After reading the article I see what you meant. Strong beats are what Josh said. The strong beat is always the first beat of every measure. You can recognize it better with a drummer when he hits a crash at the beginning of a beat. That cymbal hit is a strong beat or the first beat.

Reading the article, the author said a strong beat is one and four. One yes, but four isn't a strong beat even if it is accented. Thus giving the name to a beat other than one that is accented. Accented beat. To give a feel to a song, you can count like Josh said. One is always accented. Then whatever numbers you accent after gives you a feel. This is where time signatures come from. 4/4 or common time is easy. Just count 1, 2, 3, 4, and repeat. Accent when you say one and slightly accent 3. You can even accent other numbers when counting and get a different feel. Try it counting 1, 2, 3, 4 but accent one and four. You get a different feel. This is what the author meant by playing the arpeggio tones on strong beats, which is a good idea but don‘t make a rule of it. Playing a note outside a arpeggio on a strong beat can add a little tension and sometimes that’s what your going for. Also syncopation is a common tool of composition, which would be playing a tone (whether of the chord or not) somewhere in the middle of a beat.

Going back to the article, accenting one and four isn't the only way to carry a blues feel. It's a good idea and a good suggestion but as you can see accenting different numbers when counting produces a different feel. If you always have the same feel, your music will always sound the same. So try different feels, even different signatures. Try 5/4 by counting 1, 2, 3, 4, 5, and repeat. Accent 1 and 4 or 1 and 3. Different feel eh?? Sounds incomplete huh? Like you want to go to 6, but you start over a beat beforehand. This is the feel of 5/4.