Article about Latino Morrissey fans in the context of an annual Smiths convention in Los Angeles. Klosterman is one of very few authors who directly addresses the issue of race; he writes that the "predictably pasty" Smiths fans of the past were replaced with Latino fans who treated it as a contemporary event, instead of a nostalgic festival of rememberance. He also addresses the issue of Morrissey's sexuality: Klosterman suggests that a religious, machismo culture chooses to ignore Morrissey's presumed homosexuality. The reaction of two Anglo fans at the convention is also mentioned, who accuse Morrissey's new fans of being "too enthusiastic" and express contempt for the Latino fans, a sentiment that is not expressed in any other articles.

 (The book linked is the only source in print or internet the article is currently available)

Profile of the Sweet and Tender Hooligans, preeminent Smiths cover band among the Latino fan community. Unlike most cover bands who simply try to emulate the artists, Jose Maldonado, the singer, attempts to BECOME Morrissey, and is revered among fans. During their concerts, fans often burst into tears and run across the stage in an attempt to touch Maldonado, the same way they treat Morrissey, who rarely tours. Maldonado believes that their popularity is a combination of the band's role as huge Morrissey fans coupled with their selfless devotion to pleasing the audience at the expense of creativity.

Article from a Southern California alternative weekly newspaper discussing the local popularity of Morrissey amongst young Latinos. The perspective is that of a Latino journalist, whose friends and relatives are Morrissey fanatics, attempting to understand and appreciate the artist. Arellano suggests that Morrissey is the linkage between traditional Mexican ranchero music and the 1980s pop that his new fans heard on the radio while growing up. He is critical of the way the media has portrayed Latino fans as a sensation or novelty, often using stereotypical language, such as describing fans at a concert as "East L.A. homeboys." The author suggests that this is a misdirection of rock critics' disapproval of Morrissey as a wash-out who has continued far past his prime.

Portrait of Morrissey as the "outsiders' outsider": one whose "obsession with the margins of culture and society...fuels this uncommonly extreme devotion of his fans." Veltman also details many of the allegations of racism that plauged Morrissey in England and eventually drew him to move to the U.S. Unlike many other articles, this one comes to terms with the fact that Morrissey might really be a has-been, regardless of his adoring fans; the Smiths have been much more influential, and contemporary Morrissey is just reprising the past. Veltman ends with the idea that Morrissey's image as a pop-culture-hating outsider might just be that: an image ironically cultured by the media he claimes to despise.

Link to streaming MP3 of a Latino-focused NPR program exploring Morrissey's appeal in Southern California & interviews with documentarian William E. Jones and Morrissey impersonator Jose Maldonado. The common themes of immigration, religion, and class struggle are offered as unifying Morrissey with Latinos, along with the idea of Morrissey as an outsider that has always framed his popularity. Morrissey's response to the fanbase are mentioned, such as in songs such as "The First of the Gang to Die" about a LA gang member, and "Mexico", which compares life on opposite sides of the border.

Profile of William E. Jones, the filmmaker behind the documentary "Is it Really So Strange?" which discusses the phenomenon of Latino Morrissey fans. Aitch cites Morrissey's move from England to LA as the takeoff of the fan base. Jones discusses the difficulties he had creating trust among the community while documenting them, and the dichotomy of Morrissey the Man versus Morrissey the Icon.

Brief profile of William Jones, director of the documentary "Is it Really So Strange?" from the alternative LA Weekly. Jones' project began as photography of cover bands and conventions. He also mentions the obsessive nature of Morrissey tattoos: they exist in all forms from his signature to album covers and are the subject of contests and much discussion.

From Blacktable online magazine; a devoted Morrissey fan attempts to explain the rationale that has kept Morrissey idolized worldwide twenty years past what should have been his "peak". Elders argues that the mystery shrouding Morrissey's personal life is what has allowed him to remain a respectable artist over time. Regarding his Latino fans: "But sublimated people, or minorities, or marginalized races don't identify with Morrissey because he's different...Morrissey is himself, uncompromisingly so."

Article for the Canadian Broadcasting Corp. by a journalist from the UK's "The Guardian". Taylor covers a conference held in Manchester, English titled "Why Pamper Life's Complexities?": named after a Smiths song, and the first academic conference held in the band's honor. Using quotes, papers, and interviews at the conference, Taylor explores how the Smiths and Morrissey appeal to even distinguished academics, many of whom presented papers with the qualification that they were themselves mega-fans of the group. The author presents several reasons for the continuing appeal, such as Morrissey's mysteriously ambiguous sexuality, and his passionate lyrics - he was described by one conference-goer as everyone's "invisible friend."