继续赞美 AI，今天顺利完成了 SnapVinyl 数据同步优化。看着夜生活都还没开始，决定再挑个硬骨头啃了，那就是性能优化。

我自己的数据只有四百多张，感受不到什么性能问题。我到 Discogs 寻寻觅觅，很容易就找到了两万张收藏的用户，而且是公开的。那就拿他来做压力测试了，果然现在的列表一点不扛压，滚都滚不动了。我让 Codex 分析现有的性能问题，给我讲解，先不着急修改。等我有点明白后就放手让他自由发挥了。没过多久，完成，我 run 到手机上测试，丝滑。我有观察到新的改动引起了内存占用多的问题。继续让他分析问题解决问题，内存也分分钟被干下去了。

顺利完成今天任务，1.10 版本提交审核。剩下的时间，听音乐了。

2025年的公司年会结束了。
时间过的真快，又是一年。

近两日有些困乏，虽然睡眠时间不短，但精神总觉疲惫。孩子妈带着孩子外出了，我去楼下院子取回晾晒的被子后，便没有其他要紧的工作。躺着刷了会儿手机，竟困得不行，闭上眼睛没多久便睡着了。

醒来一看手机，才睡了二十几分钟。再躺着看会儿小说，困意又一次袭来。但我提醒自己不能再睡了，按照计划，今天必须完成一些事情。这篇关于“自然学校”的思考记录，已经在记录夹里停留了两天，今天也随手记下了一些关键词，是时候将它整理完成了。

午间听到流动包子铺的叫卖声，孩子妈让我去买了四个花卷。她随口对孩子说，我变“懒”了，家里有面粉，却已一周多没自己做馒头了。于是临时起意，决定今天边做馒头边把这篇记录写完。

“最快女护士”张水华最终还是被医院警告处分了！这份来自福建医科大学附属第一医院的内部通报，如同一声惊雷，在平静的医疗圈掀起了巨大波澜。

处分决定显示，这位曾在马拉松赛场上屡创佳绩的女护士，因违规兼职取酬和以虚假理由获得调休，被处以警告处分6个月，并失去2025年评优资格。若不是这份内部文件意外流出，这件事或许就会在医院的围墙内悄然消化。

白纸黑字的制度性惩罚

从程序正义的角度看，医院的处分决定无懈可击。张水华作为体制内事业编人员，确实违反了医院《职工兼职管理办法》中关于兼职需报备的规定，也违背了《事业单位聘用合同》的相关条款。

她与361°体育用品有限公司签约代言取酬未报备，以虚假理由调休参加马拉松比赛——这些行为在事业单位的规章制度面前，确实构成了违规。在这个强调服从与纪律的体系内，张水华必须为她的行为付出代价。

光环下的暗流涌动

然而，这场处分背后，远不止违规那么简单。张水华在马拉松赛场上不断夺冠，几乎达到专业运动员水准。这样的人，本该是医院的“活招牌”。

一个拥有全国知名马拉松选手的医院，其健康正面的品牌形象，是多少广告费都难以换来的。但现实却是，张水华的才华成为了她的“原罪”。

当大多数人在病房奔波时，张水华却在赛场上收获荣誉和奖金——据报道，她的比赛奖金和代言收入高达20万元。这种强烈的对比，不可避免地引发了人性的嫉妒和体制内的排挤。

体制内的“囚徒困境”

面对处分，张水华现在陷入了两难。辞职专心跑马拉松？在当下比赛奖金大幅缩减、马拉松赛事减少的大环境下，这显然不是明智之选。

尽管她在短视频平台有一定影响力，但直播带货的红利期已过，粉丝经济的不确定性太大。保留体制内身份，虽然意味着稳定，却也代表着要继续在压抑的环境中挣扎。

这正是当下很多体制内人才面临的困境：既无法挣脱编制的“安全网”，又难以在既定框架内实现自我价值。

制度的本质应该是激励

张水华事件暴露出一个更深层的问题：当制度的执行导致双输结果时，我们是否需要重新审视制度本身？

一项好的制度，本质应该是激励而非束缚。如果医院能够以更包容的态度，将张水华的体育才华转化为医院的品牌资产，本可实现双赢。但现实是，僵化的制度与狭隘的人性，共同促成了这场“悲剧”。

在今天这个时代，拥有卓越的身体素质本就是一种难得的人才资源。张水华和医院，其实都成为了制度与人性的牺牲品。

这个案例值得所有组织管理者深思：我们是要继续用僵化的条条框框束缚人才，还是应该建立更具弹性的制度，让每个人的特长都能得到充分发挥？

毕竟，真正优秀的管理，不是把人才管成庸才，而是让每个人都能在合适的岗位上绽放光彩。

最近在定量的调整做每一杯咖啡的参数，每一杯做完都会称量液重，测 TDS 值，然后告诉 ChatGPT 咖啡豆克数，磨豆机刻度，冲煮方式和口感，他会计算萃取率同时给出下一杯调整建议。这样特别好，可以不断调整让数值接近金杯萃取。

今天做了一个不错的设计，还是延续思考昨天 SnapVinyl 的同步方案。因为同步成千上万张需要很长的时间，而且如此丰厚的唱片绝对是一个藏家多年甚至几十年收藏的心血，所以我在这个界面针对唱片数量不同，给出了不同的文案，既提供情绪价值，又安抚用户耐心等待同步结束。我画了一个线框图给 Codex，他就做出来了。

晚上打乒乓球了！

近两年折腾了不少和阅读软件、插件、应用，从大发的WordPress豆瓣插件开始，这插件基于个人豆瓣主页，数据需要自己到个人豆瓣主页添加，插件读取更新有缓存，有时需要自己点击某些文件手动更新，这插件用了一年多。

后来发现talebook，是个Docker应用，刚开始挺满意后来问题不断，大概用了半个月丢弃；再后来尝试了calibre-web，稍微满意些，但也遇到了很多问题，大概用了三个月丢弃。

再后来用WordPress附件主题，这个主题用起来也蛮好的，通过自定义字段实现的阅读记录，缺少了自动抓取图书信息，手搓图书数据，个人博客独立页面记录阅读历史，这个阅读网站再来个备份，真费时间，大概用了半年，断舍离时果断丢弃了这网站。

再后来阅读记录成了Obsidian里的一个文件。

近期对AI兴趣大增，上次文章刚提到要写足迹、运动记录什么的，不小心挖掘到个宝藏博主，叫王叨叨，他写了好些Typecho插件，看功能和我的想法差不多一样。

最近买了三本书：《李光耀观天下》、《以日为鉴》、《国家为什么会失败》，也不知啥时能静下心看，买来先丢着。 看电 … 继续阅读杂记-20251209

《老张博客搬家至酷鸭数据香港VPS》时，还算是比较顺利。想着既然老张博客已经搬到了酷鸭数据，那也把我的后花园“老张随笔”也搬过来吧，说干就干。

以前用的CC家服务器，安装的是宝塔面板，手里一直还有一个1panel的永久授权版，所以这次酷鸭数据的香港VPS我使用的是1panel。如果两台服务器都是宝塔，那搬家真的是分分钟的事，直接用应该商店里的“网站迁移”就行，而现在，只能通过备份网站文件、数据库文件后再上传到新服务器的方式来进行搬家了。

网站运行环境不一致

这块还比较顺利，因为两台服务器我都使用了相同版本的MYSQL、PHP等。另外需要特别注意的就是PHP的扩展、禁用函数也必须要保持一致。

链接不上数据库

这个问题非常好解决，宝塔面板链接数据库MYSQL默认的是localhost，而1panel面板连接MYSQL地址是MYSQL的容器的名称，这点必须要修改。

登录后台遇500，Unmatched '}'报错

这个是我折腾最久的一个坑，当把老张随笔搬过来后，登录后台发现出现500报错，提示为Unmatched '}'。这个坑一直折腾了几个小时。其实在这里，我也是犯了一个非常简单的错误，就是搬家之前没有关闭所有插件。所以建议像这样的搬家，最好在搬家之前把所有的插件停掉、主题换成默认的，搬家后再一个一个启用插件，以便可以更好的测试到错误。

把所有的插件和主题停用后，后台可以正常进入，这个时候再一个一个启用插件，当排查到LoveKKCommentModify这个插件，只要启用就会提示Unmatched '}'。因为对1panel不熟悉，找到AI解决了问题。修改了LoveKKCommentModify的Plugin.php文件第343行：将 <? 改为 <?php、第589行：将 <? 改为 <?php。

其实导致这个问题的最终原因是LoveKKCommentModify插件使用了PHP短标签，宝塔面板默认是开启的，而1panel默认是关闭的。只需要到1panel的运行环境中，把PHP短标签开启即可。根本就不需要修改什么代码。

开启伪静态，登录不了后台

登录1panel后台，为typecho网站设置未静态，代码是默认的，但是出问题了。登录后台出现404错误，并提示：“找不到以下 Web 地址的网页： https://zhangbo.net/index.php/action/login?_=5ca13260eXXXXXXX53adXXXXc92a HTTP ERROR 404。

deepseek分析原因为Typecho的路径处理与当前伪静态规则不匹配。我也就想不通了，为什么官方的默认的代码就不匹配了。最后解决方法添加break指令修正规则

if (!-e $request_filename) {
rewrite ^(.*)$ /index.php$1 last;
break;
}

搬了一个家，遇到很多坑，折腾N天！要是若干年前还没有AI的时候，估计请教N位大佬也不一定能把问题解决。现在好了，AI普及，遇到问题都可以自己解决，有了AI，人人都是程序员了！！

终于昨天15点左右上海这组客户单子成功完成，即他们选好房、搬行李入住、签约，后续不会有太多事儿了，这第一单算是完成啦。

他们租了哪套房？花了多少钱？是否如我上篇文预测那样？这又是一篇值得记录的小文章，又是值得反思和复盘的事件。

最近听贝多芬第九交响曲停不下来了，特别是第三乐章的慢板，推荐。

As a child born at the end of 1962, I caught the dying gasp of the Beatles run as a band. My family bought a copy of the 45 RPM single Let it Be, released in 1970. I suppose by that time, the band was already a thing of the past, but my older brothers (by one and two years) and I sat in front of the family hi-fi and listened to it repeatedly. The flip side was You Know My Name (Look Up the Number), which, as a music obsessed adult, now strikes me as poorly executed filler, but as a child, it was simply weird, so we never flipped the record over for a break. We just listened to Let It Be and Let It Be and Let It Be.

For the next six years. I immersed myself in popular music. I latched onto the Beach Boys’ Endless Summer, Elton John’s Goodbye Yellow Brick Road, and much of the music that I heard on the radio, Sweet’s Ballroom Blitz, R. Dean Taylor’s Indiana Wants Me, Zeppelin’s Black Dog, etc. Like most young listeners, I gravitated towards whatever songs my preteen classmates played. During that period the Beatles music was everywhere.

For Christmas one year, my mother bought me what is colloquially known as the Beatles Red Album, the hits from 1962-1966. With that album as my launch pad, I sought out other early Beatles compilations, my favorite being Rock ‘n’ Roll Music which I listened to nonstop until my cassette tape stretched out and broke. My mother also bought my brother the Blue Album, hits from 1967-1970. This album spent as much time on the family stereo as the Red Album.

In ninth grade, I fell in with a group of stoners. We spent our afternoons smoking pot, quoting Monty Python, and listening to the Beatles. Being high, we preferred the band’s later, more psychedelic music. I purchased Revolver, Sgt. Pepper, Magical Mystery Tour, The White Album and Abbey Road. I spent countless hours closeted in my bedroom listening to those five albums. I can still, fifty years later, sing along with each LP from beginning to end. The songs on those five Beatles albums remain my favorite to this day.

I give this background as testimony to prove that I’m not a casual Beatles fan. By the end of high school, I identified as a Superfan. Over the decades, I’ve branched out and enjoy most musical genres, but the Beatles still show up annually on my Spotify list of top artists. So, what’s my favorite Beatles song? Don’t Pass Me By, written and sung by Ringo Starr on The White Album.

This morning, for the zillionth time, I read yet another ARTICLE trashing Ringo Starr in general and Don’t Pass Me By specifically. You might ask why Far Out Magazine, a UK pop culture website is reviewing a fifty-seven-year-old song, a song almost twice as old as half the people in the world. I’m not sure. People love to hate on this song. And it’s high time for me to speak up, cuz I’m f*cking sick of it.

Don’t Pass Me By is often cited for its simplicity, tucked in the middle of a double album exalted for its experimental tracks. But as a reminder, the Beatles made their name with simple songs like She Loves You Yeah, Yeah, Yeah. Yes, Don’t Pass Me By lacks the complexity, lyricalness, and depth of many Beatles songs, but it might very well be the most fun. No other song by the Beatles, or maybe any other band I know of, makes me want to sing along like Don’t Pass Me By.

The title of the article I read: “Is ‘you were in a car crash, and you lost your hair’ the worst lyric the Beatles ever wrote?” by Reuben Cross. It’s true, the song does include this unfortunate line:

I’m sorry that I doubted you, I was so unfair
You were in a car crash, and you lost your hair
You said that you would be late, about an hour or two
I said that’s alright, I’m waiting here, just waiting to hear from you

But the line isn’t the only complaint Cross has with the song. In his article, before he starts digging into this one lyric, he slams the backing track: “The honky-tonk piano and bluegrass violins are grating to say the least.” I disagree, Mr. Cross. The bluegrass flair is what makes the song amazing. In fact, as a one-time Beatles Superfan, it’s my opinion that those violins might be the most charming aspect of the entire White Album.

In the second to last paragraph, Cross briefly addresses the lost your hair line “at no other point does (Starr) mention the person he is pining over suffering from traumatic alopecia.” I don’t know if Cross is being willfully ignorant, trying to be funny, or is just stupid, but ‘lost your hair’ is clearly an idiom that was in usage when the song was written—much like ‘lost your mind’ or ‘lost your shit.’

Regardless, the White Album easily has worse lyrics. The very next song on the album goes like this (repeated three times, and that’s the whole song):

Why don’t we d-do it in the road?
Why don’t we do it in the road?
Why don’t we do it in the road? Hmm
Why don’t we do it in the road?
No one will be watching us
Why don’t we do it in the road?

Much better? Absolutely, people say, because the song was written by Paul McCartney. The hate directed towards Don’t Pass Me By is part of a snobbishness against Ringo Starr so many rock critics have embraced over the decades. Three of the Beatles were touched by the divine. George Harrison, McCartney and John Lennon all channeled something otherworldly during their stint with the Beatles. Ringo Starr, critics say lucked into the mix.

That’s bullshit. Starr was a solid drummer, and the fab four finally clicked when he joined the band. He just might be the mysterious force that corralled those three supernovas together into a cohesive unit that worked. Starr only wrote a couple of songs for the Beatles, and Don’t Pass Me By is easily the best. Give my song a break, before I lose my hair.  

Photo by Faizan on Unsplash