by jazz composer Ryoichi Hattori. She was called "Queen of Blues", though term "blues" was just a song title. 1937–1945: Influences of war In 1936, NHK started radio program to compete with ryūkōka, which was under the influence of "Ero Guro Nansensu", but it soon began to air war songs around July 1937. The program was renamed to in 1941 and then in 1942. The songs during the war were called . During the war, many musicians were forced to write war songs. Yuji Koseki composed many war songs and was later criticised as a war collaborator, though he seemed to be touched with remorse. Koseki composed released in 1937. Although the song was a B-side song, it sold 600,000 copies. The 1937 song sold 1,000,000 copies. However, Japanese jazz musicians such as Ryoichi Hattori seemed to be vigorless to compose war songs. His son Katsuhisa Hattori claimed that he was not an antinationalist and he technically were hardly not able to compose war songs even if they wanted to make those because Japanese war songs were musically enka. On the other hand, former enka-shi Haruo Oka's debut song was released in 1939. Yoshio Tabata also mede his debut with song in 1939. Rōkyoku (naniwa-bushi) was used for enhancing the national prestige. Although many war songs were made after the beginning of the Pacific War, , sung by Noboru Kirishima and Akiko Futaba, became popular as a lyrical song. When the war was nearing an end, the theme included frightful spectacles such as the Battle of Attu, Guadalcanal Campaign and Marshall Islands Campaign. Oka went to Ambon Island, but fell ill and soon returned to Japan. Bin Uehara, who used kobushi of naniwa-bushi for singing, was killed in the New Guinea campaign and Fujiyama was taken prisoner in Indonesia. After the war, the songs during the war have been regarded as a taboo even in Japan despite those historical importance. One of war songs, , composed by Isao Hayashi, went on to become a theme of Japanese right-wing groups called uyoku dantai. Li Xianglan's "Suzhou Nocturne", composed by Hattori, has remained controversial in China, though it was a non-propaganda song. After the war, Taro Shoji, who heard the Gyokuon-hōsō in Nagano Prefecture, was once banned from singing many of his songs because those were regarded as nationalistic. Rōkyoku faded into the wallpaper with the spread of television in the postwar