I would say that "Jumping" works the same way freestyle tends to work, which is unpredictably and with a kind of contrapuntal emotional action. The backing makes me move, focus, while the emotions creep in unexpectedly. And, like freestyle, I've never gotten used to how that emotion (or when that emotion) creeps in. There's some relationship to a context of abundance, I suppose, but actually it's more like a context of ambush -- the way it compels movement preps me not for emotional impact, but emotional hijacking. I remember a description that Michael Freedberg (linked here: http://koganbot.livejournal.com/109530.html) made about house music's relationship to 50's rock n roll. My sense is that the experiential impact of house music is often lost on me, maybe because of its relative sophistication in terms of my own musical references. It's too easy to tune out. Freestyle and K-pop both take the best of the house groove, which may be in part the way the music is made and in part the fact that I don't understand the lyrics much of the time (I sang along to "Jumping" as "Chompin' chompy chompin' yeah," an earnest take on Ke$ha's "Cannibal" -- I only chomp YOU!). But it layers that extra thing, usually through the performance, that pierces the more experiential pleasure, turns it into something else. I think this is what I refer to when I talk about the "intellectual--visceral" axis -- and what I'm saying is that the "emotional" emerges as a kind of reverberation from that axis, like when the Magic Eye picture finally starts to pop out (except that, crucially, and unlike a Magic Eye, what pops out is not the focus, it just recontextualizes the prettiness that was there in the first place).