# Meas Samon

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**Meas Samon** (Khmer: *មាស សាម៉ន*) was a [Cambodian](/source/Khmer_people) singer and comedian, active in that country's [psychedelic rock](/source/Cambodian_rock_(1960s-70)) scene of the late 1960s and early 1970s.

As a young adult, Samon was in an army band and became known for singing humorous songs.[1] According to [LinDa Saphan](/source/LinDa_Saphan), Samon and [Yol Aularong](/source/Yol_Aularong) "were the only singers and songwriters who were making social commentary through their songs."[2] Samon in particular "used humor to draw attention to social conventions around relationships."[2] Samon collaborated with several contemporary artists, such as [Pan Ron](/source/Pan_Ron), [Sinn Sisamouth](/source/Sinn_Sisamouth), [Huoy Meas](/source/Huoy_Meas), and several duets with [So Savoeun](/source/So_Savoeun).

According to the 2015 documentary *[Don't Think I've Forgotten](/source/Don't_Think_I've_Forgotten)*, he was caught playing music at a work camp during the [Khmer Rouge](/source/Khmer_Rouge) regime. He was told to stop, and when caught a second time, he was taken away and imprisoned or executed.[1] Decades later, he became better known to Western audiences after appearing on compilations of Cambodian psychedelic and garage rock music, such as the influential *[Cambodian Rocks](/source/Cambodian_Rocks)* (1996), *Cambodian Cassette Archives: Khmer Folk & Pop Music* (2004), and *Groove Club Vol. 2: Cambodia Rock Spectacular!* (2010).

## Filmography

Was uncredited as a performer in the film, [The Joy of Living](/source/The_Joy_of_Life_(film)). Was featured in the horror film, [Crocodile Man](/source/Crocodile_Man).

## References

1. Pirozzi, John (director, producer), Andrew Pope (producer) (2015). *[Don't Think I've Forgotten](/source/Don't_Think_I've_Forgotten)* (film) (in English, Khmer). Argot Pictures.

1. Saphan, LinDa (January 2015). ["From Modern Rock to Postmodern Hard Rock: Cambodian Alternative Music Voices"](https://www.researchgate.net/publication/281750961). *The Journal of Ethnic Studies*. Vol. 35, no. 1–2.

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