80% of your business come from 20% of your clients. These anchor clients should be the major focus of your promotional and sales effort. If a moneymaking idea doesn't lend itself to a major client, then I caution you to pursue it. Making it up in volume in today's economic environment will often strain your resources. Also, have you thanked your best customers lately? Have you expressed your gratitude to the people who have helped you along the way? If not, today is a good time to let everyone know how much you appreciate their support. Be humble and be generous. Take the time to express how you feel and the reward will be greater than you imagine.

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Sometimes it seems like all the work needed in learning how to play riffs and licks focuses on the chording hand. The fact is, you need to be able to find the string you need with your right hand. (Left for you lefties). The left hand might have the lick all figured out, but if you hit the wrong string, you're never going to get the sound you want. Don't forget to experiment with different ways of picking as well, to find what works for you.

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Place your finger directly over the twelfth fret wire of any string on your guitar (a bass guitar is easy to start off with), but don’t press down as you normally would if you were fretting a note. As soon as you pluck the note with your picking hand, lift your finger off of the string. You should hear a bell like ring. 

An artificial harmonic is produced by lightly the string with the picking hand at the twelfth fret above the fretted note. You can plucked the string using your thumb or with a pick, depending on your preference.

When using harp harmonics to play chord, the plucking hand will outline that chord shape (C major for example) twelve frets higher while the fretting hand will provide the chord shape.

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If rap could be traced to one logical source point, this exceptional piece of vinyl would be it, without question. Though the strict adherence to syncopated rhythms and standard song structures are absent, all the elements that would later become the hallmarks of hip-hop by the early 1980s (and predictable fare by the 1990s) are here: vivid depictions of street level violence, vivid apocalyptic predictions of racial genocide. All that is missing are pointless party anthems. But running through all the songs on the Last Poets' debut is an urgent sense of the need for radical action in the nation as well as the black community. In addition to railing against the injustices perpetrated by white America, the Poets' comment on the economic and social devastation of drugs ("Jones Comin' Down," "Two Little Boys"), complacency in urban families ("Wake Up Niggers," "When the Revolution Comes"), the emotional release of sex ("Black Thighs"), and the weight of oppression that leads to hopelessness ("Surprises"). At the same time, they warn of the dangers of half-hearted commitment to revolutionary change: "don't talk about revolution until you are ready to eat rats." In the same manner that Marvin Gaye's landmark album What's Goin' On depicted the problems that doomed black culture, the Last Poets are now seen by many as prophets. But also like Gaye, the realization that the problems depicted on The Last Poets are now much worse marks the record as an unheeded warning, far more than just a piece of Black Power kitsch.