I get the impression that her parents listen to this crap all the time and that's exactly the motions they make while doing it. (Including the chili-eating.)
In the same way that Johann S Bach play the well-tempered clavier for Carl Philipp Emanuel Bach while serving a health meal of Braunkohl und Pinkel to the young lad, this child will train its ears in the subtlety beats of Burial and Dubplate Drama, eventually surpassing the new classics of Silkie and La Roux.
This, ladies and gentlemen, is the face of the future of music. Look now and muster whatever emotion your premodern husk can, for devolution starts today.
La Roux is so not dubstep, although one of her songs was famously remixed by a few dubstep artists. Burial is also kinda old news. He did make one of the first dubstep records of any mention (especially to the Pitchfork crowd) but he's been really quiet recently and his signature sound is nearly instantly formulaic, albeit impressive and layered.
Silkie is all right but I would personally say the future of dubstep is in the hands of people like Ramadanman, James Blake, Kingdom, Floating Points and the "purple" school of hip hop-influenced sounds lead by producers like Joker and Ginz.
We'd throw dubstep parties in East LA about five years ago and I'd be the only white person there. So what's the deal with that term? Do you have white guilt or are you just racist?