Can girl groups survive today?

Ever since the estrogen juggernaut known as the Supremes have record execs and managers tried to create that most elusive of musical brands: The successful women's group.
Sure, we've seen megawatt-acts -- TLC, Destiny's Child, Spice Girls -- but we've also seen some trainwrecks -- Envogue, Blaque, anyone? -- and even more prevalently, some trains that have never left the station -- Cheetah Girls, Brownstone, Total, Jade, SWV, etc.
Don't get me wrong: There have been many men's groups -- Dru Hill, B2K anyone? -- that have fallen hard in olden days and recent times, fueled by their unquenchable thirst for drugs, sex, and nowadays, even more drugs.
But it's the girl groups that have showed the most promise.
TLC was the No. 1 selling female group when Lisa "Left Eye" Lopes was killed. Spice Girls were rewriting the musical history books in the UK when they disbanded; Destiny's Child was also the No. 1 selling female group when they disbanded.
Lighting in a bottle?
These women had cases of it.
but what's so hard about creating a group of superhuman female songstresses, you say?
Well, evidently, egos rarely stay in check. The Supremes were derailed by the percieved lioness persona of Mary Wilson (or was it Diana Ross?). Squabbles in groups since then have led record execs to "craft" groups now, rather than have them come to record offices already assembled and humming in unison.

The results, have been disastrous. Danity Kane, formed before our eyes on reality TV, was force-fit together by Diddy and his cronies in an unnatural act that even major love from the fans couldn't stop (The same happened to Diddy's Day 26).
Is it time to stop trying to grow supergroups and let them happen?

The Return of the Funky Divas

One reunion after another it's become apparent, Envogue, the New Jack Swing's answer to the Supremes, are poised to make a comeback.
The quartet has been hopping around the country (most recently the Essence Fest in Nola; and the Plymouth Jazz Festival in Tobago)doing gigs with hopes of a recording in the works. But will the record-buying public respond?

Cindy Herron, Maxine Jones, Dawn Robinson and Terry Ellis were manufactured by producer team Foster and McElroy in 1989 in Oakland, California.
There album "Born to Sing," yielded the immediate hit, "Hold On," which made the girls a household name in black families.
In 1997, Dawn, the most outspoken and vocally restrained member of the group, bolted for greener pastures. She resurfaced as part of the trio Lucy Pearl, who had more potential than actual staying power.
Off and again and on again, and shuffling members the whole time the group has reassembled its original lineup (they performed at the Trumpet Awards earlier this year) and are singing everywhere they can.
The public has been known to be downright fickle about reunions, turning out to buy albums but long since deserting the album-supporting tours and appearances that come with it.
Why will this be any different?