Even long after the war had ended, a new generation was still reared within the social and moral infrastructure of those who had fought during that horrendous confrontation.
Yoko Ono was truly an innocent child during the time of atrocities committed by the Japanese military upon those they conquered. But she had the stigma of being Japanese. Her rise to prominence and influence of our post-war generation would not be readily received by all. Yoko a highly talented and creative artist would still be caught in that web of prejudice, despite regard for her inherent talents. As young Yoko was blossoming into maturity, John probably had in Yoko an unseen guardian, spreading the canopy of angelic wings over his own problematic childhood.
Yet, the same infrastructure that still maintained hostilities between east and west, refuelled through the Soviet and Chinese threats to democracy, was also experiencing its own steady decline. Seeds of discontent against wartime sentiments were already being widely sown in British society, and it was only a matter of time before the first shoots would appear and make their presence known.
No matter the degree of fame or visibility, each in his special way played a vibrant role in an emerging, dynamic sub-culture. In 1952, John would have just been an elder schoolboy in my eyes, and came from the other side of what was popularly called the Watford Gap, the south and north divide of England. Yet his destined path would resonate in my life, as well that of many others.