I can’t quite picture the average Morrissey fan based on the comments on this site—who are you people, really?

[Cornflakes]

he has said it many times,he doesnt have any interests apart from music and films.

And obituaries.

 

[goinghome]

he has said it many times,he doesnt have any interests apart from music and films.

What about bookiwooks? And h-animals? And Viv Nicholson?

 

[The Queen of Batons]

And eating out with Damon

 

[TheSmiths_1985]

he has said it many times,he doesnt have any interests apart from music and films.

That doesn’t mean it’s true.

 

[gordyboy9]

That doesn’t mean it’s true.

then that applies to every word said on here.

 

[No 27]

And eating out Damon

Well, we knew he must have some motive for lugging all those bags around.

 

[goinghome]

Another theory about fans posits them as attracted by Morrissey's enactment of martyrdom, in an essay called,
"Speedway for Beginners: Morrissey, Martyrdom and Ambiguity", by Eoin Devereux and Aileen Dillane, in the essay collection, Morrissey Fandom (2011)

“martyr” has two meanings, both of which are played on in this song [Speedway] and both of which find expression in the song structure itself. The concepts of martyr and of ambiguity are intrinsically linked. Morrissey as “martyr for the cause” is very evident in this song in terms of his demand for freedom of expression in one’s performance life, or indeed even in one’s sexual orientation (both of which are played out through the persona of Wilde). This martyr is charismatic, authoritative, a leader and one who inspires devotion with almost saintly devotion. To be a martyr, however, is also to be someone who plays for empathy, who seeks attention. Thus the martyr persona as performative category is equally ambiguous – a genuine hero-sufferer versus an indulgent seeker of sympathy. This doubleness...

...Conclusion: Morrissey does not just perform ‘Speedway’. ‘Speedway’ performs martyrdom, ambiguity and Morrissey himself, in all his multiple personae, as Wilde and as martyr/saint/priest. Songs are not merely reflective of society, telling a story of what has happened. To paraphrase Jacques Attali, songs and music may be predictive of society, engaged in a recursive process where they make and are made. ‘Speedway’ can only be interpreted in relation to its social and historical context, but it draws also upon a rich tapestry of allusions to other traditions, religious ideas and iconic figures (e.g. Wilde, Jesus). In this way, ‘Speedway’ invites multiple readings, of which this has been, we hope, a compelling one. As the final track on what many believed at the time to be Morrissey’s very last record, ‘Speedway’ served to perpetuate Morrissey’s construction of himself as a martyr. Tropes of martyrdom were in evidence from the early days of The Smiths and continue to be present in Morrissey’s more recent work. In presenting himself as a martyr, Morrissey manages to side with the oppressed whilst at the same time be narcissistic. Such explicit connections with the oppressed provides a very interesting set of contexts in which many fans connect with their anti-heroic icon.

Morrissey’s use of martyrdom, we concede, may also however function at an ironic level. His presentation of himself as one of the persecuted (as Joan of Arc; St Sebastian; Oscar Wilde; Padre Pio; Jesus) may simply be an ironic device that he deliberately uses to send up the music press that has consistently represented him as tortured and condemned.

- https://press.uchicago.edu/ucp/books/book/distributed/M/bo11338882.html