Here are my thoughts on this, I'm new on this forum but I've been mixing for awhile, although more live than in the studio.
I would say first thing, never say "always" (or never, as Justin Bieber would have it)... there are simply no hard rules of what to do and what not to do when it comes to mixing.
So there are a couple things bugging me in that list :
"EQing every track" - you should only EQ what you really need to, unless you use EQ as an effect. Then that is totally subjective. But get it right at the source first always, and think of how the instrument are going to overlap each other as you're recording. If you're not recording yourself, well, deal with what you have on hands... or course there is going to some degree of overlap, but a good engineer will keep this to a minimum.
For FOH, it's a bit different, as you often to EQ for the room. However, I never EQ'd my master bus personally.
"Compressing the kick and snare will always make them cut through" No, not necessarily. Compression brings the quieter elements of the sound up in perceived loudness, but the overall transient is lowered. This make for a more homogenous sound. You're basically reducing the dynamic range of the sound and you make it "tighter". By doing so, that sound, if placed in the right spot on the frequency spectrum, will appear to cut through more, because it is less dispersed across the spectrum. But you don't have to do it as a rule. My dad have over 40 years of experience in studios starting with one of the first 24 channel board ever made, and he never used a compressor on drums (or anything else, for that matters). But then again he is an expert field recordist as well, not much a producer/engineer.
If you want a tip to make anything cut through : EQ it in reverse. If you want the bass to cut through, don't EQ the lower frequency of this instrument which is already on the lower spectrum. That's like adding black to a dark red in order to make more bright on a painting. It doesn't work -it works to intensify the feeling, but it won't make it cut-through. This is true especially for bass frequencies which are naturally perceived as lower in volume than higher ones. Some hip-hop engineers will go as far as to boost the 6k range on 808 kicks, pretty crazy, but it works!
"Rolling of the low-end on everything else but bass and kick at 100 Hz"
Hold on right here : 100Hz is a pretty damn steep lowcut filter. A very low male voice fundamental is slightly below 100Hz, believe it or not! There are plenty of other instruments with a lot of content below that frequency as well.
In a live setting? If needed to keep the rumble down, I will cut to 120Hz, even at the PA.
Those sounds overall like general live mixing guidelines, and as such, I agree. In a studio setting, however, you have much more flexibility and the luxury to go record the sounds as purely as possible, or you can choose to mess around as much as you want. There are no creative limits so I encourage you to not think of the tips you mentioned as hard rules, because they're simply not.
The only advice I know works every time is the one my dad gave me :
"When in doubt, close your eyes... and LISTEN."
Perception bias is a b*tch, especially for audio!