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Compare the percussion on “Dirt,” for example, to the bucket-banging on “Cop That Shit” (later duplicated by colleague Justin Timberlake on Beyoncé’s “Yoncé/Partition”); the cheerleader whistle samples and hand-claps on Missy Elliott’s “Pass That Dutch”; and the iconic pep rally horns on Lil’ Kim’s “The Jump Off”.

I had flutes whistling a melody and I was ratcheting that against a bounce bass line.Now, despite owning up to the sample, Tim never mentions the court case in the book. Take Aaliyah’s “More Than a Woman,” built off of Mayada El Hennawy’s “Alouli Ansa.” Or the orchestral Warda sample which serves as the foundation to another Aaliyah classic, “Don’t Know What to Tell Ya.” Or the strings in Petey Pablo’s “Raise Up”, taken from Hossam Ramzy’s rendition of “Enta Omri”.(Fun fact: This song can be found on the same belly-dancing compilation as a recording of “Khosara.”) Or, fresh off one of Tim’s rock shows in Japan, the string and vocal sample driving Utada Hikaru’s “Exodus ’04,” originally from Eidha Al Menhali’s “Meshkeltek.”All in all, it was the Middle East which underpinned all of these songs, and the labor of Levantine and Arab musicians of years past which helped line Timbaland’s pockets.There was no argument to be made for this incident: the buzzy blips from Tempest’s track formed the entirety of the rhythm section, and more than 3 seconds of material had been used.Tim had little to say about it in interviews aside from notable nonchalance: sample from Omarion’s “Ice Box,” 2006 truly marked Tim’s transition in sampling ethics: no more Levantine, just video game machine.