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)

Argues that since its inception, popular music has been a product of mass media and consumption. The audience of rock music is influenced by the media and their own experiences, particularly the distinction between "street" and "suburban" cultures. Relevant to my paper, many Latino Morrissey fans, especially in the LA area, seem to relate to both identities. He cites class and ideologies, as well as ethnicity, as critical for understanding the contexts of rock music.

Journal article using the Smiths as a case study of a "star" who exists as a contradiction between image and reality, especially focusing on the "Englishness" exuded in both their existence and their music. Stringer argues that Morrissey's lyrical and public attention has always been a "white England," about which he often sang in protest, which is especially interestign in the context of Latino American fans. He concludes that it is unclear whether fans of The Smiths listen because they appreciate the foundations of the band's image, or their "working over" of often-repressed social and political boundaries.
(Link is to PennText - article available through JSTOR.)

In this book about nationalism and expression of English ideals through song, the first chapter is about the working-class mentality that has pervaded British pop culture in the post-war period, using the lyrics of The Smiths and Morrissey as a case study. While this is described as a particularly British image, it is also part of an immigrant ideal: to be recognized for hard work and rewarded. However, Zuberi rejects the idea that Morrissey was speaking to people of all races and declares that he was glorifying only the white working class, which is curious in comparison to how Latinos have accepted his music as working-class anthems.