You should see my stamp collection, featuring a gorgeous limited edition set presenting the wildfowl of Papua New Guinea. They really are quite breathtakingly beautiful.
https://www.theguardian.com/business/2020/jan/22/guitar-maker-fender-fined-45m-for-price-fixing-in-uk
The primary function of corporate business is to maximise profits and market share, in any unscrupulous way you can...
He knows the Hampden roar:
"γνῶθι σεαυτόν (Know thyself)"
"μηδὲν ἄγαν (Nothing in excess)"
Two of the maxims carved into the Temple of Apollo at Delphi, about 500 years BC.
This is a good little piece on Gatton, who he was and those he influenced, even a little bit on technique:
https://www.beachamjournal.com/journal/2020/09/danny-gatton-was-born-75-years-ago-today.html
I use more of a movable anchor than floating thumb but it's a bit of a cross between them both. I found full floating thumb a little bit light sounding without an anchor. I work over a grid of three strings usually and move up/down according to that, as you are already doing by anchoring on the A to play the D and G strings. Movable anchor takes a bit of pre-empting practise, I noticed that Laurence Cottle uses the same thing, playing starts @ 0:10:
Mark says that as a rule of thumb, it keeps his powder dry.
It has caused problems in the past, like the time that Mark and Mike argued about who's 50 note they had used. Neither wanted to back down.
The subject matter of Level 42 songs, do not betray a persistent penchant for Percy.
Unless "Heaven in My Hands", was indeed written after a score breaking a long dry spell.
Perhaps the hokey cokey really is what it's all about...
So you think Mr. King has been living it up on the Charlie then?
I'm not sure, but I do have an inkling that my cat may have been on the Meow Meow lately.
I remember Kent Armstrong making a back pickup for me in the late '90s, I wanted to get more output but the original was an awkward bespoke shape (5 string jazz type). He moulded the original pickup casing and put the new pickup in. Nice job, visually indistinguishable from the original with more output.
Alas, further down the line I realised that what I really wanted for a fretless bridge pickup, is a humbucker.
"The large diversity of different types of collected objects and variance of collecting behaviours across these types has also been subject to research in psychology, marketing and game design."
Collecting keeps you playing.
https://en.wikipedia.org/wiki/Psychology_of_collecting
"How a Hello Kitty guitar became the hottest Stratocaster..."
Everyone wants to get their paws on one...
https://www.theguardian.com/music/2022/dec/11/hello-kitty-guitar-stratocaster
I use pickups as ramps quite a bit so they are set about a millimetre lower than the action at the last fret, the gap between the underside of my G string and top surface of the last fret is around 2.5mm. The gap between the face of the pickup and underside of the string would be around 3.5mm, more if you play hard. Follow the radius of the neck with the pickups, the centres raised more due to the fretboard radius curvature.
That's about as low as I can go without the wolf tones (strings too close to the pickups) becoming a problem.