Catwalk: Deborah Gregory
the tween author on the facts of life. me-ow.
2008-07-07
By Gil Robertson IV
In 1999 Jump At The Sun released author Deborah Gregory’s Cheetah Girls, the phenomenally successful 16- book series that followed the lives of 5 young women whose musical talents allowed them to transcend their under-privileged backgrounds. Gregory’s own story involved moving beyond a painful past of growing up in the New York City foster care system, where she rebounded and went on to achieve success as a writer, entrepreneur and novelist. Inspiring others to reach for their best is a passion for Gregory, who just released her second YA series, Catwalk. Gregory recently sat down to discuss the characters she creates, the real-world issues facing young women and what has gone into giving her the ability to enjoy the fruits of her labor.
Your books deal with a lot of topical themes and issues related to young women, how is [your newest series] Catwalk different?
DG: In Cheetah Girls I used music as a catalyst for the girls to transform their background and rise for the prize. In [my newest series] Catwalk, I use fashion. As always, I deal with racial identity, sexual identity, and struggling to transcend a difficult background. My motivation is about manifesting dreams. There is always that yearning. I come from a difficult place and the only way for me to transcend that place was through sheer talent and drive.
Why is your latest book set in the world of high fashion?
DG: Catwalk is set in the world of fashion because that is my original background. If you look at Cheetah Girls closely, you will notice that it is highly stylized. The plus size diva who owns a plus size clothing store in Soho and designs her own private label? That was me and that was exactly the way I was able to become a writer. The fashion editor of Essence magazine and her staff would come into my fabbie boutique in Soho and borrow clothes for editorial shoots. I started badgering her to let me write. And that's exactly how I began my career--as a freelance fashion and beauty writer. Like music, fashion is an incredible way for someone with talent to see the world and work it for points on the Dow Jones.
You were once a fashion model and are well-known for your great sense of style. What are your thoughts about the absence of models of color today in that industry?
DG: I was born tall and skinny and exotic looking but I didn't have any guidance to stick with my modeling career. It was too difficult to take all that abuse about race. I mean literally you would walk into a go-see in Paris and be told right to your face: ``We're not seeing any more Black girls today.'' But for one year, I did walk the catwalk and get some advertising and catalogue and editorial jobs. My best friend is Beverly Johnson--and I can tell you she is to this day one of the very few Black models who has gained international recognition. It is still not easy for a black model to have a viable career. What I find the most strikingly disturbing and it's discussed in the book is how few black designers have a viable global presence in the fashion business. Frankly in the 70’s there were more prominent authentic black designers than there are today: Stephen Burrows, Scott Barrie and Willi Smith --they were making noise. Today, we have Tracy Reese. Why aren't there any black designers who are the equivalent of Calvin Klein Giorgio Armani, Prada? It's a mystery to me.
Your Cheetah Girls series mushroomed into a phenomenally successfully literary and pop culture franchise, especially among young women. From your work with this audience, how do you think young women today view themselves?
DG. The thing about today's generation of black girls is they have more options. They clearly see that it is up to them to manifest their dreams. This whole thing of Prince Charming is secondary. They sort of know he's not coming to sweep them off their feet and pay their bills--and that they are definitely going to encounter a lot of frogs!
What issues are most pressing for them?
DG. There are so many! The most prominent is that one out of four black women under 30 will be raped or sexually violated. These are hard, cold facts. I am the one out of four. There is still a prevalent attitude among boys and men to disrespect girls and women. The way they think they can talk to girls on the street--and do so, without consequence. It's just a fact of life. And you must learn how to protect yourself on every level. The sexual pressure is ridiculous.
Do you think there is a general disrespect of women in pop culture?
DG: There is an enormous disrespect of women in pop culture. The truth is, most boys and men still think it's okay to try to manipulate a girl into having sex with them. The truth is, most girls and women do not find this satisfying. If I had a son I would teach him to be honest. If you only want to have sex with a woman and want nothing more from her, do NOT pretend otherwise and do not think you're doing that for free--pay her! Buy her a present, take her out. I'm not kidding. There are no freebies in this world. And I'm sick of men always scamming for freebies. Here is the truth: women do not like casual sex. They do not find this satisfying. They succumb to it because of the societal pressure and low self esteem.
Even with your success in the business, you have been very vocal about unfair business practices that writers often encounter in the industry. Can you elaborate?
DG: Writers create the intellectual property from which all the work springs, but very often do not receive the compensation that talent warrants. The imbalance is strange. It speaks to a set of values and sends a clear message that writers are largely undervalued. For instance, Winston Groom who created one of the greatest pieces of literature in pop culture--Forrest Gump--was only paid $350,000 (before taxes, agent and attorney I might add) for the dramatic rights to his masterpiece and did not receive any back-end compensation. [Editors: Forest Gump went on to gross $679 million worldwide.]
Writers should be very careful to make sure that the compensatory items on their contracts are very clearly defined. It's just not right. Writers must learn everything they can to protect themselves and their intellectual property or they will end up with very little financial compensation and at the end of the day that's all my landlord cares about--me paying the rent on time. He's not at all impressed by the fact that I'm the creator, author of The Cheetah Girls. Despite our contributions, at the end of the day, this is business--and it's all about money--thanks to the insane economic pressure that we're all dealing with on a daily basis. People are really being squeezed.
Gil Robertson IV is an A&E journalist and bestselling author. His work covering the entertainment industry has appeared in numerous publications that include the LA Times, the Atlanta Journal Constitution and Black Enterprise magazine.
