dogs

ANT McPartlin has reportedly reached an agreement with his ex-wife Lisa Armstrong over the heartbreaking loss of their dog.

The former couple shared pup Hurley during their 11-year marriage, with Ant sharing that the beloved chocolate Labrador had passed away earlier this year.

In an emotional update, 50-year-old Ant, who is now married to Anne-Marie Corbett, confirmed last month that Hurley had died in his arms.

Now, it has been alleged that he and Lisa, who split in 2023, reached an agreement over Hurley.

“Ant and Lisa agreed to share Hurley’s ashes 50/50,” a source told MailOnline.

“It’s a decision they felt was fair and it means they’ll both be able to hold their own farewells.”

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They continued to the publication: “Ant has already collected his ashes, while Lisa intends to do likewise when she returns from her trip.

“It’s likely the ashes will be buried in their own respective gardens so they’ll both be able to regularly pay their respects to Hurley.”

Ant was with make-up artist Lisa for over two decades, with the pair going through a divorce in 2018 which saw them reach a massive £31million deal.

Hurley became Britain’s best known celebrity dog during Ant and Lisa’s highly-publicised custody battle following their divorce.

They eventually agreed to share custody and Hurley spent his time between their homes.

The pair recently came together to say goodbye to Hurley, who they got in 2013.

The Sun revealed how they had to make the decision to put Hurley down at the vet due to him being too ill to recover.

And confirming the situation, Ant explained on his and Dec Donnelly’s podcast: “He passed away in my arms.

“We were at the vet’s and we were all there to see him, all the family, everyone that he loved was there, and it was a very sad, but it was a very lovely moment when we all got to say goodbye to him.”

The presenter, who has two other dogs, went on to share how the grief has been “awful” and has seen him often break down in tears.

Gov. Jerry Brown on Saturday signed into law a measure allowing Californians to break into vehicles to rescue animals if they appear to be in danger from excessive heat.

The bill by Assemblyman Marc Steinorth (R-Rancho Cucamonga), Miguel Santiago (D-Los Angeles) and others was introduced after a series of incidents in which dogs died after being left in closed cars on hot days.

“We’re very excited about the lives this new law will save,” Steinorth said in a statement Saturday on Facebook. “Thank you to everyone who helped us raise awareness of this serious issue and showed their support.”

Under AB 797, a citizen must first call law enforcement to report a situation in which he or she believes an animal to be in peril.

But if the animal is in imminent danger, the car is locked, and law enforcement is not arriving quickly enough to save the animal’s life, the bill provides immunity from civil and criminal liability to a person causing vehicle damage for the purpose of rescuing the animal. The measure was supported by the Humane Society of the United States and the Los Angeles district attorney’s office.

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“Well, I guess it’s a brother thing.”

The Black Crowes singer Chris Robinson is reflecting on his rollercoaster relationship with his younger sibling, guitarist Rich.

Their explosive chemistry once earned the outfit a fitting accolade — “The Most Rock ’n’ Roll Rock ’n’ Roll Band in the World”.

Chris is first to admit they’ve had their ups and downs since forming in 1984 under their original name, Mr Crowe’s Garden, as schoolkids in Atlanta, Georgia.

“Rich and I, for better or worse, were stubborn and arrogant but always strong believers in the art,” he admits.

“This has always been our path and, no matter what, we have to do it like this.

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“In rock ’n’ roll, there are plenty of show dogs, pure bred and beautiful. We’re f***ing feral.”

Following in the footsteps of other warring brothers — Ray and Dave Davies or Noel and Liam Gallagher — the Robinsons weren’t on speaking terms for five years after their so-called “contractual obligations” tour ended in 2014.

“Sometimes, you have to take your lumps,” continues Chris, employing that very American phrase for suffering setbacks. “But, right now, we’re in the zone. The chemistry is 100 per cent there.

“The way we feel goes right back to when we started — it’s f*** it, just play it — even if we are more well-mannered.”

The Black Crowes’ big reunion began in late 2019 with warm-up shows for a planned 30th anniversary tour of their debut album, the seminal Shake Your Money Maker, the following year.

But the pandemic slammed on the brakes before the dates finally happened across the US in 2021, uncorking the band’s celebrated freewheeling energy.

Back to the live arena came Jealous Again, Hard To Handle, She Talks To Angels and Twice As Hard, songs that somehow bottled up the band’s influences — Led Zeppelin, the Rolling Stones and Little Feat among them — but still refreshingly their own.

In 2024, with their creative juices flowing, The Black Crowes released their first album of original material in 15 years, Happiness Bastards.

Now the Robinsons are back again — with a bang.

The follow-up, A Pound Of Feathers, comes tearing out of the blocks with the rocket-fuelled, riff-driven Profane Prophecy, setting the tone for another of The Black Crowes’ “love letters to rock and roll”.

The album arrives with some sound advice — “This isn’t a record you play on Sunday morning, this is a f***ing Saturday night burner!”

In a world where smoothly produced pop dominates the airwaves, The Black Crowes are unashamedly sticking two fingers up at it.

“None of what’s going on in that world is relevant to me,” decides Chris, “and rock ’n’ roll is still huge for millions and millions of people.”

He is talking to me via video call from Aspen, Colorado, the premier ski resort in the States, playground of the rich and famous.

“My wife is an avid skier. She’s the Franz Klammer of the family,” he reports with a reference to the Austrian downhill legend.

“I get to do the cooking, the reading and the hanging out.” (And talking to people like me about The Black Crowes). Brother Rich is at home in Nashville and begins his call by apologising for being under the weather.

“I’m going to be coughing randomly,” he says. “I’m in the middle of flu that’s going around.”

After clearing his throat, Rich, the less flamboyant one who lets his guitar wizardry do most of his talking, gamely picks up on Chris’s theme.

“When we got back together, we both agreed we needed to do it properly,” he affirms.

“We knew that bringing back a toxic dynamic wouldn’t be healthy for anyone.

“We couldn’t have the overarching idea that when Chris and Rich get together, it’s a bad thing.

“We’ve always written all the songs, we own the name so coming back with a more mature approach has been very helpful.”

Rich acknowledges that the music landscape for the older, wiser Black Crowes is vastly different from when they started out. “There’s a bunch of people in the industry who like to think rock ’n’ roll is dead,” he says.

“But then there’s a bunch of people trying to keep it alive. Guns N’ Roses, the Rolling Stones, Metallica and Def Leppard are still selling out stadiums.

“Tens of millions of people still want to see bands like them. Rock ’n’ roll is one thing that no one could tame.

“And it’s still like that for us. We can go into a studio with almost nothing and, in a week, make a record.

“There’s a human, organic quality to rock ’n’ roll. We don’t have auto-tune and we don’t have to set our s**t to a grid.”

Looking back at their unfettered past, Chris exclaims: “I have to say I’m so f***ing proud of The Black Crowes, man!

“Rich and I started this band when we were teenagers in Mom and Dad’s house, as a vehicle to write songs.

“And we found our way to being musicians and performers.”

Yet the creation of A Pound Of Feathers has still blown Chris away, most notably because of the stellar contributions from Rich.

The album was made in double-quick time, carried along by the brothers’ spontaneous fusion of riffs and lyrics.

Chris says: “I’ve been on stage and sat in studios my whole life with my brother playing amazing guitar.

“But, with this album, I sat there with my mouth hanging open.

“Granted I’m very close to the flame but everything he did, I was like, ‘Wow, this guy’s taking it to a new place.’”

During the sessions, The Black Crowes were visited by Chris’s friend, Todd Snider, the singer/songwriter who died last November from pneumonia aged just 59.

Chris cherished the chance to hang out with Todd — and to get some memorable feedback from him.

“He was a storyteller, a real poet, and he and I had a great friendship. He also really liked The Black Crowes.

“He asked if he could come and check out the recording. I went, ‘Dude, yeah fine, but you’re going to be the only one here’. So he sat there taking in me and Rich putting music together.

“At the end of the day, he said, ‘Are you f***ing warlocks? Is this some kind of ESP or is it a parlour trick? You don’t say anything yet, 30 minutes later, there’s this massive song blasting out of the speakers’.”

For Rich, the studio is his happy place. “I’ve always loved being in a studio,” he says.

“It’s where you bring to ­fruition all the things you have in your head.

“With this record, we came in without any concrete ideas. By allowing ourselves just to play in the sandbox, it became fun and exciting.”

Rich gives a shoutout to producer Jay Joyce, who also helmed Happiness Bastards.

He says: “Nine and a half times out of ten, he agrees with us when we’re excited about something.

“He’s there with us, not bogging us down by trying to insert himself when its unnecessary.”

So what of the songs? There’s the aforementioned opener Profane Prophecy which captures the unvarnished sound of The Black Crowes’ live mayhem, yet recorded in the calmer confines of a studio.

You hear Chris nodding to past rock ’n’ roll excesses by hollering, tongue firmly in cheek, “My pedigree in debauchery is my claim to fame.”

He smiles, “Of course I have to embrace that life. That’s why I sing, ‘I eat casino breakfast off the kitchen floor’.”

But he maintains that while giving “a vision of a debauched rock ’n’ roller”, he’s also “confusing fact with fiction”.

The four-minute shindig concludes with the ensemble chant of the phrase that yielded the album title, “a pound of feathers or a pound of lead”.

Chris got the line from In Here The World Begins, a song by long-defunct British electro-pop band Broadcast.

“I loved the phrase and what it could mean because a pound is a pound,” he says. “It doesn’t matter whether it’s lead or feathers. There’s some weird wisdom to it.”

We turn our attention to Cruel Streak, pounding rock underpinned by funky rhythm.

“I’m adjacent to funk at all times,” says Chris. “Growing up in Atlanta, there was this multi­racial band called Mother’s Finest who played heavy funk with ‘Baby Jean’ Kennedy as lead singer.

“There’s a lot of Mother’s Finest in The Black Crowes.”

On the R&B-flavoured It’s Like That, which comes with heavy basslines and a hint of reggae, the brothers employed an amphibian guest, which, as Chris explains, fits with their anything goes attitude.

“I was staying in Nashville, and the doors were open. I heard this frog, so I recorded him. That’s my Nashville rasta frog on the solo.”

Rich says: “There are tree frogs all over the South. They were blaring one night and Chris said, ‘Man, I want to use that sound’.

“So he took his phone and pressed record. We found the right space for it on the song.” On the loose, laidback country-tinged Pharmacy Chronicles, recalling the vibe of the Rolling Stones’ Exile On Main St., Chris sings “let the demons find you” because, he insists, we mustn’t think everything is “sugar-coated, glossy and gorgeous”.

“Especially something as messy as a 40-year career in rock ’n’ roll,” he adds. “I can’t believe some of the s**t I was doing. Get some surgical gloves and get to it!”

But Chris is not one to dwell on the past, with all its euphoric highs and crashing lows. “I am devoid of nostalgia,” he says.

“I like to think I interact with the world as a poet. I’m always writing — it could be because I overheard a conversation at an airport check-in.

“I’m no Bruce Springsteen,” he confesses. “But I connect with the world through whatever inspires me.”

And, as he puts it, “a lot of the darkness that is the United States right now” informs A Pound Of Feathers.

It explains why final track Doomsday Doggerel with its line “a front row seat to the end of times” is in stark contrast to the closing song on Happiness Bastards.

“On that last record, Kindred Friend was a beautiful pastoral thing with harmonica, about me and Rich, the band and our audience,” says Chris.

“Doomsday Doggerel is much darker. We haven’t remembered lessons from our past and the f***ing racism means we’re operating at a very low frequency.

“I just hope that someone can play this record on a Saturday night, keep out the low frequency and get a better hum going.”

As Pharmacy Chronicles ebbs to a close, you hear a defiant chorus of “the good times never end”.

As far as Chris and Rich and the rest of The Black Crowes family are concerned, rock ’n’ roll is the perfect antidote to personal and universal turmoil.

“We’re loud, we can be sloppy but we are like an old cartoon of two people fighting on a train,” says Chris.

“The train goes round a bend, leaning all the way over a cliff, but then it comes back up. That’s us.”

THE BLACK CROWES

A Pound Of Feathers

★★★★☆

THE birch trees either side of us become a blur as we speed through the snowy woodland, our sled being masterfully pulled by a pack of energetic dogs.

Looking up, I spot a sheet of vibrant green and fiery pink spread across the night sky.

It had always been a dream of mine to experience the elusive Northern Lights.

Now I was getting the chance to do it in the best way possible: a Norwegian Fjords voyage.

February is one of the best times of year to see the natural phenomenon in Norway, although you stand a pretty good chance at any point from late September to April.

My partner Gemma and I were travelling with Ambassador Cruise Line, which has affordable sailings from the UK, removing the need for a flight.

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Our home for the next couple of weeks, Ambition, was a modern 1,200-passenger vessel that oozes glamour with plenty of polished wood and brass, and a cosy, relaxed ambience.

Cabins are luxurious, spotless and well-appointed — refreshed each day by doting “butlers”.

Everyone on board has a complimentary dining place in either the light and airy Buckingham restaurant or smaller, more intimate Holyrood, both of which serve high-quality food with plenty of options for vegetarians like Gemma.

There is also the buffet-style Borough Market which serves delicious meals from early to late.

Plus there is speciality dining such as the fabulous Saffron, an Indian restaurant which left Gemma in raptures about the veggie selection platter.

The highlight for me, however, was the Chef’s Table experience where we were treated to a fascinating tour of the ship’s galleys before executive chef Cleo Murzello showcased his culinary skills in nine sensational courses paired with wines.

Just be prepared that you won’t feel able to move from your seat afterwards!

When we weren’t exploring the fjords, on board entertainment kept us busy every day with games — we couldn’t keep away from the high-prize £3-a-play bingo — West-End worthy theatre performances and fascinating talks including how to photograph the Aurora Borealis.

With seven bars, six restaurants, a shopping galleria, library, games room and incredible spa there’s always something going on.

Then there’s the shore experiences with everything from snowshoeing and rib-boat riding to ice bars visits and cable car trips available.

On our first morning in Norway, we woke to see low rocky islands sliding past as we got our first glimpse of the fjords — the long sea inlets between majestic mountains.

Alesund is one of Norway’s most beautiful towns. The best way to see it is to climb the 418 steps to its hillside view point and reward yourself with a svele pancake from the cafe at the top.

Then wander around the shops filled with the Norwegian obsession of trolls and slippers, then the gorgeous harbour.

Next morning, after crossing into the Arctic Circle, Ambition glided between snow-covered peaks up Straumsfjorden to the city of Tromso.

Here we took the mountain cable car to the top of snow-clad Storsteinen, 1,382ft above sea level.

The views were spectacular — as was the high-altitude beer at the summit cafe.

But it wasn’t until our evening dog-sledding adventure that we finally got what we came for.

As darkness fell the night sky began to bubble and split.

From behind the dark mass of mountains, a collection of dancing green fingers reached upward and outwards, curling and filling the sky.

It couldn’t have been a more perfect setting as the panting huskies ploughed through the snow.

More excitement was to come, though.

Cruise stops include the frozen port of Alta, in the Finnmark area of northern Norway, home of the Sami people.

Those keen to learn about the culture can book tours which include a visit to a village and reindeer sledding.

Instead, we headed to Alta Museum to take in some of the 6,000 amazing rock paintings dating from 4,200BC, discovered in 1973.

If ice snow experiences are more your thing, try the port of Narvik, home to a breathtaking Arctic train ride and polar wildlife park.

Or there’s the city of Bergen, where you can pick up souvenirs from local shops that line the cobbled streets.

I may have returned home with a pair of troll slippers but it’s the memory of Northern Lights that I’ll be cherishing for years to come.

Even the pictures on my phone don’t do it justice.

MELISSA Joan Hart has sparked an online debate after posting a video of herself punting her former co-star, Salem the Cat.

The actress’s talking black cat, Salem – voiced by Nick Bakay – was a staple character on the ABC sitcom Sabrina the Teenage Witch, on which she starred from 1996 to 2003.

However, it turns out Melissa, 49, wasn’t a big fan of the cuddly creature and made it known in a shocking Instagram clip.

In the video shared on Thursday, the TV star filmed herself stroking a fake black cat perched on her lap.

She wore casual attire of blue jeans and a skintight red tank top, with her blonde hair flowing straight down.

The words, “When people ask me if I’m a cat person,” were written over the clip.

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Things then took an unexpected turn when a white blast of glitter appeared, and Melissa suddenly threw the cat in the air and kicked it out of sight.

The scene then magically turned into Melissa, formally dressed in a white dress and her hair in a ponytail, while petting a large dog at her feet.

“No Salems were harmed in the filming of this silly video. PS I like cats, but I love dogs!” the TV star clarified in her caption.

Although Melissa made it clear that the cat in the video wasn’t real, nor did she have magical powers like her character, Sabrina, fans had mixed reactions to her stance on cats vs. dogs.

“Not going to lie this was a bit heartbreaking, poor Salem lol,” one person commented.

“Cats are the absolute best in this world, amazing creatures that should be treasured,” demanded another.

“Dyyying. Sorry cat people! Love kitties too. That was just the right kind of wrong Melissa,” said a third

“No! It’s okay to LOVE them both…” insisted a fourth.

“This just broke something in me,” reacted a fifth.

“I’m ok you not loving cats but saying it like that was just not funny for me,” added a sixth.

“This was unnecessary. People hurt black cats every day. This is not nice. Tasteless…” someone else wrote.

“That hurt. You can love both cats and dogs. No need to choose one,” chimed in another.

“Awwww but we all got black cats because of you!” one more pointed out.

Sabrina the Teenage Witch ran on ABC for seven seasons and was a part of the Friday night (TGIF) lineup.

Melissa’s co-stars on the show include Beth Broderick, Caroline Rhea, Nate Richert, Jenna Leigh Green, Lindsay Sloane, Elisa Donovan, and Martin Mull.

In June 2024, Melissa led the cast in paying tribute to Martin, who played Principal Willard Kraft, after his death.