Married, With Competition: How Two Power Publicists Made a Relationship Work

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Married, With Competition: How Two Power Publicists Made a Relationship Work
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For years, Ambrosia Healy and Dennis Dennehy have vied for coveted press hits — from under the same roof as husband and wife.

We’re sitting on this July afternoon at Farm Club, a hip farm-to-table restaurant in Northern Michigan, where the couple, who are based in Los Angeles, own a home in the Traverse City area. They’ve been tagging in and out of here to piece together a summer for their 9-year-old daughter and 7-year-old son; Dennehy arrives a few minutes late, having driven directly from Cherry Capital Airport after flying in from New York that morning, and in a few days, Healy will return to L.A. for work.

Both had established themselves in music publicity in the early 1990s. Though Healy might’ve seemed destined for the music business , she had settled in Boulder, Colo., with plans to become a teacher.

One of those best-friend competitors was Sheila Richman, then working in publicity at Island/Def Jam, who rented a house with Dennehy and longtimeeditor Jason Fine in La Quinta, Calif., for Coachella 2001. Healy, also a close friend of Richman’s and Fine’s, was in town, too, and they all met for dinner the night before the festival.

Throughout the 2000s and 2010s — with Dennehy at Interscope and Healy at Capitol, then an indie, then Capitol Music Group — they would often compete for the same bookings. For years, he says, “For one of us to win, the other one had to lose.” “What both of them share [is] they don’t do press. They tell stories,” says Jim Guerinot, who as manager of Nine Inch Nails worked with Dennehy and later Healy. “Some people just carpet-bomb the press. Both of them were always very clear about forcing the artist into having a vision for the story that they want to tell and then telling that story.”

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