Star all-rounder Moeen Ali sees nothing wrong in rival teams trying to "copy" the much-talked-about England template in white-ball cricket following their resounding success in global events.
With their recent triumph in Australia, England became the first team to hold the ODI and T20 World Cup trophies in the same cycle.
Eoin Morgan brought about a radical change in mindset and playing style following England's dismal campaign in the 2015 World Cup and Jos Buttler is carrying forward his legacy.
An important member of the English white-ball team, Moeen feels it is natural for other teams to emulate their aggressive approach to the game. He also drew a parallel with the all-conquering Australian team of the 1990s and early 2000s.
"The template was spoken about long ago. I feel we have become a better team now. Morgs (Morgan) did a brilliant job to change the mindset, which is the hardest part, to put the template there.
"Now we can adapt to different conditions, different teams, use different bowlers in the death and there is flexibility in the batting order. This team is going to get even better," Moeen told PTI on the sidelines of the Abu Dhabi T10 League.
On the England template which has become the benchmark in international cricket, the 35-year-old said: "Whenever a team is winning, for example, Australia. They used to win all the trophies. Everyone wanted to copy them. Now England has won 50 over and T20 world titles and teams want to copy us." England had lost to India and South Africa at home earlier this year and Moeen said it was a timely wake-up call for them.
"We played South Africa and India in the summer. They beat us because they were playing the same brand of cricket we were playing.
"So we knew we had to get better and it is a good template to follow. I won't be surprised if other teams follow that template," said Moeen, who is captaining the Morrisville Samp Army here.
'Now even young players can play only two formats'
England had little time to celebrate their T20 World Cup success Down Under as they had an ODI series lined up against Australia three days after the final.
With franchise cricket also growing around the world cricket, the scheduling has become more hectic than ever. Cricketers who play three formats are finding it extremely tough to manage their workload, leading to frequent breaks.
"The problem is if you are a young player, you can't play all formats now. Earlier you could. Now people are getting pigeonholed into Test or T20 players. I don't think it is good for them or good for the game.
"In India, Australia and England players get paid quite well but in other countries, they don't. So at times, they miss out on international cricket for franchise cricket.
"A lot of people say IPL is there (makes the calendar more crowded) but IPL is a massive tournament, you can't say that.
"For example, a West Indies player rather play in the IPL for money and exposure than (international cricket).".
'Mindset in bilateral rubbers and ICC events is very different'
England had lost to India at home but they gave them a hiding in the World Cup semifinals with a 10-wicket win.
England has won two world titles in the last three years while India awaits their first ICC trophy since 2013.
Asked about India's inability to win global events while they consistently do well in bilateral cricket: Moeen said: "The pressure is different, we felt a lot of pressure this time as we were desperate to win the trophy.
"We also know the other teams are feeling the same pressure. In a bilateral series, there is a lot to consider and you can rest players.
"When it comes to ICC, there are different venues, the pressure is different. That is where the mindset comes into play.
"If you have the team ethos where you don't worry about getting out, that helps. We played our best cricket against India that day. If you play a certain brand of cricket you will fail but you have to stick with the players as long as you can." On his T10 experience, Moeen added: "T10 is fast, so there is not much time. You have to go hard from ball one and that can help in improving your game."
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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