From 1984 -1985 he then became the director of operations for Black Bull Entertainment, the record company and recording studio owned and operated by artist Stevie Wonder. He managed all security operations at all properties and personal residences, arranging studio security and personal appearances.

From 1985-1986, A.D. was tour security coordinator for the Morris Day Color of Success Tour in North America, coordinating all personal and tour security for the 30-city tour and promotional appearances. As director of personal security for Allied Artist Records 1986-1987 A.D. managed the security operations of all corporate properties, artist, executive residences, and coordinated all special event, tour, and traveling security.

A.D.'s next tour was the 1987-1988 Billy Idol "Whip-Lash Smile" Tour. As director of personal security, he coordinated all personal and venue security during the eight-month world tour and directed all law enforcement, hotel and venue security liaison.

Then came the big one! A.D was the tour security director for one of the biggest and most hyped tours ever: the 1988-1989 Michael Jackson "Bad" World Tour, where he was the primary security coordinator for the 16-month sold-out extravaganza. A.D. created and managed the security plan that included concert security, crowd control, executive protection and transportation for family members and international celebrity guests.

From 1988-1991, A.D. was vice president of Staff Pro Security where his responsibilities included all sales and marketing, corporate expansion, client liaison and field operations. Great Western Forum, Mirage Hotel (Las Vegas), Shrine Auditorium (Academy Awards, Grammy Awards, American Music Awards, and the Soul Train Music Awards) were some of his accounts. At the same time, A.D. was general manager of 7-Eleven Olympic Velodrome, and as the event-staffing vendor, his additional duties covered all aspects of facility management including managing maintenance, security, and event staffing personnel. He also provided venue marketing and sales opportunities (concerts, consumer festivals, fireworks / chili cook-off, film and TV projects).

From 1991-1992, A.D. was president and partner of the entertainment division of E-Group Inc., a full-service event marketing firm that created and promoted a variety of special events and promotion for multi-cultural and multi-ethnic consumer events that were sponsor-driven. He managed all aspects of the facility liaison, security, parking, production and box office services.

In 1992, A.D. became executive vice president of VIP Event Service, Inc., managing the southern California operations for the Arizona-based special events firm, which provided the full spectrum of event staffing services nationally with offices in 16 states. In 1992 Anthony Davis / Associates absorbed all the southern California VIP Event Service operations.

From 1992-1997, he was president/CEO of the company, one of southern California's largest special event and security services companies, which were designed exclusively for the entertainment industry.Clients that A.D. has consulted for include Woodstock 1994; Lollapalooza 1993-1996; AT&T Global Olympic Village at the 1996 Centennial Summer Olympics in Atlanta; the H.O.R.D.E Festival; and the House of Blues "Smokin Grooves" Tour. Venue contracts included Hollywood Palladium; Olympic Velodrome; National Orange Show Events Center; The Palace Hollywood; Palm Springs Convention Center; and The Glass House. From 1997-1999, Davis was president/CEO o f A. D. Entertainment, Inc., and provided international special event consulting, executive protection and tour security services. Clients included Lollapalooza 1997; Guinness Fleadh; Jane's Addiction U.S. Tour; House of Blues Smokin Grooves Tour; Cypress Hill; Rage Against the Machine; Busta Rhymes World Tour; Fugees Homecoming Concert in Haiti; International Achievement Awards; Jamizon U.S. Tour; K-Mart Race Against Drugs; Athletes & Entertainers for Kids / Shaqtacular; San Fernando Valley Fair; Jean Claude Van Damme; Puff Daddy & The Family World Tour 1997-1998; Luis Miguel World Tour 1997-1998; and Lilith Fair 1998.

Davis sold his company in 1998 to D&L Entertainment Services, Inc., where he is currently vice president. The company provides special event consulting, executive protection and tour security services. Clients include Guinness Fleadh Festival 1999; Lilith Fair 1999; Orange County Zodiac Soccer Team; VH1, American Music Awards; Grammy Awards; Blockbuster Music Awards; Source Awards; Star Radio 98.7; Dr. Martens AirWair; Faith Evans World tour 1998-1999; Motley Crue U.S. tour; Third Eye Blind U.S. tour; Woodstock 1999; University of Texas at El Paso; University of Nevada, Las Vegas; New Mexico State University; MTV; City of Santa Ana, Calif.; and the 2000 Democratic Convention Media Launch event in Los Angeles.

A.D. enjoys time with his family, wife Lourdes and young children Marc and Ashley, two budding rodeo stars.

What have been the biggest changes in crowd management control in the last five years?
Well, there have been several major changes in my opinion. The first is the younger age demographic of the average concert attendee, along with increased alcohol and drug use. These two factors have had a dramatic effect on crowd behaviors, particularly at the larger festival-style events.

How has training changed for event security personnel?
The biggest change in training has been more emphasis on non-physical ejections, guest services, and incident reporting and controlled responses to problems. Due to the higher visibility of incidents to the media, we want to ensure that we have taken every possible precaution.

Has your company ever turned down a project because of potential exposure to liability?
Absolutely. I have been very reluctant to provide tour security personnel for a number of the newer, more controversial acts due to our inability to have input and control over the artists entourage, travel, and personal arrangements, which would jeopardize our ability to provide the level of protection necessary.

From a venue standpoint, when you provide event staff and security services to a contracted facility, you must prepare and assume the risk for staffing that venue's attractions whether you agree with the views, antics, or audience demographic of the performers. You can't refuse to do shows selectively like tour security personnel.

How do you feel about general admission shows in arenas?
I have always been a supporter of certain types of concerts in a g.a. format. From a patron standpoint, it allows fans to feel the connection to the artist. Artists feed on the energy of the crowd. As a security coordinator, I can prevent certain injuries and eliminate potential problems by not having chairs on the floor. Allowing patrons to access the floor for g.a. shows provides ticket holders the option of joining the action on the floor or sitting in the reserved seating areas away from the potential chaos on the floor.

Do you use blockades or barriers in such events and why?
I like the T-style barricade and free-standing barricades in front of the stage to separate the floor and reduce the size of the main moshing areas. I do not like the use of secondary barricades because it creates an atmosphere that essentially traps innocent patrons inside volatile areas without an easily accessible escape area. It also limits security staff response for fights and medical issues.

What effect did the Pearl Jam tragedy last summer at Roskilde have on your company and personnel?
I specialize in major outdoor festivals and rigorously advance all aspects of the stage and barricade set-up prior to opening the event doors. Although no one can predict what a crowd will do, there are precautions that will reduce the potential for death and injury. We all understand the risks and learn from these tragedies but it has no effect on how we do business.

What is your reaction to Limp Bizkit pulling out of the Big Day Out festival in Australia festival because of their safety concerns for the fans after some got hurt and one fan died?
I think that its great that bands and artists are starting to realize the consequences of their actions and what a dramatic effect on crowd behavior they influence. Its ironic that Limp Bizkit, a band that has pushed the envelope on artist / crowd interaction in the past, is speaking out on the subject.

How often do your employees go through re-training?
You can never do enough training, and I encourage my staff to participate in a series of training sessions beyond our initial employee training. We do training almost on an event-by-event basis due to the variety and diversity of our client base.

Are more artists and executives requiring personal security and what kind of security is needed?
More industry executives and artists are requiring personal security as a direct result of the number of recent assaults against several high profile individuals by employees, artists, and deranged fans. Also, many artists require security to protect the public from their actions and temperament. We have had more requests for our off-duty local and federal law enforcement personnel due to their advanced training and ability to carry concealed weapons.

Have you been following the Puffy Combs trial? If so, what are your feelings about the type of personal security portrayed on the night of the incident?
I have been monitoring his case. I think it is reflective of what happens when a high profile artist or celebrities fail to recognize the impact they have at public assembly functions and are not prepared from a security and safety stand-point to react. Anytime a bodyguard is armed he/she must be legally licensed and trained to use deadly force. Also, professional bodyguards must have the ability to convey concerns and veto certain movements in the best interest of the client. In my opinion, they did not have sufficient personal security in place to prevent this type of incident.

What should security people wear on the job?
It really depends on the type of security they are performing but image is everything. Special event security people must always be readily identified to the public to reflect their position and connection to the venue or attraction. This can be an event staff or polo shirt, jacket, blazer etc. Personal security personnel who work for and travel with an artist, bands or groups are different due to their roles, but must be dressed to reflect a professional appearance to the public, venue employees, law enforcement personnel etc. My tour security people wear a customized jacket, hooded sweat shirt, or baseball cap with my company logo for a low-key yet recognizable presence. They also wear suit and ties (depending on the image of the client).

What different kinds of insurance do you carry for events and what do you expect the event itself to carry?
We carry a major liability insurance policy worth several million dollars from a national carrier that covers all events, facilities and projects that we secure. We expect to be indemnified and held harmless for the negligence and actions of the event or attraction beyond our control.

As the new security coordinator for Aerosmith and their upcoming tour, what type of security format for personal and tour security have you created for them?
I am not comfortable discussing the specific format because it may compromise our ability to provide the level of protection that is necessary to secure the greatest rock n roll band in history. What I can reveal is my creation of a more presidential type of coverage, which will ensure that all members of the band, and related entourage, receive more personalized coverage.

What was your first industry job?
I started as a $ 2.75 an hour event staff guard for a major Los Angeles company, working special events and concerts. But my first industry job was as a doorman / bouncer at the historic Starwood club in West Hollywood in 1978, where Van Halen, Aerosmith and John Mellencamp were regular performers.

Career highlight
I have had a number of great moments and highlights in my 24-year career. The most notable highlight was winning the Performance Magazine Security Company of the Year Award in my first year in business 1992. I am proud to have been able to achieve this honor again in 1993, 1994, 1996, 1997 and 1998.

Career disappointment
I have had few disappointments in this business but the most damaging and disappointing incident occurred when my employee was accused of being the Atlanta Centennial Olympics bombing suspect in 1996. He was ultimately cleared of any wrongdoing but he and my company endeared major scrutiny and negative publicity.

Greatest challenge
Creating the security format and staffing the Lollapalooza festivals for six years gave me my greatest challenge, due to the types of venues the festival performed at, the audience demographic, the high caliber of talent, the summer heat and the dangers associated with the emergence of the moshing and crowd surfing activity.

Best business decision
It was definitely working out an endorsement and sponsorship relationship with Dr. Martens Air Wair LLC for uniforms and footwear along with staffing Dr. Marten-sponsored special events and tours, 1993-2000.

Worst business decision
It was my failure to control the rapid growth and diversity of Anthony Davis / Associates by not hiring the proper business management and accounting people. This lack of control led us into IRS problems with payroll taxes.

What is your industry pet peeve?
It has got to be the hypocrisy of promoters, artist management and venue managers that claim to provide the best service, have the best resources, book major talent, command top dollars for appearances, yet cut every corner in regard to public safety and security services, by not utilizing and paying for the high quality personnel and equipment available to ensure successful personal and event security.

A.D. may be contacted at 909-605-6616; e-mail: adentsev@aol.com.

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