A while ago I said that I would do a full writeup on exactly why this is bad writing.
The first reason is that it takes two pages to convey one paragraph worth of meaningful information:
"I have a poodle named Toto. I am a teenage girl living on the Upper East Side in New York. I am a 'supa divette-in-training'. I painted my nails to make a good first impression for my first day of high school at Fashion Industries High. I met my friend Chanel, who is also going to the same school as me."
The rest is all filler. This is bad writing for the same reason that bread made with 25% flour and 75% sawdust is bad bread.
This is not to say that all prose should be written in maximally-efficient point form. However, if you're going to write flowery prose, then you should be clear about what you mean and you should be going somewhere with it.
This brings me to my second reason, which is that the writing is unclear.
Everyone is referred to by multiple names. 'Galleria' is also 'girlina', 'Chanel' is also 'Chuchie', 'my mom' is also 'Momsy-poo', Toto the poodle is also 'big brother.' You should never refer to the same character by multiple names unless you have a good reason. It's an expensive decision. You're demanding that the reader parse and remember an extra name. Does the story absolutely require the additional name? Does the plot hinge on it? If not, pick a single name for the character and stick with it for the entire book. The audience is not going to get bored of the character's name.
It's not just characters, either. Every action is talked around instead of being described clearly. Toto isn't biting her feet, he's 'trying to sneak a chomp-a-roni'. Chanel isn't a sneaky person, she's 'sneaky-deaky through-and-through.' Random words and phrases are given pointless flourishes: Awright, hostess with the mostest. Again, it's demanding more brain power from the reader to parse what's being said, and it's offering nothing in return.
And that brings me to my third reason, which is that if you are going to do something like this you should be offering something in return for the audience's extra investment of brain power. In other words, you should be going somewhere with it.
If you use two names to refer to the same character then you should have a compelling reason for it.
Superman and Clark Kent are the same person, but referred to by two different names. What does the audience get out of this decision? Well, Lois Lane can refer to Superman and Clark Kent in the same sentence without realizing that they're the same person.
You could also do this without giving Clark Kent a second name. Lois could say, "Clark, where were you? I was rescued by the flying man in blue spandex again. I can't believe you missed it." The difference in having a second name is that you can shorten it to, "Clark, where were you? Superman rescued me again. I can't believe you missed it."
In other words, by adding a second name you're demanding the audience use extra brain power to remember that Clark Kent and Superman are the same person. However, since Superman is talked about often, you're lessening the burden of understanding who is being talked about when Lois refers to the flying man in blue spandex. You're spending brain power in one area to save brain power in another. It's worth the cost. If Lois Lane only mentioned Superman once and then never again, it would not be worth the cost.
Likewise, if you have a character talk in flowery language, it should be worth the cost.
Snow Crash starts with a long rambling description of someone called 'the Deliverator'. How he wears a suit of hi-tech armor that's as black as activated charcoal, how he drives a car so powerful that its battery could launch a pound of bacon into the asteroid belt, how he once pulled his gun on someone who wanted a delivery but didn't want to pay. After about two pages, comparable to this section of the Cheetah Girls book, it's revealed that the Deliverator is delivering pizzas.
So, what's the difference? Both the Cheetah Girls and Snow Crash are using opaque language to talk around what they're saying instead of being clear. But Snow Crash is good, and this is not. Why?
Point A, Snow Crash is going somewhere with it. Namely, it's leading up to a punchline. Humour is subjective, but there's still a structure here. It's deliberately unclear at first, but then after the punchline it becomes clear that the Deliverator is delivering pizzas. The punchline takes the unclear lead-up and recontextualizes everything up to that point into a joke. If you re-read it after reading the punchline, it makes perfect sense. Cheetah Girls just keeps muddling forward. It never becomes clear. There is no punchline, and if you re-read it a second time it's just as hard to parse as it was the first time.
Point B, Snow Crash is going somewhere with it. Didn't I just say that, you ask? It's going two places at once. Multitasking is the mother of great art. You ask for one up-front investment of brain power from the audience, and then you give them a punchline in return. Then, just when they think they've cashed out, you give them a bonus prize. The bonus here is worldbuilding. Snow Crash is set in a wacky near-future anarcho-capitalist hellscape where pizzas are delivered by Deliverators in superpowered cars and hi-tech armor. The book is spent exploring the world, and so this worldbuilding has value in and of itself.
Worldbuilding exposition is tough because it's a long-term investment. The audience has to sink in brain power, but it might be a while before they reap a reward. By combining a joke with worldbuilding, Snow Crash is able to simultaneously entertain the reader and build its world in preparation for the main plot.
So, while both Snow Crash and Cheetah Girls use ten words to describe events that could easily be described with two, one is good and the other is bad. That's because Snow Crash is using the other eight words to tell a funny joke and build an interesting world, while Cheetah Girls is using the other eight words to fill space on the page because it doesn't have anything interesting to say.
As for concrete writing advice, here's a rule of thumb: If you have something to say, say it clearly. If you have something to say that can only be expressed unclearly, like the lead-up to a joke where the punchline reveals an ironic reversal, that's OK, provided that you absolutely had no choice but to be unclear in order to convey what you wanted to convey. If you have nothing to say and you're using unclear language to cover up the fact that you have nothing to say, then you should stop, think of something interesting to write about, and write about that instead. Fanciful prose is not a substitute for good ideas.