FUNERAL services for the trailblazing Indian-American Sikh police officer, who was shot multiple times and killed in an "ambush-style" attack in the US state of Texas, has been set for October 2.
A pall of gloom has fallen over a shocked Houston community since the shooting of Sandeep Singh Dhaliwal during a mid-day traffic stop on Friday (27), and people have been lining up to pay their respects and show their support for the Houston County Sheriff Office Deputy.
Dhaliwal, a 10-year veteran of the department, made national headlines when he was allowed to grow a beard and wear a turban on the job in 2015.
The first member of the Sikh community to join the sheriff's office, he's survived by his wife and three children.
A law-enforcement ceremony and a Sikh religious ceremony have been scheduled for the 42-year-old Dhaliwal on Wednesday (2).
A group of volunteers are tying black and blue ribbons to give to anyone who wants to show their support for law enforcement or Dhaliwal.
Volunteers are standing in the street at the park to meet people at their cars and give them a ribbon or accept their donations.
A GoFundme page has been established to help.
Two people were taken into custody, according to the sheriff's office.
Local authorities identified 47-year-old Robert Solis as one of the suspects. Solis was charged with capital murder. The judge set no bond at his first court hearing.
"The nature of the allegations involved in this case and the manner at which the murder was carried out indicate to me that Mr. Solis is in severe and immediate danger to the community at large," the judge said.
Sheriff Ed Gonzalez said his deputy, Dhaliwal, "was unable to recover from his injuries" after he was shot in the back of the head.
Prosecutors say Solis and his passenger told investigators Dhaliwal pulled them over for running a stop sign.
Dash-camera video shows Dhaliwal walk away from the suspect's vehicle, back towards his own.
That's when police say Solis can be seen getting out of his car and running towards him, firing his gun several times.
According to the sheriff's office, the suspect was found inside a business about a quarter of a mile away from where Dhaliwal was shot.
"A deputy observed that he looked a little nervous and put him in custody, and that did turn out to be our shooter," an official said, adding that the weapon believed to have been used to shoot Dhaliwal was recovered in the parking lot of the business.
Saturday (28) morning, it was revealed in court that Solis was caught on surveillance video trying to throw away the Glock 45 caliber semi-automatic gun used in the murder.
Officials say Solis called friends after the shooting and told them he just shot a deputy and needed to be picked up.
"I believe it was a suspect, he has a lengthy criminal history, on parole, probably knew he was going to go back to jail and did not want to go back to jail," the official said when asked about a possible motive. "It was senseless."
Solis has an extensive criminal history. He has been a wanted fugitive since 2017 for violating parole on a charge of aggravated assault with a deadly weapon.
He also has past charges for aggravated kidnapping, aggravated robbery and driving while intoxicated. A woman, who is believed to be a passenger in the suspect's car, was also detained and placed into custody.
"It was a total ambush by the suspect," the official said. "The deputy never had a chance."
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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