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What’s different in the World Series this year? The New York Yankees are not here, and the Toronto Blue Jays are.

For Major League Baseball, that represents an opportunity.

On the eve of the World Baseball Classic, as the league attempts to grow its popularity around the world and considers sending its star players to the 2028 Olympics, the World Series ratings are encouraging.

For the first two games of the World Series, the average viewership in Japan was almost as high as in the United States, despite a population one-third that of the U.S., and the average viewership in Canada was 10 times greater than it was last year.

The average in the three countries, through two games: 30.5 million, MLB said Tuesday. The average for the World Series last year: 28.6 million.

The Game 1 audience for those three countries: 32.6 million, the highest for an MLB game in the U.S., Canada and Japan combined since Game 7 of the 2016 World Series between the Chicago Cubs and Cleveland Guardians.

When the Dodgers and Yankees played in last year’s World Series — a clash of the two biggest markets in the United States — the average game attracted 15.8 million viewers in the U.S. For the first two games of this year’s World Series, the average game attracted 12.5 million viewers on Fox platforms, so Canadian markets are not included.

However, even without a U.S. team to oppose the Dodgers, Fox said this year’s ratings are better than any other World Series since the pandemic, besides last year’s.

This year’s NBA Finals — a small-market matchup between Oklahoma City and Indiana — attracted a U.S. average of 10.3 million viewers.

This year’s World Series features Japan’s team — the team of Shohei Ohtani, Yoshinobu Yamamoto and Roki Sasaki — against Canada’s lone major league team. The average viewership in Japan: 10.7 million, despite the games starting there at 9 a.m.

The average viewership of last year’s World Series in Canada: 720,000. That number through two games this year: 7.2 million. The U.S. population is 10 times greater than that of Canada.

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On October 09, 2025, Voya Financial Advisors, Inc. disclosed the purchase of 126,532 shares of BND, estimated at $9.32 million based on the quarterly average price.

What happened

According to a filing with the Securities and Exchange Commission dated October 09, 2025, Voya Financial Advisors, Inc. bought 126,532 additional shares of Vanguard Total Bond Market ETF (BND -0.07%) during the quarter. The transaction was valued at $9,316,966. The fund now holds 1,935,848 shares in BND.

What else to know

The increased stake in BND brings the position to 13.89% of 13F AUM.

Top holdings after the filing:

• VV (Vanguard Large-Cap ETF): $212,202,112 (20.5% of AUM)
• BND (Vanguard Total Bond Market ETF): $144.03 million (13.9% of AUM)
• VEU (Vanguard FTSE All-World ex-US ETF): $101.80 million (9.8% of AUM)
• USIG (iShares Broad USD Investment Grade Corporate Bond ETF): $45,560,981 (4.4% of AUM)
• SPTL (SPDR Portfolio Long term Treasury ETF): $45.52 million (4.4% of AUM)

As of October 8, 2025, shares were priced at $74.28, up 0.32% for the year; the one-year alpha versus the S&P 500 was -14.13 percentage points BND’s annualized dividend yield was 3.79% as of October 9, 2025

Company overview

Company snapshot

Vanguard Total Bond Market ETF (BND) is one of the largest fixed income ETFs, offering investors comprehensive access to the U.S. investment-grade bond market. The fund tracks a broad, investment-grade, taxable U.S. bond index and invests at least 80% of its assets in bonds included in the index.

Its portfolio is composed primarily of U.S. dollar-denominated bonds with maturities over one year, selected through a sampling process to closely match the index’s risk and return characteristics.

BND serves institutional and retail investors seeking broad, cost-efficient access to the U.S. fixed income market.

Foolish take

Vanguard Total Bond Market ETF (BND) continues to attract institutional interest as investors seek stability and income in an uncertain rate environment. The bond fund‘s broad reach across the U.S investment-grade bond market gives it unique appeal in times where equities are choppy amidst U.S China trade tensions and yields remains elevated.

BND’s offering spans over 11,000 securities, blending U.S Treasuries, corporates and mortgage backed bonds into one of the most diversified fixed income portfolios available. Its current yield near 3.8 offers steady income while maintaining credit quality and moderate duration risk. For Voya advisors, building exposure through a low-cost and transparent vehicle such as BND shows a deliberate focus on resilience and disciplined asset allocation. 

While short-term rate movements can influence bond prices, BND’s scale and efficient structure marks a dependable core holdings for both institutional and retail portfolios. As markets shift toward a lower-rate outlook, BND stands out as a practice way to capture broad bond exposure and steady total returns over time. 

Glossary

Assets Under Management (AUM): The total market value of assets a fund or investment manager oversees on behalf of clients.

13F: A quarterly report filed by institutional investment managers to disclose their equity holdings to the SEC.

Dividend Yield: The annual dividend income an investment pays, expressed as a percentage of its current price.

Alpha: A measure of an investment’s performance relative to a benchmark, indicating value added or subtracted by active management.

ETF (Exchange-Traded Fund): An investment fund traded on stock exchanges, holding a basket of assets like stocks or bonds.

Investment-Grade: Bonds rated as relatively low risk of default by credit rating agencies, typically BBB/Baa or higher.

Sampling Process: A portfolio construction method where a subset of securities is selected to closely match an index’s characteristics.

Mortgage-Backed Securities: Bonds secured by a pool of home mortgages, with payments passed to investors.

Asset-Backed Securities: Bonds backed by pools of financial assets, such as loans or receivables, other than mortgages.

TTM: The 12-month period ending with the most recent quarterly report.

Reportable Assets: Assets that must be disclosed in regulatory filings, such as those reported in a 13F filing.

Stake: The amount or percentage of ownership an investor holds in a particular security or fund.

Louisbourg Investments increased its stake in ATS Corporation (ATS 2.97%), buying 113,773 shares in the third quarter for an estimated $3.3 million.

What Happened

According to a filing with the Securities and Exchange Commission released on Thursday, Louisbourg Investments added 113,773 shares of ATS Corporation (ATS 2.97%)in the third quarter. The estimated transaction value was $3.3 million based on the average price during the period. The fund held 215,295 shares, with a position value of $5.6 million, at the end of the quarter.

What Else to Know

The ATS Corporation stake is now 1.2% of Louisbourg Investments’ 13F reportable AUM.

Top holdings after the filing:

• NYSE:CNI: $28.5 million (6.2% of AUM)
• NASDAQ:SHOP: $15.1 million (3.3% of AUM)
• NASDAQ:MSFT: $13.3 million (2.9% of AUM)
• NYSE:WPM: $12.7 million (2.8% of AUM)
• NYSEMKT:IVV: $12.3 million (2.7% of AUM)

As of Monday afternoon, ATS Corporation shares were priced at $26.09, down 13% over the past year and well underperforming the S&P 500’s 13% gain in the same period.

Company Overview

Company Snapshot

• ATS provides automation solutions, including planning, design, build, commissioning, and servicing of automated manufacturing and assembly systems, as well as software and digital factory management tools.
• It generates revenue through turnkey automation projects, pre- and post-automation services, contract manufacturing, and value-added engineering and integration services across multiple industries.
• The company serves clients in life sciences, transportation, consumer products, food and beverage, electronics, nuclear, packaging, warehousing, distribution, and energy sectors worldwide.

ATS Corporation provides automation solutions to a broad range of industries worldwide. The company leverages advanced engineering and digital solutions to deliver end-to-end automation systems for complex manufacturing environments. Its focus on innovation, service, and integration enables customers to drive operational efficiency and sustainable production improvements.

Foolish Take

Louisbourg Investments’ $3.3 million purchase of 113,773 shares of ATS Corporation signals growing confidence in the Canadian automation company despite a rocky year for the stock. The new stake lifted ATS to about 1.2% of Louisbourg’s portfolio—a smaller weight than core holdings like Canadian National Railway and Shopify but one that adds industrial diversification to an otherwise tech-heavy mix.

ATS shares have fallen roughly 13% over the past year as margin pressures and leadership changes weighed on sentiment. In its latest quarter, the company reported 6% revenue growth to $736.7 million, driven by acquisitions and a strong backlog in life sciences and food automation. However, net income slipped to $24 million from $35 million a year ago, and adjusted EBITDA margin narrowed to 13.8% from 15.3%. Still, a $2.1 billion order backlog suggests solid demand and visibility ahead.

For Louisbourg, the position may represent a long-term bet on automation as manufacturers invest in efficiency and reshoring capacity. Compared to its larger tech holdings like Microsoft and Shopify, ATS adds a cyclical but strategic growth complement with exposure to high-value industrial innovation.

Glossary

13F reportable AUM: The portion of a fund’s assets under management disclosed in quarterly SEC Form 13F filings.
AUM (Assets Under Management): The total market value of investments managed by a fund or investment firm.
Turnkey automation projects: Complete automation solutions delivered ready for immediate use by the client.
Contract manufacturing: Outsourcing production to a third-party company that manufactures products on behalf of another firm.
Value-added engineering: Engineering services that enhance a product’s functionality, efficiency, or performance beyond basic requirements.
Integration services: Services that combine different systems or components into a unified, functioning whole.
Commissioning: The process of testing and verifying that a new system or equipment operates as intended before full operation.
Digital factory management tools: Software solutions designed to monitor, control, and optimize manufacturing operations digitally.
TTM: The 12-month period ending with the most recent quarterly report.

Sept. 20 (UPI) — The election of Pope Leo XIV in carried special meaning for Peru, particularly for the city of Chiclayo in the Lambayeque region, where the then-priest Robert Francis Prevost spent decades as a missionary and nearly 10 years as bishop.

Although Prevost was born in Chicago, he became a Peruvian citizen in 2015 when he was named bishop of what he called his “beloved diocese of Chiclayo,” a phrase he delivered in Spanish in his first words to the world after being elected pope.

The impact of his election has been not only spiritual, but also economic, with a significant boost to tourism in the city.

Lambayeque Gov. Jorge Pérez said Thursday that the region recorded an additional $42 million in revenue from tourism tied to the pope’s history in the area.

“No marketing agency, not even the most powerful in the world, could have achieved what Pope Leo has accomplished,” Pérez said in a television interview with CanalB.

Peru’s Ministry of Foreign Trade and Tourism officially launched the “Path of Pope Leo XIV” tourist route in late July, highlighting the Peruvian cities in which the pontiff carried out his missionary and pastoral work.

“This tourist route is not just an itinerary of more than 35 attractions in the regions of Lambayeque, La Libertad, Piura and Callao. It is a spiritual path and an invitation to rediscover who we are, where we come from and what unites us as Peruvians,” the ministry said.

As part of its plan to promote the route, the Peruvian government released a promotional video titled The Route of Leo, aimed at encouraging both domestic and international tourists to visit the destinations.

The official route includes historic churches, landmark museums and natural sites, such as the Santa María Cathedral in Chiclayo, the Pómac Forest Historic Sanctuary, the adobe pyramids of Túcume, the ruins of the former San Agustín Convent in Zaña, the Royal Tombs of Sipán Museum and the Chaparrí Ecological Reserve.

This is complemented by the rich cuisine of northern Peru, known for its diverse flavors and ancestral traditions, with dishes that blend seafood, agriculture and the pre-Hispanic heritage of the Mochica and Chimú cultures.

Some of the region’s most famous dishes include arroz con pato (rice with duck), cabrito a la norteña (northern-style goat and one of Pope Leo XIV’s favorites), stingray omelet and black clam ceviche.

For the first stage of the route, which required coordination across four regions and 20 municipalities, the Peruvian government allocated $151 million.

The Ministry of Culture also announced a second stage of the project, with $2.5 million set aside to upgrade the Sicán National Museum and to reinforce the preservation of Chiclayo’s Cathedral and La Verónica Chapel.

In addition, plans are underway to expand the Royal Tombs of Sipán Museum, one of Peru’s most important archaeological museums, which is known for its historical value, the preservation of its artifacts and the quality of its exhibits.

The museum houses the funerary treasures of the Lord of Sipán, a Moche ruler from the third century A.D., which were discovered in 1987 at Huaca Rajada near Chiclayo.

The discovery is considered one of the most significant in the Americas because it was the first intact royal Moche tomb found without looting, offering researchers a detailed view of the hierarchy and splendor of that culture.

In 2022, the iconic L.A. comedian Cheech Marin opened an art museum with the hope of inspiring a Chicano art renaissance.

“I looked around and said, ‘This could be the next big art town’ — because the foundations were already there,” Marin told De Los. “There was this kind of nebulous underground here, but [they’ll] reach officialdom when they have their museum.”

Now, as the Cheech Marin Center for Chicano Art and Culture enters its fourth year, Marin said he believes his goal is slowly coming true.

Known colloquially as the Cheech, the museum is widely considered the only space in the nation that exclusively showcases Chicano art. It’s located in Riverside, a majority-Latino city which is also within one of the largest Latino-populated counties in the country.

Since its grand opening on June 17, 2022, the center has housed hundreds of artworks from Marin’s vast private collection, including from prominent artists such as Wayne Alaniz Healy, Judithe Hernández and Frank Romero.

In its first two years, the space attracted over 200,000 visitors, according to an independent study commissioned by the city, with around 90% of attendees coming from outside the Inland Empire. The study also found that the Cheech brought around $29 million into the city’s local economy in that time frame.

“We were recognized as one of the top 50 shows in the world,” Marin said. “The fame of the museum is spreading far and wide, and people are coming from all over the United States.”

While the Cheech grew in nationwide prominence, its artistic director, María Esther Fernández, explained that the museum’s team also worked to fulfill Marin’s goal by taking advantage of its rapid success.

In the last three years, the center has become a hub and vital resource for many of the region’s Chicano artists. It has done this by creating opportunities to network with high-profile individuals, hosting recurring professional development workshops and regularly contracting emerging creatives for different design projects.

Drew Oberjuerge, the center’s former executive director, added that the museum has invested in the region’s economy by hiring locals to help prepare artwork for installation while also paying musicians and other contractors to work throughout their events.

Cheech Marin photographed in the Riverside Art Museum for the unveiling of the Cheech Marin Center for Chicano Art & Culture (a.k.a. “The Cheech”) in 2022.

(Gustavo Soriano / For The Times)

Most important for these artists, however, is the space that the Cheech has designated to put their art front and center.

“What we’ve been really lucky to leverage is the visibility of the Cheech,” Fernández said. “We’ve been really dedicated, since we opened, to featuring artists that are emerging or some that are even mid-career in the community gallery.”

Some of the creatives, who have collaborated with the Cheech within the community gallery since it first opened, say the center’s efforts have legitimized their career paths and created new opportunities to help pursue their dreams.

The gallery is located next to the museum’s entrance and is only a fraction of the space given to the other exhibits within the 61,420-square-foot museum — and it feels like being in a waiting room in comparison to the rest of the center too. Yet, on only four small walls, the artists featured in the area have put on powerful exhibitions that tell the region’s story while also making art on par with Marin’s collection.

This includes shows like “Desde los Cielos,” which was co-curated by Perry Picasshoe and Emmanuel Camacho Larios, and looked into the concept of alienness — as well as Cosme Córdova’s “Reflections of Our Stories,” which emphasized a cultural connection between Inland Empire artists, despite the use of vastly different mediums.

Perry Picasshoe stands outside the Cheech Marin Center for Chicano Art & Culture as part of a performance piece in Riverside on July 3, 2025.

(Daniel Hernandez)

In total, the Cheech has held at least seven different exhibitions that showcased artists from across the Inland Empire — at times, catching Marin’s connoisseur eyes.

“I bought a couple of pieces from different artists because they are of that quality,” Marin said. “It’s great to be encouraging local talent as well as recognizing a larger picture that they are a part of, or going to become a part of [the Cheech].”

According to the Cheech’s spokesperson, Marin has purchased three works from Inland Empire-based artist Denise Silva after they curated an exhibition named “Indigenous Futurism” within the gallery. Another piece, created by artist Rosy Cortez, who has been featured in several exhibitions, was purchased by an anonymous donor and added to the center’s permanent collection.

“We’ve also begun to implement an artist fee for artists who are participating in the exhibitions,” Fernández said, adding that her team has assisted in the transportation of larger works of art as well. “Participating in exhibitions can be cost-prohibitive for artists, and so it’s something we’re trying to mitigate in our practices.”

Their most recent exhibition within the community gallery, called “Hecho en Park Avenue,” has been one of their most successful showings, with over 1,300 community members attending its opening earlier this year.

The exhibition’s co-curator, Juan Navarro, explained that the show culminated years of work within Riverside’s Eastside neighborhood. He, along with other Chicano artists, has been creating art within the Latino-dominant community since 2021.

Then, when the Cheech asked them to curate a show, Navarro felt it was the perfect chance to tell the stories of the Eastside’s locals. The response to the final product was more than Navarro could have ever imagined.

“The community showed out: from intellectuals from UC Riverside, from local government, to state government showed up, to the gang members,” Navarro said. He also noted the emotional weight of being recognized for his art, while surrounded by the work of Chicano artists who waited decades for their own to be recognized.

“Seeing this big, broad community and seeing that our show met the need for a diverse audience… It was meaningful to a lot of people, that’s what I cared about.”

The show’s other co-curator, Michelle Espino, also expressed gratitude for the chance to tell the Eastside’s story at the Cheech. Besides being one of its featured artists, Espino worked on many of the behind-the-scenes aspects of the “Hecho en Park Avenue” exhibition.

It was also a full-circle moment for her; years prior, Espino had written about Fernández’s work for a Chicano art history class. This year, she met with Fernández to ask for advice and to finalize plans for the exhibit.

“It [validated] that I do want to continue with this,” Espino said. “She is literally the person I look up to.”

On top of Espino’s one-on-one meetings with the artistic director, she has also enrolled in a few professional development workshops hosted by the center, most recently taking a class that taught both the art of portraiture and poetry. The Cheech regularly partners with a nonprofit organization named the Riverside Arts Council to host professional development classes.

“If we had these resources when I was younger, my trajectory could have probably been a little bit different,” Espino said.

Marin, in his lifelong quest to collect works for his private collection, has seen how Chicano artists have grown their communities in their respective cities. It starts with painters sharing their works with each other through smaller shows, he said, which builds excitement and increases participation. He likened it to a biological process, where each generation builds upon the growth of the previous iteration.

That process is starting in the Inland Empire now, he added.

“We are a part of this big American picture,” Marin said. “And there’s nothing more official that you can do besides having your own museum.”

Hernandez is a freelance writer based in Riverside. This article is part of a De Los initiative to expand coverage of the Inland Empire with funding from the Cultivating Inland Empire Latino Opportunity (CIELO) Fund at the Inland Empire Community Foundation.