Jane" to a Tudor love song with lyrics apparently inspired by Henry VIII's love letters to Lady Jane Seymour. Some listeners assumed the song was about Jagger's high-society friend Jane Ormsby-Gore, daughter of David Ormsby-Gore, 5th Baron Harlech. In what the music journalist Chris Salewicz terms a "disingenuous" claim, Jagger told Shrimpton that "Lady Jane" was written for her. Overall, the darker themes lead Margotin and Guesdon to call Aftermath "a sombre album in which desolation, paranoia, despair and frustration are echoed as track succeeds track". According to Steven Hyden, Jagger's songwriting explores "sex as pleasure, sex as power, love disguised as hate and hate disguised as love". Moon believes the time period's flower power ideology is recast in a dark light on "these tough, lean, desperately lonely songs", while Norman calls them "songs of callow male triumph" in which Jagger alternately displays childlike charm and misogynistic scorn. While songs such as "Stupid Girl" and "Under My Thumb" may be misogynistic, they are also interpreted as dark representations of the narrator's hateful masculinity. Misogyny, as on "Under My Thumb", "may be just a tool for restoring the fragile narcissism and arrogance of the male narrator", muses the music scholar Norma Coates. Referring to the American version of the LP, Perone identifies numerous musical and lyrical features that lend Aftermath a conceptual unity which, although not sufficient for it to be considered a concept album, allows for the record to be understood "as a psychodrama around the theme of love, desire and obsession that never quite turns out right". It may also be read "as part of a dark male fantasy world, perhaps constructed as a means of dealing with loneliness caused by a broken relationship or a series of broken relationships with women." As Perone explains: The individual songs seem to ping-pong back and forth between themes of love/desire for women and the desire to control women and out-and-out misogyny. However, the band uses musical connections between songs as well as the subtheme of travel, the use of feline metaphors for women and other lyrical connections to suggest that the characters whom lead singer Mick Jagger portrays throughout the album are really one and perhaps stem from the deep recesses of his psyche. According to the music historian Simon Philo, like all the Stones' 1966 releases, Aftermath also reflects the band's "engagement" with Swinging London, a scene in which their