“我们处于低谷，”他说。“乐队内部已经崩溃了。”然后惠布利也差点崩溃。
The attack in Tokyo had left Whibley with two herniated discs in his back. “The way it was described to me by the doctors, it’s like a jelly donut,” he says. “Once it breaks open, you can’t get it back in.” The pain was excruciating. Whibley’s lifestyle—the long plane rides, the thrashing around onstage, the after-show partying—didn’t exactly help. But what seemed like the easiest solution also wasn’t an option. “At that time, especially in the US, everyone was getting prescribed OxyContin,” he recalls. “But I didn’t want to go on heavy painkillers. It wasn’t even because I was afraid I’d be addicted. I was more concerned it was going to make me loopy and I wouldn’t be able to perform.”
东京的袭击让惠布利背上的两个椎间盘突出。他说:“医生向我描述的方式就像一个果冻甜甜圈。”“一旦它破了，你就不能再把它塞进去了。”疼痛难忍。惠布利的生活方式——长途飞机旅行，在舞台上来回折腾，演出结束后的派对——并没有起到什么作用。但看起来最简单的解决方案也不是一个选择。他回忆说:“当时，尤其是在美国，每个人都得到处方上的奥施康定。”“但我不想服用大量止痛药。甚至不是因为我害怕自己会上瘾。我更担心的是它会让我发疯，这样我就无法表演了。”
Instead, he decided to ward the pain off with liquor. “Every time I had a drink or two, the back pain would just go away,” he says. Only then his drinking got going earlier and earlier in the day. “It’d be late morning, early afternoon, and I’m having a really hard time focusing on talking to anybody because the pain is so bad. So instead of a cup of tea, I’d have a glass of wine. And then after a couple of those, you’re loose. All of a sudden it’s the evening, where everyone else starts drinking, and then it’s turning into a party at night—but I’d already been drinking all day. That was the cycle.”
于是，他决定用酒来驱除疼痛。“每次我喝一两杯酒，背部疼痛就会消失，”他说。直到那时，他才开始越来越早地喝酒。“通常是上午晚些时候，下午早些时候，我很难集中精力和任何人说话，因为疼痛太严重了。所以我要的不是一杯茶，而是一杯酒。喝了几杯之后，你就松了。突然到了晚上，其他人都开始喝酒，然后变成了晚上的派对——但我已经喝了一整天了。这就是循环。”

One night in April 2014, while pouring himself a drink at home, Whibley collapsed to the floor. When he woke up in the hospital, three days had passed. His liver and kidneys had failed and he’d been put into an induced coma. The doctors told him, yet again, that he had a 50-50 shot of making it—and that one more drink might kill him. When he was released into outpatient care nearly two months later, the nerve damage in his feet was so bad that even attempting to stand felt like walking over hot coals and broken glass. He was slurring his words, unable to form complete sentences, and his fine motor skills had deteriorated to the point that he could barely hold a guitar, much less play one.
2014年4月的一个晚上，在家里给自己倒饮料时，惠布利倒在了地板上。当他在医院醒来时，已经过去了三天。他的肝脏和肾脏已经衰竭，他已经进入了诱导昏迷状态。医生又一次告诉他，他有50%的机会成功，再多喝一杯就可能会要了他的命。将近两个月后，当他出院进入门诊时，他脚上的神经损伤非常严重，甚至试图站起来都感觉像是在热煤和碎玻璃上行走。他说话含糊不清，无法形成完整的句子，他的精细运动技能已经退化到连拿吉他都勉强的地步，更不用说弹了。
It was months before he could strum a chord even semi-naturally; to this day, his balance still feels a touch off while walking, with the occasional bout of vertigo. But when Whibley came out the other side of his yearlong recovery process, his band was there waiting for him.
几个月后，他才能够半自然地弹奏和弦;直到今天，他走路的时候仍然会感到身体不平衡，偶尔会感到头晕。但是，当惠布利从长达一年的康复过程中走出来时，他的乐队在那里等着他。

The new-and-improved Sum 41—with Baksh returning to the lineup after a decade away—kicked off its comeback run in 2016 with 13 Voices, the metal-forward album Whibley wrote during his recovery. The hot streak continued with 2019’s Order in Decline, and has been bolstered throughout by a steadily expanding tour apparatus. “Our last tour was the biggest we’ve ever done,” Whibley says, proudly. “And every tour gets a little bit bigger—either the venues are larger, or we’re playing countries we’ve never been to before. This version of this band, right now, is the best we've ever been onstage.”
2016年，全新改良的Sum 41——巴什在离开十年后重返阵容——以13 Voices开始了复出之路，这是惠布利在康复期间创作的金属前卫专辑。2019年的《Order in Decline》延续了这一火爆势头，并一直得到稳步扩大的巡演机构的支持。惠布利自豪地说:“上次巡演是我们有史以来规模最大的一次。”“每次巡演都会变得更大——要么是场地更大，要么是我们在从未去过的国家演出。现在这个版本的乐队，是我们在舞台上表现最好的。”

Which brings us to the central question of the day: Why is Sum 41 breaking up? Why, after scraping and clawing so hard to make it back to the top, after staving off certain death and rebuilding decades-long relationships, would you give it all up in the midst of your second peak?
这就引出了今天的核心问题:Sum 41为什么要解散?在如此艰难地挣扎着重回巅峰，在避免了死亡和重建了几十年的关系之后，你为什么会在你的第二次巅峰中放弃一切?
The short answer? Whibley is tired.
简短的回答是?惠布利累了。
In early 2019, an unfamiliar feeling began rearing its head. Whibley was going over Sum 41’s jam-packed tour schedule, which, at that pre-pandemic stage, stretched well into 2020. “Normally I get excited about, like, ‘Wow, look at all this. It’s great,’” he says. “All these shows were huge, a lot of them were sold out already. It was a really long tour and I didn’t even have kids yet. But for the first time, I was looking at it, and I went, ‘I don’t know if I want to be out that long.’ That was the first time I’d ever said that in my life.”
2019年初，一种不熟悉的感觉开始抬头。惠布利正在回顾Sum 41拥挤的巡演日程，在大流行前的阶段，这一日程一直延续到2020年。“通常我会很兴奋，比如，‘哇，看看这一切。太棒了，’”他说。“所有这些演出都很盛大，很多场次已经售罄。那是一次很长的旅行，我甚至还没有孩子。但这是我第一次看到它，我说，‘我不知道我是否想要离开那么久。’这是我有生以来第一次这么说。”
The longer answer has to do with familiar themes: fatherhood, debilitating stress, creative ennui, and not wanting to wind up “a miserable rock star who doesn’t want to go onstage.”
更详细的答案与我们熟悉的主题有关:父亲身份、使人衰弱的压力、创造性的厌倦，以及不想最后成为“一个不想上台的可怜的摇滚明星”。

It’s partly the same reason that, last August, Whibley decided to sell the rights to Sum 41’s entire publishing-and-recorded-music catalog to an investment fund called Harbourview Equity Partners for an undisclosed sum. For a long time, despite several approaches, “I was so against selling it,” he says. “My songs are my babies, and I didn’t need the money.”
去年8月，惠布利决定将Sum 41的整个出版和录制音乐目录的版权出售给一家名为Harbourview Equity Partners的投资基金，具体金额未透露，这在一定程度上也是同样的原因。他说，在很长一段时间里，尽管有几种方法，“我还是非常反对出售它。”“我的歌就是我的孩子，我不需要钱。”
Then he started to question what he was so afraid of losing. He decided to conduct a thought experiment: “I told myself, Okay, I’m going to wake up tomorrow and act like I’ve sold it. What does that feel like? I woke up scared shitless. I had no songs. And I felt so excited and I picked up a guitar just naturally. Almost right away I wrote “Landmines”. And then I wrote another one, and then another one, and then I had another riff, and it was like, holy shit.” Letting go of his songs—much in the way he’s letting go of the band entirely now—unlocked a vital hunger inside of Whibley. “I felt the way I did when I first got signed. I felt the pressure and the need to create something.”
然后他开始质疑他为什么那么害怕失去什么。他决定进行一次思想实验:“我告诉自己，好吧，我明天醒来时要表现得好像我已经卖掉了它。那是什么感觉?我醒来吓得屁滚尿流。我没有歌。我很兴奋，很自然地拿起吉他。我几乎马上就写了“Landmines”。然后我又写了一首，然后又一首，然后我又有了一个即兴段，就像，天哪。”放弃他的歌曲——就像他现在完全放弃乐队一样——释放了惠布利内心的强烈渴望。“我的感觉和我刚签约时一样。我感到了压力，需要创造一些东西。”
What he wound up creating was Heaven :x: Hell, a double album slated for early 2024 that should serve as the perfect capstone to the band’s two distinct eras: one side entirely All Killer–style pop-punk jams, the other full of the scorching metal headbangers they’ve favored lately. “I feel like there’s no other band in our genre that can just so easily pull this off,” Whibley says. “We have our own lane. It’s a great last record.”
他最后创作的是《Heaven :x: Hell》，这张双专辑定于2024年初发行，应该是乐队两个截然不同的时代的完美顶点:一边完全是杀手风格的流行朋克，另一边则充满了他们最近喜欢的炙手可热的金属头摇滚乐。“我觉得在我们的流派中，没有其他乐队能如此轻松地做到这一点，”惠布利说。“我们有自己的道路。这是一张很棒的最后一张唱片。”

In September, after a few days in the hospital, Whibley’s heart stabilized and he was sent home to recuperate. He was still in rough shape and unable to speak, thanks to a lingering case of laryngitis. But Sum 41 was booked to play the When We Were Young festival in Vegas in barely a month’s time—and Whibley refused to cancel. So he threw himself into Rocky mode, putting in two-a-day gym sessions for weeks to get his stamina back up in time to perform.
9月，在医院呆了几天后，惠布利的心脏稳定下来，他被送回家休养。由于喉炎的困扰，他的身体状况仍然很糟糕，不能说话。但是Sum 41在一个月后就要参加拉斯维加斯的“When We Were Young”音乐节了——惠布利拒绝取消。于是，他把自己投入到洛奇模式中，连续几周每天上两次健身房，以便及时恢复体力，参加表演。
When We Were Young, for the uninitiated, is basically a latter-day Warped Tour—only with $300 general admission tickets and $18,000 VIP cabanas, because the nostalgia-addled millennials who attend it have all made partner or IPO’d their startups or whatever. Over the course of two days in late October, some 120,000 fans moshed to resurgent pop-punk giants like Yellowcard and Blink-182 (whose comeback album, released that same weekend, debuted atop the Billboard 200), alongside ascendant successor acts like Ekkstacy and Beach Bunny.
对于外行来说，《When We Were Young》基本上是一场现代版的Warped Tour——只需要300美元的普通门票和1.8万美元的VIP小屋，因为参加这个活动的那些怀旧的千禧一代都已经成为合伙人，或者他们的创业公司进行了IPO，等等。在10月下旬的两天时间里，大约12万名粉丝与Ekkstacy和Beach Bunny等后起一涌的流行朋克巨头一起，观看了Yellowcard和Blink-182(他们的复出专辑在同一个周末发行，首次登上Billboard 200排行榜的首位)等复兴的流行朋克巨头。
Sum 41’s renewed cultural capital isn’t something Whibley takes for granted. When I mention how remarkable it is to see the staying power that Sum 41 and its contemporaries at the festival have had, Whibley smiles and corrects me. “I’ve had a front-row seat to a lot of ups and downs with the music industry, with changing styles of music.” Pop punk, he says, “has really gone in and out of fashion.”
惠布利并不认为Sum 41重新获得文化资本是理所当然的。当我提到Sum 41及其同代人在节日上的持久生命力是多么令人惊叹时，惠布利微笑着纠正了我。“我对音乐产业的起起落落以及音乐风格的变化都有第一手的了解。”他说，流行朋克“真的是过时了。”
But that weekend in Vegas, the genre—and Sum 41, specifically—couldn’t have felt more relevant. By the time “In Too Deep” hit about 20 minutes into the band’s set, the crowd was worked up into a frenzy loud enough to all but drown out Whibley’s chorus. “We got onstage and I felt fucking great,” Whibley says. “That was one of the best shows we’ve ever done.”
但在拉斯维加斯的那个周末，这种类型——尤其是Sum 41——让人感觉再贴切不过了。在乐队开场大约20分钟后，当《In Too Deep》响起时，人群被激起了疯狂的声音，几乎盖过了惠布利的合唱。“我们上了台，我感觉***棒极了，”惠布利说。“那是我们做过的最好的演出之一。”