Oh my God……to the writer..are you under 30.WTF are you talking about? Manty of the producers and DJs you talk about are not even considered “House” in a pure sense but just generic dance music with house influences. I have been in the house scene since 85. House music started as a mostly Black with some Latin scene in Chicago with direct influences from NYC (Knuckles was and NYC DJ first, best mates with Larry Levan the disco king. If you go to Chicago now to the House scene you will not nor hardly ever heard “Daft Punk.” That was always considered commercial dance music though technically much of it was House or House influenced. Go to Traxsource, listen to the top 100 trax and not many are very “Daft Punkish”. Calvin Harris is more associated with commercial “House” and EDM. Have you heard of Atjazz/Kerri Chandler/Louie Vega/Chris Brann/Ralf Gum/Black Coffee/Monique Bingham/Larry Heard/The Layabouts/Dj Spen/Sandy Rivera/Terry Hunter/Tribe Records/King Street/Jimpster/The Lovebirds/Osunlade/Timmy regisford…..I can go on and on but all of these people both black and white play house music or produce house music based on the soulful legacy that was started in Chicago..with NYC influences. And guess what? There were Euro influences in that music as well from people like Giorgio Moroder and Kraftwerk and disco boogie that was produced by people like Arthur Baker who created more of Planet Rock than Bambaataa did. Guess what all of these people did? They used ideas from other peoples’ work!!!!! It has been happening since the first “House” record (arguably with another record or two) 1984s On and On by Jesse Saunders who used the bass line from Player One’s track Space Invaders!!!! Sampling and making a new amalgam of sounds for dance in House was there from the beginning. Even in electronic non house music like Kraftwerk in Arthur baker/Bambaataa’s Planet Rock!!! When it is obvious you have to pay if you use too much. If it is cleverly mashed and makes a “new” tune then what? Hip Hop has survived on sampling for years, from black producers taking Black AND white music. Sometimes the original is credited, but when it is distorted and changed and you have to dissect a record to try to identify because it is not obvious then you start to reach the grey area. I hate when a disco /house producer covers a tune or just puts a beat behind an older track without a Featuring credit, but in many of these cases royalties are paid as Ascap/Bmi has a team of researchers who listen to what you and I do to see who is stealing. BUT…is it Daft Punk’s job to make sure kids know that this was a famous dance tune before? No. If a Jody Watley record is re-hashed and made a hit by Beyonce is it her fault 15 year olds don’t know Jody??? NO! This article just stars a fire where there is no need.
And I don’t want to hear the SOS band at anymore BBQs and if a twist or re hash of their beat makes a new house tune that is cool, I am all for it. Weather it was made by a Black or White DJ/producer. And if you listen to producers like the Lovebirds who frequently puts out tunes based around black boogie music from the 80s with a modern flava youd be happy because not a lot of black DJ producers are updating that sound.
And one more thing…Shalamar was big at the time and Howard Hewett was not pushed to the front because he was light skinned. He was clearly the better singer. Jeffrey Daniel was a soul Train DANCER added for the stage appearances of the band as was Watley but she was also a good vocalist. She was promoted to her own career and was bigger solo than Hewett ever was. Daniel was a footnote even then so you playing the colorism as to why he was in the back showed the bullshit path that your mind was in to write this article. research properly next time.