By Kevin Ferrisi –

Drag is a vibrant tapestry where gender expression unfolds boldly, merging inner identity with outward artistry. It transcends mere performance, becoming a profound statement of self-expression. Through lip-syncing, dance, singing, and every facet of music, drag artists craft personas that resonate with their innermost truths. Music, in particular, serves as both canvas and muse, allowing drag performers to embody diverse genres and styles that amplify their message. Whether belting out anthems of empowerment or choreographing routines that defy convention, drag intersects with music to create a symphony of liberation and celebration. It’s a dynamic fusion where beats pulse in harmony with personal narratives, illustrating that drag is not just an act, but a transformative journey where authenticity reigns supreme.

Ken and the Plastics embodies a captivating evolution within the realm of drag, transcending conventional boundaries while redefining societal norms of gender. His artistic expression challenges and reshapes perceptions, pushing the boundaries of what drag can encompass. By fluidly navigating between traditional and non-conforming presentations, Ken blurs the lines of gender, crafting a persona that is uniquely his own. In doing so, he showcases the essence of drag as a powerful tool for personal and social exploration, where identity is fluid and boundaries are meant to be pushed. Ken’s journey exemplifies how drag continues to evolve as a platform for empowerment and self-discovery, demonstrating that true liberation lies in embracing and celebrating one’s authentic self-expression.

As a kid, Ken always wanted to be in a band. Growing up, there was a garage band across the street from his condo, and during the summer, they would always play. He used to dance around outside, imagining he would be part of a band one day. Ken thought it would be funny to give himself a band name, and that’s how he came up with “Ken and the Plastics.” He decided that any musicians or dancers he worked with would be dubbed “the Plastics,” making it a working, floating concept. It amused him that despite the name, he was a single person. He liked the play on words, which also tied into his artistry, painting, and the “Ken and Barbie” theme. In high school, everyone called him a “Ken doll” because of his androgynous look. He would go to school with a full set of lashes and guy liner, blending masculinity and femininity in a way that left people unsure but adoring. The name carried a couple of double meanings, reflecting his unique identity and style.

He remembered when he started using that name vividly. It was around the same time his friends began calling him a “Ken doll.” The nickname resonated with him, and he started developing it into something more significant. It felt like an “abracadabra” moment as he wrote down different ideas, preparing for his first big performance at a local summer music festival in 2013. This was a step up from the performances he had done as a student at the Waterbury Arts Magnet School, where he had participated in open mic events, talent shows, and charity performances. He wanted his debut outside of school to be grand, so he donned rainbow leopard print pants and blue hair, channeling a Misfit from Jem and the Holograms. He had covered Lady Gaga’s ‘Brown Eyes’ on the piano during that performance.

He traces his musical roots back to a childhood steeped in melodies and theatricality, where music wasn’t just background noise but a vibrant tapestry woven into everyday life. Raised in a home filled with cinematic flair and a love for musicals inherited from his mother, he found solace in the private confines of his bedroom, where TV and VCR fueled his imagination. It was there, amidst movies and the allure of performers like Judy Garland and Loonette The Clown, that his desire to create and perform began to take shape.

Early influences such as The Wizard of Oz and Jennifer Lopez’s groundbreaking concert special in 2001 left an indelible mark on his artistic sensibilities. He absorbed the structured acts and elaborate costume changes, realizing early on that performance was his calling. Like many young artists, he mimicked dance moves and choreography, honing his ability to express himself through movement. Despite not receiving formal dance training until high school, a transformative field trip to see The Nutcracker ignited his passion for stagecraft and singing, reinforcing his dreams of creating magical worlds through music.

Music became more than an escape; it became his sanctuary amidst childhood challenges and personal turmoil. From teaching himself on a cheap Casio keyboard to finding inspiration in family piano sessions and iconic songs like Lady Gaga’s ‘Speechless’, he immersed himself in a world of sound. This journey of self-discovery and artistic evolution forms the backdrop of his musical odyssey, where each note and lyric tells a story of resilience, creativity, and the boundless power of music. Influenced by the equipment at his disposal, his music resonates with a nostalgic, mid-80s vibe enriched by the rhythmic complexities reminiscent of New Jack Swing pioneers like Prince and Janet Jackson. Embracing his love for Cyndi Lauper’s discography, he infuses his work with a kaleidoscope of colors and emotions.

Ken’s debut album, self-titled Ken and the Plastics, unfolds as a transformative odyssey through ten tracks that resonate with themes of self-discovery, emotional revelations, and personal growth. Each song is a testament to Ken’s journey, offering listeners a profound glimpse into his world of introspection and exploration. From the poignant melodies that unravel tales of heartache and resilience to the upbeat rhythms that celebrate triumph over adversity, every track on the album embodies a narrative that is both deeply personal and universally relatable. Ken’s vocals soar with authenticity and vulnerability, weaving together lyrics that paint a vivid portrait of his evolution as an artist and as an individual. With each song, he invites listeners to join him on a cathartic voyage of expression and empowerment, where music becomes a powerful conduit for healing, understanding, and embracing one’s true identity.

What inspired you to become a musician?

“I just always remember music being in my life. There was always music in the house. I watched movies with my mom, but I often found myself alone in my bedroom with the TV and VCR. My mom loved musicals, and I think she passed that on to me. I always wanted to be like Julie Andrews spinning on the hill.

Two things probably make up my genetic makeup as an artist. I fell in love with The Wizard of Oz and around the same time, I remember Jennifer Lopez’s first concert special in 2001. My mom taped it for us, and I watched it over and over again. That concert informed a lot of the way I write my shows. It was structured with acts and costume changes, and it made me feel like I needed to do that too. Like many gay kids, I mimicked the dance moves, and that’s where I learned how to move my body.

I didn’t take proper dance lessons until high school because of the arts magnet program. I remember a field trip in first grade to Taft in Watertown to see The Nutcracker ballet. It was then that I knew I wanted to be on stage singing, dancing, and being in a whole other world. Music helped me escape; I would put on my headphones, touch the car window, and make music videos in my mind, singing ‘Come Clean’ by Hilary Duff with imaginary rain coming down.

I was always in my imagination, and I’m not even sure when I came out of it. Mentally, I often felt absent, lost in my own world with my headphones, which became my safe space. There was a lot of turmoil and not-so-fun stuff in my childhood, so music became my way out. I couldn’t do anything else – I always just sang.”

Do you play an instrument?

“I taught myself how to play on a really cheap Casio keyboard. On my dad’s side, I’m the youngest of nine cousins. I have an older brother who is six years older than me. My grandma had an upright piano in her Woodbury condo, and she would teach everyone ‘Heart and Soul’. It became a bit of a joke in the family.

By the time I was old enough to participate, I didn’t really learn much there, but my dad enjoyed playing. He didn’t really know what he was doing either, but we got a Casio keyboard in the house, and I gravitated towards it. Speaking of Gaga, the first song I played that actually sounded good was ‘Speechless’. I taught myself that song, and it kind of took off from there. Along with ‘Speechless’, I also learned ‘Glitter in the Air’ by Pink.”

Did you write and produce the album yourself?

“I write everything myself. I had a little bit of help. Brie Diamond did one track, the opening track, and she was featured on it. Other than that, I did everything on the album myself, with a bit of studio help from Sinister Studios in Goshen. Josh, a friend of Taylor the producer, came in and played drums for ‘Orange’ and a couple of other tracks that I haven’t released yet. Besides those two songs, I did everything else myself.”

How would you describe your style of music on the album to somebody that has never heard it before?

“Very 80s-inspired, 80s pop-inspired. I’ve heard a couple different descriptions, like Cyndi Lauper and The Cure had a baby. That was my favorite example someone ever gave me – if Cyndi Lauper and The Cure had a baby. A mix with Depeche Mode, Eurythmics, and some B-52s. I thought, ‘Okay, I think he’s a little drunk, but sure.’

It’s very electronic, influenced by the equipment I have on hand. I’m really into leaning into what I have. Besides being obsessed, another inspiration for the song ‘Orange’ was my huge Cyndi Lauper phase. I obsessively listened to the She’s So Unusual album, A Night to Remember, and True Colors. I was living in Cyndi’s world for a long time, discovering and obsessing over her music. She’s one of the factors behind me dying my hair orange.

A lot of the records on that album have a mid-80s vibe, with plenty of overlap, especially with the New Jack Swing sound, like Prince and Janet Jackson, especially Nasty Boys.”

What can listeners expect while listening to your album?

“It’s many things, with lots of layers, but I like to think of it as a journey and a character study. That’s why I’m pulling my head off on the cover, with all the colors bursting out – it represents everything coming out of me, all the emotions and experiences, in a rainbow of expression. It was too much to keep bottled up.

Some of these songs have been with me since high school, either refined over time or kept as they were, waiting for the right moment. The album took a while to complete, starting as a COVID project. I thought, ‘Here’s my chance – I’m being paid to stay inside, nowhere else to go. Let’s make this happen.’ As I learned more about equipment and software, I kept revisiting and evolving the songs. My favorite, ‘PVC’, originally acoustic, transformed one day while playing around in Garageband. It took on a new life, evolving into something entirely different, and I loved that transformation.

Eventually, I want to do an all-acoustic album, embracing that stripped-back sound. I have two versions of every song I’ve done. Sometimes I start at the piano, finding inspiration and crafting something, or maybe I’m experimenting with sounds. The album cover reflects this duality – I wanted to convey a sense of being overwhelmed, stressed, anxious, and feeling tied up, like reaching a breaking point.

It’s also inspired by past sour relationships. There’s a nod to my Barbie doll aesthetic or influence, where I metaphorically pop off my head, revealing layers underneath.”

Was there anything on the album that you were nervous about people hearing?

“I think the ‘Therapy (Interlude)’ was a little tricky because it stemmed from my own journey of emotional discovery. It’s been a while since I’ve been to therapy, and I’ve been struggling to figure out how to approach getting back into it. In the meantime, my friends serve as my therapists, and I’m theirs. The idea for the interlude came from a conversation with a friend – it just felt like something that needed to exist.

It fits well with ‘In and Out’, the song that follows it, and with the overall theme of the album. I have these ideas about identity and self-worth, about wanting to be seen and valued. Despite having self-worth and sometimes faking it till I make it, ultimately, people still decide your value and worth to them. As a well-rounded person, you have to decide what to do with that information – how to respond when someone decides they no longer want to be involved with you.”

Is there a song on the album that is your absolute favorite?

“I love all the songs at different times. Right now, ‘Leather Jacket Boy’ is my favorite because it’s one of the funniest and most recent. Well, not the most recent, but it feels fresher, you know?

‘PVC’ is another favorite because it encapsulates a lot of my feelings from that relationship. It provided closure in a way that was open-ended before. Transforming it from a melancholy piano ballad with whiskey to something more robotic and metallic added a new dimension, leaving it open-ended like an object, like a doll.

Regarding ‘Therapy (Interlude)’, I intentionally censored myself. Every other song on the album is explicit, which is supposed to be its most vulnerable part, like listening to one of my therapy sessions on tape. I wanted that contrast of the censor beep to snap listeners out of the moment and remind them that this is still theater, still performance, and also a commentary on censorship.”

What is your creative process like?

“It’s so random because I always think I’ve figured out the process – like, this is it, this is how it’s going to happen – but it’s always different. Sometimes I’m at work and a funny line pops into my head; many of my songs start as jokes and then evolve. Other times, I’m on GarageBand experimenting, or at the piano listening to something that sparks an idea.

I have a playlist on my phone with songs that make me feel cool. I remember getting my hands on old-school Jojo’s ‘Get Out’ and her Good to Know album just before COVID hit in 2018. I was going to her tour, but COVID changed those plans. I put the album on during a long drive, and that first song, the way the bass fit, everything about it – I felt so cool in that moment.

I get inspired by drawings, doodles, pictures, or photographs. When I see something I like, I think about how I can bring it to life on stage. Each time, the process is different.”

Wrap-up

Throughout the process of releasing this album, Ken learned that he doesn’t procrastinate as much as he thought he did. It was a revelation for him. Once he released the album, he realized he could let go of something that had been so personal to him. It’s no longer just his; it belongs to the listeners and the world now. Despite the challenges of navigating algorithms and being seen, he’s grateful he finally reached a point where he could share this body of work. He almost convinced himself he wouldn’t, but here we are.

To his fans reading this article, he wants to leave a message: You’re not alone. We’re on this journey together. Your voice matters, and your experiences matter. Keep working on yourself – it does make a difference. Life can be tough, but it does get better. He thinks back to his 12-year-old self and marvels at how far he’s come. Every day, he strives to be a better person. Let’s continue to support each other, listen to music, and navigate our emotions in a safe and meaningful way.