But recent news raises the specter that PWR BTTM might accord with their influences in more troubling ways, too. One of PWR BTTM’s two glitter-spackled singers, Hopkins, has been accused of sexual assault by a number of internet users—and the fallout, so far, suggests a depressingly familiar story.

The day before Pageant’s release, conversation in private web groups spilled onto public social media with vague stories that, per one of the allegers, Hopkins initiated “inappropriate sexual contact with several people despite explicit ‘nos’ and without warning or consent.” Hazel Cills at Jezebel has followed up with allegations from a pseudonymous woman saying that Hopkins had non-consensual sex with her. Hopkins has also been accused of the simple jerkishness of trash-talking other queer bands and using slurs. On Facebook, Hopkins and Bruce posted a statement saying the allegations were a shock, that they’re taking them seriously, and that they don’t represent “who Ben is.” They created an email address for people—including accusers—to write to, and said they were seeking a mediator to help them through the situation.

Of note is that third parties—an act set to open on their tour and a touring band member—have indicated that these allegations were in fact not a shock to PWR BTTM and had been levied previously in private. Furthermore, the band’s decision to respond by asking accusers to come forward has been heavily criticized for seeming to shift the onus of responsibility onto possible victims. Though the allegations are unproven, the backlash has thus far been decisive: Some stores have said they won’t sell the band’s records, shows have been cancelled, and the aforementioned touring-band member has quit as well as two of the band’s upcoming support acts. PWR BTTM’s label, Polyvinyl, hasn’t yet commented.

The situation is particularly charged given what the band has stood for. If identity politics were part of PWR BTTM’s art, they were also part of their marketing: One video of theirs even came emblazoned with the tag “rated Q for Queer.” This defiance of traditional gender—as well as the band’s association with DIY rock scenes—was wrapped up in a progressive stance on sexual consent. Hopkins, who identifies as queer and prefers to be referred to with gender-neutral plural pronouns, often took time out during concerts to talk about creating a safe space against predation. Scroll through Twitter and Tumblr chatter about the band and you’ll see queer fans heartbroken given that the band had helped them embrace their own identities. The word “betrayal” has come up a lot.

But while alleged exploitation by a loudly queer and socially conscientious group may be shocking, it’s less so in the larger context of rock and roll. Though anyone can violate consent, the accusations against Hopkins accord with a long history of impropriety in the music world. It’s a history pop punk and emo were never exempt from, and one that’s been closely tied to gender: The genres’ most successful guys have often had fun defying the macho with homoeroticism, makeup, and skinny jeans—but also written blatantly misogynistic songs and, in some cases, faced allegations of predatory behavior. Following scandal surrounding a member of the band Front Porch Step in 2015, Hayley Williams of Paramore tweeted, “No more excuses for boys just ‘being boys’.”