The Doors (film): Wikis


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The Doors

Film poster for The Doors
Directed by Oliver Stone
Produced by Bill Graham
Sasha Harari
A. Kitman Ho
Written by J. Randall Johnson
Oliver Stone
Starring Val Kilmer
Meg Ryan
Kyle MacLachlan
Frank Whaley
Kevin Dillon
Kathleen Quinlan
Billy Idol
Josh Evans
Cinematography Robert Richardson
Editing by David Brenner
Joe Hutshing
Studio Carolco Pictures
Imagine Entertainment
Distributed by TriStar Pictures
Release date(s) March 1, 1991
Running time 140 min.
Country USA
Language English
Budget $38,000,000 (estimated)

The Doors is a 1991 biopic about the 1960s-1970s rock band of the same name which emphasizes the life of its lead singer, Jim Morrison. It was directed by Oliver Stone, and stars Val Kilmer as Morrison, Meg Ryan as Pamela Courson (Morrison's companion), Kyle MacLachlan as Ray Manzarek, Frank Whaley as Robby Krieger, Kevin Dillon as John Densmore and Kathleen Quinlan as Patricia Kennealy.

The film portrays Morrison as the larger-than-life icon of 1960s rock and roll, counterculture, and the drug-using free love hippie lifestyle. But the depiction goes beyond the iconic: his alcoholism, interest in the spiritual plane and hallucinogenic drugs as entheogens, and, particularly, his growing obsession with death are threads which weave in and out of the film.



The film opens during the recording of Morrison's "An American Prayer" and quickly moves to a childhood memory of his family driving along a desert highway. Young Jim sees an elderly American Indian dying by the roadside. The film picks up with Morrison's arrival in California and his assimilation into the Venice Beach culture, followed by his film school days studying at UCLA; his introduction to his girlfriend Pamela Courson, his first encounters with Ray Manzarek, and the origin of The Doors: Manzarek, Robby Krieger, and John Densmore.

Morrison convinces his bandmates to travel to Death Valley and experience the mind-expanding effects of psychedelic drugs. Returning to Los Angeles, they play several shows at the famous Whisky a Go Go club and develop a rabid fanbase. Morrison's onstage antics and occasionally improvised lyrics raise the ire of club owners; however, the band's popularity continues to expand.

As The Doors become hugely successful, Morrison becomes increasingly infatuated with his own image as "The Lizard King" and degenerates into alcoholism and drug addiction. As he sinks deeper into an alcoholic haze he begins having several affairs, particularly mystical sexual encounters with Patricia Kennealy, a rock journalist involved in witchcraft. The rest of the band grows weary of Morrison's missed recording sessions and absences at concerts. Morrison is depicted arriving late to a Miami, Florida concert, becoming increasingly confrontational towards the audience and exposing himself onstage. The incident is a low point for the band, resulting in resentment from the other band members and Morrison's trial for indecent exposure.

In 1971, Courson finds Jim Morrison dead in a bathtub in Paris, France, at the age of 27. Pamela Courson similarly dies three years later of a drug overdose, also at the age of 27. The final scenes of the film before the credits roll are of Morrison's gravesite in Père Lachaise Cemetery in Paris with a rock version of Remo Giazotto's Adagio in G minor playing in the background as well as a voice over by Morrison. Just before the credits, the screen whites out and text appears saying "Jim Morrison is said to have died of heart failure. He was 27. Pam joined him three years later."

During the credits, the band is shown recording the song L.A. Woman in the studio.


For nearly ten years before the film was made, the project went through development hell after being considered by many studios and directors. Several actors like Tom Cruise, Johnny Depp, John Travolta and Jason Patric were each considered for the role of Morrison when the project was still in development in the 1980s. In 1986, Travolta, who lobbied hard for the part, met with the surviving members of The Doors and discussed a possible reunion tour with himself in Morrison's place on vocals, which would be an attempt to revive interest in the band's history and for the movie. The idea was nixed, because The Doors felt Travolta was "too nice" to fill in Morrison's shoes.

Kilmer got the part after making a video of himself performing Doors material and playing it for Stone. He told Stone that songs were mixed up between his own singing and Morrison's. He asked Stone to tell them apart; after he made his guesses as to who was singing what songs, Kilmer admitted that the entire video was him singing.

Kilmer was reportedly Stone's second choice for the role, the first being British rock singer Ian Astbury, who in fact went on to join the reformed Doors, but turned down the offer to play Morrison out of a reluctance to take up acting. Kyle MacLachlan, a longtime Doors fan, was quoted as saying that he had wanted to portray Morrison himself and firmly believed that he could play the part, but settled for the role of Manzarek after Kilmer was cast.

Doors drummer John Densmore has a cameo as the recording engineer for Morrison's spoken-word "American Prayer" sessions. Eric Burdon has a cameo as a backstage manager. In the credits, his name was spelled "Eric Burden". He also toured with Robby Krieger during the making of the film.

Patricia Kennealy appears briefly as a sword-wielding high priestess in the handfasting scene. Stone makes a cameo as the film professor during the UCLA scenes. Billy Idol appears as a roadie on crutches, he recently had been in an accident and was in a cast. Singer Bonnie Bramlett appears in the film as a bartender.


The film's soundtrack contains over two dozen of The Doors' songs; in the film, original recordings of the band are combined with vocal performances by Kilmer himself. In addition to the many themed Doors songs featured, two songs by The Velvet Underground are also heard throughout the film.[1]

Historical inaccuracies

The film is based mostly on real people and actual events, but some parts are clearly Stone's vision and dramatization of those people and events. For example, when Morrison is asked to change the infamous lyric in "Light My Fire" for his appearance on The Ed Sullivan Show, he is depicted as blatantly ignoring their request. The film suggests Morrison shouted the word "higher" into the TV camera, while, in fact, he highlighted "fire" during the performance. In one version, Morrison insisted that it was an accident, that he meant to change the lyric but was so nervous about performing on live television that he forgot to change it when he was singing. In another version, Ray Manzarek says that The Doors pretended to agree to the change of words, and deliberately played the song as they always had, without any added emphasis on the offending word.[2]

The film portrays Morrison´s early period with The Doors with all the original band members included. Robby Krieger did not join the band until later the same year as this particular period takes place.

Morrison is also depicted locking Courson in a closet and setting it on fire, which is said to have never happened. None of the above mentioned books tell this story either. Rhino Records photographer Bobby Klein claims to have had Courson come over to his house when this incident occurred, and to have taken care of her during some weeks after. Manzarek is quoted as stating firmly that this incident never happened in the record of a question and answer session he did on Universal Chat Network in 1997.[3] However, in his book Light My Fire, Manzarek is frank about Morrison's tendency to go into senseless rages.[4] The book The Doors quotes Densmore as saying of the couple, "They were like Romeo and Juliet. They fought like hell, but they were meant to be together."

The band's first visit to New York is presented as a case of sudden superstardom, with their car being mobbed by fans in the street, but actually they were barely known at that point. During this episode, the band members (and Pamela Courson) are shown identifying themselves to a camera. This actually happened over a year later during their European tour, when they were true international stars.

Dialogue that took place between Kennealy and Morrison is reassigned to Courson, and Courson is depicted as saying hostile things to Kennealy, when by all reports their interactions were polite. Densmore is also portrayed as hating Morrison as Morrison's personal and drug problems begin to dominate his behavior. In truth, as Densmore writes in Riders on the Storm, he never directly confronted Morrison about his behavior.

Krieger, Densmore, and Kennealy are all credited as technical advisors for the film; however, they have all commented that although they may have given advice, Stone often chose to ignore it in favor of his own vision of the story. The settings for the film, particularly the concert sequences, are depicted in mostly chronological order, although the crowd scenes contain many blatant exaggerations, such as portrayals of nudity that did not occur.

The surviving Doors members were all to one degree or another unhappy with the final product, and were said to have heavily criticized Stone's portrayal of Morrison as an "out of control sociopath". In a 1991 interview with Gary James, Manzarek criticized Stone for exaggerating Morrison's alcohol consumption in the movie, saying, "Jim with a bottle all the time. It was ridiculous . . . It was not about Jim Morrison. It was about Jimbo Morrison, the drunk. God, where was the sensitive poet and the funny guy? The guy I knew was not on that screen."[5] In the afterword of his book Riders on the Storm, Densmore says that the movie is based on "the myth of Jim Morrison". In the same place, he criticizes the film for portraying Morrison's ideas as "muddled through the haze of the drink [alcohol]". In a 1994 interview, Krieger said that the film doesn't give the viewer "any kind of understanding of what made Jim Morrison tick." Krieger also commented about the film in the same interview: "They left a lot of stuff out. Some of it was overblown, but a lot of the stuff was very well done, I thought."[6]

In the book The Doors, Manzarek says, "That Oliver Stone thing did real damage to the guy I knew: Jim Morrison, the poet." In this book, Densmore says of the movie, "A third of it's fiction." In the same volume, Krieger joins Manzarek and Densmore in describing the movie as inaccurate, but also says, referring to the film's inaccuracy, "It could have been a lot worse."

As the credits point out and as Stone emphasizes on his DVD commentary, some characters, names, and incidents in the film are fictitious or amalgamations of real people. Stone states in particular in the 1997 documentary The Road of Excess that Quinlan's character, Patricia Kennealy, is a composite, and in retrospect should have been given a fictitious name. Kennealy in particular was hurt by her portrayal in the film. Ryan's character, Pam Courson, involves liberties of a different sort. The former Doors do not think the movie depiction of her is very accurate, as their book The Doors describes the version of Courson in the movie as "a cartoon of a girlfriend". Courson's parents had inherited Morrison's poems when their daughter died, and Stone had to agree to restrictions about his portrayal of her in exchange for the rights to use the poetry. In particular, Stone agreed to avoid any suggestion that Courson may have been responsible for Morrison's death. However, Alain Ronay and Courson herself had both said that she was partially responsible. In Riders on the Storm, Densmore says Courson said she felt terribly guilty because she had obtained drugs that she believed had either caused or contributed to Morrison's death.

However, Manzarek did not share the same enthusiasm of how Morrison was portrayed by Stone's interpretation. In Manzarek's biography of the Doors, Light My Fire he often criticizes Stone and also includes myriad details that discredit Stone's account of Morrison. For example, in Stone's "re-creation" of Morrison's student film at UCLA, he has Morrison watching a D-Day sequence on TV and shouting profanities in German, with a near-nude German exchange student dancing on top of the TV sporting a Swastika armband. According to Manzarek, the only similarity between Stone's version and Morrison's was that the girl in question was indeed German.[7]

The Doors documentary

In May 2008, it was revealed that Manzarek was working on a new Doors documentary film that he described as "the anti-Oliver Stone. This will be the true story of The Doors".[8]


  1. ^ The Doors (1991) - Trivia
  2. ^ Manzarek, Ray. Light My Fire. New York: Berkley Boulevard Books, 1998 (ISBN 04125170454), p. 251-252.
  3. ^ Chat with Ray Manzarek 11/17/97 [1]
  4. ^ Manzarek, Light My Fire, p. 180, 205-207, 305-308.
  5. ^ Gary James' Interview with Ray Manzarek
  6. ^ Gary James' Interview with Robby Krieger
  7. ^ Manzarek, Light My Fire, p. 55-57
  8. ^ Digital Spy 28 May 2008, Manzarek announces Doors Documentary

External links


Up to date as of January 14, 2010

From Wikiquote

The Doors is a 1991 film about the famous and influential 1960's rock band and its lead singer and composer, Jim Morrison.

Directed by Oliver Stone. Written by Randall Jahnson and Oliver Stone.
The ultimate story of Sex, Drugs & Rock 'N' Roll Taglines


Jim Morrison

  • "The movie will begin in five moments," the mindless voice announced. All those unseated will await the next show. We filed slowly, languidly into the hall. The auditorium was vast and silent. As we seated and were darkened, the voice continued, "The program for this evening is not new. You've seen this entertainment through and through. You've seen your birth, your life and death. You might recall all the rest. Did you have a good world when you died? Enough to base a movie on?"
  • Is everybody in?... Is everybody in?... Is everybody in? The ceremony is about to begin...
  • It was the first time I tasted fear. I musta been about four, like a child is just like a flower, his head is floating in the breeze.
  • The reaction I get now looking back is the soul of the ghosts of those dead Indians -- maybe one or two of them were just running around freaking out and just leaped into my soul -- and they're still there.
  • We gotta take the planet back, reinvent the gods, make new myths.
  • [to John] What's a rock and roll band for man, if you can't party all night and do bad things?
  • The music was new black polished chrome and came over the summer like liquid night.
  • I like a man who wears his soul on his face.
  • Hey! I am the Lizard King. I can do anything! Raise your hands if you understand! Alive, any of you alive -- let's take a poll -- how many of you know you're really alive?! [numerous people raise their hands and yell] BULLSHIT! Plastic soldiers in a miniature dirt war! C'mon! How many of you people know you're alive? How many of you people know you're really alive!
  • When the serpent appears, his head is ten feet long and five feet wide. He has one red eye and one green eye. He's deadly and he's seven miles long. As he moves -- on his scales is written all the history of the world, all people, all actions, all of us our little pictures on the scales, God it's big! -- and it's eating as it moves all the time, devouring, digesting consciousness, power, a monster of energy! We must kiss the snake on the tongue, if it senses our fear, it will eat us instantly. But if we kiss it without fear, the snake will take us through the garden and out the gate. To our freedom -we must ride this snake. To the end of time.
  • Some of the biggest mistakes in my life have been haircuts.
  • Where's your will to be weird man?
  • Actually, I don't really remember being born. It musta happened during one of my blackouts.
  • Y'all believe what you want to believe, you will anyway... but it does kinda show you what excites people? Fear, pity, horror -- all those good things that count. It's sorta I guess like being on the edge of an orgasm, y'know... that mystery just before you come. When? If? Should I? Will you die for me, eat me, this way, the end...
  • Maybe I should always fuck my critics.
  • Hatred is very underestimated emotion.
  • I drink so I can talk to assholes. This includes me. Let's just say I was testing the bounds of reality -- that's-all -- I was curious... I kinda always preferred to be hated. Like Eric von Stroheim in the movies, the man you love to hate, it's meant to be ironic, courage wants to laugh. Y'know it's a stupid situation.
  • I go out on a stage and I howl for people. In me they see what they want to see -- some say the Lizard King, whatever that means, or some black-clad leather demon whatever that means... but really I think of myself as a sensitive, intelligent human being but with the soul of a clown which always forces me to blow it at the most crucial moment... a fake hero... a joke the gods played on me... it's okay, I accept the joke... and smile. Death old friend, death and my cock, I can forgive my injuries in the name of wisdom, luxury, romance. Words got me the wound and will get me well. All join now in lament of my cock, a tongue of knowledge in the feathered night. Boys get crazy in the head and suffer. I sacrifice my cock on the altar of silence.
  • [to Pam] I'm the poet and you're my muse.
  • [to audience] You're all a buncha fucking slaves!
  • Well uh, it's designed to wear you down y'know... when that rap sheet says the "United States of America versus You" it takes you down day by day, specially when no one really gives a shit about, y'know, the First Amendment that's on trial here... Nobody says anything about that, it's just uh did you take your pants off y'know, I mean that's not what it's about, it's about freedom, that's what it's about... but who cares, right? Freedom exists in a schoolbook.
  • I can only open doors, Ma'am. I can't drag people thru 'em. I'm no savior.

Pamela Courson

  • Take your time, Jim... There's no hurry, I'm all you have to do tonight.
  • Jim, don't go away! Come dance with me!
  • You're a poet, not a rock star.
  • What am I gonna do about these papers? Jim, Jim -- you really need to organize this stuff! You handwriting's just like a little kid! My God look at this. I wonder if William Blake was ever this disorganized.

Robbie Krieger

  • I get scared thinking of all the choices inside. I could go. I could stay. I can live everywhere. I could die now if I wanted. It's limitless choice... and no one cares.
  • I'm afraid of my father, I can't be what they want me to be.
  • [to Jim] You said you love pain man, but you run from it every chance you get.
  • Well far as I'm concerned, Jim, I made music with Dionysus man. We had some moments on stage like no one will ever fucking know.


  • Ray Manzarek: [to Jim] Things are about to explode man. You can feel it in the air. Vietnam's right out there. Sides are being chosen. People wanna fight or fuck, love or kill, everything's gonna flame. The planet's screaming for change, Morrison. Make the myths man!
  • Patricia Kennealy: [to Jim] Come on rock god, fuck me, fuck me good.
  • Gloria Stavers: [to Jim] You control the audience, like dogs, manipulate them Jim, one picture can control a million people, be anything you want -- growl at them, be ugly, be frightened, be selfish. Be man, woman, whild, animal. Live, die, return again. Anything you want. Everything is permitted. Go on look at yourself, fall in love with yourself. You're your own audience now Jim. They want you. Worship and love and adore you...Jim Morrison, the god of Rock and Cock...
  • Andy Warhol: [handing Jim a golden telephone] Edie gave this to me and said mmmmm, I could talk to God with this. But I don't really have anything to say. So... mmmm now you can talk to God.
  • Tom Baker: [to Jim] You're bored, you're not free. You tested all the limits, fame, fucking, money, -- whatcha gonna do now Jimbo? When the music's over, when you're too fat and ugly to get on a stage, whatcha gonna do for act three -- puke on Heaven's door?


Jim: [entering through the window] Hi.
Pam: Wow! Hi...You have a problem with doors?
Jim: Waste of time. I followed you... from the beach...
Pam: Wow! You followed me? Why?
Jim: 'Cause... you're the one. [He kisses her]
Pam: Wow... neat.

Trick: [to Jim, after Jim's film was panned] Hey man whatdya expect, an Oscar?
Bones: You can't quit, you gotta voice. People can't dig cause they don't understand yet.
Jack: If you're an individual, if you're too good, they wanna cut your dick off. Look what happened to Orson Welles.
Trick: You quit now, they'll yank your deferment in no time and they'll get you for Vietnam man. Three more months you graduate.
Bones: Be cool, you never learned fuckin patience Morrison, you want everything at once.
Nick: They didn't get it. So make your films and fuck what they think.
Jim: You know what I think?
Bones: Yeah whadda you think?
Jim: You really want to know what I think?
Bones: Yeah yeah, whatddaya think?
Jim: I think we gotta get really ripped!

Jim: What turns you on?
Pam: I don't know. Experience. Freedom. Love... Now. Peyote's like love. When it's given it's blessed. When it's sold it's damned. I like peyote. I like acid, it's easier to get. I like the spiritual voyage. The first time I did acid I saw God. I did. I had a friend who was Christ. And he was Judas too. I suddenly knew the secret of everything -- that we're all one, the universe is one. And that everything is beautiful.
Jim: Is it? I don't know. I think you're alive by confronting death -- by experiencing pain.
Pam: I think you're alive by recognizing beauty -- seeing truth because when you discover truth you discover what love is... we're all saying the same thing. It's "love me and I'll love you."
Jim: It's only through death that you know life. Jesus, medicine men heal people by sacrificing their own life.
Pam: Do you love death?
Jim: I think life hurts a lot more than death. When you die the pain is over.

Jerry: What shit, "day destroys the night", "crawl back in your brain", "go insane". What do people wanna pay money to hear that shit?
Jim: The greater the suffering, the more terrible the events, the greater the pleasure Jerry. They want it, it's catharsis. Like the ancient Greeks.
Jerry: We're in Los Angeles, punk, how would you know? They like your pants, they're not listenin' to you, what the hell they see in you I...
Jim: But they understand Jerry. All our real desires are unconscious and unseen.
Jerry: You're the weirdest fuckin' guy I ever...
Jim: You love us?
Jerry: I love ya. You got two more shows to do.

Ray: [after being propositioned by a record manager] We'll have a band meeting. The four of us do everything unanimously or we don't do it.
Manager: The musketeers. I'm touched. But lemme tell you something -- loyalty don't pay the bills.

Jim: Jesus Ray, every girl out there wanted to fuck me, I could feel it for the first time!
Ray: Right on stud. But you better watch out for the guys.

John: I think I'm fucked up. I'm not thinking right.
Jim: You're fucked up John. Go with it, confusion is the sound of creation.
John: You should see your eyes right now, you're death. Look at your eyes -- you're crazy man, you look crazy. You scare me.
Jim: No no no John John. God is crazy too. God is part insane as well as sane. Not in control all the time. Dionysus was the God of the wine. He made ecstasy but he also made madness. Madness is all right. That's what you want, isn't it, isn't it?

Ray: I'm in pain man. I want something from the peyote. I feel the universe functioning perfectly but I'm still perfectly locked inside myself. Instead of oneness, I feel total isolation. Aloneness. Fear... pain...Jim, all I feel is pain.
Jim: Pain makes me feel more alive Ray. Pain is meant to wake us up. People try to hide their pain but they're wrong.
John: I feel lust. I want to fuck everything I can, and I know it will never be enough.
Jim: Pam wants you. You're a good Catholic John, you want it so you can feel guilty about it... Fuck death away John.
Robbie: I feel Fear... so bad I just numb out all my feelings. I'm afraid of my father, I'm afraid of Yahweh... I wish I could play my guitar.
Jim: Maybe you should kill your father Robbie. He tried to kill you. Kill him!
Robbie: I'm so fucking scared.
Jim: But you're alive! It's beautiful! Fear, pain, lust, we've got to know all our feelings before we can come out the other side free men. Don't feel ashamed of yourselves, don't let society destroy your reality. Our freedom's the only thing worth dying for, it's the only thing worth living for!

Jim: I don't mind dying in a plane crash, a smile on my face.
Pam: As compared to what?
Jim: I just don't want to go out slow -- brain tumor, botulism. I want to feel what it's like, cause death is only going to happen to you once.

Ed Sullivan: Look, you boys don't forget to smile now. There's no reason to be so sullen out there...
Jim: Uh well, we're kind of a sullen group, Ed.

Pam: Aren't you doing this for you? Because you're a poet, not a rock star. Ed Sullivan's not a place for you.
Jim: You really know what I am Pam? You know what poetry is? Where is the feast they promised us? Where is the wine -- the new wine -- dying on the vine?
Pam: What are you saying?
Jim: Y'see -- I lied to you. I really love fame.

Pam: Fuck you man I'm outta here.
Jim: Get mad! Yeahhh! Love my girl! Yeah, go fuck the other guys. How many white guys have you fucked Pam? 10, 20? Black guys what? You like Chinese dicks? Mongolian penis? 30?
Pam: How many dogs have you fucked? You don't say no to anybody! Drugs, dogs, uglies, you'd fuck a doorknob with butter on it!
Jim: How could I do that?
Pam: [shouting] You're the first who couldn't make it with me anyway! You're the only limp dick in the lot!

Journalist: What are your songs about Mr. Morrison?
Jim: Uh, love death travel... revolt. We all write the songs, we're interested in anything about disorder, chaos, especially activity which seems to have no meaning...Like This. I think when you make peace with authority, you become authority.
Journalist: Can you define that a little more?
Jim: Yeah you can call us erotic politicians I guess.

Pam: [about Patricia] You actually put your dick in this woman Jim?
Jim: Well I... sometimes yeah.
Pam: I understand... I really do but don't ever think that Jim's gonna love or take care of you. You're one of a hundred you know.
Jim: Hey -- don't you know when to stop!
Pam: Look who's talking.
Patricia: I'd like to think Jim can make up his own mind who he loves and who he doesn't.
Pam: Don't kid yourself sweetheart, Jim's crazy but he's not that crazy. He loves me.

Ray: [about Pam] I never knew what you saw in that nightmare chick man.
Jim: Well she is kinda flakey -- like me. I mean she's just so vulnerable about everything. It makes me sad man. But she's always kinda believed in something about me y'know -- her little picture of me as the unsung poet -- and it's a fantasy I kinda dig y'know, 'stead of the one I live.
Ray: I don't know man, I don't wanna sound like your old man but you're only 27, you're living like you gotta get it all in, you gotta slow down man, you did it, you broke through to the other side.
Jim: We didn't break thru Ray, we just pushed things a little. When you really break through, there's nothing left. No music, no Doors, no God, nothing -- only a will to power.
Ray: I don't believe that. You were an American prince, man -- with overbred genes -- [Jim laughs] No! What could've been Jim? You could've been President. [Jim laughs] No man! What could've been Jim? We stood here on this beach on the edge of the Pacific that crazy summer day in '65 -- and we knew, you and I, we knew we were at the edge of the mind. we were there, man. One planet, one globe, one mind. Consciousness, we raised it, we were there.


  • The ultimate story of Sex, Drugs & Rock 'N' Roll
  • "There are things known and things unknown and in between are The Doors." -- Jim Morrison
  • The ceremony is about to begin.


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