De La Soul appeared on the scene in 1989 as the polar opposite of Public Enemy and N.W.A., proclaiming a "Daisy Age" and sampling Schoolhouse Rock, Johnny Cash, and learn-French-yourself records. The music steered by producer Prince Paul of Stetsasonic, was rooted on black pop at its most cheery and integrationist: doo-wop, '60s soul, and, most presciently, P-Funk. Fans who'd grown tired of the stereotypical crotch-grabbing, trash-talking rapper flocked to the band, though the cut "De La Orgee" is as misogynistic as anything on a Dr. Dre album and "Potholes in My Lawn" aims at sucker MCs. In fact, De La Soul's private metaphor jive and boho musicality represented a challenge to rap from within; the group remained every bit as obsessed with identity ("Me, Myself, And I") and cool ("Plug Tunin'") as anyone else in the genre. Perhaps the true difference marking 3 Feet High and Rising as the definitive arrival of "alternative hip-hop--though, race excepted, the Beastie Boys achieved the same thing first-- is its (middle class?) tone of prosperity and entitlement. Most hip-hop sounds pulled from adversity; De La Soul languidly gorges on the fruit of the vine.