to the development of Cambodian rock music. By 1959, American and British pop and early rock and roll records began to appear in Cambodia, inspiring teenage fans in particular. That year, teen brothers Mol Kagnol and Mol Kamach formed Baksey Cham Krong, widely considered to be Cambodia's first rock band. The band originally performed crooning vocal music inspired by Paul Anka and Pat Boone, then added inspiration from the guitar-driven music of The Ventures and Chuck Berry. They likened themselves to Cliff Richard and The Shadows, and modeled their stage presence after Richard's 1961 movie The Young Ones. Baksey Cham Krong exerted a wide influence on the Cambodian rock and pop scene, and their popularity inspired older singers like Sinn Sisamouth to add rock songs to their repertoires. Many later Cambodian rock musicians cited the band as a formative influence. By the mid-1960s, Sinn Sisamouth had become Cambodia's most well-known pop music performer, and his music increasingly incorporated rock influences, including psychedelic rock and garage rock. By this time, the Cambodian music scene was further influenced by Western rock and soul music via U.S. armed forces radio that had been broadcast to troops stationed nearby during the Vietnam War. Sisamouth fostered the careers of younger singers and musicians, writing songs for them while also utilizing them in many of his own songs. Pen Ran (also known as Pan Ron) was one of the earliest rock-oriented female singers in the Cambodian scene, first emerging in 1963 with traditional pop songs but moving into rock music by 1966 via duets with Sisamouth as well as her own songs. Pen Ran was particularly influential, known for her flirtatious dancing and risque lyrics that subverted traditional Khmer gender roles. Sisamouth was also instrumental in launching the career of Ros Serey Sothea, who had been singing at weddings and quickly became the leading female singer in the Cambodian rock scene after her emergence in 1967. Sothea received wide recognition for her high and clear singing voice, and her ability to convey emotions from mischief and flirtation to heartbreak and tragedy. Sothea was also one of many female singers in the rock scene to utilize the traditional "ghost voice" Cambodian singing technique, featuring a high register with quick jumps among octaves, creating an effect that has been compared to yodeling. This was another factor in the genre's unique sound. Sothea maintained an active career with her