But as is far too often the case for women musicians, increased visibility also brought its share of trouble. The band’s social-media profiles soon became inundated with sexist comments about Mayberry, ranging from the annoying but benign (marriage proposals) to the frighteningly violent (graphic rape threats). There’s an assumption that to be a woman on the internet is to have to accept this constant hum of misogyny and not confront it outright — but one night in her hotel room, shortly after the record came out, nerves shot from touring fatigue, Mayberry snapped. She took a screenshot of an offending Facebook message (“Could you pass this correspondence on to the cute singer, I think we’d make superior love together”) and captioned it, “Please stop sending us emails like this.” A few days later, Mayberry penned a widely shared op-ed for the Guardian’s music blog about online harassment. “Is the casual objectification of women so commonplace that we should all just suck it up, roll over and accept defeat?” she wrote. “I hope not. Objectification, whatever its form, is not something anyone should have to ‘just deal with.’ ”