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.