Saturday, February 28, 2026

17388: BHM 2026—An Adland Recap.

 

During Black History Month 2026, Adland embraced lots of new and old events that totally trumped BHM interest:

 

Holding Company Restructurings, Redundancies, and RIFs

Super Bowl

Grammys

Winter Olympics

Groundhog Day

Presidents’ Day

Abraham Lincoln’s Birthday

George Washington’s Birthday

Susan B. Anthony’s Birthday

Valentine’s Day

Lunar New Year

Fat Tuesday

Mardi Gras

Ash Wednesday

National Freedom Day

Random Acts of Kindness Day

American Heart Month

National Children’s Dental Month

National Carrot Cake Day

National Pizza Day

National Golden Retriever Day

World Nutella Day

Galentine’s Day

National Love Your Pet Day

Tu Bishvat

Imbolc

Maha Shivaratri

Ramadan

Teen Dating Violence Awareness Month

 

For Adland, Black history is, well, history. Fade to black.

17387: WPP = Wrong Payment Plans.

Digiday reported WPP is exploring outcome-based pay schemes, charging escalating fees for measurable results.

 

This is hardly a new idea, as White advertising agencies have unsuccessfully attempted such deals for decades.

 

Although in an industry where White holding companies have created commoditization—catering and capitulating to client whims—it would be difficult to discern who is responsible for improved performance.

 

Given WPP’s desperation for billable business—paired with its growing AI fascination—perhaps a low-cost strategy is more realistic.

 

WPP is not suited to propose outcome-based pay; but rather, outhouse-based pay.

 

WPP is betting its future on getting paid for outcomes

 

By Seb Joseph

 

For decades, the agency business has run on a simple, if imperfect logic: clients pay for time and the people who fill it. Hours logged, heads counted, invoices sent. Nobody particularly loved it but it was predictable enough that nobody moved to change it.

 

That may finally be shifting. At the presentation for its new strategy in London on Thursday (Feb. 26), WPP made the most explicitly public case that the future of agency compensation look less like a staffing invoice and more like a performance contract — one where fees are tied directly to business results, not inputs.

 

“Those outcomes aren’t ‘do you like the agency you work with’,” said Johnny Hornby, CEO, WPP specialist communications agency division. “Those outcomes are ‘are we selling more product and will we get paid on being able to sell more product?’”

 

That’s a notable thing for a senior ad exec to say in public. It’s even more notable that there’s a real client sitting behind it.

 

Not a concept, a contract

 

Jaguar Land Rover is the clearest proof point WPP has right now. The group is currently in an exclusive negotiation with the automaker to become its global creative and marketing partner, with full contracting expected by March. The commercial structure Hornby described — fees tied to measurable sales and brand performance rather than hours worked — is the model WPP is actively pushing in pitches. CEO Cindy Rose was direct about what she thinks it signals: “I believe this is the beginning of a more widespread commercial model evolution.”

 

Whether that’s CEO optimism or genuine market shift, it’s worth taking seriously. The conditions that have made outcome-based pay feel impossible for so long are changing.  AI is compressing the cost of content production dramatically. A thousand ad variants now cost easily what five used to. That blows up the logic of charging by the unit. At the same time, measurement technology has advanced to the point where agencies can, with increasing credibility, draw a line between their work and actual sales.

 

“By shifting our revenue profile from being unpredictable and episodic to being much higher quality, recurring revenue that can be linked directly to the outcomes we deliver for our clients,” Rose said. “A commercial model that is more closely linked to client outcomes will enable us, over time, to move away from time and materials.”

 

WPP’s data platform, built partly around InfoSum’s federated technology, is central to the pitch. The company claims it can now connect first-party data, media signals and sales outcomes in a single closed loop, without data leaving a client’s environment.

 

For Heineken, that meant linking shopper data with TV broadcaster ITV’s viewing audiences and supermarket Tesco’s sales figures to measure real in-store uplift. For a U.S. retailer, rebalancing marketing investment through WPP’s platform reportedly generated £300 million in incremental sales. Results like these are ones the group is trying to wrap a performance fee around.

 

Three models, not one

 

The transition isn’t a clean flip. CFO Joannne Wilson laid out three commercial tracks WPP is running simultaneously: output-based pricing, which is growing but still a minority of work; and technology licensing fees including subscriptions and platform bundles. As Wilson explained: “With many of our clients, we’re working to understand what works best.”

 

Outcome-based elements have always existed in agency contracts as small bonus kickers. What WPP is describing is more structure — making performance the organizing principle of the relationship, not an addendum to it. Get it right, and the commercial benefits cut both ways. Clients get a partner whose fees are tied to actual business results, not hours spent. WPP, in theory, gets paid for the value it creates rather than the cost of creating it — a distinction that matters more as AI drives production costs down.

 

“We’re looking at this to be ultimately over time margin enhancing for us,” said Wilson, though she framed it as a consequence of delivering more value, versus cutting corners on delivery. 

 

The internal bet

 

The holdco is wiring its own organization the same way. Global client leaders — the senior execs responsible for the biggest accounts — will now be paid on client growth, full stop. Not agency P&L, not holdco EBIDTA. Client growth.

 

“If you’re a GCL, you’re paid on your client growth. It’s that simple,” Rose said. “And it’s dramatically from where we are today, where if you’re an agency you’re paid on your agency results.”

 

The logic is that when WPP’s own people are on a version of performance pay they become better at making the case for it with clients.

 

The questions that remain

 

There are obvious gaps. What happens when targets are missed? How are outcomes independently verified? What share of WPP’s revenue currently sits under any outcome-linked structure? None of those numbers were shared during the update, and analysts repeatedly pushed on the lack of specifics.

 

Which is why the JLR contract, should it get ratified, will be so important. If WPP can demonstrate over the next year that the model works it will have something genuinely new to sell. If, on the other hand, it turns out to be a one-off, the outcome-based narrative risks becoming another piece of holdco lore.

 

Why that’s less likely to happen this time is due to the underlying infrastructure being more credible. The measurement tools exist while AI has already broke the per-unit pricing logic. And clients, under their own pressure to prove marketing returns, increasingly want a partner whose incentives match theirs.

 

The old model is running out of road. Whether WPP has found the new one is still an open question.

17386: BHM 2026—AbelsonTaylor Group.

For 2026, it’s been disturbing how most White holding companies and White advertising agencies ignored Black History Month.

 

Equally disturbing is seeing campaigns from the few firms acknowledging the annual event.

 

AbelsonTaylor Group—a pharmaceutical marketing firm—proudly recognized Black pioneering figures in health and wellness.

 

Side effects include eye rolls, head shaking, and vomiting.

Friday, February 27, 2026

17385: On WPP Culture & Cultural Cluelessness.

More About Advertising opined on the Roserrection of WPP, including WPP CEO Cindy Rose’s grand vision for cultivating a culture for the White holding company.

 

It’s a safe bet the culture will lack cultural competence, as Rose has not addressed the historic exclusivity at WPP.

 

The Elevate 28 three-year scheme can’t reverse over 35 years of systemic racism.

 

Can Cindy Rose unearth a winning culture for WPP?

 

By Stephen Foster

 

WPP’s Cindy Rose succeeded in calming some first night investor nerves with a well-received presentation yesterday, outlining her Elevate 28 three-year plan to return what it is still one of the world’s biggest ad holding companies to profitable health.

 

Key to this, though, is that it’s not going to be a holding company anymore. Such entities, Rose says, have no ‘culture’ and she wants the new integrated WPP to have one, a bit like a new PE teacher coming in and calling for more team spirit.

 

Culture is one of those words that forever catches out adland, used for all sorts of purposes it was never intended. In Sir Martin Sorrell’s day WPP had a very pronounced culture: it was going to be the biggest because big attracted big (advertisers that is.) Just as such outfits do in law, accountancy or consultancy. But most high growth, high pressure businesses hit the buffers at some stage and WPP duly did.

 

Rose’s more measured approach may work in today’s market; it should at least stabilise things which is the driving idea for year one of Elevate 28.

 

Will WPP staffers buy into it, in particular those from the creative side of the organisation who are now, Rose says — although not overtly — to be led by media. Historically creative types have rather looked down on their media colleagues, including at WPP. Key to Rose’s fortunes is the relationship between her and WPP Media boss Brian Lesser. He’s over there and she’s here, which may be a problem.

 

Fear, of course, is a great motivator and with AI stalking the corridors of the world’s people-led businesses WPP staff will be grateful to be still employed, albeit in a much-changed organisation. But that won’t last forever.

 

Rose still has to reveal the detail of what she’s planning and some of it, particularly cost cuts, will be painful. She will need to announce the regional bosses in creative, media and elsewhere and those choices may not be popular.

 

But this AI fan still manages to come across as human and that’s a start. 

17384: BHM 2026—Illinois Department Of Public Health.

Illinois Department of Public Health goes straight to the heart of the matter, calling out the disparities and inequities Blacks have historically experienced with healthcare.

 

Maybe the headline should read: When It Comes to US Healthcare, Black History is Unhealthy History.

17383: Taking Applications For Managing + Communicating Change At WPP.

This actual job listing for a Change Communications Manager at WPP (click on the image to enlarge) underscores how the White holding company is taking Adland from commoditization to commode.

 

The full job description includes:

 

The ideal candidate is a strong operator and storyteller—someone comfortable working in ambiguity, setting structure where none exists, and influencing without relying on formal authority.

 

Wow. A more succinct statement could read: Bullshit Artists Apply Now.

 

Candidates should also be able to mix and serve Kool-Aid for all WPP teammates across the globe.

 

Expect thousands of applicants—although the position will probably go to a White man or White woman.

 

Wonder if the job listing was generated by AI—which, in this case, stands for Asshole Identifier.

Thursday, February 26, 2026

17382: BHM 2026—Advertising Age On Diminishing DEIBA+ In Adland.

For Black History Month, Advertising Age is publishing content from Blacks in Adland, covering a variety of topics.

 

The content below features Black agency leaders discussing how DEIBA+ initiatives have diminished in Adland.

 

The opening question reads, “Why did DEI conversations go quiet?”

 

Um, because President Donald J. Trump made like Don Draper and obliterated the conversation.

 

Black agency leaders on DEI’s quiet phase—and why courage still matters

 

By Brian Bonilla

 

It’s no secret that the conversation around diversity, equity and inclusion in the industry has diminished from where it was only a few years ago. Investments in DEI initiatives have declined and representation in Super Bowl advertising, both in front of and behind the camera, continues to be an issue.

 

To understand what this shift means for the industry’s future, I convened five prominent Black agency leaders for a candid discussion about why the push on DEI went quiet—and what brands risk by staying silent. The following is a lightly edited and condensed version of my talk with Asmirh Davis, co-founder and president of Majority; Walter T. Geer III, chief creative officer of innovation, North America at VML; Keith Cartwright, founder and chief creative officer of Cartwright; Taj Reid, global chief creative officer of Burson; and Kaleeta McDade, global chief experience design officer at VML.

 

Why did DEI conversations go quiet?

 

Keith:​ You could even tell last year in Cannes: those conversations aren’t apparent in the work.

 

It’s a great conversation to have because the first question you ask is why. Is it fear? Is it burnout? Is it both? Is there no desire because there wasn’t a financial impact attached to it?

 

Kaleeta:​ I think it’s fear of retribution … When you’re looking at brands, there’s an immense fear of retribution from the government that is financial.

 

You have to look at the fact that people who are in power are also billionaires. So I think people have a healthy fear of litigation, a healthy fear of just anything that the government might do regarding that. But at the same time, I think there’s a groundswell of citizens and Americans who want to see who’s brave.

 

I’ll say Costco has really stepped up, and those who have stepped up have felt the dividends of that. You’ve seen their stock go up, you’ve seen more people sign up. So people have to balance their fear with progress, because right now, if you’re not choosing a side—because there’s no in between—I think you’re going to be stuck in the messy middle.

 

Consumers are watching which brands step up

 

Walter:​ I understand why brands have backed off and ripped everything apart, because it’s a massive financial risk to them. Yet we are in a moment where people are waiting and watching to see what brands do.

 

And we’re also in a moment where people are using their platforms, their voices on social media and their dollars to represent and stand behind the brands that are doing things that benefit them and other communities. There is a line being drawn.

 

I guarantee you, three or four years from now, when this starts to turn around—because the pendulum always swings the other direction—you are going to have a multitude of brands coming back out. Because again, we are seeing the browning of America, and by 2040 the “minority” will be the majority, and brands are going to be going after them. Multicultural is mainstream media. They’re going to want to hop back on that other side, and I think people are going to remember.

 

Keith: As an industry though, we’re stuck, right? Because we’re at the power of these brands making a decision on how they want to move and operate. We can try to convince them, but at the end of the day … they’re saying, “We took that risk four years ago, we took that risk eight years ago, and look where it got us.”

 

That’s fair. But at the same time, we have to have a conversation about what progress looks like in this moment and how we, as an advertising industry, can quantify that progress and demonstrate how it can create commerce if you stay with it, and Costco is a great example.

 

Walter: Costco also has the money to stand up and say it. There are a lot of smaller brands that wish they could do that but can’t play in that space. It would cripple the entire company. So again, to some degree, I get it.

 

Overcoming a fear of backlash

 

Asmirh:​ But do you have an example of where a smaller brand has done that and it’s been detrimental to them?

 

Walter: I don’t. That’s the thing.

 

Asmirh: Right. That’s what I was just thinking about. Where is this imaginary monster that we’re all—

 

Kaleeta:​ I think Bud Light. That was the one time—it wasn’t a small brand—where I remember a transgender woman was featured and they lost billions of dollars. I remember that stream was the moment when I started hearing the fear of being diverse, the fear of showing up differently.

 

When in actuality, what we know that what that was, is you didn’t understand your base … you’re sitting in this very bright spot and going way over here. What is your base? I feel like that’s when it started.

 

Taj: The lazy performative is now really, really in jeopardy. But with the work that we do every day—all of us, just in this conversation—I’m super inspired by the work that we’re designing that speaks to marginalized communities in a way that makes the commerce or the business grow.

 

I feel like it’s more important than ever to have diverse lived experiences in the room, to develop those experiences that lead to conversion in a way that’s long-lasting. Because, like you said, people will remember.

 

Asmirh: Last year was hard for everybody. For us, it was even more of an anomaly because, since the inception of our agency, we were on such a rocket trajectory. So it was more stabilizing for us—a stabilizing year—than anything in terms of serious headwinds.

 

But it was good because it helped us double down on what we were about and what we were building.

 

I’ve seen the impact more so in the industry initiatives that we are a part of … I’m on the board of BLAC [an internship program focused on getting diverse talent onto the industry], and it was a really hard year for us and continues to be as we go into 2026, because our model relied so heavily on brands and agencies getting behind the cause of Black talent and underrepresented talent.

 

No one wants to invest and put their money and resources behind bringing in diverse experiences into their doors and nurturing it. That is where we’re feeling it.

 

Keith:​ The economy froze because there was instability. Obviously, advertising and marketing get hit first.

 

The common way of thinking is when you don’t know what to do, you just stand still. I think now they’ve sort of figured out how they can grow from this administration and what’s going on in the economy, and they’re starting to open back up.

 

I don’t know if it’s going to be as good as it was five years ago, but I think it’s going to get better.

 

Our pipeline’s healthy, but the thing that’s interesting is: healthy pipeline, lower margins. And I think that’s industrywide. There are tons of opportunities. Businesses are up for pitch. But when you look at what the fee is, you start to scratch your head and say, “Wow, it’s starting to become less and less worth it if you can’t figure out a way to make margin on it.”

 

Do we change the conversation, or keep pushing it?

 

Taj:​ I don’t know if it’s changing the conversation as much as keeping that conversation going.

 

It is incredibly fatiguing and frustrating. But at the same time, I think that persistence—and not letting it be muffled out—is so important. Maybe more important than ever now. Because I actually do see people retreating from the conversation and saying, “It’s not safe to even talk about it, so why are we even going there?” I think we need to, if anything, lean into it more, but also start building onto that in ways that can really be impactful.

 

Asmirh: It’s not changing the conversation, but it is changing the narrative of how we enter the conversation. Appealing to people’s morality and their empathy and their hearts to do the right thing—in history has shown that has never worked.

 

Walter: Every brand wants to hit mainstream media, right? Well mainstream media is multicultural. It’s Black and brown people, so if you want to make money you have to think about that.

 

Asmirh: But we traditionally, industrywide, have not led with that piece of it. And that’s why I believe that our business has not been hugely impactful.

 

What needs to change this year

 

Walter: I’m sick of this exhausting shift. It’s really tiring, feeling like you have to come in and beat your head against the same wall every single day. Ideas that are brilliant, that could make a massive impact, are just pushed aside due to fear.

 

I think brands need to be a little bold and step out and do the work. And again, it’s not DEI work; it’s going after your market, going after your audience, expanding on it to some degree.

 

Kaleeta:​ The only thing different I would tell my Black leaders who are running these businesses is: survive the encounter. Whatever you need to do to keep your doors open, survive the encounter. I know it’s an onslaught of things that are happening. The reason they’re not doing extra things is that there’s probably not enough time to do it, because you’re still trying to survive the encounter. Thriving will happen later.

 

I don’t think every year will be a win, but I think this year is about surviving. And I know that’s not as sexy as us saying it’s a year of Black joy or a post-George Floyd glow-up. But it is a year of reconciliation and us understanding who we are. So that’s what I would say to my Black leaders.

Wednesday, February 25, 2026

17381: On Omnicom WARN WTF BS.

 

Adweek reported Omnicom clarified a WARN notice filed with New York State in December—indicating 100 layoffs for IPG’s former NYC headquarters—is just part of the 4,000 pink slips to be issued in the months ahead.

 

Still no clarification, however, on how restructurings, redundancies, and RIFs impact DEIBA+ Human Heat Shields.

 

Omnicom Clarifies WARN Notice Detailing 100 Job Cuts 

 

Holdco confirms redundancies were part of the 4,000 announced in December following its IPG acquisition

 

By Rebecca Stewart

 

UPDATE: IPG has confirmed that a newly-published WARN notice filed with New York State pertains to redundancies that already occurred as part of its $13 billion November acquisition of Interpublic Group (IPG).

 

Based on the WARN data, which Omnicom filed in December but WARN did not make public until Feb 23, ADWEEK previously reported that Omnicom planned to cut an additional 94 jobs in the U.S. starting March 1.

 

However, an Omnicom spokesperson has since clarified: “This is nothing new as the filing is a compliance requirement for actions we made back on December 1, 2025.”

 

The notice detailed how 92 of 251 employees at IPG’s former NYC headquarters at 909 Third Avenue were laid off as part of its sweeping restructuring, along with two of 84 staff at the former holdco’s 100 West 33rd Street office.

 

‘New Omnicom’ Doubles Cost-Cutting

 

In December 2025, the new Omnicom announced 4,000 redundancies as part of a business reset, which saw it retire major creative agency brands including FCB, DDB, and MullenLowe.

 

The job cuts came in addition to the 3,200 roles IPG shed earlier last year, ahead of the acquisition, and the 3,000 staffers Omnicom let go after announcing the deal last fall.

At the time, Omnicom chief executive (CEO) John Wren estimated the total number of eliminated positions to around 10,000, or roughly 8% of the combined companies’ 2024 headcount.

 

During Omnicom’s first post-acquisition quarterly earnings update in February, Wren revealed that he had doubled the company’s cost-cutting target to $1.5 billion by 2028. This includes saving $900 million in 2026.

 

Wren told investors that $1 billion of Omnicom’s savings would come from “reductions in labor costs,” achieved by cutting corporate, network, and operational roles.

 

He also said that a simplified regional, country, and brand structure, and a more “unified” business model, along with outsourcing and offshoring to lower-cost markets, would help Omnicom reach its goal in the next 30 months.

 

CORRECTION 10:43 AM ET: A previous version of this story stated that Omnicom planned to cut an additional 94 roles. The article has been updated to clarify that the WARN notice reflected previously announced, public redundancies.

17380: BHM 2026—Harlem Globetrotters.

The Drum reported on the Harlem Globetrotters scoring its 100th anniversary, coinciding with the Black History Month centennial.

 

How Harlem Globetrotters are tipping off centennial with global licensing push

 

By Margo Waldrop

 

As the exhibition basketball team approach 100, president Keith Dawkins, along with IMG Licensing vice-president Brett Weiss, shares with The Drum how partnerships, retail expansion and new platforms are repositioning the team as a multi-platform global entertainment brand.

 

For decades, the Harlem Globetrotters were shorthand for trick shots, packed arenas and a theme song you could hum on command. As the team heads toward its 100th anniversary this year, leadership is asking a tougher question: what does a century-old brand look like on TikTok, in streetwear drops and in the collectibles aisle?

 

The answer, at least so far, is scale and reach. Since IMG Licensing became the Globetrotters’ global licensing agent in 2024, the focus has moved from memory to momentum. Apparel, headwear, collectibles, toys and lifestyle products are rolling out through collaborations with New Era, Ovo, Actively Black, NBA Lab and Shoe Palace. The centennial campaign began on December 14 with an anniversary game at Madison Square Garden, kicking off a yearlong run of more than 400 events across 25 countries, alongside new content initiatives and expanded retail.

 

The bigger ambition is repositioning the Globetrotters from a touring attraction to a multi-platform global entertainment brand.

 

Letting go of the scrapbook without losing the soul

 

Keith Dawkins, president of the Harlem Globetrotters, says the centennial has not been about discarding the past but broadening the frame.

 

“It hasn’t been about letting go, but about unleashing new thinking,” he says. At their peak in the 70s and 80s, fans knew the stars, saw them on TV, attended live tours and bought the merchandise. Revitalizing the brand meant building “a new ecosystem” for where audiences live now.

 

If the Globetrotters want another 100 years, they cannot rely on the road alone. Dawkins talks about meeting fans across linear and streaming platforms, social and digital channels, gaming, consumer products and live events. “New platforms and new strategic partners, along with a clear vision and great execution, will ignite a bright new future,” he says.

 

Some elements remain untouched. Dawkins calls the team’s identity as “ambassadors of goodwill” non-negotiable. Joy, hope and possibility are the filters every collaboration must pass through. Modern fashion, music and sports partners understand those values and build around them.

 

Success in the centennial year, he adds, will not be measured only in attendance or merchandise sales. It is about showing up “where the audience resides in ways that are fresh and meaningful.” If that works, relevance and audience growth follow.

 

Anchoring the celebration at Madison Square Garden puts the brand exactly where it wants to be. The arena bills itself as the world’s most famous and pairing it with a 100-year milestone amplifies both history and ambition. The Garden hosts artists and athletes who shape what people pay attention to and the Globetrotters want to be in that mix.

 

Modernizing a legacy brand

 

For Brett Weiss, vice-president at IMG Licensing, the first hurdle was perception. “One of the biggest misconceptions was that the Harlem Globetrotters were purely a legacy touring sports property rooted in nostalgia,” he says. “In reality, the brand is a unique platform that sits at the intersection of sport, entertainment, fashion and social impact, with deep multigenerational and global equity.”

 

Weiss describes the 100th anniversary as “the perfect catalyst” to rethink how the brand is perceived. “It allowed us to honor heritage while signaling the future,” he says, pointing to new ownership under Herschend and IMG’s role in steering a global licensing strategy designed to prove the brand’s relevance heading into its next century.

 

In his view, modernization did not mean starting from scratch. “The key was not reinvention, it was reinterpretation,” Weiss says. Rather than dilute that 100-year legacy, IMG spotlighted archival assets, storytelling and iconography while inviting contemporary partners to reinterpret them for today. Product placements in fast-fashion and mall channels, streetwear labels like Ovo and headwear specialists such as New Era helped validate relevance with younger consumers.

 

The test for any collaboration, Weiss adds, is whether it delivers more than a logo hit. “For us, a collaboration must deliver three things: credibility, audience expansion and long-term brand equity. Our best partners tap into 100 years of assets and reinterpret them in ways that feel thoughtful and premium.”

 

Licensing as discovery engine

 

The most significant evolution may be how licensing functions inside the business. Under Herschend’s ownership, the Globetrotters have adopted an always-on entertainment model, expanding far beyond the traditional tour calendar.

 

“Licensing now plays a central role in fan engagement and storytelling, not just revenue generation,” Weiss says. Consumer products sit alongside live events, content, social media and experiential activations as part of one connected ecosystem.

 

He adds that the strategy isn’t limited to venue retail. “We’ve moved beyond arena-only distribution into a coordinated global approach, placing product in thousands of retail doors while integrating licensing into content moments and tour experiences.”

 

For younger audiences, discovery may start with a hoodie, a gaming tie-in or a trading card rather than a ticket. Weiss believes that moving to the entry point is critical. “Discovery will increasingly happen through commerce and collectibles, not just live events,” he says. “Products become discovery moments that extend beyond the core audience.”

 

The centennial may celebrate the past, but the strategy is built for shelf space, screen time and sustained visibility. For the Globetrotters, licensing is the new growth plan.