It's true that there is an entrenched culture of sampling in music, typically without explicit attribution. Even if the artist in question pays for the right to use a particular sample, credit is rarely given in an obvious fashion, if at all. When I was a younger lad, I remember the disappointment I felt when I learned that the sick-ass grooves I was listening to on the radio were mostly lifted wholesale from soul records, Ice Cube, Puffy (well, I guess I never really liked his music, but he was one of the worst offenders), etc. It wasn't that I was mad they had sampled it, I just felt like a tool having assumed they had come up with the groove themselves, and found myself far less impressed by the music, which was usually my favorite part of a lot of the classic '90s hip hop.
Sure, sampling in music has been going on a long time, and yeah yeah kids these days and their mashups, yadda yadda. I even do a fair amount of it myself, as an electronic musician, and I try to get creative with the ways that I use my sample material. But I think that this sort of corner of sampling, where you just take a loop from an Al Green track and play it over a breakbeat and you're done, is as close to plagiarism as it gets, ignoring the fact that most of these producers probably got legal permission one way or another. If this author wants to pull the whole "we live in a digital culture now" thing, that's fine, but there's no reason why she couldn't have listed the sources she plundered in an appendix, and made public the fact that she was trying something innovative by applying the wisdom of the new generation, or whatever. I'd even hail her initiative. As it stands, it seems pretty clear that she just wanted to pass other people's words off as her own, got caught, and made up a bullshit excuse.